Norton, Rictor. Mistress of Udolpho: The Life of Ann Radcliffe. Leicester University Press.
221-2
Connections Sort ascending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Ann Hatton | The title-page quotes Milton
and an unidentified French writer. Each of the unusually long chapters (four to a volume) is headed by a summary and a quotation, often from Shakespeare
or Byron
or attributed only... |
Intertextuality and Influence | Amy Levy | The plot concerns an English governess to an Italian family in Rome, who opposes the love which develops between her and the grown-up son. AL
plants allusions to Jane Eyre and to famous English... |
Intertextuality and Influence | B. M. Croker | The title-page quotes Byron
on the power of Fate. The heroine is not always pretty, nor is she always Miss Neville. The book opens in the voice of eleven-year-old Nora O'Neill, known as Miggs, generally... |
Intertextuality and Influence | Lady Caroline Lamb | The printed selection begins with girlhood letters to Georgiana, Duchess of Devonshire
's elder daughter. It goes on to include correspondence with friends and publishers, analyses of feelings and comments on the experience of pregnancy... |
Intertextuality and Influence | Ann Radcliffe | Anna Seward
, in letters which were to be published in AR
's lifetime, mixed her praise of her gothic oeuvre with some trenchant criticism. Norton, Rictor. Mistress of Udolpho: The Life of Ann Radcliffe. Leicester University Press. 221-2 |
Intertextuality and Influence | Ann Hatton | The title-page quotes Ovid
and the first chapter is headed by Byron
. The convoluted Italian plot of action and mystery opens with a vivid, modern-seeming summer scene suddenly intruded on by horror. The young... |
Intertextuality and Influence | Liz Lochhead | In considering the question of why Mary Shelley
created monsters, LL
says she was haunted by that phrase from Goya
: The sleep of reason produces monsters. If you try to force things to be... |
Intertextuality and Influence | Grace Aguilar | The central character is the undowered girl Florence Leslie—so called because of her birth in Italy—whose high-minded principles have been fuelled by indiscriminate Aguilar, Grace. Woman’s Friendship. D. Appleton and Company. 13 |
Intertextuality and Influence | L. M. Montgomery | Her writing, like Emily's, was profoundly influenced by nineteenth-century English writers and poets. LMM
named Hemans
and Byron
in personal letters; Emily cites Tennyson
and Wordsworth
. Gillen, Mollie. The Wheel of Things. Fitzhenry and Whiteside. 149, 161 |
Intertextuality and Influence | Maria Callcott | MC
's title-page quotes Byron
and her preface declares her subject to be the independence struggle of the patriots of the New World. Callcott, Maria. Journal of a Voyage to Brazil. Longman, Hurst, Rees, Orme, Brown, and Green. prelims |
Intertextuality and Influence | Liz Lochhead | The play was written for the Royal Lyceum Theatre Company
, who first performed it in Edinburgh on 24 January 1986. Lochhead surprised herself with her use of the Scots language: my grandmother's .... |
Intertextuality and Influence | Caroline Norton | The title poem relates how simple Rosalie leaves her rustic home with a rich young man, Arthur, who lives with her but does not marry her. Deserted and rejected after bearing his baby, she sinks... |
Intertextuality and Influence | Felicia Hemans | She particularly admired Joanna Baillie
's Ethwald and the Chronicles of Froissart
. Germaine de Staël
's Corinne was another major influence on her. She wrote years later: That book, in particular towards its close... |
Intertextuality and Influence | Ruby M. Ayres | Love Without Wings takes its epigraph from Byron
, though RMA
writes, Friendship is love, without wings. Ayres, Ruby M. Love Without Wings. Hodder and Stoughton. title-page |
Intertextuality and Influence | Buchi Emecheta | During her schooldays literature was her greatest escape. Emecheta, Buchi. Head Above Water. Heinemann. 19 |
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