Connections
Connections | Author name Sort descending | Excerpt |
---|---|---|
Family and Intimate relationships | May Cannan | At their fifth meeting he asked her to marry him. She was not in love. She agonised about her love for Bevil; she wrote with tears Cannan, May, and Bevil Quiller-Couch. The Tears of War. Editor Fyfe, Charlotte, Cavalier Books, 2000. 169 |
Intertextuality and Influence | Angela Carter | According to Linden Peach
, the writings of Bertolt Brecht
and Mikhail Bakhtin
influenced AC
's notions of theatre and the carnivalesque, which are central features of Nights at the Circus. However, Peach went... |
Intertextuality and Influence | Angela Carter | The action in the novel takes place over one day, in which the two elderly actresses Dora and Nora Chance (who are twin sisters) are celebrating their seventy-fifth birthday. They share their birthdate with their... |
Textual Features | Barbara Cartland | Her heroines always remained chaste until they were married, no matter how great the temptation. I do allow them to go to bed if they're married, but it's all very wonderful and the moon beams... |
Material Conditions of Writing | Willa Cather | At the beginning of her undergraduate career, in 1891, she published two successive essays in the Nebraska State Journal: first Concerning Thomas Carlyle, then Shakespeare
and Hamlet. Still as an undergraduate, she... |
Intertextuality and Influence | Margaret Cavendish | Her address to her husband rejoices that he has never bidden her to stop writing and work (that is do needlework) instead. In this connection she quotes from Lord Denny
's attempt to silence Lady Mary Wroth |
Intertextuality and Influence | Laura Ormiston Chant | The novel takes place in the ugly town Chant, Laura Ormiston. Sellcuts’ Manager. Grant Richards, 1899. 9 |
Intertextuality and Influence | Charlotte Charke | CC
closes with a last concealed theatrical reference: the hope that she will be able to pass in the Catalogue of Authors Charke, Charlotte, and Leonard R. N. Ashley. A Narrative of the Life of Mrs. Charlotte Charke. Scholars’ Facsimiles and Reprints, 1969. 277 |
Occupation | Charlotte Charke | CC
, at Henry Fielding
's Haymarket Theatre
, appeared in male roles: as Macheath (John Gay
), Falstaff (Shakespeare
), George Barnwell (George Lillo
), and Lothario (Nicholas Rowe
). The London Stage 1660-1800. Southern Illinois University Press, 1960–1968, 5 vols. 3: 402ff |
Textual Production | Mary Charlton | Its title-page (as well as bearing a quotation from Shakespeare
) mentions several of her earlier works. |
Literary responses | Georgiana Chatterton | The Athenæum reviewer, William Hepworth Dixon
, admired this verse drama as an elegy thrown into dialogue, excusing its lack of stagecraft as an absence merely of the knowing turns and movements necessary when the... |
Textual Production | Agatha Christie | AC
published Absent in the Spring, another novel under the pseudonym Mary Westmacott, which she had written within three days in July 1943. The title comes from a sonnet by Shakespeare Benstock, Bernard, and Thomas F. Staley, editors. Dictionary of Literary Biography 77. Gale Research, 1989. 69 |
Textual Production | Agatha Christie | AC
's play The Mousetrap opened at the Ambassadors Theatre
in London: adapted from the title story in her Three Blind Mice, and Other Stories, 1948. It was still playing in 2014, as... |
Intertextuality and Influence | Caryl Churchill | The 1986 deregulation of the stock market—the Big Bang—by fortunate coincidence Churchill, Caryl. Serious Money. Revised and Re-issued Edition in the Methuen Modern Play Series, Methuen, 1990. prelims |
Education | Hélène Cixous | She had already begun courses to prepare for university entrance at the Lycée Bugeaud in Algiers a year earlier. In 1957 she earned her bachelor's degree in English literature from the University of Bordeaux
... |
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