Last revised 18 March 1999
- Joseph A. Grau, Fanny Burney: An Annotated
Bibliography (New York: Garland, 1981).
- See also Barbara Darby's Burney Web site, listed
below ("Electronic Resources").
- Camilla: or, A Picture of Youth, ed. Edward A. Bloom
and Lillian D. Bloom (Oxford: Oxford Univ. Press, 1972).
- Cecilia, or Memoirs of an Heiress, ed. Peter Sabor and
Margaret Anne Doody (Oxford: Oxford Univ. Press, 1988).
- Evelina, or, The History of a young Lady's Entrance into
the World, ed. Stewart J. Cooke (New York: Norton, 1998).
- Evelina, ed. Kristina Straub (Boston: Bedford, 1997).
- Evelina, or, The History of a Young Lady's Entrance into
the World, ed. Edward A. Bloom with Lillian D. Bloom (Oxford:
Oxford Univ. Press, 1968).
- The Wanderer; or, Female Difficulties, ed. Margaret
Anne Doody, Robert L. Mack, and Peter Sabor (Oxford: Oxford Univ.
- The Complete Plays of Frances Burney, ed. Peter Sabor,
2 vols. (London: Pickering, 1995; Montreal & Kingston:
McGill-Queen's Univ. Press, 1995).
- A Busy Day, ed. Tara Ghosal Wallace (New Brunswick:
Rutgers Univ. Press, 1984).
- Edwy and Elgiva, ed. Miriam J. Benkovitz (New York:
Shoe String Press, 1957.
Diaries and Letters
- Diary and Letters of Madame d'Arblay, ed. Charlotte
Barrett, 4 vols. (London: Bickers and Son, 1876).
- The Early Journal and Letters of Frances Burney, 3
vols., ed. Lars Troide et al., 12 vols. (Montreal & Kingston:
McGill-Queen's Univ. Press, 1988-).
- The Journals and Letters of Fanny Burney (Madame
D'Arblay), 1791-1840, ed. Joyce Hemlow et al., 12 vols.
(Oxford: Clarendon, 1972-84).
- Kate Chisolm, Fanny Burney: Her Life (London: Chatto
& Windus, 1998).
- Margaret Anne Doody, Frances Burney: The Life in the
Works (New Brunswick: Rutgers, 1988). A provocative book, Doody's
biography discusses all of Burney's works in a psychoanalytical
context, showing their relationship to Burney's sense
of her family's dynamics and the overbearing figure of her father. Doody
suggests that Burney's work in part was an effort to express in literature
ideas that she couldn't express elsewhere.
- Joyce Hemlow, The History of Fanny Burney (Oxford:
Clarendon, 1958). Hemlow's influence as an early biographer and editor of
Burney's works cannot be overestimated. This biography has chapters on
all of Burney's works and major events of her life, but treats the plays
and the later novels as less signfiicant than Burney's early work,
- Michael E. Adelstein, Fanny Burney (New York: Twayne,
- Austin Dobson, Fanny Burney (London: Macmillan, 1903).
- Julia Epstein, "Burney Criticism: Family Romance,
Psychobiography, and Social History," Eighteenth-Century
Fiction 3, no. 4 (1991): 277-82.
- William Galperin, "What Happens when Jane Austen and Frances
Burney Enter the Romantic Canon?" in Lessons of Romanticism: A
Critical Companion, ed. Thomas Pfau and Robert F. Gleckner
(Durham: Duke Univ. Press, 1998), 376-91.
- Beth Kowaleski-Wallace, "Milton's Daughters: The Education of
Eighteenth-Century Women Writers," Feminist Studies 12,
no. 2 (1986): 275-93.
- Betty Rizzo, "How (and How Not) to Explore the Burneys:
Questions of Decorum," Review 11 (1989): 197-218.
- Judy Simons, Fanny Burney (Totowa, N.J.: Barnes and
Noble, 1987). This book includes a chapter that survey's Burney's life,
and chapters on the novels and the journals and plays.
- Joan Wiltshire, "Early Nineteenth-Century Pathography: The
Case of Frances Burney," Literature and History 2, no. 2
Burney's Novels & Journals
- Andrea Austin, "Between Women: Frances Burney's The
Wanderer," English Studies in Canada 22, no. 3 (1996):
253-66. An interesting study of the female homosocial rivalry between
Elinor and Juliet in Burney's last novel, using Eve Sedgwick's theoretical
approach outlined in Between Men. Austen suggests these two
heroines are representative of competing versions of femininity but that
they share many similarities; the rivalry between them has the shared aim
of subordinating the opposite sex.
- Martha G. Brown, "Fanny Burney's 'Feminism': Gender or
Genre," in Fetter'd or Free? British Women Novelists,
1670-1815, ed. Mary Anne Schofield and Cecilia Macheski
(Athens: Ohio Univ. Press, 1986), 29-39.
- Miranda J. Burgess, "Courting Ruin: The Economic Romances of
Frances Burney," Novel: A Forum on Fiction 28, no. 2
- D. Grant Campbell, "Fashionable Suicide: Conspicuous
Consumption and the Collapse of Credit in Frances Burney's
Cecilia," Studies in Eighteenth-century Culture 20
- Gina Campbell, "Bringing Belmont to Justice: Burney's Quest
for Paternal Recognition in Evelina,"
Eighteenth-Century Fiction 3, no. 4 (1991): 321-40. Campbell
examines Burney's views of her own father and the recognition scenes
between Evelina and Belmont.
- Gina Campbell, "How to Read Like a Gentleman: Burney's Instructions to
Her Critics in Evelina," ELH 57, no. 3 (1990): 557-84.
Campbell discusses Burney's eagerness for critical approval in the
Dedication to Evelina and compares them to Evelina's efforts to be
accepted. She also views the male figures in the novel as good and
bad readers of Evelina's writing and behaviour.
- Stewart J. Cooke, "How Much Was Frances Burney Paid for
Cecilia?" Notes & Queries 39, no. 4 (237)
- Rose Marie Cutting, "Defiant Women: The Growth of Feminism in Fanny
Burney's Novels," Studies in English Literature 17 (1977): 519-30.
Cutting discusses Burney's feminist images of women by dividing the
novels' female characters into the categories of heroines, rebels, arguing
for characters' "independence of judgment that reflects their
intelligence, common sense, and the good principles of their education"
- Joanne Cutting-Gray, Woman as "Nobody" and the
Novels of Fanny Burney (Gainesville: Univ. Press of Florida, 1992).
- Joanne Cutting-Gray, "Writing Innocence: Fanny Burney's
Evelina," Tulsa Studies in Women's Literature 9,
no. 1 (1990): 43-57.
- Tracy Edgar Daugherty, Narrative Techniques in the Novels
of Fanny Burney (New York: Peter Lang, 1989).
- D. D. Devlin, The Novels and Journals of Fanny Burney
(Basingstoke, Hampshire: Macmillan, 1987).
- Marjorie Dobbin, "The Novel, Women's Awareness, and Fanny
Burney," English Language Notes 22, no. 3 (1985): 42-52.
- Margaret Anne Doody, "Beyond Evelina: The Individual Novel and
the Community of Literature," Eighteenth-Century Fiction 3, no. 4
(1991): 358-71. Doody comments on the reasons for the centrality of
Burney's first novel in Burney criticism and encourages a widening of
focus to include her other works.
- Margaret Anne Doody, "English Women Novelists and the French
Revolution," in La Femme en Angleterre et dans les Colonies
americaines aux XVIIe et XVIIIe siecles (Lille: Pub. de
l'Université de Lille III, 1976), 176-98.
- Margaret Anne Doody, "Heliodorus Rewritten: Samuel
Richardson's Clarissa and Frances Burney's
Wanderer," in The Search for the Ancient Novel, ed.
James Tatum (Baltimore: Johns Hopkins Univ. Press, 1994), 117-31.
- William C. Dowling, "Evelina and the Genealogy of
Literary Shame," Eighteenth-Century Life 16, no. 3 (1992):
- Timothy Dykstal, "Evelina and the Culture Industry,"
Criticism: A Quarterly for Literature and the Arts 37, no.
4 (1995): 559-81.
- Julia L. Epstein, "Evelina's Deceptions: The Letter and the
Spirit," in Evelina, ed. Bloom, pp. 111-29. Epstein analyses
Evelina's use of language in her letters and how she varies her language
according to the letter's recipient. She argues that underneath the
heroine's decorous and polite surface, "she is keenly aware of the bondage
her decorous behavior implies" (128).
- Julia L. Epstein, "Fanny Burney's Epistolary Voices," The
Eighteenth Century: Theory and Interpretation 27, no. 2
- Julia Epstein, The Iron Pen: Frances Burney and the
Politics of Women's Writing (Madison: Univ. of Wisconsin
Press, 1989). Epstein concentrates on the violence in Burney's novels and
journals, which reveal "the masked simmering rage of a conflicted but
self-conscious social reformer" (4) and her "obsession with violence and
- Julia Epstein, "Marginality in Frances Burney's Novels," in
The Cambridge Companion to the Eighteenth-Century Novel,
ed. John Richetti (Cambridge: Cambridge Univ. Press, 1996),
- Julia L. Epstein, "Writing the Unspeakable: Fanny Burney's
Mastectomy and the Fictive Body," Representations 16
(1986): 131-66. Epstein analyses Burney's mastectomy letter.
- Eva Figes, Sex and Subterfuge: Women Writers to 1850
(London: Pandora, 1982). Chapter four is on Burney, who Figes says "had a
self-protective veneer of diehard conservatism under which lurked much
more liberal, qustioning attitudes which dared not find full expression"
(33). Figes identifies a change in attitude with Camilla, an
attitude that is more critical of the social position of women and the
hypocrisy that judged them based on appearances.
- Irene Fizer, "The Name of the Daughter: Identity and Incest
in Evelina," in Refiguring the Father: New Feminist
Readings of Patriarchy, ed. Patricia Yaeger, Beth
Kowaleski-Wallace, and Nancy Miller (Carbondale: Univ. of
Illinois Press, 1989), 78-107.
- Joan Forbes, "Anti-Romantic Discourse as Resistance: Women's
Fiction 1775-1820," in Romance Revisited, ed. Jackie
Stacey and Lynne Pearce (New York: New York Univ. Press, 1995),
- Susan Fraiman, Unbecoming Women: British Women Writers and
the Novel of Development (New York: Columbia Univ. Press,
- Kenneth W. Graham, "Cinderella or Bluebeard: The Double Plot
of Evelina," L'Homme et la nature/Man and Nature 10
- Susan C. Greenfield, "'Oh Dear Resemblance of Thy Murdered
Mother': Female Authorship in Evelina,"
Eighteenth-Century Fiction 3, no. 4 (1991): 301-20. Greenfield
discusses Burney's view of her father and the idea that female authorship
"is predicated on the fall of paternal control." Evelina grows as an
author because of the paternal void in her world and she is successful
because of the power she gains over her father through her matrilineal
inheritance. The father's recognition, though, threatens the heroine's
autonomy, just as Burney's father's recognition of her authorship
"stripped her of her literary independence" (320).
- Elisabeth Rose Gruner, "The Bullfinch and the Brother:
Marriage and Family in Frances Burney's Camilla,"
JEGP 93, no. 1 (1994): 18-34.
- Elisabeth Rose Gruner, "'Loving Difference': Sisters and
Brothers from Frances Burney to Emily Bronte," in The
Significance of Sibling Relationships in Literature, ed.
JoAnna Stephens Mink and Janet Doubler Ward (Bowling Green, OH:
Popular, 1992), 32-46.
- George E. Haggerty, "Novel Strategies," Tulsa Studies in
Women's Literature 13, no. 1 (1994): 161-65.
- Beth Kowaleski-Wallace, "A Night at the Opera: The Body,
Class, and Art in Evelina and Frances Burney's Early
Diaries," in History, Gender and Eighteenth-Century
Literature, ed. Beth Fowkes Tobin (Athens: Univ. of Georgia
Press, 1994), 141-58.
- Arno Loffler, "'The World ... What It Appears to a Girl of
Seventeen': Fanny Burney's Evelina als satirischer Roman,"
Anglia: Zeitschrift fur Englische Philologie 112, nos. 1-2
- T. D. Mamchur, "Roman F. Berni Evelina i traditsii
angliiskogo prosvetitel'skogo romana," Vestnik Leningradskogo
Universiteta 8 (1983): 39-44.
- Glen McClish, "Richardson, Burney, Austen, and the Decline of
the Rhetor-Hero in the British Novel," in Rhetoric in the
Vortex of Cultural Studies, ed. Arthur Walzer and Laurie Ward
Gardner (St. Paul: Rhetoric Society of America, 1993), 151-59.
- Juliet McMaster, "The Silent Angel: Impediments to Female Expression
in Frances Burney's Novels," Studies in the Novel 21, no. 3 (1989):
235-52. McMaster discusses the nature of female expression in the novels,
analysing customary and ideological impediments to women's expression and
experience (especially of love) and comparing the characters for whom
expression is prevented with those who speak out.
- Ellen Moers, Literary Women (New York: Oxford Univ.
Press, 1977 & 1985).
- David Oakleaf, "The Name of the Father: Social Identity and
the Ambition of Evelina," Eighteenth-Century
Fiction 3, no. 4 (1991): 341-58. Oakleaf examines the development of
Evelina's social identity along with her private character and discusses
Burney's anxieties about writing as expressed in her Dedication to the
- Toby A. Olshin, "'To Whom I Most Belong': The Role of Family
in Evelina," Eighteenth-century Life 6, no. 1
- Ingrid Tieken Boon van Ostade, "Stripping the Layers:
Language and Content of Fanny Burney's Early Journals,"
English Studies: A Journal of English Language and
Literature 72, no. 2 (1991): 146-59.
- Catherine Parke, "Vision and Revision: A Model for Reading
the Eighteenth-Century Novel of Education," Eighteenth-Century
Studies 16, no. 2 (1982-83): 162-74.
- Amy J. Pawl, "'And What Other Name May I Claim?' Names and
Their Owners in Frances Burney's Evelina,"
Eighteenth-Century Fiction 3, no. 4 (1991): 283-99. Pawl examines
the importance of naming as a sign of social reassurance and
legitimization which relates to the power of the author to write and to
name, a power usually assigned to the male.
- Pam Perkins, "Private Men
and Public Women:
Social Criticism in Fanny Burney's The Wanderer," Essays in
Literature 23, no. 1 (1996): 69-83.
- Michele Plaisant, "Contraintes et quete de la liberté dans
Evelina (1778) de Fanny Burney," in Contraintes des
libertés dans la Grande-Bretagne du XVIIIe siècle., ed.
Paul Gabriel Boucé (Paris: Pubs. de la Sorbonne, 1988), 125-37.
- Mary Poovey, "Fathers and Daughters: The Trauma of Growing Up Female,"
Women and Literature 2 (1982): 39-58. Poovey discusses the female
autonomy and anxiety experienced by women during courtship, an anxiety
related to the rejection of the father as the object of affection and the
identification of the inferiority of the mother. Burney circumvents this
anxiety through Evelina's transfer of affections to the paternal-figure
Orville and Evelina's momentary power as she confronts her father in
the image of her dead mother.
- John J. Richetti, "Voice and Gender in Eighteenth-Century Fiction:
Haywood to Burney," Studies in the Novel 19, no. 3 (1987): 263-72.
Richetti argues that Evelina is an unusual heroine who negotiates the
difficulties of female speech by being silent in public but eloquent and
satirical in her writing, organizing and dominating the flawed speech of
others. In this manner, she can be both vocal and judgmental yet demure.
- Katharine M. Rogers, "Fanny Burney: The Private Self and the
Published Self," International Journal of Women's Studies
7, no. 2 (1984): 110-17. The article analyses Burney's self-fashioning in
her journals as she describes different moments in her life.
- Katharine M. Rogers, Frances Burney: The World of "Female
Difficulties" (New York: Harvester Wheatsheaf, 1990). Distinguishing
herself from Epstein, Rogers emphasizes the contradictions between
Burney's acceptance of social order and conformity with it and her protest
against it as she sought to render in fiction the "psychological problems
of women" (4). Her novels present "the anxiety, the frustration, the
painful ambivalence felt by women imprisoned in a patriarchal ideology
which makes them suffer but which they are not equipped to challenge" (5).
- Kay Rogers, "Deflation of Male Pretensions in Fanny Burney's
Cecilia," Women's Studies: An Interdisciplinary
Journal 15, nos. 1-3 (1988): 87-96.
- Mona Scheuermann, "Redefining the Filial Tie:
Eighteenth-Century English Novelists from Brooke to Bage,"
Etudes Anglaises: Grande-Bretagne, Etats-Unis 37, no. 4
- Julie Shaffer, "Not Subordinate: Empowering Women in the
Marriage-Plot -- The Novels of Frances Burney, Maria Edgeworth,
and Jane Austen," Criticism 34, no. 1 (1992): 51-73.
- Judy Simons, Diaries and Journals of Literary Women from
Fanny Burney to Virginia Woolf (Iowa City: Univ. of Iowa
- Judy Simons, "Invented Lives: Textuality and Power in Early
Women's Diaries," in Inscribing the Daily: Critical Essays on
Women's Diaries, ed. Suzanne L. Bunkers and Cynthia A. Huff
(Amherst: Univ. of Massachusetts Press, 1996), 252-63.
- Judy Simons, "The Unfixed Text: Narrative and Identity in
Women's Private Writings," in The Representation of the Self
in Women's Autobiography, ed. Vita Fortunati and Gabriella
Morisco (Bologna: Univ. of Bologna, 1993), 1-16.
- Antoinette Marie Sol, "Un Double miroir: L'Image des Francais
dans les romans de Frances Burney," in Le Même et
l'autre regards Européens, ed. A. Montandon (Cedex,
France: Association des Publications de la Faculté des
Lettres et Sciences Humaines de Clermont-Ferrand, 1997), 211-32.
- Patricia Spacks, "The Dynamics of Fear: Fanny Burney," in Imagining
a Self: Autobiography and Novel in Eighteenth-Century England
(Cambridge, Mass.: Harvard Univ. Press, 1976), 158-92. Spacks suggests
that fear of behaving inappropriately is the unifying force in Burney's
novels and journals and that fear, however negative, helps construct an
identity and is a rallying force for protests against the forces that make
fear and concealment necessary. She arguest that Burney's fiction was a
forum for self-expression for Burney.
- Patricia Meyer Spacks, "'Ev'ry Woman is at Heart a Rake,'"
Eighteenth-century Studies 8 (1974-5): 27-46. Spacks examines how
Burney and other eighteenth-century women writers represent the repression
of sexual desire and emotional expression through an obsession with
innocence and a suppression of imagination in favour of reason and denial.
Meyer Spacks, "The Talent of Ready Utterance:
Eighteenth-Century Female Gossip," in Woman and Society in the
Eighteenth Century, ed. Ian Duffy (Bethlehem, PA: Lawrence
Henry Gipson Institute, 1983), 1-14.
- Patricia Meyer Spacks, "Women and the City," in Johnson
and His Age, ed. James Engell (Cambridge, Mass.: Harvard
Univ. Press, 1984): 485-507.
- Susan Staves, "Evelina; or, Female Difficulties," Modern
Philology 73 (1975-6); 368-81. Staves argues that Burney's first
novel is filled with expressions of anxiety as the heroine struggles
against male advances and vulgar company in order to maintain her sense of
propriety and delicacy and avoid embarrassment.
- Kristina Straub, Divided Fictions: Fanny Burney and Feminine
Strategy (Lexington: Univ. Press of Kentucky, 1987). Straub examines
how contradictory ideological messages emerge in Burney's novels which
show heroines who are presented by assumptions about life that devalue
their experience and predict the worse for them. These ideological
contradictions result in varying degrees of alienation and madness for the
heroines, as Burney "expresses the ideological tensions inherent in the
lives of eighteenth-century middle-class women--and the strain of writing
them into consciousness" (22).
- Kristina Straub, "Fanny Burney's Evelina and the
'Gulphs, Pits, and Precipices' of Eighteenth-Century Female
Life," The Eighteenth Century: Theory and Interpretation
27, no. 3 (1986): 230-46.
- Kristina Straub, "Frances Burney and the Rise of the Woman
Novelist," in The Columbia History of the British Novel,
ed. John Richetti, John Bender, Dierdre David, and Michael Seidel
(New York: Columbia Univ. Press, 1994), 199-219.
- Kristina Straub, "Women's Pastimes and the Ambiguity of
Female Self-Identification in Fanny Burney's Evelina,"
Eighteenth-Century Life 10, no. 2 (1986): 58-72.
- Colleen Jane Taylor, Corresponding Sentiments: Value, the
Commodity Form, and the Emergence of the Epistolary Novel
(Evanston: Northwestern Univ. Press, 1996).
- Janice Thaddeus, "Hoards of Sorrow: Hester Lynch Piozzi,
Frances Burney d'Arblay, and Intimate Death,"
Eighteenth-Century Life 14, no. 3 (1990): 108-29.
- Janet Todd, "Woman as Artist in the Late Eighteenth Century,"
Studies on Voltaire and the Eighteenth-Century 264 (1989):
- Irene Tucker, "Writing Home: Evelina, the Epistolary
Novel and the Paradox of Property," ELH 60, no. 2 (1993):
- Jennifer A Wagner, "Privacy and Anonymity in Evelina," in
Evelina, ed. Bloom, pp. 99-109. Wagner analyses the depiction of
public and private space in the novel, and notes that anonymity is a
significant defensive and self-preserving strategy not only for the
heroine, but for the writer.
- John Wiltshire, "Fanny Burney's Face, Madame d'Arblay's
Veil," in Literature and Medicine during the Eighteenth
Century, ed. Marie Mulvey Roberts and Roy Porter (London:
Routledge, 1993), 245-65.
- John Wiltshire, "Love unto Death: Fanny Burney's 'Narrative
of the Last Illness and Death of General d'Arblay' (1820),"
Literature and Medicine 12, no. 2 (1993): 215-35.
- Barbara Darby, Frances Burney, Dramatist: Gender, Performance, and
the Late-Eighteenth-Century Stage (Lexington: Univ. Press of Kentucky,
1997). Darby analyses all of Burney's drama from a standpoint of feminist
performance theory, arguing that Burney's plays explore the nature of
female experience by depicting the restrictions to women's marital choices
by family and finance (Burney's comedies) or threats to women's
bodily comfort and security enacted by political coersion (the tragedies).
- Barbara Darby, "Frances Burney's Dramatic Mothers,"
English Studies in Canada 23, no. 1 (1997): 22-41. This article
analyses Burney's representation of mother-figures in "The Woman-Hater"
- Barbara Darby, "Tragedy, Feminism, and Frances Burney's
Edwy and Elgiva," Journal of Dramatic Theory and
Criticism 10, no. 2 (1997): 3-23. This article analyses Burney's
exploration of physical trauma in her first tragedy.
- Joyce Hemlow, "Fanny Burney: Playwright," University of
Toronto Quarterly 19 (1950): 170-89. This pioneering article offers a
good overview of the plays, their plots and characters, and some
circumstances of their composition.
- Marjorie Lee Morrison, Fanny Burney and the Theatre,
Ph.D. diss. (University of Texas, 1957). Morrison discusses Burney's
plays and representations of the theatre in her novels. The plays are
implicitly read as weak versions of Burney's fiction.
- Elizabeth Yost Mulliken, The Influence of the Drama on
Fanny Burney's Novels, Ph.D. diss. (Univ. of Wisconsin,
- Peter Sabor, "'Alter'd, improved, copied, abridged':
Alexandre d'Arblay's Revisions to Edwy and Elgiva,"
Lumen 14 (1995): 127-37. Sabor's analysis of the manuscripts of
Burney's first tragedy reveal her husband to be a full participant in the
revisions to her play and an adept reader and critic of it.
- Peter Sabor, "The Rediscovery of Burney's Drama,"
Lumen 8 (1994): 145-56. Sabor's article offers an excellent
overview of some of the circumstances of Burney's composition of her
plays, their production history (including 20th century productions), and
the response of commentators and editors from the 19th century to the
- Sandra Sherman, "'Does Your Ladyship Mean an Extempore?'
Wit, Leisure, and the Mode of Production in Frances Burney's
The Witlings," Centennial Review 40, no. 2 (1996):
- Evelyn Shirley Shuckburgh, "Madame d'Arblay," Macmillan's
Magazine (1890): 291-98. This is an early commentary on Burney's
drama, especially Edwy and Elgiva.
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