Connections
| Connections Sort descending | Author name | Excerpt |
|---|---|---|
| Intertextuality and Influence | Elizabeth B. Lester | |
| Intertextuality and Influence | Elizabeth Baker | The play's impulsive young protagonist, Dorothy Archibald, opposes her parents' wishes by falling in love with a bank clerk who plays the violin. Critic Rudolf Weiss
has noted that the play is full of echoes... |
| Intertextuality and Influence | Sarah Harriet Burney | These letters show her to be a rewarding, informal, up-to-the-minute literary critic. She kept remarkably up to date on the topic of women's writing, showing herself consistently receptive to new styles and new ideas. She... |
| Intertextuality and Influence | Elaine Feinstein | Subjects of poems here include Dickens
, Thomas
and |
| 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 | 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 | 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 | Claire Luckham | The metatheatrical first act takes place during rehearsals for William ShakespeareRomeo and Juliet (in which Kemble made her triumphant stage debut on 5 October 1829); in it Kemble's aunt Sarah Siddons
instructs her niece on playing... |
| Intertextuality and Influence | Iris Murdoch | This time the novel's hidden template is Shakespeare
's The Tempest; IM
also made use of her abortive engagement in 1945 to David Hicks
. Conradi, Peter J. “A Literary Witness to Good and Evil”. Guardian Weekly, Guardian Publications, 21 Feb. 1999, p. 24. 24 Conradi, Peter J. Iris Murdoch. A Life. HarperCollins, 2002. 229 |
| Intertextuality and Influence | Charlotte Charke | CC
closes with a last concealed theatrical reference: the hope that she will be able to pass in the Catalogue of Authors Charke, Charlotte, and Leonard R. N. Ashley. A Narrative of the Life of Mrs. Charlotte Charke. Scholars’ Facsimiles and Reprints, 1969. 277 |
| Intertextuality and Influence | Selina Davenport | The title-page signals the novel's concern with evil and revenge by quoting Shakespeare'sOthello. The story turns on the efforts of the female villain Hippolita, otherwise known as Rosalie, to exact bloody vengeance for... |
| Intertextuality and Influence | Julia Constance Fletcher | This is pure fun, heralded by the note below the cast-list: The Scene to take place wherever one pleases, provided the Costumes are pretty enough. There is only one female character: Sylvette, whom the cast-list... |
| Intertextuality and Influence | Barbara Hofland | The title-page quotes Shakespeare
, which in the context of BH
's epigraphs to other tales titled from virtues gives him almost scriptural status. This time the heroine is not reflective from the beginning, but... |
| Intertextuality and Influence | Margaret Drabble | Imagery of postpartum fluidity, particularly lactation, characterizes the lovers' growing passion and the descriptions of female sexual desire and orgasm. The narrative alternates between a schizoid third-person dialogue Drabble, Margaret. The Waterfall. Penguin, 1971. 130 |
| 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 DoorRT
created a character who... |
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