Smith, Zadie. White Teeth. Penguin.
prelims
Connections | Author name Sort ascending | Excerpt |
---|---|---|
Intertextuality and Influence | Charlotte Smith | A preface (in the first volume) quotes the words of Samuel Johnson
(with apology for applying them to so trifling a matter as novel-writing) about working at his dictionary amid grief and illness, feeling cut... |
Textual Production | Lucy Toulmin Smith | LTS
did not produce any more volumes for several years, during which her work as a freelance research assistant perhaps occupied her fully. Finally, in 1879, she issued a new edition of Clement Mansfield Ingleby |
Theme or Topic Treated in Text | Lucy Toulmin Smith | In providing readers with a guide to understanding Shakespeare
's plays, Smith takes a lively approach: at one point she warns her readers that Falstaff, it must be said, is not always fit company for... |
Intertextuality and Influence | Zadie Smith | The book's epigraph from Shakespeare
's The Tempest (What's past is prologue) Smith, Zadie. White Teeth. Penguin. prelims Smith, Zadie. White Teeth. Penguin. 83 |
Intertextuality and Influence | Ali Smith | Smith's take on Iphis and Ianthe begins with sisters Anthea and Imogen listening to their grandfather's stories from when I was a girl in the women's suffrage movement: a sure induction into matters of gender... |
Intertextuality and Influence | Ali Smith | This novel is set in Cornwall, as well as in a contemporary landscape of violent exclusion, lies, suffering. Harris, Alexandra. “Book of the day. Winter by Ali Smith review—wise, generous and a thing of grace”. theguardian.com. |
Intertextuality and Influence | Ali Smith | As each book in this series relates to one of Shakespeare
's plays, this one relates to Pericles, and the artist that it relates to is |
Textual Features | Ali Smith | The arborist re-reads Oliver Twist alongside their partner's lectures and urges the partner to consider discussing the musical form of the novel (a request accommodated, as the academic threads it in alongside Auld Lang Syne... |
Literary responses | Charlotte Smith | The many editions of CS
's sonnets attest to their popularity. In one she mentions having to get back from friends the original manuscripts of poems which she had not bothered to keep. Her sonnets... |
Family and Intimate relationships | Constance Smedley | CS
's father, William Thomas Smedley
, was a chartered accountant and company director, a philanthropist, a free-thinker, and a bibliophile. His magnificent Shakespeare
-Bacon
book collection, including more than a hundred volumes of... |
Education | Constance Smedley | With her sister, CS
began her education at home with her mother as teacher. She read Shakespeare
at four years old, and later learned the violin. She and Ida were concert-goers from an early age... |
Textual Features | Constance Smedley | This first dialogue concerned the Baconian controversy. CS
's father was given to harping on his belief that Sir Francis Bacon
wrote the works of Shakespeare
. This is the position taken by Smedley's Victorian... |
Intertextuality and Influence | Gillian Slovo | The epigraph is a statement about truth from Shakespeare
's Henry IV Part One. The protagonist of this novel, Sarah Barcant, was born in Smitsrivier, a dusty little South African town dominated by its... |
Intertextuality and Influence | Eleanor Sleath | The chapter headings quote a range of canonical or contemporary writers, including Shakespeare
, Milton
, Pope
, Thomson
, Goldsmith
, William Mason
, John Langhorne
, Burns
, Erasmus Darwin
, Edward Young |
Intertextuality and Influence | Eleanor Sleath | At this point Gertrude hears a noise in her late husband's room; Ethelind sees a mysterious armed personage resembling him; Winifred sees a tall, white figure; Ormond offers to lie in wait for the ghost... |
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