Connections
| Connections Sort descending | Author name | Excerpt |
|---|---|---|
| Intertextuality and Influence | Anna Maria Porter | The new Juvenilia Press
edition, like the original first volume, contains five stories: Sir Alfred; or, The Baleful Tower, The Daughters of Glandour, The Noble Courtezan, The Children of Fauconbridge, and... |
| Intertextuality and Influence | Elizabeth Hamilton | |
| Intertextuality and Influence | Elizabeth Meeke | Jane, a widow whose only child is dead, decides to marry again, and picks the young Marquess of Montrath, heir to an earldom, whom she has first seen as a fellow visitor to the spunging-house... |
| Intertextuality and Influence | Jane West | JW
's preface invokes Shakespeare
, Virgil
, Homer
, and Sir Walter Scott
(she later adds Thomas Percy
) as more acceptable exemplars for romance than either the French romances (implicitly those of Madeleine de Scudéry |
| Intertextuality and Influence | Dorothy L. Sayers | The academic background gives DLS
an excuse for lavish literary quotation: from Greek, from Shakespeare
and other canonical writers, many of them Elizabethan, and from moderns like Humbert Wolfe
. Her Oxford
is the preserve... |
| Intertextuality and Influence | Ann Hatton | Here AH
opens by quoting Shakespeare
, and applies her usual vivacious style and sense of immediacy to the story of a man who is wrongfully imprisoned, and eventually released only to find his wife... |
| Intertextuality and Influence | Hannah More | The title-page quotation from Paradise Lost features the archangel Raphael's pronouncement that it is better for human beings to know That which before us lies in daily life than things remote. Feminist Companion Archive. |
| 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 | Elizabeth Jolley | The narrative voice (a Scottish one, apparently as a kind of joke) is complex and shifting, with irony fed by unstable reference to the central couple (now Muriel and Henry, now Mother and Father, and... |
| Intertextuality and Influence | Hélène Cixous | Reading myths, she finds, she has equal difficulty inhabiting characters of hyper-masculine men and of oppressed women: she wants instead to read about women who love themselves, who are alive, who are not debased, overshadowed... |
| Intertextuality and Influence | Zadie Smith | The book's epigraph from Shakespeare
's The Tempest (What's past is prologue) qtd. in Smith, Zadie. White Teeth. Penguin, 2001. prelims Smith, Zadie. White Teeth. Penguin, 2001. 83 |
| Intertextuality and Influence | Ngaio Marsh | The theatre where the action unfolds is the Dolphin, from Marsh's novel of 1966. The personages include a range of life-larger actors including a mysterious young New Zealander of Maori blood and the looming, awful... |
| Intertextuality and Influence | Mary Elizabeth Braddon | MEB
's Hostages to Fortune, also published in 1875, gives a more sustained view of the theatre milieu than did A Strange World. It tells the story of Herman Westray's struggle to succeed... |
| Intertextuality and Influence | Louisa Anne Meredith | Most of the section called Poems, as well as some other pieces, describe flowers or other features of the natural world. Nature and poetry (which is celebrated in the opening Invocation to Song)... |
| Intertextuality and Influence | U. A. Fanthorpe | The hospital poems in this volume present experiences of fear, pain, and alienation, with tirelessly exact observation and tireless compassion. The artist (that is, a typist concerned about the quality of her work) who speaks... |
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