This edition contains two of Frances Burney's comedies: The Witlings, (1778-80) which satirizes the bluestockings; and The Woman Hater (1800-02), which explores social pretension and gender conflict.

This second novel by multiple award-winner Vernor Vinge, from 1976, is a fast-paced adventure where galactic policies collide and different cultures clash as two scientists and their faith in technology are pitted against an elusive race of telekinetic beings. Marooned on a distant world and slowly dying of food poisoning, two anthropologists are caught between warring alien factions engaged in a battle that will affect the future of the world's inhabitants and their deadly telekinetic powers. If the anthropologists can't help resolve the conflict between the feuding alien factions, no one will survive. This edition features sixteen full-page illustrations by Doug Beekman. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

The position Frances Burney (1752-1840) holds as a novelist, journalist, and letterwriter is now undisputed, thanks to reevaluations of the canon in recent years. Yet Burney was always intrigued by, and wrote for, the stage. Though only one of Burney's dramas was performed in her lifetime, Barbara Darby places the plays in the context of performance and feminist theory, challenging past assertions about Burney that were based entirely on her novels and journals. Darby maintains that in exposing the failure of such practices and institutions as courtship, marriage, family, government, and the church, Burney's dramas often exceed her novels in the depth of their social commentary. In her four comedies and four tragedies, Burney uses stage space, dialogue, blocking, and gesture to highlight the ways power is distributed among society's members. According to Darby, these plays show that the eighteenth-century female experience was dominated by physical, psychic, and emotional regulation that included bodily punishment and the limitation of personal choice. Placing Burney alongside other prominent female playwrights of the period, Darby brings to light a substantial body of work, revealing that Burney's drama was not a casual sideline to her novel writing. Frances Burney, Dramatist, expands our appreciation of the extent to which eighteenth-century women playwrights used the stage as a forum.

Treating Frances Burney (1752-1840) with the seriousness usually reserved for later novelists of the nineteenth and twentieth centuries, Margaret Anne Doody combines biographical narrative with informed literary criticism as she analyzes not only Burney's published novels, but her plays, fragments of novels, poems, and other works never published. Doody also draws upon a mine of letters and diaries for detailed and sometimes surprising biographical information. Burney's feelings and emotions forcefully emerge in her sophisticated and complex late novels, Camilla and The Wanderer. Her novels all relate to personal experience; as an artist she is attracted to the violent, the grotesque, and the macabre. She is a powerful comic writer, but her comedy is far from reflecting a shallow cheerfulness. Bringing a novelist's perspective to her material, in this 1989 book Doody shows an appreciation of the many dimensions of a predecessor's writings and she tells her story with force and conviction.

Emphasizing Frances Burney's professionalism and her courage, Janice Farrar Thaddeus shows the protean writer who recognised her abilities and exercised them, always carefully shaping her career. Though now frequently depicted as retiring, even fearful, Burney forced on her reading public themes they were scarcely ready for, flamboyantly mixing genres, writing comically about intimate violence. Not content in old age to be merely a literary icon, she privately recorded with increasing clarity the moments when the world lacerates the self.

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.

This Broadview edition pairs two of Frances Burney’s linked comedies. They both present the character of Lady Smatter, a “femme savante” whose lineage may be traced back to Molière; they both centre on the misfortunes of the “elle” figure, the dispossessed heiress and wife who appears frequently in Burney’s fiction; and they both criticize a culture of misogyny that breeds suspicion and resentment. The Witlings, lighter and more comic, derives from late seventeenth-century conventions; The Woman-Hater, more melodramatic, both expresses and warns against the excessive sensibility of romanticism. Together, these two plays constitute a miniature history of English drama from the Restoration to the French Revolution and beyond. This edition contains a valuable selection of appendices, including: Burney’s “Epilogue to Gerilda”; letters and diary entries; contemporary writings on comedy; and Burney’s cast-list for The Woman-Hater.

Literary Relations argues that kinship relations between writers, both literal and figurative, played a central part in the creation of a national tradition of English literature. Through studies of writing relationships, including those between William and Dorothy Wordsworth, Henry and Sarah Fielding, Frances and Richard Brinsley Sheridan, and Mary Wollstonecraft and Mary Shelley, it shows that kinship between writers played a significant role not just in individual lives but in the formation of generic traditions. As writers looked back to founding fathers, and hoped to have writing sons, the literary tradition was modelled on the patriarchal family, imagined in tropes of genealogy and inheritance. This marginalized but did not exclude women, and the study ranges from the work of Dryden, with its emphasis on literature as patrilineal inheritance, to the reception of Austen, which shows uneven but significant progress towards understanding the woman writer as an inheriting daughter and generative mother.

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.