Moral Reform in Comedy and Culture, 1696-1747 (Record no. 5957)

MARC details
000 -LEADER
fixed length control field 02017 a2200337 4500
001 - CONTROL NUMBER
control field 1317094115
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20250317111623.0
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 250312042016GB eng
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 9781317094111
037 ## - SOURCE OF ACQUISITION
Source of stock number/acquisition Taylor & Francis
Terms of availability GBP 39.99
Form of issue BB
040 ## - CATALOGING SOURCE
Original cataloging agency 01
041 ## - LANGUAGE CODE
Language code of text/sound track or separate title eng
072 7# - SUBJECT CATEGORY CODE
Subject category code DSB
Source thema
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Subject category code ATD
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Subject category code N
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Subject category code 3M
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Subject category code DSBD
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Subject category code AN
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Subject category code PER011000
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Subject category code LIT000000
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Subject category code 822.009
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100 1# - MAIN ENTRY--PERSONAL NAME
Personal name Aparna Gollapudi
245 10 - TITLE STATEMENT
Title Moral Reform in Comedy and Culture, 1696-1747
250 ## - EDITION STATEMENT
Edition statement 1
260 ## - PUBLICATION, DISTRIBUTION, ETC.
Place of publication, distribution, etc. Oxford
Name of publisher, distributor, etc. Routledge
Date of publication, distribution, etc. 20160415
300 ## - PHYSICAL DESCRIPTION
Extent 198 p
520 ## - SUMMARY, ETC.
Expansion of summary note In the first half of the eighteenth century, a new comic plot formula dramatizing the moral reform of a flawed protagonist emerged on the English stage. The comic reform plot was not merely a generic turn towards morality or sentimentality, Aparna Gollapudi argues, but an important social mechanism for controlling and challenging political and economic changes. Gollapudi looks at reform comedies by dramatists such as Colley Cibber, Susanna Centlivre, Richard Steele, Charles Johnson, and Benjamin Hoadly in relation to emergent trends in finance capitalism, imperial nationalism, political factionalism, domestic ideology, and middling class-consciousness. Within the context of the cultural anxieties engendered by these developments, Gollapudi suggests, the reform comedies must be seen not as clichéd and moralistic productions but as responses to vital ideological shifts and cultural transvaluations that impose a reassuring moral schema on everyday conduct. Thoroughly researched and elegantly written, Gollapudi's study shows that reform comedies covered a range of contemporary concerns from party politics to domestic harmony and are crucial for understanding eighteenth-century literature and culture.

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