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"Necklaces Fiction."
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Sundays in August
Stolen jewels, black markets, hired guns, crossed lovers, unregistered addresses, people gone missing, shadowy figures disappearing in crowds, newspaper stories uncomfortably close and getting closer . . . this ominous novel is Patrick Modiano's most noirish work to date. Set in Nice--a departure from the author's more familiar Paris--this novel evokes the bright sun and dark shadow of the Riviera. Modiano's trademark ability to create a haunting atmosphere is here on full display: readers descend precipitously into a world of mystery, uneasiness, inevitability. A young couple in hiding keeps close watch over a notorious diamond necklace known as the Southern Cross. Its provenance is murky, its whereabouts known only to our hero and heroine, who find themselves trapped by its potential value--and its ultimate cost. Deftly Modiano reaches further and further into the past, revealing the secret histories of the two even as the pressurized present threatens to overwhelm them.
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Iris and Walter : lost and found
Iris's baby sister Rose breaks a necklace and then is discovered playing with Walter's missing harmonica.
Book
The Hawaiian heist
\"When a celebrated goldsmith from Hawaii creates a necklace for a famous actress, rumors that the necklace is about to be stolen prompt Geronimo Stilton's investigation to identify the thief.\" -- (Source of summary not specified)
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Anyone but Ivy Pocket
\"Fate intervenes when twelve-year-old lady's maid Ivy is called to the sickbed of a dying duchess and is charged with delivering a mystical (and possibly cursed) diamond necklace to the utterly revolting Matilda Butterfield for her twelfth birthday\"-- Provided by publisher.
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Revolutionizing \La Regenta\: Parodic Transformation and Cinematic Innovation in \Oviedo Express\
Applying Linda Hutcheon's concept of parody as \"an integrated structural modeling process of revising, replaying, inventing, and 'trans-contextualizing' previous works of art,\" this article explores how film director Gonzalo Suárez incorporates the following source material into his 2007 comedy Oviedo Express: Leopoldo Alas's La Regenta as well as Suárez's own 1974 film adaptation of the novel and Fernando Méndez-Leite's 1995 made-for-television adaptation of it; Stefan Zweig's story \"Angst\" and Roberto Rossellini's film Non credo più all'amore (Lapaura) based on it; and J. B. Priestley's play Music at Night. After announcing his parodie enterprise with a quote from Priestley, Suárez skillfully intertwines the plots of Alass novel, Zweig's story, and Rossellini's film while forging intertextual and extratextual connections among the characters and real-life actors present in the previous literary, cinematic, and televised versions of La Regenta. In so doing he refashions one of the classics of nineteenth-century Spanish Realism according to his own artistic genre of acción-ficción in order to create a new type of filmmaking that challenges prevailing cinematic assumptions of quality.
Journal Article