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dc.contributor.authorMeeuwis, M.en_US
dc.date.accessioned2019-02-07T12:22:44Z
dc.date.available2019-02-07T12:22:44Zen_US
dc.date.issued2013en_US
dc.identifier.issn0013-8304
dc.identifier.urihttp://hdl.handle.net/11693/49032en_US
dc.description.abstractLate-Victorian social liberalism held that individuals should tune their thought and behavior to nationally standardized values; theater was central to the theorization, and to the practice, of this socialization of thinking. This theory was given its most precise articulation by Walter Bagehot’s concept of emulation. Theaters spearheaded both Bagehot’s theorization of social emulation and its real-world practice, giving rise to the so-called problem play of social critique and reform. In a new reading of the genre, through its unexpected origins in Dion Boucicault’s The Corsican Brothers (1852) to its mature form in T. W. Robertson’s M.P. (1870) and A.W. Pinero’s Trelawny of the “Wells” (1898), I demonstrate how problem plays created spectacles that invited audiences to emulate their examples, as well as how late-liberal political philosophy made use of this model of theatrical emulation.en_US
dc.language.isoEnglishen_US
dc.source.titleEnglish Literature History (ELH)en_US
dc.relation.isversionofhttps://doi.org/10.1353/elh.2013.0046en_US
dc.titleRepresentative government: The “problem play,” quotidian culture, and the making of social liberalismen_US
dc.typeArticleen_US
dc.departmentProgram in Cultures, Civilizations and Ideasen_US
dc.citation.spage1093en_US
dc.citation.epage1120en_US
dc.citation.volumeNumber80en_US
dc.citation.issueNumber4en_US
dc.identifier.doi10.1353/elh.2013.0046en_US
dc.publisherThe Johns Hopkins University Pressen_US
dc.identifier.eissn1080-6547


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