id	author	title	date	pages	extension	mime	words	sentences	flesch	summary	cache	txt
work_i7ueyjq25nelfi5cdfnaztn22q	Joe Bray	THE LANGUAGE OF PORTRAITURE IN THE EARLY NINETEENTH-CENTURY NOVEL: A STUDY IN OPIE AND AUSTEN	2016	14	.pdf	application/pdf	6630	390	68	The language of portraiture in the early nineteenth century novel: a study in Opie and Austen Keywords: the nineteenth-century novel, portraiture, likeness, Amelia Opie, Jane The writings of Reynolds and Opie thus suggest that although this was a "portraitpainting age," the association of the portrait with producing a "likeness" was "likeness" soon proves misleading, as the true nature of Berrendale's character, and connected with portraiture, especially the term "likeness." When Agatha's mother All three characters are strongly affected then by the "likeness" which Emma bears to Emma is thus only persuaded of the "likeness" of the portrait when she looks at the process, involving the portrait, the subject it is supposedly "like" and the viewer x Richard Brilliant, "Editor's Statement: Portraits: The Limitations of Likeness." Art conception of likeness", Gage observes that "Portrait painting worked by an additive xv Shelley King "Portrait of a Marriage: John and Amelia Opie and the Sister Arts." 	./cache/work_i7ueyjq25nelfi5cdfnaztn22q.pdf	./txt/work_i7ueyjq25nelfi5cdfnaztn22q.txt