Dissertations / Theses: 'Fanny Burney'

1

Twidale, Kathleen M. "Sensibility in Frances Burney's novels /." Title page, table of contents and introduction only, 1994. http://web4.library.adelaide.edu.au/theses/09PH/09pht9713.pdf.

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2

Stevens, Johanna J. ""The prettiest little actress" : performance theory and Frances Burney's E̲v̲e̲l̲i̲̲̲n̲a̲ /." Electronic version (PDF), 2006. http://dl.uncw.edu/etd/2006/stevensj/johannastevens.pdf.

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3

Blanchemain, Laure. "L'imagination féminine dans les romans de Frances Burney." Toulouse 2, 2003. http://www.theses.fr/2003TOU20059.

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Dans les romans de Frances Burney, la limite entre l'imaginaire des personnages féminins et le monde extérieur devient parfois floue et cette confusion, qui confère au récit une atmosphère onirique, révèle les dangers potentiels d'une imagination exacerbée. Néanmoins, cette faculté semble également constituer un moyen pour les femmes de se libérer du carcan des règles imposées par la société. L'imagination féminine est tantôt associée au corps et à la sensualité, tantôt à la raison, et l'opposition entre imagination et raison, corps et esprit, n'est parfois plus si nette. De même, Burney semble envisager l'imagination artistique comme essentiellement imitative mais lui accorde également un rôle créateur. Les frontières sont brouillées, révélant la complexité de ces œuvres et de la position de l'auteur. La prise en compte de l'influence des courants de pensée de la période, en particulier des philosophes sensualistes, permet une meilleure compréhension de ces contradictions apparentes
In Frances Burney's novels, the limits between the outer world and the characters' imagination tend to be blurred. This confusion lends the text a dreamlike quality and seems to point out the potential danger that an overactive imagination can represent. Nevertheless, the female imagination also enables women to ignore more freely the rules imposed by society. It is linked now with the female body, now with reason, and while the traditional hierarchies are apparently reasserted, they are undermined at the same time. The role granted to imagination in the arts is also ambivalent, hovering between mere imitation and real creation. There are no clear-cut oppositions and the novels are far from univocal. Taking into account the theories of the eighteenth-century philosophers proves necessary, since it provides some essential clues, helping the Burney reader to understand her complex works more thoroughly

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4

Saroli, Lisa Ann, and Fanny 1752-1840 Burney. "1 February - 12 March 1789 : an annotated selection from the journals of Frances Burney (1752-1840)." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30214.

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From the age of fifteen until her death, the British female novelist Frances Burney (1752--1840) kept a detailed journal. Although thousands of extant manuscript pages exist, only three inadequate editions of her journals have been published.
The Burney Project at McGill University was founded in 1960 by Dr. Joyce Hemlow and is now under the direction of Dr. Lars E. Troide. The mandate of the Project is to print a critical edition of the entire, unexpurgated journals and letters of Frances Burney with scholarly annotations. As a small part of the Burney Project, my thesis selection falls within the first half of Burney's life and encompasses roughly one and a half months of her journal, from 1 February to 12 March, 1789 (MS pages 3656--3749, Berg Collection), when Burney lived at Court as an attendant to Queen Charlotte. Many of the manuscript pages in this thesis have never before been published.

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5

Spanos, Kalliopi Maria. "An edition of the early journals and letters of Fanny Burney : January, 1789." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22629.

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This thesis is a complete edition of the journals and letters of Fanny Burney (1752-1840) for January 1789. Burney was a successful and well-known writer in the late-eighteenth and early-nineteenth centuries. In addition to a number of plays and essays, which were not published during her lifetime, Burney published four novels in her career: Evelina (1778), Cecilia (1782), Camilla (1796), and The Wanderer (1814). It is, however, her journal writing that has captured the attention of the literary world in recent years because of its biographical, socio-historical, and literary value. Her journal for the month of January 1789, written at Court while Burney was serving Queen Charlotte as 2$ sp{ rm nd}$ Keeper of the Robes, is addressed to her sister Susanna Elizabeth (Burney) Phillips and her friend Frederica Locke. Included in this month is one letter addressed to her sister Charlotte Ann (Burney) Francis.

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6

Curlewis, Margaret J., and mikewood@deakin edu au. "Playing the Agnes: Hester Thrale-Piozzi and Frances Burney." Deakin University. School of Humanities, 1991. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.122712.

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Guided by the feminist intention of reasserting the importance of neglected female writers, I have used this work to re-examine the lives and texts of eighteenth-century diarists Hester Thrale-Piozzi and Frances Burney. Adopting an interdisciplinary methodology, I draw on both literary and non-literary material to examine the effect of familial and social patriarchy in eighteenth-century England. Using the diaries, journals and letters of Hester and Frances, I ask why female conformity to masculine domination was expected, and how violence was used to extract subserviant behaviour from women. Beginning with gossip, and encompassing social, editorial and physical abuse, I use the medical profession's manipulation of female vulnerability to exemplify the way society legitimates violence to ensure female ductility. Moving beyond this physical aspect, I then examine the psychical, and question the existence of a self which is vulnerable to external manipulation. By diverging from the influence of Freudian psychology, and developing a form of Jungian feminism, I propose the existence of an essential female Self which transcends the constraints of societal expectations and physical violence. In this work, both Hester and Frances emerge as physically and psychically strong entities who were forced to adopt socially conformist personae to survive.

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7

Parrott, S. J. E. "Escape from didacticism : art and idea in the novels of Jane Austen, Fanny Burney and Maria Edgeworth." Thesis, University of York, 1993. http://etheses.whiterose.ac.uk/10922/.

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8

Dillard, Eguchi Patricia. "Satire du matérialisme dans le roman féminin britannique de 1778 à 1824 : Fanny Burney, Jane Austen, Suzan Ferrier." Phd thesis, Université d'Orléans, 2011. http://tel.archives-ouvertes.fr/tel-00690631.

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De fortes contraintes juridiques, morales et coutumières pesaient sur les femmes de la fin du " long " 18ème siècle en Grande Bretagne. Les écrits féminins s'en ressentaient autant du point de vue des stratégies littéraires que de l'intrigue. Pour contourner les interdits et les tabous dont l'écriture féminine devait tenir compte, certaines romancières eurent recours à une satire ingénieuse qui ridiculisait les travers d'une société qui leur interdisait le sens critique. L'étude du contexte permet de faire la lumière sur le pourquoi et le comment de leurs stratégies satiriques. C'était l'époque des Lumières anglaises et écossaises, du début de la Révolution Industrielle et de la formation des classes moyennes. L'économie s'épanouissait et requérait une première " consommation de masse ". Synecdoques de la femme à vendre ou qui cherche à l'être, l'objet et l'argent sont les deux aspects d'analyse critique qui sous-tendent la structure de ce travail. La théorie de la re-création esthétique à la réception de Wolfgang Iser sert à souligner l'écart de réception possible entre le lecteur d'alors et celui de nos jours, et ensuite à susciter, investigations dans le contexte à l'appui, une émotion nouvelle à la lecture de ces ouvrages vieux de deux siècles. La théorie de la consommation de Baudrillard est choisie parce qu'elle facilite une compréhension de certains comportements autour de l'objet de personnages satirisés dans les romans.

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9

Chao, Noelle. "Musical letters eighteenth-century writings of music and the fictions of Burney, Radcliffe, and Scott /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467893641&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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10

Koehler, Martha J. "Paragons and parasites : narrative disruptions and gender constraints in epistolary fiction /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/9438.

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11

Johnston, Elizabeth. "Competing fictions eighteenth-century domestic novels, women writers, and the trope of female rivalry /." Morgantown, W. Va. : [West Virginia University Libraries], 2005. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4149.

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Thesis (Ph. D.)--West Virginia University, 2005.
Title from document title page. Document formatted into pages; contains v, 297 p. Vita. Includes abstract. Includes bibliographical references (p. 283-294).

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12

Wingfield, Jennifer Joanne. "Unveiling Objectification: The Gaze and its Silent Power in the Novels of Frances Burney." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-04272006-233620/.

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Thesis (M.A.)--Georgia State University, 2006.
Title from title screen. Murray Brown, committee chair; Malinda Snow, Paul Schmidt, committee members. Electronic text (75 p.). Description based on contents viewed Apr. 20, 2007. Includes bibliographical references (p. 74-75).

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13

Lochrie, Eleanor Ann. "Debates on female education : constructing the middle ground in eighteenth century women's magazines and the novels of Fanny Burney and Jane Austen." Thesis, University of Strathclyde, 2010. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=13204.

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This thesis investigates the various strands of the female education debate which emerge from eighteenth-century conduct books, women's magazines and the novels of Fanny Burney and Jane Austen. Across this body of work the main objective is to advise the middle-class woman about appropriate conduct in society. A surprising amount of consensus is shown to exist on this subject, even between conservative and radical writers. However, questions about gender equality placed conservative conduct-book writers and proto-feminists in ideologically opposed positions. In contrast, Burney, Austen and the authors of eighteenth-century magazines were unwilling either to demand gender equality or accept the inherent inferiority of the female sex. Taking a moderate stance in the female education debate, they either avoid extreme views or negotiate between them, often reaching contradictory conclusions. It will be argued, that the wide range of material and variety of opinions incorporated within these works, particularly the women's magazines, actively enabled the construction of a middle ground. This position was by no means stable and the parameters of what was considered acceptable and respectable for women were subject to continual modification. Central to the characterisation of the magazines as moderate works is the potential, built into the structure and integral to the content of these texts, for individual readers to resist meaning or interpret it in different ways. The novels portray the consequences of education through the integral detail of their heroines' lives. These works assume that domestic duties should be a priority for women, but they show that the education available to the female sex was inadequate for its purposes. Moderate writers are shown to adapt a variety of strategies in order to question the aims and objectives of female education without challenging the status quo.

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14

Volz, Jessica A. "Vision, fiction and depiction : the forms and functions of visuality in the novels of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/4438.

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There are many factors that contributed to the proliferation of visual codes, metaphors and references to the gendered gaze in women's fiction of the late-eighteenth and early-nineteenth centuries. This thesis argues that the visual details in women's novels published between 1778 and 1815 are more significant than scholars have previously acknowledged. My analysis of the oeuvres of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney shows that visuality — the nexus between the verbal and visual communication — provided them with a language within language capable of circumventing the cultural strictures on female expression in a way that allowed for concealed resistance. It conveyed the actual ways in which women ‘should' see and appear in a society in which the reputation was image-based. My analysis journeys through physiognomic, psychological, theatrical and codified forms of visuality to highlight the multiplicity of its functions. I engage with scholarly critiques drawn from literature, art, optics, psychology, philosophy and anthropology to assert visuality's multidisciplinary influences and diplomatic potential. I show that in fiction and in actuality, women had to negotiate four scopic forces that determined their ‘looks' and manners of looking: the impartial spectator, the male gaze, the public eye and the disenfranchised female gaze. In a society dominated by ‘frustrated utterance,' penetrating gazes and the perpetual threat of misinterpretation, women novelists used references to the visible and the invisible to comment on emotions, socio-economic conditions and patriarchal abuses. This thesis thus offers new insights into verbal economy by reassessing expression and perception from an unconventional point-of-view.

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15

Woof, Lawrence. "Italian opera and English oratorio as cultural discourses within eighteenth-century English literature, with particular reference to the novels of Samuel Richardson and Fanny Burney." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282170.

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16

Poston, Craig A. (Craig Alan). "The Problematic British Romantic Hero(ine): the Giaour, Mathilda, and Evelina." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278684/.

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Romantic heroes are questers, according to Harold Bloom and Northrop Frye. Whether employing physical strength or relying on the power of the mind, the traditional Romantic hero invokes questing for some sense of self. Chapter 1 considers this hero-type, but is concerned with defining a non-questing British Romantic hero. The Romantic hero's identity is problematic and established through contrasting narrative versions of the hero. This paper's argument lies in the "inconclusiveness" of the Romantic experience perceived in writings throughout the Romantic period. Romantic inconclusiveness can be found not only in the structure and syntax of the works but in the person with whom the reader is meant to identify or sympathize, the hero(ine). Chapter 2 explores Byron's aesthetics of literature equivocation in The Giaour. This tale is a consciously imbricated text, and Byron's letters show a purposeful complication of the poet's authority concerning the origins of this Turkish Tale. The traditional "Byronic hero," a gloomy, guilt-ridden protagonist, is considered in Chapter 3. Byron's contemporary readers and reviewers were quick to pick up on this aspect of his verse tales, finding in the Giaour, Selim, Conrad, and Lara characteristics of Childe Harold. Yet, Byron's Turkish Tales also reveal a very different and more sentimental hero. Byron seems to play off the reader's expectations of the "Byronic hero" with an ambiguous hero whose character reflects the Romantic aesthetic of indeterminacy. Through the accretive structure of The Giaour, Byron creates a hero of competing component characteristics, a focus he also gives to his heroines. Chapters 4 and 5 address works that are traditionally considered eighteenth-century sentimental novels. Mathilda and Evelina, both epistolary works, present their heroines as worldly innocents who are beset by aggressive males. Yet their subtext suggests that these girls aggressively maneuver the men in their lives. Mathilda and Evelina create a tension between the expected and the radical to energize the reader's imagination.

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17

Twidale, Kathleen M. (Kathleen Mary). "Sensibility in Frances Burney's novels / Kathleen M. Twidale." 1994. http://hdl.handle.net/2440/21567.

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Bibliography: leaves 320-338.
iii, 364 leaves ; 30 cm.
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1995

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18

Gibson, Lindsay Gail. "Luminous Pasts: Artificial Light and the Novel, 1770-1930." Thesis, 2016. https://doi.org/10.7916/D8Z89CDT.

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Over the course of the nineteenth century, gaslight supplanted the candles and oil lamps that had brightened Europe and America for centuries, and, by 1900, electricity would attain decisive dominance over both. In their narrative figurations of lighting, however, novels of the same period often arrest this march of progress, lingering in an Arcadian past organized around the rhythms of the solar day and the agricultural year. Mining works by Frances Burney, George Eliot, Thomas Hardy, Marcel Proust, and others, my dissertation argues that novelists employ obsolete lighting technologies not merely to provide historical texture, but to express narrative impulses that run counter to the realist mode, to dramatize transgressive forms of ambition within the rural communities they depict, and sometimes even to voice ambivalence about the commercial constraints of the serial form. Characters in these novels who avail themselves of artificial illumination alter the rhythm of the workday in order to satisfy desires inconsistent with the interests and pursuits sanctioned by their neighbors: by the light of lamps and candles, they pursue cross-class romance, literary aspirations, or professional goals that fall outside the parameters dictated by social class and the historical moment. For Proust’s narrator, this entails a series of adjustments to his evening schedule over the course of the Recherche, first to accommodate an aristocratic social calendar, and, later, to facilitate the nocturnal composition of his own novel. In Eliot’s case, the inclination to stay awake after nightfall—whether the illicit romantic fantasies of a Hetty Sorrel or the workmanlike resolve of an Adam Bede—constitutes a meaningful challenge to the author’s narrative realism. By examining the formal innovations these technologies provoke in nineteenth-century fiction, my research unearths a pervasive counter-realist tendency in novels often famed for their fidelity to the protocols of realist representation.

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19

Chiu, Hui-wen, and 邱慧雯. "SUBVERSION IN DISGUISE: FEMININITYIN FANNY BURNEY’S EVELINA." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/34879814233711649511.

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碩士
國立中山大學
外國語文學系研究所
88
ABSTRACT In the discussion of my research project, the concept of femininity of the eighteenth century in Fanny Burney’s Evelina is the principle subject, and the thesis is divided into five parts to discuss. I elaborate and introduce the basic concept of my thesis—femininity in the eighteenth century—in my introduction. Then, in the first chapter, I discuss the subversion of the epistolary form. Through exploring the history of the epistolary fiction, I explain how the epistolary novel became a genre and why it is regarded as the feminine style suitable to the female writers and how it works in the novel. As shaping power in Evelina, what results does the epistolarity bring to the structure or the content of the novel? How does the epistolarity make the novel different from other common ones? And as a feminine genre, how would it help Burney go beyond the patriarchal order of language? These are the questions I explore here. In the second chapter, I analyze how Fanny Burney overturn the eighteenth-century patriarchal value system and criticize the marriage market through the incidents that the innocent, feminine heroine encounters in the fashionable world. I also specify how femininity is used as a disguised power by the author to subvert the society. In my third chapter, I elaborate the feminization of male characters and discuss the masculine women as well in this novel. I discuss how the author creates these feminized men and masculine women, and how she implies that if people of both sexes adopt the merits of their opposite sex appropriately, they may become better human beings. Last, in my conclusion, I make a concise summary for my whole thesis and explain why I think it a good work with profundity.

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Dissertations / Theses on the topic 'Fanny Burney'

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