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This thesis seeks to portray how an objectifying intra-diegetic gaze influences and constructs the plot devices Frances Burney uses in her four novels: Evelina, Cecilia, Camilla, and The Wanderer. Burney creates a literary reality within her four novels’ narratives and breaks that reality down with the influence of the gazes and judgments of her novels’ characters upon each of her heroines. The gaze is an almost microscopic examination that objectifies and depersonalizes all of Burney’s heroines. Burney shows how the gaze shifts perspectives and manipulates that which it objectifies. Burney places her audience and her heroines into unfamiliar situations and then she shows the costs and benefits of reasserting one’s gaze. This thesis will show how Burney portrays the power of objectification in her novels upon her heroines, and the consequences that arise from the tensions of bombarding social gazes in all their duplicitous forms.

This essay aims to explore Evelina’s abilities to self-author her life as a tool of agency, self-authoring means to be able to write your own life. Evelina was written by Frances Burney in 1778 and tells the story of a young orphan lady who visits London. She is inexperienced and makes mistakes that can be seen as fatal in the social sphere. Despite that she reflects on her mistakes and reactions and gains agency in the end. One of her bigger problems is her beauty. It puts her in situations she almost cannot control.  She becomes a sexual prey quite easily. Jane Eyre written by Charlotte Bronte in 1847 is relevant for this essay because a lot of criticism has been made about the threats and abilities that Jane’s agency has. The theoretical framework for this essay is based on the works by eight different critics: Diana Meyers, Judith Butler, Jane Spencer, Ellen Moers, Virginia Woolf, Gayatri Spivak, Sandra Gilbert and Susan Gubar. The framework explains what agency and gendered act is, it also explains the historical context behind Burney and Bronte. Lastly it discusses how the other half of the two heroines has to disappear in order for them to achieve agency. The conclusion for this essay is that Evelina attains agency though her reactions and behavior, even if she looks at herself trough the eyes of another, or in other words attains a God-like perspective, she manages to self-author her life and herself in to being.

The cult of sensibility in the eighteenth century celebrates delicate emotional responses. Such susceptibility to emotion, however, has to rely on somatic representations such as sighs, tears, convulsion, and faints. So, paradoxically, interiority is known to others only by outer bodily signs, signs that could just as easily reflect an affectation of sensibility as sensibility proper. The attempt to control the slippage in the reference between interiority and appearance becomes an anxious cultural feature of eighteenth-century men and, especially, women, of the higher classes. If sensibility requires such careful control and practice, its assumed spontaneity becomes a fiction. The performing body of sensibility turns into a screen that veils one¡¦s true interiority rather than a transparent reflection of it. The performing body is theatricalized¡X placed on the stage as a spectacle, examined by spectators. Sensibility falls prey to insincere, artificial, and affected performances. Emotional representations are constantly facing inroads of theatricality. When emotional expressions are rendered formulaic and reproducible, they lose their naturalness. Moreover, sensibility requires witnesses, spectators who can vouch for its authenticity (but never validate it beyond all doubt). Sensibility cannot proclaim itself because such proclamation would violate sensibility¡¦s principle of sheer sincerity and spontaneity. Theatricality, as an abstracted concept of theater, points both to the formulaic performances and to the model of spectator and spectacle in the theater. Sensibility is closely related to theatricality in these terms. This thesis aims to reveal the dynamics of the interplay between theatricality and sensibility in two eighteenth-century British novels. Both novels present a young heroine making her debut in the world after spending her formative years in seclusion with a male guardian. The Introduction reviews the eighteenth-century cult of sensibility. Chapter One discusses the theoretical and contextual relations between theatricality and sensibility. Chapter Two deals with Charlotte Lennox¡¦s novel The Female Quixote (1752), and how the heroine¡¦s sensibility is ridiculed as a form of self-theatricalization. Lennox gives the clash between sensibility and ridicule a generic dimension by blaming romance for the heroine¡¦s delusions. Chapter Three examines Frances Burney¡¦s epistolary novel Evelina (1778) and argues that the heroine¡¦s sensibility is both sealed and revealed in Burney¡¦s epistolary form since it enables Evelina to switch between being both spectator and spectacle. The conclusion briefly sums up the previous chapters and points out how, more generally, interpretations of literature can benefit from a recognition of the dynamics of theatricality and sensibility.

Romantic heroes are questers, according to Harold Bloom and Northrop Frye. Whether employing physical strength or relying on the power of the mind, the traditional Romantic hero invokes questing for some sense of self. Chapter 1 considers this hero-type, but is concerned with defining a non-questing British Romantic hero. The Romantic hero's identity is problematic and established through contrasting narrative versions of the hero. This paper's argument lies in the "inconclusiveness" of the Romantic experience perceived in writings throughout the Romantic period. Romantic inconclusiveness can be found not only in the structure and syntax of the works but in the person with whom the reader is meant to identify or sympathize, the hero(ine). Chapter 2 explores Byron's aesthetics of literature equivocation in The Giaour. This tale is a consciously imbricated text, and Byron's letters show a purposeful complication of the poet's authority concerning the origins of this Turkish Tale. The traditional "Byronic hero," a gloomy, guilt-ridden protagonist, is considered in Chapter 3. Byron's contemporary readers and reviewers were quick to pick up on this aspect of his verse tales, finding in the Giaour, Selim, Conrad, and Lara characteristics of Childe Harold. Yet, Byron's Turkish Tales also reveal a very different and more sentimental hero. Byron seems to play off the reader's expectations of the "Byronic hero" with an ambiguous hero whose character reflects the Romantic aesthetic of indeterminacy. Through the accretive structure of The Giaour, Byron creates a hero of competing component characteristics, a focus he also gives to his heroines. Chapters 4 and 5 address works that are traditionally considered eighteenth-century sentimental novels. Mathilda and Evelina, both epistolary works, present their heroines as worldly innocents who are beset by aggressive males. Yet their subtext suggests that these girls aggressively maneuver the men in their lives. Mathilda and Evelina create a tension between the expected and the radical to energize the reader's imagination.