The complete plays of Fanny Burney, taken from the original manuscripts of her work. The work includes a general introduction, headnotes to each play, explanatory notes and variant readings.

The complete plays of Fanny Burney, taken from the original manuscripts of her work. The work includes a general introduction, headnotes to each play, explanatory notes and variant readings.

In the plays, as in her novels, Burney satirizes the social conventions and pretensions of her day. The Witlings (1779), her first play, is a biting satire on the Bluestockings; it was never performed, however, for fear of a possible scandal. The violent, the grotesque, and the macabre also figure strongly in her writings. Contents Volume 1: The Comedies Introduction Chronology The Witlings (1778-80) Love and Fashion (1798-99) A Busy Day (1800-02) The Woman-Hater (1800-02) Volume 2: The Tragedies Edwy and Elgiva (1788-95) Hubert de Vere (1790-97) The Siege of Pevensey (1790-91) Elberta (1791-1814) Appendix: The Triumphant Toadeater (1798)

The complete plays of Fanny Burney, taken from the original manuscripts of her work. The work includes a general introduction, headnotes to each play, explanatory notes and variant readings.

The complete plays of Fanny Burney, taken from the original manuscripts of her work. The work includes a general introduction, headnotes to each play, explanatory notes and variant readings.

Revising Women is a collection of essays by a distinguished group of feminist critics. Each essay is a contribution to the history of the English novel, to our understanding of literature's place in cultural debate, and to women's studies. The essays give steady attention to the ways novels participate in social processes and the ways women perceived the public sphere and stubbornly attempted to participate in it. Rich contextualization and adept use of theory reveal both the individual writer's story and the story beneath the text that is a cultural production with the potential to reveal why we and our society are as we are. Each essay develops ways of using history in relation to literature, takes up large historical events and issues, and interprets in fine detail what individuals do with them. Beginning with the fictions of the late seventeenth century, and ending with Maria Edgeworth and Jane Austen, the essays in Revising Women are characterized by informed historicizing, detailed textual explication, sophisticated feminist theory, and dedicated attention to the interrelationships between life and literary works and between everyday existence and political processes.

"The Novel Stage: Narrative Form from the Restoration to Jane Austen traces the novel's relation to the theater over the course of the long eighteenth century, arguing that the familiar account of the novel as 'new' and distinct from other literary genres risks distorting a true reckoning of the form by failing to engage with the borrowings and departures from other more familiar genres, particularly drama. The Novel Stage traces the migration of tragicomedy, the comedy of manners, and melodrama from the stage to the novel. These genres were shared across print and performance, media that were not construed as opposites in a world in which individual silent reading took place beside playgoing, play-reading, amateur theatricals, and sociable reading aloud. The book thus expands an overly narrow conception of the novel as the genre of realism or domesticity whose highest achievement is its representation of characters' mental lives by describing the influence of the stage and its genres. Beginning in the later 1600s with Aphra Behn, The Novel Stage concludes with a chapter on some novelists of the Romantic period and a coda about Victorian novels. The Novel Stage's account of the novel provides an enriched, because more specific, sense of its formal accomplishments that drew on this ensemble of cultural forms and turns that lens back onto drama"--Provided by publisher.