Improvisatrice

Im`pro`vi`sa`tri´ce


n.1.See Improvvisatrice.
References in periodicals archive ?
Zenobia may also recall the quintessentially romantic figure of the improvisatrice, popularized by the international success of Madame de Steel's Corinne, or Italy (1807), a work with which Hawthorne was familiar (as attested, in particular, by both his French and Italian Notebooks and The Marble Faun).
In the two years running up to the publication of the The Improvisatrice, Jerdan assiduously asserted the existence of a wide audience for L.
Because the whole experiment had sprung from questions about Fuller, I called my protagonist Corinne (the improvisatrice of de Stael's eponymous novel, often compared to Fuller), and the protector of Alice Austen's work is named Miss Birdseye (after Henry James' caricature of Elizabeth Peabody in The Bostonians).
7) Merimee borrowed from the themes and poetic imagery of these lament texts to create songs for his young improvisatrice to sing in Colomba.
It is precisely as poet, writer, and improvisatrice that our heroine becomes identified with Italy and that Italy becomes a nation in the novel.
After a failed attempt at a career as a piano improvisatrice and singer, she took to writing to support her indigent and neurotic father and half-brother Eric, both of whom she worshiped.
her long poem, The Improvisatrice, published in 1824, two years before Coleridge's poem was written, was mentioned in the table of contents of the issue of The Amulet in which Coleridge answered it.
10] See also James's use of 'improvisatrice' as a term of approbation to describe George Sand in two of his eulogistic pieces on her: 'Letter from Paris' (22 July 1876), and 'George Sand' (July 1877): 'People may like George Sand or not, but they can hardly deny that she is the great improvisatrice of literature -- the writer who best answers to Shelley's description of the skylark singing "in profuse strains of unpremeditated art".
Landon made her name writing verses about slighted and unrequited love, wearing her hair a la Sappho, as young Disraeli described it, and making the heroine of her widely-popular The Improvisatrice (1824) a modern Sapphic artist.
s 'The Improvisatrice,' Hemans's 'Properzia Rossi,' and Barrett Browning's Aurora Leigh.
She is no longer the vital, charismatic improvisatrice who had been crowned and lauded for her talents.