國立虎尾科技大學 |

Language and Metadrama in Major Barbara and Pygmalion = Shavian Sisters /

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Language and Metadrama in Major Barbara and Pygmalion/ by Jean Reynolds.
其他題名:	Shavian Sisters /
作者:	Reynolds, Jean.
面頁冊數:	XV, 229 p. 3 illus., 2 illus. in color.online resource. :
Contained By:	Springer Nature eBook
標題:	Theatre and Performance Arts. -
電子資源:	https://doi.org/10.1007/978-3-030-96071-1
ISBN:	9783030960711

Language and Metadrama in Major Barbara and Pygmalion = Shavian Sisters /
Reynolds, Jean.

Language and Metadrama in Major Barbara and PygmalionShavian Sisters /[electronic resource] :by Jean Reynolds. - 1st ed. 2022. - XV, 229 p. 3 illus., 2 illus. in color.online resource. - Bernard Shaw and His Contemporaries,2634-582X. - Bernard Shaw and His Contemporaries,.

Part I Barbara and Eliza -- Chapter 1 Shavian Sisters -- Chapter 2 “What’s to Become of Me?” -- Chapter 3 The Power of Imagination -- Part II A Playwright at Work -- Chapter 4 Seeing Double -- Chapter 5 A Girl Becomes a Woman -- Chapter 6 The Undershaft Inheritance -- Part III The Problem of Language -- Chapter 7 “Why Can’t the English?” -- Chapter 8 “It Don’t Matter, Anyhow” -- Chapter 9 Competing Components -- Chapter 10 “The Holiest and Greatest Things” -- Afterword.

“In a cleverly developed argument, refreshingly new in its unearthing of the more complex metadrama beneath the surface drama, Reynolds shows us the complexity of the battle that ends without a knockout yet celebrates the “Shavian sisters” for their resourcefulness in seeing it to the end, and even more celebrates Shaw for writing with such depth and breadth of understanding.” — Richard F. Dietrich, Author of Bernard Shaw’s Novels (1996), Professor Emeritus, University of South Florida, USA This book focuses on two important topics in Shaw’s Major Barbara and Pygmalion that have received little attention from critics: language and metadrama. If we look beyond the social, political, and economic issues that Shaw explored in these two plays, we discover that the stories of the two “Shavian sisters”— Barbara Undershaft and Eliza Doolittle—are deeply concerned with performance and what Jacques Derrida calls “the problem of language.” Nearly every character in Major Barbara produces, directs, or acts in at least one miniature play. In Pygmalion, Henry Higgins is Eliza’s acting coach and phonetics teacher, as well as the star of an impromptu, open-air phonetics show. The language content in these two plays is just as intriguing. Did Eliza Doolittle have to learn Standard English to become a complete human being? Should we worry about the bad grammar we hear at Barbara Undershaft’s Salvation Army shelter? Is English losing its precision and purity? Meanwhile, in the background, Shaw keeps reminding us that language and theatre are always present in our everyday lives—sometimes serving as stabilizing forces, and sometimes working to undo them. Jean Reynolds is Professor Emerita of English at Polk State College, USA. Her previous publications include Shaw and Feminisms (2013), co-edited with D.L. Hadfield, and Pygmalion’s Wordplay: The Postmodern Shaw (1999), as well as multiple articles and reviews for SHAW: The Journal of Shaw Studies, of which she is an editorial board member.

ISBN: 9783030960711

Standard No.: 10.1007/978-3-030-96071-1doiSubjects--Topical Terms:

1365803
Theatre and Performance Arts.

LC Class. No.: PN1660-1693

Dewey Class. No.: 792.9

Language and Metadrama in Major Barbara and Pygmalion = Shavian Sisters /
LDR:04009nam a22004095i 4500 001 1088135
003 DE-He213
005 20220228210047.0
007 cr nn 008mamaa
008 221228s2022 sz | s |||| 0|eng d
020 $a 9783030960711 $9 978-3-030-96071-1
024 7 $a 10.1007/978-3-030-96071-1 $2 doi
035 $a 978-3-030-96071-1
050 4 $a PN1660-1693
072 7 $a AN $2 bicssc
072 7 $a PER011000 $2 bisacsh
072 7 $a ATD $2 thema
082 0 4 $a 792.9 $2 23
100 1 $a Reynolds, Jean. $e author. $4 aut $4 http://id.loc.gov/vocabulary/relators/aut $3 1395291
245 1 0 $a Language and Metadrama in Major Barbara and Pygmalion $h [electronic resource] : $b Shavian Sisters / $c by Jean Reynolds.
250 $a 1st ed. 2022.
264 1 $a Cham : $b Springer International Publishing : $b Imprint: Palgrave Macmillan, $c 2022.
300 $a XV, 229 p. 3 illus., 2 illus. in color. $b online resource.
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
347 $a text file $b PDF $2 rda
490 1 $a Bernard Shaw and His Contemporaries, $x 2634-582X
505 0 $a Part I Barbara and Eliza -- Chapter 1 Shavian Sisters -- Chapter 2 “What’s to Become of Me?” -- Chapter 3 The Power of Imagination -- Part II A Playwright at Work -- Chapter 4 Seeing Double -- Chapter 5 A Girl Becomes a Woman -- Chapter 6 The Undershaft Inheritance -- Part III The Problem of Language -- Chapter 7 “Why Can’t the English?” -- Chapter 8 “It Don’t Matter, Anyhow” -- Chapter 9 Competing Components -- Chapter 10 “The Holiest and Greatest Things” -- Afterword.
520 $a “In a cleverly developed argument, refreshingly new in its unearthing of the more complex metadrama beneath the surface drama, Reynolds shows us the complexity of the battle that ends without a knockout yet celebrates the “Shavian sisters” for their resourcefulness in seeing it to the end, and even more celebrates Shaw for writing with such depth and breadth of understanding.” — Richard F. Dietrich, Author of Bernard Shaw’s Novels (1996), Professor Emeritus, University of South Florida, USA This book focuses on two important topics in Shaw’s Major Barbara and Pygmalion that have received little attention from critics: language and metadrama. If we look beyond the social, political, and economic issues that Shaw explored in these two plays, we discover that the stories of the two “Shavian sisters”— Barbara Undershaft and Eliza Doolittle—are deeply concerned with performance and what Jacques Derrida calls “the problem of language.” Nearly every character in Major Barbara produces, directs, or acts in at least one miniature play. In Pygmalion, Henry Higgins is Eliza’s acting coach and phonetics teacher, as well as the star of an impromptu, open-air phonetics show. The language content in these two plays is just as intriguing. Did Eliza Doolittle have to learn Standard English to become a complete human being? Should we worry about the bad grammar we hear at Barbara Undershaft’s Salvation Army shelter? Is English losing its precision and purity? Meanwhile, in the background, Shaw keeps reminding us that language and theatre are always present in our everyday lives—sometimes serving as stabilizing forces, and sometimes working to undo them. Jean Reynolds is Professor Emerita of English at Polk State College, USA. Her previous publications include Shaw and Feminisms (2013), co-edited with D.L. Hadfield, and Pygmalion’s Wordplay: The Postmodern Shaw (1999), as well as multiple articles and reviews for SHAW: The Journal of Shaw Studies, of which she is an editorial board member.
650 2 4 $a Theatre and Performance Arts. $3 1365803
650 2 4 $a Theatre History. $3 1104912
650 1 4 $a Playwrights and Playwriting. $3 1365992
650 0 $a Drama. $3 646566
650 0 $a Theater. $2 swd $3 836732
650 0 $a Performing arts. $3 556749
650 0 $a Theater—History. $3 1253996
650 0 $a Dramatists. $3 1365990
650 0 $a Playwriting. $3 566565
710 2 $a SpringerLink (Online service) $3 593884
773 0 $t Springer Nature eBook
776 0 8 $i Printed edition: $z 9783030960704
776 0 8 $i Printed edition: $z 9783030960728
776 0 8 $i Printed edition: $z 9783030960735
830 0 $a Bernard Shaw and His Contemporaries, $x 2634-5811 $3 1266953
856 4 0 $u https://doi.org/10.1007/978-3-030-96071-1
912 $a ZDB-2-LCM
912 $a ZDB-2-SXL
950 $a Literature, Cultural and Media Studies (SpringerNature-41173)
950 $a Literature, Cultural and Media Studies (R0) (SpringerNature-43723)