Connections
Connections Sort descending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Charlotte Charke | CC
closes with a last concealed theatrical reference: the hope that she will be able to pass in the Catalogue of Authors Charke, Charlotte, and Leonard R. N. Ashley. A Narrative of the Life of Mrs. Charlotte Charke. Scholars’ Facsimiles and Reprints, 1969. 277 |
Intertextuality and Influence | Selina Davenport | The title-page signals the novel's concern with evil and revenge by quoting Shakespeare'sOthello. The story turns on the efforts of the female villain Hippolita, otherwise known as Rosalie, to exact bloody vengeance for... |
Intertextuality and Influence | Julia Constance Fletcher | This is pure fun, heralded by the note below the cast-list: The Scene to take place wherever one pleases, provided the Costumes are pretty enough. There is only one female character: Sylvette, whom the cast-list... |
Intertextuality and Influence | Matilda Charlotte Houstoun | MCH
raises the tone of her work with chapter-headings from Wordsworth
, Shakespeare
, Dryden
, and others, most of them asserting the value of the poor and powerless, or protesting about the deficiencies of... |
Intertextuality and Influence | May Kendall | The title comes from Mercutio's speech about the Queen of the Fairies in Shakespeare
's Romeo and Juliet; MK
quotes the opening of this speech on her title-page. |
Intertextuality and Influence | Rose Tremain | Her dedicatee was a bookstore owner in Nashville, Tennessee, where he involved himself in the Civil Rights movement in 1960. (His son Richard
is known as a writer). RT
uses three epigraphs: from St John of the Cross |
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 |
Intertextuality and Influence | Margaret Drabble | Imagery of postpartum fluidity, particularly lactation, characterizes the lovers' growing passion and the descriptions of female sexual desire and orgasm. The narrative alternates between a schizoid third-person dialogue Drabble, Margaret. The Waterfall. Penguin, 1971. 130 |
Intertextuality and Influence | Candia McWilliam | Matters begin to come to their melodramatic head when Margaret comes to Daisy to complain, with passionate if suppressed rage, that the cleaners have been in her room while she was in London. It emerges... |
Intertextuality and Influence | Anne Sexton | She titled the volume from the words of Shakespeare
's character Macduff when he hears of the murder of his wife and children; this borrowing was suggested by James Wright
. Middlebrook, Diane Wood. Anne Sexton: A Biography. Houghton Mifflin, 1991. 163 |
Intertextuality and Influence | Teresia Constantia Phillips | TCP
placed on the title-page of her Apology a quotation from Nicholas Rowe
's The Fair Penitent, the period's most famous treatment of a woman who is deserving although fallen. She later emphasises her... |
Intertextuality and Influence | Ann Hatton | This novel is well supplied with quotations: Macpherson
's Ossian
on the title-page and Robert Blair
(The Grave) to open the first volume, with Shakespeare
and Milton
for the succeeding volumes. It opens... |
Intertextuality and Influence | Edith Mary Moore | The title-page quotes from Shakespeare
(What's past is Prologue) and Cicero
(That cannot be said too often which is not yet understood). Moore, Edith Mary. The Defeat of Woman. C.W. Daniel Co., 1935. prelims |
Intertextuality and Influence | Mrs Ross | Southampton turns out to be too bashful to speak in parliament, and also too weak to withstand the mockery of rakish friends for his fidelity to his wife. He suffers agony of conscience over his... |
Intertextuality and Influence | Louise Page | At thirteen, profoundly affected by a Saturday matinee of John McGrath
's Events While Guarding the Bofors Gun and by the idea that theatre can change people's lives, she decided to be a playwright. Page, Louise. “Tissue”. Plays by Women: Volume One, edited by Michelene Wandor and Michelene Wandor, Methuen, 1982, pp. 75-103. 103 |
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