Connections
Connections Sort descending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Edna O'Brien | The first half of the story is set in an imaginary western Irish village called Cloonoila, a strange but utterly convincing hybrid of the idyllic and the stultifyingly parochial. The second half is set in... |
Intertextuality and Influence | Dorothea Primrose Campbell | |
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 | Aldous Huxley | Brave New World (titled from the words of Shakespeare
's Miranda on her first sight of human social community) is in some ways remarkably prescient, in its forecast of extra-uterine pregnancy and a universal drug... |
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 | Antonia Fraser | Jemima here makes her first attempt to be a detective as a fifteen-year-old convent schoolgirl. While many of these pieces, like the sardonically titled Have a Nice Death, are indeed murder stories, On the... |
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 | Grace Aguilar | GA
defends her central subject (which eclipses the requisite romances in the plot) in these terms: if Shakspeare
scorned not to picture the sweet influence of female friendship shall women pass it by as a... |
Intertextuality and Influence | Frances Power Cobbe | The theoretical essay with which FPC
headed Josephine Butler
's landmark collection Woman's Work and Woman's Culture, 1869, launches out with wit: Of all the theories current concerning women, none is more curious than... |
Intertextuality and Influence | Maureen Duffy | While the present-day plot produces a series of surreal confrontations, it is punctuated by a string of glimpses into the past. These begin when Swanscombe Man (the prehistoric human whose bones are the earliest evidence... |
Intertextuality and Influence | Iris Murdoch | As often, Murdoch has a canonical text in mind for reworking: in this deeply unsettling novel it is Shakespeare
's Much Ado About Nothing. (One scene also recalls the book of Job.) But... |
Intertextuality and Influence | Catherine Fanshawe | CF
assumes an attitude of outraged dignity: can his antiquarian eyes / My Anglo-Saxon C despise? Fanshawe, Catherine. Memorials of Miss Catherine Maria Fanshawe. Editor Harness, William, Privately printed by Vacher and Sons, 1865. 1 |
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 | 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... |
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