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2 results for “Frances Burney”
Between a Pastoral and a Melodrama: Frances Burney and the Romantic Stage
<p>It is well known that the neglect of the dramatic works composed by Frances Burney (1752-1840) was largely caused by the unwavering opposition put up by her father, the famed musicologist Charles Burney, who shared the strong anti-theatrical prejudice that characterized the century as a whole. Paradoxically, this critical disregard has partly continued even after the watershed publication of Burney’s Complete Plays (Sabor ed.) in 1995. Although a number of interesting contributions have since reformulated Burney scholarship in terms of comedy (discussing, for instance, the comic elements in Evelina, or the genteel comedies The Witlings and A Busy Day), the tragic component of Burney’s opus remains one of the last frontiers of enquiry. My talk, "Between a Pastoral and Melodrama: Frances Burney and the Romantic Stage", offers a new dimension to the appraisal of Burney’s dramaturgy by focusing on 'Hubert De Vere, a Pastoral Tragedy,' written during Burney’s years at George III’s court (1786-1794). Despite the interest shown by John Philip Kemble, the greatest tragic actor of the age and the manager of Drury Lane Theatre, Hubert De Vere never reached the stage or, more surprisingly, the printed page, preordaining its subsequent critical eclipse.<br> <br> <br> This research is part of the Horizon 2020 project called "Opening Romanticism: Reimagining Romantic Drama for New Audiences"(OpeRaNew) ID 892230 within the ERC programme Horizon 2020 MSCA-IF-2019. The PI is Francesca Saggini. See CORDIS website at <a href="https://cordis.europa.eu/project/id/892230">https://cordis.europa.eu/project/id/892230</a></p>
Watching the Volcano. A Frances Burney d'Arblay Primer
<p>Frances Burney d’Arblay, who was born in 1752 and died in 1840, spent 72 years of her long and eventful life writing letters and diaries, published only after her death.</p> <p>Burney experienced lockdown and mental health issues during her life at the Court of the ‘mad’ king George III. She married a French officer during the great European wars when England and France were worst enemies. She lived in England as the wife of a Catholic Frenchman, and in France as a Protestant Englishwoman. She was the breadwinner in her family thanks to her published work, but she also tried unsuccessfully to make a living by writing for the stage.</p> <p>Burney underwent a devastating, anaesthetic-less mastectomy, of which she left a shocking narrative, the earliest first-person account of this type of surgery. Her onomastic odyssey – from the baby-like “Fannikin” of her youth and the informal “Fanny” Burney she is still known by, to the present-day excision of her married surname d’Arblay-- this odyssey is a biographical journey worth recounting in its own right.</p> <p>Frances Burney d’Arblay was a remarkable woman who was also a pioneering writer, destined to confront familial and social apparatuses throughout her life as well as in her afterlife.</p> <p> </p> <p>This research is part of the Horizon 2020 project called "Opening Romanticism: Reimagining Romantic Drama for New Audiences"(OpeRaNew) ID 892230 within the ERC programme Horizon 2020 MSCA-IF-2019. The PI is Francesca Saggini. See CORDIS website at <a href="https://cordis.europa.eu/project/id/892230">https://cordis.europa.eu/project/id/892230</a></p>
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