Connections
Connections Sort descending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Liz Lochhead | LL
thoroughly enjoyed working on this production, though she admits that it was a bit everything-but-the kitchen-sink on sexual politics. Lochhead, Liz. True Confessions and New Clichés. Polygon Books, 1985. 58 Lochhead, Liz. True Confessions and New Clichés. Polygon Books, 1985. 58 |
Intertextuality and Influence | Mary Augusta Ward | It is set in the late nineteenth-century on the boundary between Westmorland and Lancashire, an exquisite country Ward, Mary Augusta. Helbeck of Bannisdale. Editor Worthington, Brian, Penguin, 1983. 86 |
Intertextuality and Influence | Mary Delany | Janice Thaddeus
discusses the prerogative MD
assumed in giving names of her own invention to people and places. Her uncle Lansdowne was Alcander (a violent man mentioned in Plutarch
's Lives, who was forgiven... |
Intertextuality and Influence | Helen Oyeyemi | Miranda and Ore try to understand the house's haunting in terms of the soucouyant, a Caribbean supernatural character that sheds skin and traverses boundaries. Ore describes the terror of the soucouyant as the danger of... |
Intertextuality and Influence | Jane Owen | That JO
intended to publish is suggested by her dedication To the Worthy and Constant Catholickes of England—especially, she says, rich ones. Owen, Jane. Jane Owen. Editor Latz, Dorothy L., Ashgate, 2000. prelims |
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 | 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 | Rhoda Broughton | Critics have pointed to a range of influences and allusions in this novel. Kate Flint
has suggested that the representation of the sorrowful-eyed aesthete Francis Chaloner was a satiric jab at Oscar Wilde
, who... |
Intertextuality and Influence | Flora Thompson | She opened with remarkable clarity, confidence, and accuracy for an entirely self-taught critic: Before Jane Austen began to write, the novelists of her day had depended on involved plot, sensational incident, and the long arm... |
Intertextuality and Influence | Buchi Emecheta | During her schooldays literature was her greatest escape. Emecheta, Buchi. Head Above Water. Heinemann, 1994. 19 |
Intertextuality and Influence | Eleanor Sleath | At this point Gertrude hears a noise in her late husband's room; Ethelind sees a mysterious armed personage resembling him; Winifred sees a tall, white figure; Ormond offers to lie in wait for the ghost... |
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 | Susan Ferrier | The Inheritance opens with what sounds like an allusion to Jane Austen
: It is a truth, universally acknowledged, that there is no passion so deeply rooted in human nature as that of pride. qtd. in Cullinan, Mary. Susan Ferrier. Twayne, 1984. 75 |
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... |
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