-ana (more frequently -iana) is a suffix of Latin origin, used in English to convert nouns, usually proper names, into mass nouns, as in Shakespeareana or Dickensiana, items or stories related to William Shakespeare or Charles Dickens, respectively.
The recognition of this usage as a self-conscious literary construction, typically as a book title, traces back at least to 1740, when it was mentioned in an edition of Scaligerana, a collection of table talk of Joseph Justus Scaliger, from around 150 years previously. By that period Scaliger was described as "the father, so to speak, of all those books published under the title of -ana".
As grammatical construction it is the neuter plural, nominative form of an adjective: so from Scaliger is formed first the adjective Scaligeranus (Scaligeran) which is then put into the form of an abstract noun Scaligerana (Scaligeran things). In Americana, a variant construction, the adjectival form already exists as Americanus, so it is simply a neuter plural (suffix –a on the stem American-); the case of Victoriana, things associated with the Victorian period, is superficially similar, but the Latin adjective form is Dog Latin.
Sherlockiana
Thraliana
Shakespeariana; or the most beautiful topicks, descriptions, and similes that occur throughout all Shakespear's plays; subtitle of Charles Gildon, The Complete Art of Poetry (1718)
Gulliveriana: or a Fourth Volume of Miscellanies, being a sequel of the three volumes published by Pope and Swift, to which is added Alexanderiana, or a comparison between the ecclesiastical and poetical Popes and many things in verse and prose relating to the latter by Jonathan Smedley (1728).
Johnsoniana: or, Supplement to Boswell (1842), by John Wilson Croker, formed from Samuel Johnson
C. A. Moore , Miltoniana (1679–1741), Modern Philology, Vol. 24, No. 3 (Feb., 1927), pp. 321–339. From John Milton.
"In all of Vidaliana, there may be no more famous moment than the evening of Wednesday, Aug. 28, 1968." From Gore Vidal.
The suffix -iana, -eana or -ana has often been used in the titles of musical works, as a way of a composer paying a tribute to an earlier composer or a noted performer.
Mauro Giuliani (died 1829) wrote six sets of variations for guitar on themes by Gioachino Rossini, Opp. 119–124. Each set was called "Rossiniana", and collectively they are called "Rossiniane".
Later examples include:
Albeniziana: Joan Gibert Camins honouring Isaac Albéniz
Bachianas Brasileiras: Heitor Villa-Lobos honouring Johann Sebastian Bach
Bartokiana: George Rochberg honouring Béla Bartók
Fantasia Busoniana: John Ogdon honouring Ferruccio Busoni
Chopiniana: Alexander Glazunov honouring Frédéric Chopin
Cimarosiana: Gian Francesco Malipiero honouring Domenico Cimarosa
Ode Corelliana: Salvatore Di Vittorio honouring Arcangelo Corelli
Debussiana: James Rhinehart honouring Claude Debussy
Donizettiana: Myer Fredman honouring Gaetano Donizetti
Dussekiana: Eric Gross honouring František Xaver Dušek
Frescobaldiana: Vittorio Giannini honouring Girolamo Frescobaldi
Gabrieliana: Gian Francesco Malipiero honouring Giovanni Gabrieli
Gershwiniana: Steven Gerber honouring George Gershwin
Handeliana: Józef Koffler honouring George Frideric Handel
Ivesiana, a ballet by George Balanchine to the music of Charles Ives
Koschatiana: Ernst Bacon honouring Thomas Koschat
Lisztiana: Dmitri Rogal-Levitski, Jean-François Grancher honouring Franz Liszt
Mahleriana: Domenico Giannetta honouring Gustav Mahler
Mozartiana: Pyotr Ilyich Tchaikovsky honouring Wolfgang Amadeus Mozart
Mozartiana: Julian Yu honouring Wolfgang Amadeus Mozart
Nazaretheana: Stephen Whittington honouring Ernesto Nazareth
Nordraakiana: Johan Halvorsen honouring Rikard Nordraak
Offenbachiana: Juan José Castro, Manuel Rosenthal honouring Jacques Offenbach
Paganiniana (Casella): Alfredo Casella honouring Niccolò Paganini
Nathan Milstein also wrote a Paganiniana
Charles Camilleri wrote a Paganiana [sic], for piano 4-hands
Pedrelliana: Manuel de Falla, Roberto Gerhard honouring the pianist Felip Pedrell (Falla’s piece was the final section of Homenajes)
Purcelliana: Alfred Akon honouring Henry Purcell
Overture Respighiana: Salvatore Di Vittorio honouring Ottorino Respighi
Rossiniana: Ottorino Respighi honouring Gioachino Rossini
Sarasateana: Efrem Zimbalist honouring Pablo de Sarasate
Scarlattiana: Alfredo Casella, Noam Sheriff honouring Domenico Scarlatti
Schumanniana: Vincent d'Indy honouring Robert Schumann
Segoviana: Darius Milhaud honouring the guitarist Andrés Segovia
Soleriana: Joaquín Rodrigo honouring Antonio Soler
Stevensonia: two orchestral suites (1917, 1922) by Edward Burlingame Hill, based on works by Robert Louis Stevenson
Straussiana: Erich Wolfgang Korngold honouring Johann Strauss II
Tartiniana: Luigi Dallapiccola honouring Giuseppe Tartini
Tchaikovskiana: Myer Fredman; and Tasmin Little and John Lenehan; honouring Pyotr Ilyich Tchaikovsky
Telemanniana: Hans Werner Henze honouring Georg Philipp Telemann
Thomsoniana: Peggy Glanville-Hicks honouring Virgil Thomson
Verdiana Suite: Tutti Camarata honouring Giuseppe Verdi
Viottiana: Luciano Sgrizzi honouring Giovanni Battista Viotti
Vivaldiana: Gian Francesco Malipiero honouring Antonio Vivaldi
María Teresa Prieto's 1942 symphony was titled Asturiana.
Oscar Peterson named a 1964 album Canadiana Suite.
Eric Woolfson's rock opera and first solo album was titled Freudiana, in honour of the pioneer psychoanalyst Sigmund Freud.
Randall Thompson set seven poems of Robert Frost in a work he called Frostiana.
Darius Milhaud wrote Kentuckiana, divertissement sur 20 airs du Kentucky, Op. 287 (1948)
Robert Schumann wrote a piano suite Kreisleriana, but the Kreisler in this case was the fictional literary character Johannes Kreisler created by E. T. A. Hoffmann.
Gösta Nystroem's Symphony No. 4 (1952) was originally entitled Sinfonia shakespeariana.
Einojuhani Rautavaara subtitled his 6th Symphony Vincentiana, in honour of Vincent van Gogh. He had earlier written an opera on van Gogh, called Vincent, and he reused some of the material in his symphony.
Dizzy Gillespie named his 1960 album featuring compositions by Lalo Schifrin Gillespiana.
Ballets named Glinkaiana, Medtneriana and Scriabiniana were staged in the Soviet Union in the early 20th century, set to music by Mikhail Glinka, Nikolai Medtner and Alexander Scriabin respectively.
