Hutton, Catherine. Oakwood Hall. Longman, Hurst, Rees, Orme, and Brown.
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Connections Sort ascending | Author name | Excerpt |
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Intertextuality and Influence | Catherine Hutton | Jane Oakwood says (presumably standing in for her author, as she often does) that in youth she was accused of imitating Juliet, Lady Catesby (Frances Brooke
's translation from Marie-Jeanne Riccoboni
). Hutton, Catherine. Oakwood Hall. Longman, Hurst, Rees, Orme, and Brown. 3: 95 |
Intertextuality and Influence | Sarah Green | |
Intertextuality and Influence | Susanna Haswell Rowson | As the title implies, the primary speaker and instructor is the father of the family, whose name, Mr Allworthy, comes from Henry Fielding
. The mother plays supporter to him. Both encourage the children to... |
Intertextuality and Influence | Sheila Kaye-Smith | She was helped and encouraged in this work by her friend the novelist Walter Lionel George
. Stern, G. B. . And did he stop and speak to you?. Henry Regnery. 79 |
Intertextuality and Influence | Sara Maitland | She points out that for all Brunton's highly moralistic intentions, Maitland, Sara, and Mary Brunton. “Introduction”. Self-Control, Pandora, p. ix - xi. ix |
Intertextuality and Influence | Mrs Martin | Each volume has an introductory chapter, addressing the reader in the manner of, and with some images borrowed from, Henry Fielding
or Laurence Sterne
(the latter, indeed, is mentioned by name). MM
hopes her reader... |
Intertextuality and Influence | Ann Masterman Skinn | AMS
borrows from Richardson
a masquerade scene and her basic epistolary form, and radically revises a borrowing from him when her heroine stabs a would-be rapist with scissors. But her general tone and her enjoyment... |
Intertextuality and Influence | Susan Smythies | |
Intertextuality and Influence | Eliza Haywood | This satiric, self-reflexive entertainment makes minimal changes to its source, Henry Fielding
's The Tragedy of Tragedies (itself adapted from his Tom Thumb, 1730). There has been controversy over the Opera's music, which... |
Intertextuality and Influence | Djuna Barnes | Henry Fielding
Barnes dubbed her heroine, Evangeline Musset, a female Tom Jones. Lanser, Susan Sniader, and Djuna Barnes. “Introduction”. Ladies Almanack, New York University Press, p. xv - li. xxix |
Intertextuality and Influence | Mary Latter | The first letter, the earliest piece in the volume, was said to have been written seventeen years ago at the age of seventeen: to Myra, which suggests that ML
may have been one among... |
Intertextuality and Influence | Margaret Legge | When her mother dies leaving her some money, Janet writes to her husband (who still idolises her, but looks down upon her from a mental height and explains things in the simplest possible way, with... |
Intertextuality and Influence | Anna Steele | The novel begins with the Lisle family taking up residence at the ill-fated house of Gardenhurst, an estate that had been gambled away by its young heir during the reign of Charles II
, and... |
Friends, Associates | Charlotte Lennox | She met Sarah Fielding
at Richardson's house, and became friendly also with Henry Fielding
, Saunders Welch
(the philanthropist, who later offered her employment), and Lord Orrery
. She was presumably the Mrs Lenox with... |
Friends, Associates | Jane Collier | JC
was a lifelong friend of Sarah Fielding
and her brother Henry
(who famously mentioned in a book inscription her understanding more than Female, mixed with virtues almost more than human), Londry, Michael. “Our dear Miss Jenny Collier”. Times Literary Supplement, pp. 13-14. 14 |
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