Connections
Connections Sort descending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Janet Schaw | Her editors call her a forerunner of Frances Trollope
in her American critique, though her attitudes are shaped by reactionary political views in a way that Trollope's are not. Schaw, Janet. Journal of a Lady of Quality. Editors Andrews, Evangeline Walker and Charles McLean Andrews, Third Edition, Yale University Press, 1939. 160 note |
Intertextuality and Influence | Sarah Pearson | The family attends the funeral of Mirabeau
; Pearson, Susanna. The Medallion. G. G. and J. Robinson, 1794, 3 vols. 2: 89 Pearson, Susanna. The Medallion. G. G. and J. Robinson, 1794, 3 vols. 3: 98 |
Intertextuality and Influence | Henrietta Camilla Jenkin | The subtitle of this novel (which in earlier centuries had been the title of a bawdy song) here alludes to a proverb about the impossible perfections of maids' husbands and bachelors' children. This first novel... |
Intertextuality and Influence | Maureen Duffy | She also says that it can be read as the mirror-image of her earliest novelistic theme: the child's relation to the mother. Duffy, Maureen. That’s How It Was. Virago, 1983. xi |
Intertextuality and Influence | Michelene Wandor | The four characters, who meet periodically, chat, complain, and reminisce. They also rehearse as the witches in Shakespeare
's Macbeth. They dance, they backchat. To a happy retirement, Katie. . . . To gravetime... |
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 | Anna Maria Mackenzie | The 1809 title-page quotes Shakespeare
's The Merchant of Venice. In 1811 this place is taken by lines from Henry VI Part III, in which the future Richard III avows his villainy and... |
Intertextuality and Influence | Maria Theresa Kemble | Its plot is of the same type as that of Shakespeare
's The Taming of the Shrew.William Shakespeare |
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 | 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 | Frances Jacson | |
Intertextuality and Influence | Bryony Lavery | Ophelia: A Comedy, a rewriting of the play-within-a-play in Shakespeare
's Hamlet, mercilessly scrambles the plot, and has assimilated characters from other plays: Portia, Goneril, Lady Capulet, Juliet's Nurse, and Cleopatra's Charmian. Charmian... |
Intertextuality and Influence | Candia McWilliam | All the characters are fond of aphorisms (from Anne we get Bitterness is wanton, like showing the hangman the gauge of your neck . . . . It also comes easily to lazy sentimentalists McWilliam, Candia. A Case of Knives. Bloomsbury, 1987. 187 |
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... |
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