obscurelittlebird:Incorrect Quotes: Jane Eyre (13/?) - obscurelittlebird: Incorrect Quotes: Jane Eyre (13/?)
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The Shadow of the PrecursorChapter 8 is "For Fiction - Read Scott Alone". The Legacy of Sir Walter Scott on Youth Artists and Writers by Christine Alexander.
Editor(s): Diana Glenn, Md Rezaul Haque, Ben Kooyman and Nena Bierbaum
Cambridge Scholar Publishing
Date of Publication: 01/01/2012
A shadow, in its most literal sense, is the projection of a silhouette against a surface and the obstruction of direct light from hitting that surface. For writers and artists, the shadows cast by their precursors can be either a welcome influence, one consciously evoked in textual production via homage or bricolage, or can manifest as an intrusive, haunting, prohibitive presence, one which threatens to engulf the successor. Many writers and artists are affected by an anxious and ambiguous relationship with their precursors, while others are energised by this relationship. The role that intertextuality plays in creative production invites interrogation, and this publication explores a range of conscious and unconscious influences informing relations between texts and contexts, between predecessors and successors. The chapters revolve around intertextual influence, ranging from conscious imitation and intentional allusion to Julia Kristeva’s idea of intertextuality. Do all texts contain references to and even quotations from other texts? Do such references help shape how we read? This multidisciplinary work includes chapters on the long shadows cast by Shakespeare, Dante, Scott, Virgil and Ovid, the shadows of colonial precursors on postcolonial successors, the shadows cast over Kipling and Murdoch, and chapters on other writers, dramatists and filmmakers and their relationships with precursor figures. With its focus on intertextual relationships, this book contributes to the thriving fields of adaptation studies and studies of intertextuality.
Channeling Charlotte: Woman's Secret and Great Powers in Elizabeth Robins' White Violets
Brenda R. Weber
Women's Writing, Volume 18, Issue 4, 2011, pages 486-504
Elizabeth Robins’ White Violets (1909) illustrates the tenuous division between a Victorian and modern sensibility, and the qualities of mind and body necessary to be a writer of the first order—all rendered through the complex relationship between three women writers: Charlotte Brontë as imagined by popular legend; Selina Patching, a struggling “hack” writer of the Victorian period; and Barbara, the Wild Child, the writer for the coming age. In White Violets, we see a rendering of literary professionalism, fame, and gender that refuses to demarcate between good and bad, old and new, outmoded and newfangled, instead offering compelling textual arguments for a blending of borders, identities, and objectives that rewrites the margins by refusing the boundaries. Robins strategically appropriates the cult of Charlotte Brontë, both reinforcing the indebtedness of Victorian/modern women writers to the great Charlotte and lessening her significance, thus allowing new forms through which to imagine literary professionalism and celebrity. It is somewhat ironic, given Robins’ own success, that this unpublished novel might offer such great insight into the gendered politics of professionalization and celebrity, as well as the increasingly complicated moral and social mores that beset this moment in the margins.
Up a backlit staircase, casting a long shadow: Jacques Tourneur’s I Walked with a Zombie, Robert Stevenson’s Jane Eyre, and the problems and rewards of visibl obstacles.
Popular Culture Review 21. 2010. No. 2. pp. 63-72