WHAT MARIA LEARNED - Revision history

SvDijk at 23:12, 3 March 2011

SvDijk — Thu, 03 Mar 2011 23:12:24 GMT

←Older revision		Revision as of 23:12, 3 March 2011
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	''Abstract:''<br><br>		''Abstract:''<br><br>

-	This essay examines Maria Edgeworth's complex relationship with Continental fiction by women writers, starting from a discussion of the advertisement to ''Belinda'' (1801), in which Edgeworth somewhat surprisingly praises the fiction of Isabelle de Montolieu (Madame de Crousaz), alongside that of Elizabeth Inchbald, Frances Burney and John Moore. As Edgeworth freely admitted in her correspondence, when reading highly sentimental scenes in fiction, whether that of Montolieu or that of Stéphanie-Félicité de Genlis, for instance, she was overcome by emotion. Her statement about her preferring to read an account of the discovery of the Savage of Aveyron to Isabelle de Charrière's ''Lettres écrites de Lausanne'' (Letters from Lausanne) (1785) makes it possible to hypothesize that Edgeworth displaced her libidinal investment in passion onto facts, which are given a specific “voice” in her didacticism. This hypothesis is tested in a study of ''Belinda'' and ''Leonora'' (1806). ''Belinda'' is shown to contain submerged references to Isabelle de Montolieu's most famous novel ''Caroline de Lichtfield'' (1786), intertextual links which comment on and subvert the famous Swiss novel. ''Belinda'' only shows dysfunctional passion, and the happy resolution is made both theatrical and metafictional, which ensures that happy love is only displayed at a remove. Edgeworth's quick rejection of her protagonist, Belinda Portman, who is an empty signifier for the projection of the passions of others, shows her dim awareness that the cognitive could not stand in for the passionate. ''Leonora'', a response to Germaine de Staël's ''Delphine'' (1802), shows sensibility as a deleterious cultural paradigm, as a fiction; this radicalization of the criticism of sensibility, which was a topos of early nineteenth-century literature, is also an oversimplification of Staël's much more ambivalent depiction of sensibility. ''Leonora'' is further shown to be a parody of the anonymous ''Mémoires de Séraphine'' (1802) and Madame Vildé's ''Adolphe et Zénobie'' (1803), two of those “little novels” which the ton loved to discuss and which Edgeworth would have read during her stay in Paris in 1802-03. After the partial failure of her attack on sensibility in ''Leonora'', Edgeworth much more successfully did away with interiority in her Irish tales, in which she turned away from Continental models.	+	This essay examines [http://neww.huygens.knaw.nl/authors/show/106 Maria Edgeworth]'s complex relationship with continental fiction by women writers, starting from a discussion of the advertisement to ''Belinda'' (1801), in which Edgeworth somewhat surprisingly praises the fiction of [http://neww.huygens.knaw.nl/authors/show/77 Isabelle de Montolieu] (Madame de Crousaz), alongside that of [http://neww.huygens.knaw.nl/authors/show/44 Elizabeth Inchbald], [http://neww.huygens.knaw.nl/authors/show/184 Frances Burney] and John Moore. As Edgeworth freely admitted in her correspondence, when reading highly sentimental scenes in fiction, whether that of Montolieu or that of [http://neww.huygens.knaw.nl/authors/show/33 Stéphanie-Félicité de Genlis], for instance, she was overcome by emotion. Her statement about her preferring to read an account of the discovery of the Savage of Aveyron to [http://neww.huygens.knaw.nl/authors/show/29 Isabelle de Charrière]'s ''Lettres écrites de Lausanne'' (Letters from Lausanne) (1785) makes it possible to hypothesize that Edgeworth displaced her libidinal investment in passion onto facts, which are given a specific “voice” in her didacticism. This hypothesis is tested in a study of ''Belinda'' and ''Leonora'' (1806). ''Belinda'' is shown to contain submerged references to Isabelle de Montolieu's most famous novel ''Caroline de Lichtfield'' (1786), intertextual links which comment on and subvert the famous Swiss novel. ''Belinda'' only shows dysfunctional passion, and the happy resolution is made both theatrical and metafictional, which ensures that happy love is only displayed at a remove. Edgeworth's quick rejection of her protagonist, Belinda Portman, who is an empty signifier for the projection of the passions of others, shows her dim awareness that the cognitive could not stand in for the passionate. ''Leonora'', a response to Germaine de Staël's ''Delphine'' (1802), shows sensibility as a deleterious cultural paradigm, as a fiction; this radicalization of the criticism of sensibility, which was a topos of early nineteenth-century literature, is also an oversimplification of Staël's much more ambivalent depiction of sensibility. ''Leonora'' is further shown to be a parody of the anonymous ''Mémoires de Séraphine'' (1802) and Madame Vildé's ''Adolphe et Zénobie'' (1803), two of those “little novels” which the ton loved to discuss and which Edgeworth would have read during her stay in Paris in 1802-03. After the partial failure of her attack on sensibility in ''Leonora'', Edgeworth much more successfully did away with interiority in her Irish tales, in which she turned away from Continental models.

SvDijk at 16:54, 22 February 2011

SvDijk — Tue, 22 Feb 2011 16:54:34 GMT

←Older revision		Revision as of 16:54, 22 February 2011
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	''Abstract:''<br><br>		''Abstract:''<br><br>

-	This essay examines Maria Edgeworth's complex relationship with Continental fiction by women writers, starting from a discussion of the advertisement to ''Belinda'' (1801), in which Edgeworth somewhat surprisingly praises the fiction of Isabelle de Montolieu (Madame de Crousaz), alongside that of Elizabeth Inchbald, Frances Burney and John Moore. As Edgeworth freely admitted in her correspondence, when reading highly sentimental scenes in fiction, whether that of Montolieu or that of Stéphanie-Félicité de Genlis, for instance, she was overcome by emotion. Her statement about her preferring to read an account of the discovery of the Savage of Aveyron to Isabelle de Charrière's ''Lettres écrites de Lausanne'' (Letters from Lausanne) (1785) makes it possible to hypothesize that Edgeworth displaced her libidinal investment in passion onto facts, which are given a specific “voice” in her didacticism. This hypothesis is tested in a study of ''Belinda and ''Leonora'' (1806). ''Belinda'' is shown to contain submerged references to Isabelle de Montolieu's most famous novel ''Caroline de Lichtfield'' (1786), intertextual links which comment on and subvert the famous Swiss novel. ''Belinda'' only shows dysfunctional passion, and the happy resolution is made both theatrical and metafictional, which ensures that happy love is only displayed at a remove. Edgeworth's quick rejection of her protagonist, Belinda Portman, who is an empty signifier for the projection of the passions of others, shows her dim awareness that the cognitive could not stand in for the passionate. ''Leonora'', a response to Germaine de Staël's ''Delphine'' (1802), shows sensibility as a deleterious cultural paradigm, as a fiction; this radicalization of the criticism of sensibility, which was a topos of early nineteenth-century literature, is also an oversimplification of Staël's much more ambivalent depiction of sensibility. ''Leonora'' is further shown to be a parody of the anonymous ''Mémoires de Séraphine'' (1802) and Madame Vildé's ''Adolphe et Zénobie'' (1803), two of those “little novels” which the ton loved to discuss and which Edgeworth would have read during her stay in Paris in 1802-03. After the partial failure of her attack on sensibility in ''Leonora'', Edgeworth much more successfully did away with interiority in her Irish tales, in which she turned away from Continental models.	+	This essay examines Maria Edgeworth's complex relationship with Continental fiction by women writers, starting from a discussion of the advertisement to ''Belinda'' (1801), in which Edgeworth somewhat surprisingly praises the fiction of Isabelle de Montolieu (Madame de Crousaz), alongside that of Elizabeth Inchbald, Frances Burney and John Moore. As Edgeworth freely admitted in her correspondence, when reading highly sentimental scenes in fiction, whether that of Montolieu or that of Stéphanie-Félicité de Genlis, for instance, she was overcome by emotion. Her statement about her preferring to read an account of the discovery of the Savage of Aveyron to Isabelle de Charrière's ''Lettres écrites de Lausanne'' (Letters from Lausanne) (1785) makes it possible to hypothesize that Edgeworth displaced her libidinal investment in passion onto facts, which are given a specific “voice” in her didacticism. This hypothesis is tested in a study of ''Belinda'' and ''Leonora'' (1806). ''Belinda'' is shown to contain submerged references to Isabelle de Montolieu's most famous novel ''Caroline de Lichtfield'' (1786), intertextual links which comment on and subvert the famous Swiss novel. ''Belinda'' only shows dysfunctional passion, and the happy resolution is made both theatrical and metafictional, which ensures that happy love is only displayed at a remove. Edgeworth's quick rejection of her protagonist, Belinda Portman, who is an empty signifier for the projection of the passions of others, shows her dim awareness that the cognitive could not stand in for the passionate. ''Leonora'', a response to Germaine de Staël's ''Delphine'' (1802), shows sensibility as a deleterious cultural paradigm, as a fiction; this radicalization of the criticism of sensibility, which was a topos of early nineteenth-century literature, is also an oversimplification of Staël's much more ambivalent depiction of sensibility. ''Leonora'' is further shown to be a parody of the anonymous ''Mémoires de Séraphine'' (1802) and Madame Vildé's ''Adolphe et Zénobie'' (1803), two of those “little novels” which the ton loved to discuss and which Edgeworth would have read during her stay in Paris in 1802-03. After the partial failure of her attack on sensibility in ''Leonora'', Edgeworth much more successfully did away with interiority in her Irish tales, in which she turned away from Continental models.

SvDijk at 16:53, 22 February 2011

SvDijk — Tue, 22 Feb 2011 16:53:37 GMT

←Older revision		Revision as of 16:53, 22 February 2011
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	<br><br>		<br><br>
		+	'''WHAT MARIA LEARNED: MARIA EDGEWORTH AND CONTINENTAL FICTION'''<br><br>
	''Abstract:''<br><br>		''Abstract:''<br><br>
		+
		+	This essay examines Maria Edgeworth's complex relationship with Continental fiction by women writers, starting from a discussion of the advertisement to ''Belinda'' (1801), in which Edgeworth somewhat surprisingly praises the fiction of Isabelle de Montolieu (Madame de Crousaz), alongside that of Elizabeth Inchbald, Frances Burney and John Moore. As Edgeworth freely admitted in her correspondence, when reading highly sentimental scenes in fiction, whether that of Montolieu or that of Stéphanie-Félicité de Genlis, for instance, she was overcome by emotion. Her statement about her preferring to read an account of the discovery of the Savage of Aveyron to Isabelle de Charrière's ''Lettres écrites de Lausanne'' (Letters from Lausanne) (1785) makes it possible to hypothesize that Edgeworth displaced her libidinal investment in passion onto facts, which are given a specific “voice” in her didacticism. This hypothesis is tested in a study of ''Belinda and ''Leonora'' (1806). ''Belinda'' is shown to contain submerged references to Isabelle de Montolieu's most famous novel ''Caroline de Lichtfield'' (1786), intertextual links which comment on and subvert the famous Swiss novel. ''Belinda'' only shows dysfunctional passion, and the happy resolution is made both theatrical and metafictional, which ensures that happy love is only displayed at a remove. Edgeworth's quick rejection of her protagonist, Belinda Portman, who is an empty signifier for the projection of the passions of others, shows her dim awareness that the cognitive could not stand in for the passionate. ''Leonora'', a response to Germaine de Staël's ''Delphine'' (1802), shows sensibility as a deleterious cultural paradigm, as a fiction; this radicalization of the criticism of sensibility, which was a topos of early nineteenth-century literature, is also an oversimplification of Staël's much more ambivalent depiction of sensibility. ''Leonora'' is further shown to be a parody of the anonymous ''Mémoires de Séraphine'' (1802) and Madame Vildé's ''Adolphe et Zénobie'' (1803), two of those “little novels” which the ton loved to discuss and which Edgeworth would have read during her stay in Paris in 1802-03. After the partial failure of her attack on sensibility in ''Leonora'', Edgeworth much more successfully did away with interiority in her Irish tales, in which she turned away from Continental models.

SvDijk at 16:38, 22 February 2011

SvDijk — Tue, 22 Feb 2011 16:38:26 GMT

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	<br>		<br>
-	*Publications > [http://www.womenwriters.nl/index.php/Volumes Volumes ''WomenWriters''] > [http://www.womenwriters.nl/index.php/Women_Readers_in_Europe:_Readers%2C_Writers%2C_Salonni%C3%A8res%2C_1750-1900 Women readers in Europe] > <br><br>	+	*Publications > [http://www.womenwriters.nl/index.php/Volumes Volumes ''WomenWriters''] > [http://www.womenwriters.nl/index.php/Women_Readers_in_Europe:_Readers%2C_Writers%2C_Salonni%C3%A8res%2C_1750-1900 Women readers in Europe] > Bour<br><br>

SvDijk at 16:36, 22 February 2011

SvDijk — Tue, 22 Feb 2011 16:36:28 GMT

←Older revision		Revision as of 16:36, 22 February 2011
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	<br>		<br>
-	*Publications > Volumes ''WomenWriters'' > Women readers in Europe > <br><br>	+	*Publications > [http://www.womenwriters.nl/index.php/Volumes Volumes ''WomenWriters''] > [http://www.womenwriters.nl/index.php/Women_Readers_in_Europe:_Readers%2C_Writers%2C_Salonni%C3%A8res%2C_1750-1900 Women readers in Europe] > <br><br>

SvDijk: New page:
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''Abstract:''

SvD, February 2011

*Publications > Volumes ''WomenWriters'' > Women readers in Europe >

SvDijk — Tue, 22 Feb 2011 14:23:35 GMT

New page: __NOEDITSECTION__ == xx == ''Abstract:'' SvD, February 2011 <hr> *Publications > Volumes ''WomenWriters'' > Women readers in Europe >

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''Abstract:'' 

 

SvD, February 2011
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*Publications > Volumes ''WomenWriters'' > Women readers in Europe >