Imke Heuer - Revision history

SvDijk at 08:16, 3 May 2009

SvDijk — Sun, 03 May 2009 08:16:34 GMT

←Older revision		Revision as of 08:16, 3 May 2009
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	'''Georgiana, Duchess of Devonshire's ''Zillia'', Playwriting and Female Aristocratic Authorship'''<br><br>		'''Georgiana, Duchess of Devonshire's ''Zillia'', Playwriting and Female Aristocratic Authorship'''<br><br>

		+	''Abstract:''<br>
	While [http://www.databasewomenwriters.nl/author.asp?authorID=136 Georgiana, Duchess of Devonshire] (1757-1806), had long been famous as a ''salonnière'' and supporter of the Whig party, critical interest in her literary works is fairly recent. Whereas she is presently in the process of being rediscovered as a novelist and poet, my paper will discuss her dramatic oeuvre and her complex involvement with the theatrical world.<br><br>		While [http://www.databasewomenwriters.nl/author.asp?authorID=136 Georgiana, Duchess of Devonshire] (1757-1806), had long been famous as a ''salonnière'' and supporter of the Whig party, critical interest in her literary works is fairly recent. Whereas she is presently in the process of being rediscovered as a novelist and poet, my paper will discuss her dramatic oeuvre and her complex involvement with the theatrical world.<br><br>

SvDijk at 21:22, 29 April 2008

SvDijk — Tue, 29 Apr 2008 21:22:13 GMT

←Older revision		Revision as of 21:22, 29 April 2008
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	'''Georgiana, Duchess of Devonshire's ''Zillia'', Playwriting and Female Aristocratic Authorship'''<br><br>		'''Georgiana, Duchess of Devonshire's ''Zillia'', Playwriting and Female Aristocratic Authorship'''<br><br>

-	While Georgiana, Duchess of Devonshire (1757-1806), had long been famous as a ''salonnière'' and supporter of the Whig party, critical interest in her literary works is fairly recent. Whereas she is presently in the process of being rediscovered as a novelist and poet, my paper will discuss her dramatic oeuvre and her complex involvement with the theatrical world.<br><br>	+	While [http://www.databasewomenwriters.nl/author.asp?authorID=136 Georgiana, Duchess of Devonshire] (1757-1806), had long been famous as a ''salonnière'' and supporter of the Whig party, critical interest in her literary works is fairly recent. Whereas she is presently in the process of being rediscovered as a novelist and poet, my paper will discuss her dramatic oeuvre and her complex involvement with the theatrical world.<br><br>

	Particular focus will be on her early drama ''Zillia'' (1782). Described to her mother, the Countess Spencer, as a play 'in Mme de Genlis stile' [sic], Zillia emulates Genlis's [http://www.databasewomenwriters.nl/work.asp?workID=25 ''Théâtre à l’usage des jeunes personnes''] (1779-1780) in style and subject matter. I show how, in search for a position as an author reconcilable with her social standing, Devonshire used Genlis as a role model. Putting ''Zillia'' into the wider context of [http://www.databasewomenwriters.nl/results.asp?type=receptions&work_authorName=genlis&notesfield=&work_Title=&rec_Year=&Editor_ID=geen&rec_authorName=&Rec_Title=&reference=&RecCountry_ID=14&pageSize=50&order=r.Year British Genlis reception], I briefly discuss the reasons why the French writer's pedagogical plays were particularly attractive to British women writers, and frequently translated or adapted. Additionally, I consider Devonshire's ambivalent comments on Genlis, which reflect her anxieties about her own authorship. <br><br>		Particular focus will be on her early drama ''Zillia'' (1782). Described to her mother, the Countess Spencer, as a play 'in Mme de Genlis stile' [sic], Zillia emulates Genlis's [http://www.databasewomenwriters.nl/work.asp?workID=25 ''Théâtre à l’usage des jeunes personnes''] (1779-1780) in style and subject matter. I show how, in search for a position as an author reconcilable with her social standing, Devonshire used Genlis as a role model. Putting ''Zillia'' into the wider context of [http://www.databasewomenwriters.nl/results.asp?type=receptions&work_authorName=genlis&notesfield=&work_Title=&rec_Year=&Editor_ID=geen&rec_authorName=&Rec_Title=&reference=&RecCountry_ID=14&pageSize=50&order=r.Year British Genlis reception], I briefly discuss the reasons why the French writer's pedagogical plays were particularly attractive to British women writers, and frequently translated or adapted. Additionally, I consider Devonshire's ambivalent comments on Genlis, which reflect her anxieties about her own authorship. <br><br>

SvDijk at 21:14, 29 April 2008

SvDijk — Tue, 29 Apr 2008 21:14:29 GMT

←Older revision		Revision as of 21:14, 29 April 2008
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	<br><br><br>		<br><br><br>
-	''''Something in Mme de Genlis stile' -	+	'''"Something in Mme de Genlis stile"'''<br>
-	Georgiana, Duchess of Devonshire's Zillia, Playwriting and Female Aristocratic Authorship'''<br><br>	+	'''Georgiana, Duchess of Devonshire's ''Zillia'', Playwriting and Female Aristocratic Authorship'''<br><br>

	While Georgiana, Duchess of Devonshire (1757-1806), had long been famous as a ''salonnière'' and supporter of the Whig party, critical interest in her literary works is fairly recent. Whereas she is presently in the process of being rediscovered as a novelist and poet, my paper will discuss her dramatic oeuvre and her complex involvement with the theatrical world.<br><br>		While Georgiana, Duchess of Devonshire (1757-1806), had long been famous as a ''salonnière'' and supporter of the Whig party, critical interest in her literary works is fairly recent. Whereas she is presently in the process of being rediscovered as a novelist and poet, my paper will discuss her dramatic oeuvre and her complex involvement with the theatrical world.<br><br>

-	Particular focus will be on her early drama ''Zillia'' (1782). Described to her mother, the Countess Spencer, as a play 'in Mme de Genlis stile' [sic], Zillia emulates Genlis's ''Théâtre à l’usage des jeunes personnes'' (1779-1780) in style and subject matter. I show how, in search for a position as an author reconcilable with her social standing, Devonshire used Genlis as a role model. Putting ''Zillia'' into the wider context of [http://www.databasewomenwriters.nl/results.asp?type=receptions&work_authorName=genlis&notesfield=&work_Title=&rec_Year=&Editor_ID=geen&rec_authorName=&Rec_Title=&reference=&RecCountry_ID=14&pageSize=50&order=r.Year British Genlis reception], I briefly discuss the reasons why the French writer's pedagogical plays were particularly attractive to British women writers, and frequently translated or adapted. Additionally, I consider Devonshire's ambivalent comments on Genlis, which reflect her anxieties about her own authorship. <br><br>	+	Particular focus will be on her early drama ''Zillia'' (1782). Described to her mother, the Countess Spencer, as a play 'in Mme de Genlis stile' [sic], Zillia emulates Genlis's [http://www.databasewomenwriters.nl/work.asp?workID=25 ''Théâtre à l’usage des jeunes personnes''] (1779-1780) in style and subject matter. I show how, in search for a position as an author reconcilable with her social standing, Devonshire used Genlis as a role model. Putting ''Zillia'' into the wider context of [http://www.databasewomenwriters.nl/results.asp?type=receptions&work_authorName=genlis&notesfield=&work_Title=&rec_Year=&Editor_ID=geen&rec_authorName=&Rec_Title=&reference=&RecCountry_ID=14&pageSize=50&order=r.Year British Genlis reception], I briefly discuss the reasons why the French writer's pedagogical plays were particularly attractive to British women writers, and frequently translated or adapted. Additionally, I consider Devonshire's ambivalent comments on Genlis, which reflect her anxieties about her own authorship. <br><br>

	The following section explores ''Zillia'' in connection to the political dimension of pedagogical drama for the education of the female aristocratic elite. Particular attention will be devoted to the ways in which Devonshire uses of the language and discourse of sensibility to sketch an ideal of female aristocratic citizenship. I also briefly consider the relation between ''Zillia'' and her later theatrical projects and political agenda.<br><br>		The following section explores ''Zillia'' in connection to the political dimension of pedagogical drama for the education of the female aristocratic elite. Particular attention will be devoted to the ways in which Devonshire uses of the language and discourse of sensibility to sketch an ideal of female aristocratic citizenship. I also briefly consider the relation between ''Zillia'' and her later theatrical projects and political agenda.<br><br>

SvDijk at 21:08, 29 April 2008

SvDijk — Tue, 29 Apr 2008 21:08:14 GMT

←Older revision		Revision as of 21:08, 29 April 2008
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	<br><br><br>		<br><br><br>
		+	''''Something in Mme de Genlis stile' -
		+	Georgiana, Duchess of Devonshire's Zillia, Playwriting and Female Aristocratic Authorship'''<br><br>
		+
		+	While Georgiana, Duchess of Devonshire (1757-1806), had long been famous as a ''salonnière'' and supporter of the Whig party, critical interest in her literary works is fairly recent. Whereas she is presently in the process of being rediscovered as a novelist and poet, my paper will discuss her dramatic oeuvre and her complex involvement with the theatrical world.<br><br>
		+
		+	Particular focus will be on her early drama ''Zillia'' (1782). Described to her mother, the Countess Spencer, as a play 'in Mme de Genlis stile' [sic], Zillia emulates Genlis's ''Théâtre à l’usage des jeunes personnes'' (1779-1780) in style and subject matter. I show how, in search for a position as an author reconcilable with her social standing, Devonshire used Genlis as a role model. Putting ''Zillia'' into the wider context of [http://www.databasewomenwriters.nl/results.asp?type=receptions&work_authorName=genlis&notesfield=&work_Title=&rec_Year=&Editor_ID=geen&rec_authorName=&Rec_Title=&reference=&RecCountry_ID=14&pageSize=50&order=r.Year British Genlis reception], I briefly discuss the reasons why the French writer's pedagogical plays were particularly attractive to British women writers, and frequently translated or adapted. Additionally, I consider Devonshire's ambivalent comments on Genlis, which reflect her anxieties about her own authorship. <br><br>
		+
		+	The following section explores ''Zillia'' in connection to the political dimension of pedagogical drama for the education of the female aristocratic elite. Particular attention will be devoted to the ways in which Devonshire uses of the language and discourse of sensibility to sketch an ideal of female aristocratic citizenship. I also briefly consider the relation between ''Zillia'' and her later theatrical projects and political agenda.<br><br>
		+
		+	Additionally, I show how the play stands itself in the margins between the privacy of the 'closet' and the public sphere. Represented by the Duchess as an amateur exercise excluding public performance, it nevertheless had a potential for publication, and for her participation in public debates on pedagogy and the role of aristocratic women. <br><br>
		+
		+	As will become evident, Devonshire deliberately employed her ‘literary mimicry’ to simultaneously remain within the boundaries of dilettantism and aristocratic propriety and pursue a literary career. My paper will open up perspectives on the strategic ways in which women writers used literary adaptation and emulation, the political dimension of pedagogical drama, and the interactions between gender, genre, class and authorship.
		+

	<br><br>		<br><br>

SvDijk: New page:
NOEDITSECTION == Imke Heuer ==

SvD, April 2008

*Conferences > NEWW international conferences > Chawton 2008 > Heuer

SvDijk — Tue, 29 Apr 2008 20:00:05 GMT

New page: __NOEDITSECTION__ == Imke Heuer == SvD, April 2008 <hr> *Conferences > NEWW international conferences > Chawton 2008 > Heuer

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