Leonardi, Susan J. Dangerous by Degrees: Women at Oxford and the Somerville College Novelists. Rutgers University Press.
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Connections | Author name Sort ascending | Excerpt |
---|---|---|
Education | Margaret Kennedy | As a student she sang in the Oxford Bach Choir
. Mozart
was then unfashionable, and Kennedy boldly defended him against the prejudice of the choir's director. Leonardi, Susan J. Dangerous by Degrees: Women at Oxford and the Somerville College Novelists. Rutgers University Press. 55 |
Textual Production | Margaret Kennedy | In the years between the 1926 staging of The Constant Nymph and the appearance of Escape Me Never!, MK
co-wrote with Basil Dean
the play Come With Me (1934), and adapted Charles Dickens
's... |
Occupation | Adelaide Kemble | AK
sang Susanna in Mozart
's The Marriage of Figaro in London. Stephen, Sir Leslie, and Sidney Lee, editors. The Dictionary of National Biography. Smith, Elder. |
Intertextuality and Influence | Mary Ann Kelty | The book bears in various details the influence of Jane Austen
, though its overall project of pious didacticism is at odds with Austen's approach. The title-page quotes Rousseau
on the topic of the sensitive... |
Theme or Topic Treated in Text | Elizabeth Jennings | |
Textual Features | Naomi Jacob | Characters in this book (stereotypes all, according to Paul Bailey) include Haydn
, Mozart
(a little, white-faced genius), Casanova
(possessor of a strange, twisted smile), and the Young Pretender
. Bailey, Paul. Three Queer Lives: An Alternative Biography of Fred Barnes, Naomi Jacob and Arthur Marshall. Hamish Hamilton (Penguin). 155 |
Textual Production | Elizabeth Inchbald | Wives as They Were, and Maids as They Are, a comedy by EI
, opened at Covent Garden
. The title sounds like an allusion to such radical texts as Robert Bage
's Man... |
Occupation | Fanny Holcroft | FH
was a musician before she was a writer. She was performing for family guests by 1798, when her father's diary says a great deal about her ability, and mentions her being the principal performer... |
Intertextuality and Influence | Elaine Feinstein | The range of allusion in these poems is extraordinarily wide although the tone is never pretentious. Gluttony is described as a ballad after the manner of Bert Brecht
. Feinstein, Elaine. Gold. Carcanet. 49 |
Textual Production | Elaine Feinstein | |
Intertextuality and Influence | Eleanor Farjeon | The Two Bouquets, An Operetta sets out to be very Victorian and also to parody Mozart
's Marriage of Figaro. Farjeon, Annabel. Morning has Broken: A Biography of Eleanor Farjeon. Julia MacRae. 161 |
Family and Intimate relationships | Mary Cowden Clarke | Vincent Novello
, MCC
's father, was a music teacher, choirmaster, composer, and music publisher, who played the organ for the Portuguese Embassy Chapel at South Street, Grosvenor Square, London, for twenty-six years. There... |
Leisure and Society | Mary Cowden Clarke | At Salzburg in 1879 MCC
heard Hans Richter
conducting the Vienna Orchestra
(now the Vienna Philharmonic), and thought him the best conductor she had ever heard, superior even to Mendelssohn. Clarke, Mary Cowden. My Long Life. Dodd, Mead. 184 |
Textual Features | Mary Cowden Clarke | The labours that she details include not only regular artistic creation and routine performance and teaching duties, but also such matters as getting up a subscription to rescue from poverty Madame Sonnenberg (Mozart
's... |
Literary responses | Dora Carrington | When artist and critic Henry Lamb
viewed the image of the last, he apparently heard or saw music in it. He informed her: I think there is something so very good about your head of... |
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