MARC Record from marc_columbia

LEADER: 04043mam a2200433 a 4500
001 1968892
005 20220609040837.0
008 961025t19971997kyua b s001 0 eng
010 $a 96048626
020 $a0813120128 (cloth : alk. paper)
035 $a(OCoLC)ocm35831298
035 $9AMH3247CU
035 $a1968892
040 $aDLC$cDLC$dC#P$dOrLoB-B
043 $ae-uk---
050 00 $aPR698.C6$bC36 1997
082 00 $a822/.05230904$221
100 1 $aCanfield, J. Douglas$q(John Douglas),$d1941-$0http://id.loc.gov/authorities/names/n82050952
245 10 $aTricksters & estates :$bon the ideology of Restoration comedy /$cJ. Douglas Canfield.
246 3 $aTricksters and estates
260 $aLexington :$bUniversity Press of Kentucky,$c[1997], ©1997.
300 $axi, 315 pages :$billustrations ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references (p. [284]-294) and indexes.
505 00 $gPt. 1.$tSocial Comedy.$g1.$tNubile Tricksters Land Their Men.$g2.$tMature Women Tricksters Man Their Land.$g3.$tEligible Male Tricksters Get into the Deed.$g4.$tSome Tricksters Get Tricked.$g5.$tTown Tricksters Tup Their Rivals' Women.$g6.$tSatiric Butts Get Disciplined --$gPt. 2.$tSubversive Comedy.$g7.$tTown Tricksters Tup Each Other's Women.$g8.$tNaughty Heroine Tricksters Get Away with It.$g9.$tMale Folk Tricksters Erupt from Below.$g10.$tFemale Folk Tricksters Climb on Top --$gPt. 3.$tComical Satire.$g11.$tTricksters Scourge and Get Scourged.$g12.$tTricksters Get Blown about by the Wind.
520 $aIf the Renaissance was the Golden Age of English comedy, the Restoration was the Silver. These comedies are full of tricksters attempting to gain estates, the emblem and the reality of power in late feudal England. The tricksters appear in a number of guises, such as heroines landing their men, younger brothers seeking estates, or Cavaliers threatened with dispossession.
520 8 $aNow one of the leading scholars of Restoration drama offers a cultural history of the period's comedy that puts the plays in perspective and reveals the ideological function they performed in England during the latter half of the seventeenth century.
520 8 $aTo explain this function, J. Douglas Canfield groups the plays into three categories: social comedy, which underwrites Stuart ideology; subversive comedy, which undercuts it; and comical satire, which challenges it as fundamentally immoral or amoral. Through play-by-play analysis, he demonstrates how most of the comedies support the ideology of the Stuart monarchs and the aristocracy, upholding what they regarded as their natural right to rule because of an innate superiority over all other classes.
520 8 $aA significant minority of comedies, however, reveal cracks in class solidarity, portray witty heroines who inhabit the margins of society, or give voice to folk tricksters who embody a democratic force nearly capable of overwhelming class hierarchy. A smaller yet but still significant minority end in no resolution, no restoration but, at their most radical, playfully portray Stuart ideology as empty rhetoric.
650 0 $aEnglish drama$yRestoration, 1660-1700$xHistory and criticism.$0http://id.loc.gov/authorities/subjects/sh2008103089
650 0 $aLiterature and society$zGreat Britain$xHistory$y17th century.$0http://id.loc.gov/authorities/subjects/sh2009129897
650 0 $aEnglish drama (Comedy)$xHistory and criticism.$0http://id.loc.gov/authorities/subjects/sh2008103084
650 0 $aInheritance and succession in literature.$0http://id.loc.gov/authorities/subjects/sh94005095
650 0 $aRogues and vagabonds in literature.$0http://id.loc.gov/authorities/subjects/sh85114842
650 0 $aDeception in literature.$0http://id.loc.gov/authorities/subjects/sh85036188
650 0 $aTricksters in literature.$0http://id.loc.gov/authorities/subjects/sh85137489
852 00 $boff,glx$hPR698.C6$iC36 1997
852 00 $bbar$hPR698.C6$iC36 1997