Connections
Connections Sort ascending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Elizabeth Barrett Browning | The title piece, A Drama of Exile, is the most ambitious. It visualises the consequences of the biblical Fall from paradise, since, as EBB
writes in the preface (where she casts herself, too, as... |
Intertextuality and Influence | Eudora Welty | This is one of her best-known volumes of stories, in part perhaps because of its involvement with gender issues, with such topics as early sexual development, rigidly demarcated gender roles, misogyny, sexual violence, defiance of... |
Intertextuality and Influence | Mary Taylor | In her pursuit of female independence, Taylor refutes Milton
's assertion in Paradise Lost (He for God only, and she for God in him), Taylor, Mary. The First Duty of Women. Emily Faithfull, 1870. 177 |
Intertextuality and Influence | Henrietta Battier | This is the first example in print of HB
's satiric style: heroic couplets which gallop along with perfect control and slashing vituperation. It opens magnificently: Unknowing either, and to both unknown, / An individual... |
Intertextuality and Influence | Mary Julia Young | The title-page has two epigraphs. The first begins with two lines from Milton
's Il Penseroso (perhaps alluding to its musical setting by Handel
), which go on to link the nightingale with Anna... |
Intertextuality and Influence | Augusta Webster | She refers to the campaign for the vote as a side-effect of a disturbance in the relation of the sexes, of the Paradisaical, or Milton
ic, Webster, Augusta. “Parliamentary Franchise for Women Ratepayers”. Before the Vote Was Won: Arguments For and Against Women’s Suffrage, edited by Jane Lewis, Routledge, 1987, pp. 338-41. 338 |
Intertextuality and Influence | Elizabeth Hands | In Critical Fragments, on some of the English Poets (seven poets, all male), EH
wittily exercises an imitation which is far from flattery. She begins with Milton
, who in ponder'ous verse, moves greatly on... |
Intertextuality and Influence | Aldous Huxley | Its womanizing protagonist, Mr Hutton, considers himself the Christ of Ladies (reversing, with what he supposes to be worldly wit, the supposed nickname of Milton
as the lady of Christ's). Huxley, Aldous. Mortal Coils. Chatto and Windus, 1958. 3 |
Intertextuality and Influence | Isabella Beeton | Notwithstanding the putative focus on management, the bulk of the 44-chapter book is taken up with discussion of food, from the chapters on Arrangement and Economy of the Kitchen and Introduction to Cookery to the... |
Intertextuality and Influence | Adelaide Kemble | Bessie and her more assertive friend Ursula Hamilton are challenged by men in their social circle about the alleged inferiority of women, as proved by their failure to produce serious artistic work. Bessie thinks of... |
Intertextuality and Influence | Sarah Lady Cowper | The diary's first volume opens with a preface which expresses conventional modesty bluntly, without the customary effort at elegance or grace: Books generally begin with a Preface which draws in the Reader to go on... |
Intertextuality and Influence | Jane Harvey | |
Intertextuality and Influence | Mary Shelley | As it stands, Frankenstein is no ghost story, though it is rich in the uncanny, and aims to chill its reader's blood. MS
shows an astonishing power for such a young author of weaving together... |
Intertextuality and Influence | Medora Gordon Byron | The title-page quotes Milton
's Paradise Lost (There wanted yet the master-work); the preface quotes Samuel Johnson
saying that the novelist needs to have first-hand experience of the living world, but that... |
Intertextuality and Influence | Susanna Watts | The first number, dated 1 December 1824, opens with The Editors to the Reader, in which Watts's three personae introduce themselves as sisters. They are very literary personifications, who possess, respectively, the actual spear... |
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