Connections
Connections Sort descending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Josephine Tey | Although Shakespeare's Richard III clearly plays a major role in shaping the myth of Richard's villainy against which Tey writes, she alludes to this play only in passing, when a character comments on Laurence Olivier |
Intertextuality and Influence | U. A. Fanthorpe | The title poem explains the implications of the title: I was set here / To watch. So I do, / And report, in cipher, to headquarters, / Which is an hypothesis. qtd. in Wainwright, Eddie. Taking Stock, A First Study of the Poetry of U.A. Fanthorpe. Peterloo Poets, 1995. 28 |
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 Webb | As a child Mary Meredith (later MW) wrote stories for her younger brothers and sisters. She first had her writing published after the family moved to Stanton-on-Hine Heath, in the parish magazine. Davies, Linda. Mary Webb Country. Palmers Press, 1990. 4 |
Intertextuality and Influence | Clemence Dane | Will Shakespeare is written in blank verse, but does not imitate Elizabethan language. Subtitled an invention, the play dramatises Shakespeare's early career as a writer, focusing on his move from Stratford to London... |
Intertextuality and Influence | Mrs Ross | The title-page quotes Shakespeare. The story has no chapter divisions, though it is often broken by flashback or by letters. While melodramatic, it is unconventional in its avoidance of the standard courtship plot, happy... |
Intertextuality and Influence | Sarah Fielding | This is a work of fiction, not documentary. It relates the stories of four ex-prostitutes sympathetically, presenting a strong argument for social reform. According to scholar Katherine Binhammer, it is the most feminist among... |
Intertextuality and Influence | Julia Pardoe | JP divides the experiences of life into three stages: anticipation—reality—and reminiscence; and it is more difficult than it at first appears to be, to decide on the comparative extent and value of each. Hope is... |
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 | Phyllis Bottome | The book describes the effects of bombing: effects on the cities of London and Liverpool, the Army, Navy, and Air Force, the Women's Auxiliary Services, and the lives of ordinary... |
Intertextuality and Influence | Ella Hepworth Dixon | EHD took the title for the collection (and for the first story) from a line in Shakespeare's Henry IV: Were it good / To set the exact wealth of all our states /... |
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 | Rose Tremain | Most of the stories concern love, and some make creative use of the lives or works of other authors, like Tolstoy and Daphne Du Maurier. In The Closing Door RT created a character who... |
Timeline
No timeline events available.
Texts
No bibliographical results available.