
Contents
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The Machine Life of Women in Eighteenth-Century England The Machine Life of Women in Eighteenth-Century England
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The Mechanics of Coming Out: A Theory of Abjection The Mechanics of Coming Out: A Theory of Abjection
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Hiding in Plain Sight: Free Indirect Discourse as Social Technique Hiding in Plain Sight: Free Indirect Discourse as Social Technique
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Evelina and Cox's Mechanical Pineapple Evelina and Cox's Mechanical Pineapple
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Artificial Illumination and the Bright Lights of Abjection: Camilla Artificial Illumination and the Bright Lights of Abjection: Camilla
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The Automaton's Tears: Authorship and Abjection The Automaton's Tears: Authorship and Abjection
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Four Frances Burney's Mechanics of Coming Out
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Published:October 2009
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Abstract
Frances Burney' novels—Evelina (1778), Cecilia (1782), and Camilla (1796), in particular—focus on the period in women's lives as they move from childhood into adult life and present themselves formally to “the world.” For Burney's characters and herself as a published writer, coming out entails a compulsive identification with the automaton—a model of mimesis and regularity that appeared persistently in eighteenth-century conduct literature and social life. This chapter discusses how depicting such processes of mechanical identification paradoxically grant Burney's protagonists affective range, as well as promote the aesthetic force and technical innovation of her novels. When presenting women as automata, Burney deploys the novel medium for detailing the possibilities of generating individual affect within the very confines of the mechanized subjectivity that appears to limit the depth of female expression.
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