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Two Voices in Portraying Higgins in Pygmalion | Chen | Theory and Practice in Language Studies
Theory and Practice in Language Studies, Vol 1, No 4 (2011), 337-341, Apr 2011
doi:10.4304/tpls.1.4.337-341

Two Voices in Portraying Higgins in Pygmalion

Hongwei Chen

Abstract


Seen as a play in the stage of transition, Pygmalion marks Shaw’s returning from his “discussion plays” to his earlier writings of the popular romance in his anti-romantic Shavian treatment. Portraying Higgins both as a man of great tradition who is distinguished for his intellectual superiority and a big child who can never free himself from maternal ties, Bernard Shaw makes the play a romance in a sense that differs from the normal expectation of the genre as its subtitle suggests.


Keywords


power of speech; two voices; man of tradition; childish willfulness; romance

References


Bloom, Harold. (1987). Introduction. In Harold Bloom (ed.), George Bernard Shaw. New York: Chelsea House Publishers.

Bertolini, John A. (1991). The Playwrighting Self of Bernard Shaw. Carbondole: South Illionois University Press.

Davis, Tracy C. (1998). Shaw's Interstices of Empire: Decolonizing at home and abroad, In Christopher Innes (ed.), The Cambridge Companion to George Bernard Shaw. Cambridge: Cambridge University Press.

Gainor, J. Ellen. (1991). Shaw's Daughters: Dramatic and Narrative Constructions of Gender. Ann Arbor: The University of Michigan Press.

Shaw, George Bernard. (1992). Pygmalion and Major Barbara. New York, Bantam.

Wisenthal, J. L. (1991). Having the Last Words: Plot and Countplot in Bernard Shaw. In Critical Essays on George Bernard Shaw. Macmillan: MacMillan Publishing Company.


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Theory and Practice in Language Studies (TPLS, ISSN 1799-2591)

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