Connections
Connections Sort descending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Lucy Aikin | LA
's preface denies the absurd notion that absolute gender equality might be feasible and advises women not to attempt to become inferior men. But she asserts, there is not an endowment, or propensity, or... |
Intertextuality and Influence | Gladys Henrietta Schütze | The title phrase opens one of the best-known poems by scholar and poet Francis William Bourdillon
. GHS
quotes a stanza from it, along with other, more canonical poets from Ovid
through Milton
and Wordsworth |
Intertextuality and Influence | Mary Ann Cavendish Bradshaw | There follows a fighting critical Dissertation Respecting Patrons and Dedications, which covers the issues of male disrespect for female authors, the tyranny of critics, and over-insistence on moral instruction (with Hannah More
's Coelebs... |
Intertextuality and Influence | Emily Frederick Clark | Quotations heading chapters come from Milton
and other mostly modern poets, including Charlotte Smith
and Mary Robinson
. Other inset poems may be EFC
's own. McLeod, Deborah. The Minerva Press. University of Alberta, 1997. |
Intertextuality and Influence | Dora Greenwell | Her allegorical poem Bring Me Word How Tall She Is begins Within a garden shade, A garden sweet and dim, Two happy children played Together; he was made For God, and she for him. Greenwell, Dora. Camera Obscura. Daldy, Isbister, 1876. 62 |
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 | Maria De Fleury | |
Intertextuality and Influence | Felicia Hemans | The volume provides lavish notes to explain its sometimes quite obscure historical figures and settings, and cites a wide range of authors including Plutarch
, Shakespeare
, Milton
, and Germaine de Staël
. FH |
Intertextuality and Influence | Mary Astell | How, she asks, can a Man respect his Wife when he has a contemptible Opinion of her and her Sex? Astell, Mary. The First English Feminist. Editor Hill, Bridget, St Martin’s Press, 1986. 111 |
Intertextuality and Influence | Mary Wollstonecraft | MW
was replying to a number of authoritative male texts about the nature of women: by Burke
(who in Reflections on the Revolution in France had glorified Marie-Antoinette
and dismissed non-queenly femininity as animal), Rousseau |
Intertextuality and Influence | Anna Maria Porter | The new Juvenilia Press
edition, like the original first volume, contains five stories: Sir Alfred; or, The Baleful Tower, The Daughters of Glandour, The Noble Courtezan, The Children of Fauconbridge, and... |
Intertextuality and Influence | Sarah Green | |
Intertextuality and Influence | Mary More | MM
believes that she is saying something new and not commonly known when she argues that male power over women has grown gradually by unjust laws. She sets out by quoting from and commenting on... |
Intertextuality and Influence | Catherine Hubback | CH
heads her volumes and chapters with quotations. Wordsworth
is the most-used here; among other lines, he is cited for A little onward lend thy guiding hand / To these dark steps, a little farther... |
Intertextuality and Influence | Margaret Atwood | Jocelyn has in a distant past studied English literature and is occasionally disconcerting. Do you believe in free will?, she asks, out of the blue. Stan replies, How do you mean? Atwood, Margaret. The Heart Goes Last. Nan A. Talese / Doubleday, 2015. 119 |
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