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Synonyms for Corelli

Italian violinist and composer of violin concertos (1653-1713)

References in periodicals archive ?
Dutton's English translation of 1931, Sir Henry Newbolt (ix) mentions that Mofolo "had read all the religious and historical Sesuto (sic) books then published, some English historical books in South Africa, and some novels by writers like Rider Haggard and Marie Corelli".
(38) As Marie Corelli's Wormwood makes strikingly clear, a similar spectre was raised at century's end in relation to absinthe.
Leger Kingsley Harrison (Lucas Malet), Henrietta Stannard, Marie Corelli, Annesley Kenealy, Mary Chavelita Dunne Bright (George Egerton), and Rosamund Marriot Watson (Graham R.
Marie Corelli's Sorrows of Satan (1895) can make a good argument for being the first bestseller; the Morgan, somewhat misleadingly, leaves us with George du Maurier's 1894- triple-decker Trilby, but it's still a good read, an argument that's harder to make for Corelli.
The bulk of contributions is on major authors but there are contributions for lesser known writers although none for Mrs Humphry Ward, William Hale White, Hugh Walpole, Marie Corelli or Stacey Aumonier.
Taylor's 1957 novel, inspired by late 19th- and early 20th-century Brit writer Marie Corelli, was atypical of her oeuvre, and in fact satirized the overheated melodramas of the period.
Section 3 is devoted to "Best Sellers." A discussion of "Market Conditions" (635-80) is followed by five specific cases of best selling authors: Charles Garvice, Florence Barclay, Hall Caine, Marie Corelli, and Nat Gould.
Rider Haggard's She, Oscar Wilde's Portrait of Dorian Gray, Marie Corelli's The Sorrows of Satan, and theories about the identity and motives of Jack ("Jacob"?) the Ripper (chapter 5).
Marie Corelli, Temporal Power: a Study in Supremacy, 1902
Scholars Gate on Drayton Avenue is a pounds 12million development on the site of the former Marie Corelli Special School that will ultimately consist of 43 properties - made up of contemporary apartments, mews style homes, three storey townhouses and detached properties.
Leavis saw the need to try to account for why Dickens and George Eliot had enjoyed large, unified audiences for their novels and why, within a generation, Henry James and Marie Corelli had radically different readerships.
The argument is picked up again in the fourth and final chapter, 'Who was Marie Corelli?', which follows the cultural readings of the author from the Victorian period until the middle of the last century.
Marie Corelli (1855-1924) is no longer a name to conjure with, yet she was an unparalleled literary phenomenon and it is arguable that during her time she was, after Victoria, the most famous woman in England.
Marie Corelli was the pseudonym of Mary or Minnie MacKay (1864-1924), a prolific novelist who possessed a canny talent for tapping the pulse of late nineteenth-century popular tastes.
The Man Who Was Dorian Gray reads as if it were a combination of Marie Corelli and below-par George Meredith, with its alternations from sensation-fiction to psychologizing substance.