The comic reform plot was not merely a generic turn towards morality or sentimentality, Gollapudi argues, but an important social mechanism for controlling and challenging political and economic changes. She examines reform comedies by Colley Cibber,...
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Bibliotheks-und Informationssystem der Carl von Ossietzky Universität Oldenburg (BIS)
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Bibliotheks-und Informationssystem der Carl von Ossietzky Universität Oldenburg (BIS)
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The comic reform plot was not merely a generic turn towards morality or sentimentality, Gollapudi argues, but an important social mechanism for controlling and challenging political and economic changes. She examines reform comedies by Colley Cibber, Susanna Centlivre, Richard Steele, Charles Johnson, and Benjamin Hoadly within the context of emergent trends in finance capitalism, imperial nationalism, political factionalism, domestic ideology and middling class-consciousness
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IntroductionSeeing is believing: performing reform in Colley Cibber's Love's last shift -- Sincerity as spectacle: Susanna Centlivre's The gamester and George Farquhar's The inconstant -- Reforming the reformer: female gaze and rake reform in Colley Cibber's The careless husband and The lady's last stake -- Jokes and party strokes: whig ideology and wife-reform in Richard Steele's The tender husband and Charles Johnson's The masquerade -- Horns, whores, and happy marriages: reforming jealousy in Charles Johnson's The generous husband and Benjamin Hoadly's The suspicious husband -- Afterword.
