Knowledge About Fictional Elements,Later Fictional Usage of Fictional Elements

The novel Barchester Pilgrimage (1935), and some of the episodes in Let Dons Delight (1939), both by Ronald Knox, refer to Barsetshire and its inhabitants.

Barsetshire was also used as the setting for a series of 29 novels by Angela Thirkell, written from 1930 to 1961. Thirkell's stories blend social satire with romance. Her 1946 novel, Private Enterprise, explored discontent with the bureaucracy of the Attlee government something echoed by Orville Prescott in his poem-review beginning "In Barchester all is not well".

Barsetshire is also used in some of the Pullein-Thompson sisters books, usually referring to rival teams or as a nearby county.

Barchester and Barset were used as names for the fictional county in which St Trinians School was supposedly located in the original films.

The county is also mentioned in Michael Innes's Appleby and Honeybath where it is suggested that "the shifting of county boundaries has pretty well done away with Barsetshire" (p 27).

Kevin Kwan's novel Rich People Problems names Barsetshire and the village of Barchester as the family home of Lucien Montagu-Scott and his wife, Colette Bing.

BarchesterBarchester is used as a railway station and location for some of the 1942 Ealing Studios film The Black Sheep of Whitehall.

Barchester Cathedral was used as the setting for the ghost story The Stalls of Barchester Cathedral by M. R. James in his 1911 collection More Ghost Stories. It is also the setting for Charlie Lovett's 2017 literary mystery The Lost Book of the Grail; or, A Visitor's Guide to Barchester Cathedral.

William Golding refers to Barchester and its cathedral in passing in his 1967 novel The Pyramid, set in the small fictional market town of Stilbourne.

HMS Barsetshire, an obsolete County class cruiser, is the training ship for officer candidates in John Winton's We Joined The Navy(1959).

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Rivera Garza is one of Mexicos best-known writers, having won six of Mexicos highest literary awards. Jorge Volpi has named her his favorite writer. Her work, especially Nadie me ver llorar has been praised by critics, such as Carlos Fuentes, who stated that it has not received the attention that it deserves.

Her work has earned her various forms of recognition starting in the 1980s with the Punto de Partida Poetry Competition in 1984 for Apuntes and the San Luis Potos National Short Story Prize in 1987 for La guerra no importa. In the 1990s her first novel, Desconocer was a finalist at the 1994 Juan Rulfo Prize .

In 2001 she won the Juan Vicente Melo National Short Story Award and was chosen as a member of the SNCA from 2003 to 2005.

Her first international award was the Anna Seghers International Prize, awarded in Berlin in 2005.

Her most recognized work is Nadie me ver llorar which received the 2000 IMPAC/CONARTE/ITESM National Award for Best Published Novel in Mexico, the Sor Juana Ins de la Cruz Prize in 2001 along with 1997 Jos Rubn Romero National Literary Award for Best Novel and was a finalist at the IMPAC Dublin International Prize. Carlos Fuentes called it one of the most perturbing and beautiful novels ever written in Mexico.

She won the Sor Juana Ins de la Cruz Prize again in 2009 for La muerte me da the only author to win this award twice.

In 2012, Rivera Garza received an honorary doctorate in Humane Letters from the University of Houston.

The author is also the recipient of the Roger Caillois Award for Latin American Literature (Paris, 2013).

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After the death of earl Magnus Erlendsson c. 1115 at the hands of his cousin Haakon Paulsson, the family of Moddan of Dale played a significant part in the affairs of the Earldom of Orkney. However, their origins are obscure. For a date in the mid-11th century the Orkneyinga saga mentions that "Muddan", who was a nephew of a King of Scots the saga calls Karl Hundason, became jarl of Caithness. He had not held this position long when he was killed by Thorkel "the Fosterer" Sumarlidason, an ally of Earl of Orkney Thorfinn Sigurdsson.a Thorkel was able to approach Muddan's base in Thurso because "all the people of Caithness were faithful and loyal to him". It is far from certain that Helga's father Moddan was a descendant of this earlier namesake, and there is no suggestion that Moddan was a jarl, but his son tarr apparently was. Furthermore, tarr also had his base at Thurso.

Whatever their origins, in addition to the titled tarr, Helga's siblings were, Angus "the Generous" and her sisters Frakkk and orleif. These children had both Norse and Gaelic names, whereas Orcadian families tended to have exclusively Norse names. It is thus likely that Helga's ancestors were of mixed heritage with her father being of Celtic origin and her mother possibly having a Norse background and related to the jarl ttar who was killed in 1098 fighting in Man.

The saga describes Helga as the mistress or concubine of Earl Haakon, but has nothing to say about the mother of Haakon's other named child, Pll. Sellar (2000) suggests that a degree of polygamy appears to have been acceptable among high-status families in Norse Scotland and that the distinction between wives and concubines may not have been rigid.

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The LGB Group, the Eastern European avantgarde art collective Holten helped to revive in The Readymades (with Serbian artist and filmmaker Darko Dragicevic), enjoyed exhibitions in many cities as well as being included in The Armory Show, New York in 2012. Holten discussed the group with philosopher Aengus Woods in an artwork that was exhibited at David Zwirner Gallery, New York, in the summer of 2012, infiltrating the prestigious gallery's inventory.

The writer and critic Travis Jeppesen wrote of the project in Art in America:

"Set in a Europe of not too long ago, covering the period that arguably constitutes the formation of our 21st-century milieu (from the 1990s Balkan Wars up to the mid-aughts), The Readymades documents a fictional network of Serbian artists known as the LGB Group (after the surnames of its three core members). Though vaguely reminiscent of real-life collectives from the region such as Irwin/NSK, the OHO Groupand much like an update of fellow Balkanite Tristan Tzara and his Dada croniesHoltens artists find themselves caught in the changing tide of history and war."

Contemporary Irish novelist Rob Doyle said 'The Readymades, John Holtens 2011 debut novel, was a marvel. A Bolaoesque, avant-garde page-turner, it trained a breezily pan-European sensibility on the story of a shadowy Serbian art collective at large in Paris, Vienna and Berlin. Alongside the books heady inventiveness, there were ample doses of sex, drugs and alcohol, and exhilarating, wistful evocations of being young, broke and brilliant in post-Cold War Europe...The Readymades was largely ignored by the literary mainstream. One of the most remarkable novels of recent years, it has been read by relatively few people."

The novel subsequently sold out.

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Back in Germany, Kaltenbach became a full-time broadcaster reading news bulletins for the RRG's U.S.A. Zone.

From 1940 to 1941 Kaltenbach broadcast Letters to Iowa to the United States directed at the American Midwest. His programs consisted of anti-Roosevelt, anti-British and pro-isolationism propaganda in the form of fictional letters back home. Kaltenbach believed that his role was also to warn Americans of the dangers of Bolshevism and saw himself as one who could clarify the Nazi philosophy while minimizing criticism of Hitler.

He cultivated a simple and homey style and was one of several English-speaking propagandists for Germany that were referred to by the nickname Lord Haw-Haw although Kaltenbach was more frequently referred to as Lord Hee-Haw. He opened each program with Greetings to my old friend, Harry in Iowa, and delivered his propaganda messages in the form of advice, such as, "Don't let the British drag America into this thing the war in Europe, Harry."

Kaltenbach's objectives were to prevent President Franklin D. Roosevelts re-election to a third term of office, to block the pro-interventionist faction in the U.S. and to stop the enactment of the Lend-Lease Bill. He sought to persuade Americans that supporting Britain was a lost cause and that taking sides could only embroil the United States in a ruinous and unnecessary war with Germany.

After the United States entered the war against Germany on December 11, 1941, Kaltenbachs broadcasts aimed at undermining U.S. morale and the national will to prosecute a protracted war with Germany.

Kaltenbach also broadcast with another American collaborator, Max Koischwitz, as Jim of 'Jim and Johnny', a humorous dialogue program in which the title characters traded propaganda-laden wisecracks.