Elstob, Elizabeth. “Introduction”. An Apology for the Study of Northern Antiquities, edited by Charles Peake, William Andrews Clark Memorial Library, University of California, p. i - v.
iv-v
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Intertextuality and Influence | Angela Carter | Lorna Sage
noted that South America is an apt setting for this novel, since the essays and stories of Argentinian writer Jorge Luis Borges
show a similar blending of the fantastical and the documentary (... |
Intertextuality and Influence | Constantia Grierson | Grierson wrote this for print, to celebrate her friendship with Barber, and to predict the latter's success. The version printed in the volume shows very careful revision since Grierson's draft copy, with a new, dignified... |
Intertextuality and Influence | Elizabeth Elstob | Begun in order to help the work of a female student, this work reiterates more strongly EE
's plea for opening the arena of scholarship to women. For examples of poetic practice she turns to... |
Intertextuality and Influence | Lady Mary Wortley Montagu | Her own title makes her own poem an answer to one of Swift
's most notorious productions. In a brilliant pastiche of his
own stylistic habits and his scatological gusto, Montagu represents him as an... |
Intertextuality and Influence | Elizabeth Elstob | Elstob probably succeeded in modifying Swift
's views: he later adopted some of hers. Elstob, Elizabeth. “Introduction”. An Apology for the Study of Northern Antiquities, edited by Charles Peake, William Andrews Clark Memorial Library, University of California, p. i - v. iv-v Hughes, Shaun F. D. “The Anglo-Saxon Grammars of George Hickes and Elizabeth Elstob”. Anglo-Saxon Scholarship, the First Three Centuries, edited by Carl T. Berkhout and Milton McC. Gatch, G. K. Hall, pp. 119-47. 119-20 and n2 |
Intertextuality and Influence | Ruth Fainlight | These are serious poems which engage unblinkingly with the perplexities of the human condition. The intricate, highly visual title-poem juxtaposes two views of human lives: one of people as distant and tiny, one as close... |
Intertextuality and Influence | Henrietta Battier | Battier wrote most of this poem in stanzas composed of six iambic pentameters: an unusual metre for her, and one she does not stay in without lapses which may be intentional. Before the last passage... |
Intertextuality and Influence | Simone de Beauvoir | |
Intertextuality and Influence | Judith Sargent Murray | In her usual formal style, which she does not adapt to the more usual conventions of epistolarity, she says it would be useless for her to give Winthrop the current domestic, and commercial intelligence, Skemp, Sheila L. Judith Sargent Murray. A Brief Biography with Documents. Bedford Books. 137 |
Intertextuality and Influence | Emma Robinson | In print ER
's play was accompanied by a preface written in the voice of a young-Turk satirist. It is a piece that could hardly have appeared at this date under a woman's name, and... |
Intertextuality and Influence | Frances O'Neill | The volume includes poems of natural description, of meditation, and of political comment. FON
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Intertextuality and Influence | Fidelia | Fidelia's response is flippant, racy, and Swift
ian in style. Her first joke is to adopt a professional or hard-headed tone, entirely at odds with the invitation to write solemn devotional verse. She complains that... |
Intertextuality and Influence | Elizabeth Pipe Wolferstan | |
Intertextuality and Influence | Mary Davys | MD
dedicated this work to Swift's friend Esther Johnson
, or Stella, who later owned a copy. Bowden, Martha F., and Mary Davys. “Introduction”. The Reform’d Coquet; or, Memoirs of Amoranda; Familiar Letters Betwixt a Gentleman and a Lady; and, The Accomplish’d Rake; or, Modern Fine Gentleman, University Press of Kentucky, p. ix - xlix. xiv Real, Hermann J. “Stella’s Books”. Swift Studies, Vol. 11 , pp. 70-83. |
Intertextuality and Influence | Mary Jones | As a late Augustan, Jones is skilled in the styles of more than one distinguished male predecessor, and confidently invites comparison with them. Her most famous poem today is the first in the volume, An... |
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