Blondel, Nathalie. Mary Butts: Scenes from the Life. McPherson & Company.
380
Connections | Author name Sort descending | Excerpt |
---|---|---|
Textual Production | Dorothy Bussy | The volume contains 267 of the more than one thousand extant letters between Bussy and Gide, translated from French into English. The first volume of their Correspondance had been published in Paris in 1980. In... |
Literary responses | Mary Butts | The novel's success was slightly diminished by comparisons drawn between it and Jack Lindsay
's Last Days With Cleopatra, which appeared just a few weeks before it. Blondel, Nathalie. Mary Butts: Scenes from the Life. McPherson & Company. 380 |
Textual Features | Mary Butts | Early in the memoir, she discusses her family's relationship with William Blake
and the influence of his art on her life. She claims that just one of his artistic works possessed her, and its hold... |
Textual Production | Medora Gordon Byron | It was in four volumes, from the Minerva Press
, with a quotation from Francis Bacon
on the title-page, and further chapter-headings from Shakespeare
, Swift
, Prior
, Thomson
, Goldsmith
, Edward Young |
Publishing | Maria Callcott | MC
contributed a six-page letter to a book entitled The Seven Ages of Shakspeare, which illustrates with engravings the famous seven ages passage of As You Like It. Callcott, Maria, and William Shakespeare. “Introduction”. The Seven Ages of Shakspeare, edited by J. Martin and J. Martin, J. Van Voorst. title-page |
Textual Production | Lady Colin Campbell | The title draws on Shakespeare
's exiled duke in As You Like It, who says retirement in the forest will supply books in the running brooks. (II. i, 17) The collection deals partly with... |
Intertextuality and Influence | Dorothea Primrose Campbell | |
Family and Intimate relationships | May Cannan | At their fifth meeting he asked her to marry him. She was not in love. She agonised about her love for Bevil; she wrote with tears Cannan, May, and Bevil Quiller-Couch. The Tears of War. Editor Fyfe, Charlotte, Cavalier Books. 169 |
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 | Angela Carter | The action in the novel takes place over one day, in which the two elderly actresses Dora and Nora Chance (who are twin sisters) are celebrating their seventy-fifth birthday. They share their birthdate with their... |
Textual Features | Barbara Cartland | Her heroines always remained chaste until they were married, no matter how great the temptation. I do allow them to go to bed if they're married, but it's all very wonderful and the moon beams... |
Material Conditions of Writing | Willa Cather | At the beginning of her undergraduate career, in 1891, she published two successive essays in the Nebraska State Journal: first Concerning Thomas Carlyle, then Shakespeare
and Hamlet. Still as an undergraduate, she... |
Intertextuality and Influence | Margaret Cavendish | Her address to her husband rejoices that he has never bidden her to stop writing and work (that is do needlework) instead. In this connection she quotes from Lord Denny
's attempt to silence Lady Mary Wroth |
Intertextuality and Influence | Laura Ormiston Chant | The novel takes place in the ugly town Chant, Laura Ormiston. Sellcuts’ Manager. Grant Richards. 9 |
Occupation | Charlotte Charke | CC
, at Henry Fielding
's Haymarket Theatre
, appeared in male roles: as Macheath (John Gay
), Falstaff (Shakespeare
), George Barnwell (George Lillo
), and Lothario (Nicholas Rowe
). The London Stage 1660-1800. Southern Illinois University Press. 3: 402ff |
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