000			02017 a2200337 4500
001			1317094123
005			20250317111623.0
008			250312042016GB eng
020			_a9781317094128
037			_bTaylor & Francis _cGBP 39.99 _fBB
040			_a01
041			_aeng
072	7		_aDSB _2thema
072	7		_aATD _2thema
072	7		_aN _2thema
072	7		_aNHTB _2thema
072	7		_a3M _2bisac
072	7		_aDSBD _2bic
072	7		_aAN _2bic
072	7		_aHBLH _2bic
072	7		_aHBTB _2bic
072	7		_aPER011000 _2bisac
072	7		_aLIT000000 _2bisac
072	7		_a822.009 _2bisac
100	1		_aAparna Gollapudi
245	1	0	_aMoral Reform in Comedy and Culture, 1696-1747
250			_a1
260			_aOxford _bRoutledge _c20160415
300			_a198 p
520			_bIn 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.
999			_c5958 _d5958