Connections
| Connections Sort descending | Author name | Excerpt |
|---|---|---|
| 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 | Emma Robinson | Finding hisprogress in a noble art Athenæum. J. Lection. 858 (1844): 311 |
| Intertextuality and Influence | John Oliver Hobbes | Pearl Richards (later JOH
) read widely as a child and adolescent, and her parents' liberal views (and considerable fortune) meant that she could pursue her tastes in both the lending libraries and the less... |
| Intertextuality and Influence | Charlotte Nooth | CN
refers to several canonical English names (Pope
, Reynolds
, Garrick
, Shakespeare
, and Edmund Kean
in her first poem), and relates closely to continental women. She praises Germaine de Staël
for... |
| Intertextuality and Influence | Hélène Cixous | She finds an answer in yet another myth (or rather an embroidered story from history), that of Antony and Cleopatra, where the lovers are not trapped by hierarchy, but connected as equals by love: The... |
| Intertextuality and Influence | Anne Grant | |
| Intertextuality and Influence | Rachel Hunter | Rachel, an heiress, gives her heart to a poor man whose family oppose the match for fear of being seen as mercenary. She is also something of a social rebel, a feminist (fond of gender-bending... |
| 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... |
| Intertextuality and Influence | Elizabeth Strutt | The title-page quotes Shakespeare
: later on Pope
, Thomson
, Thomas Tickell
, Charles Cotton
, and others are quoted too. Characters include a seducer and promiser-breaker who dies in a duel. The central... |
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