Flower Girl Research Articles

Critical Exploration of Eliza’s Use of Restricted Code and Elaborated Code in Pygmalion

This research paper explored the character of Eliza Doolittle in Pygmalion and its movie adaptation, My Fair Lady, through the use of Restricted and Elaborated Code. These concepts examined Eliza’s transformation from a common flower girl to a duchess at the hands of Henry Higgins. The research employed the qualitative method and used Restricted Code and Elaborated Code concepts presented by Basildon Bernstein in his 2003 book, Theoretical Studies towards a Sociology of Language (Class, Codes and Control) for deductive thematic analysis. Given the context, Eliza’s dialogues and the settings in the play and the movie where she delivered those dialogues were also taken into account because the relationship between social class and language could not be ignored in the society Eliza inhabits. The study also focused on her dilemmas, dreams, desires and struggles to determine the outcomes of Eliza’s transformation, whether it was a blessing or a curse. By analysing Eliza’s use of language and interactions, the findings offered insights into the power dynamics of language and social class in shaping individual’s identity.

Psychological Growth of the Protagonist in Pygmalion from Ecological System Theory

George Bernard Shaw was an Irish playwright, critic, polemicist and political activist. His influence on Western theatre, culture and politics has extended all over the world from 1880s up until now. He wrote more than sixty plays, including major works such as Man and Superman, Pygmalion and Saint Joan. With the great capacity of using play to reflect the reality, Shaw became the leading dramatist of his era. Shaw’s Pygmalion is one of the most popular of his plays. It has been staged all over the English speaking world. And even a film based on the play called My Fair Lady has proved to be an immense success, and has made everyone knows about this play. Its popularity has been perennial and universal.Henry Higgins, a professor of phonetics, one day overhears a flower girl named Eliza Doolittle and mocks the common way she talks. The next day, Eliza shows up and asks Higgins to teach her talk properly. But his friend Colonel Pickering bets him that he can’t make Eliza talk like a lady in six months’ time. During the time that he accepts the challenge and teaches Eliza, Eliza has many psychological growth. Based on the ecological system theory, this paper makes an analysis of the positive influences of the environment on Eliza from different people and society in reference with five dimensions—microsystem, mesosystem, exosystem, macrosystem and chronosystem. The influence from Eliza’s original family, especially from her father, the guidance and deeds of Higgins, and some effects from the society as the microsystem provide positive help for the psychological growth of Eliza. And the interactions among the microsystem, which construct the mesosystem, together with the exosystem and macrosystem make Eliza, a flower girl, grows into a Duchess Eliza with pride and self-consciousness.

Class Struggle and Feminist Character Transformation of Eliza Doolittle in Shaw’s Pygmalion

George Bernard Shaw depicts, the life of the British middle-class society of the Victorian era. He received the Noble Prize in Literature (1952) and the Oscar Award for his best writing and illustration of Pygmalion. In Pygmalion Shaw addresses class struggle, pronunciation trends, thematic interpretation feminist character transformation and stylistic patterns. Eliza’s inaccurate English spelling is due to a poor economic and social position in society. Shaw’s Pygmalion attracts the reader’s attention to the social class and female viewpoints. The characters of Dolittle’s highlights the idea of class conflict in British society during the Victorian era. Eliza is the ideal character example for the lost modern girl and that these lost females will take lessons from play and make a great transition to obtain dignity, confidence and equality. The character Higgins, who sees that passion for the perfect use of language as a prerequisite for one’s success, uses social influence to enforce his point of view to make the character Eliza embrace and live in compliance with his orders. Thus, Shaw’s Pygmalion shows the hard work of Eliza Doolittle, a flower girl, suffered from the male dominant society and becomes stronger independent women.

B. Shaw’s play «Pygmalion» in the perspective of interdiscursivity

In the article, discourse of B. Shaws play Pygmalion is studied from the standpoint of view of interdiscursivity theory with the use of methods of critical, linguopragmatic and sociolinguistic analyses. The authors definition of the term interdiscursivity is given. Within the analyzed book, a number of discourses are singled out. Among them are mundane linguistic, philosophical and pedagogical discourses. It is pointed out that in the light of their mundane, non-institutional character, these discursive spheres have not been studied in detail even though the scientific interest to mundane discourses is growing. These considerations determine the importance of the undertaken research. The main discourse of B. Shaws paly Pygmalion is recognized to be mundane pedagogical one. However, the latter is determined by the hero of the play Higginss mundane philosophy who takes on the role of the teacher. His pupil is Eliza Doolittle, a poor flower girl, who speaks a dialect of the English language, viz. cockney. In the process of research, it is found out that if mundane pedagogical discourse is understood broadly, it can include the sayings of other characters of the book Higginss friend Pickering, Higginss mother, etc. The most important linguopragmatic opposition of mundane pedagogical discourse is recognized to be politeness impoliteness which is expressed communicatively as the result of uneven distribution of power between the teacher and the pupil which in the course of everyday mundane interaction may be significantly reviewed, for example be reversed in the pupils favor. The lack of institutional limitations enriches the speech genre specificity of the studied discourse which is hybrid in its essence, i.e., located at the intersection of different discursive practices.

The Impact of Social Class on Speech and Speech Inventiveness in George Bernard Shaw’s Pygmalion

The paper analyses the impact of social class on speech and further magical transformation of speech, which refers here speech inventiveness. Pygmalion, which was written by Bernard Shaw and is considered to be one of the most well-known works of contemporary British theater, exploits verbal violence in the guise of common language in order to impose authority over persons who are illiterate. Professor Higgins constantly mistreats the lower class flower girl Liza (Eliza) in the play, but as a result of the phonetic teachings she receives from her, Liza finally goes through a significant social transformation. Liza gains social standing as a consequence of her phonetic education and subsequent language skill improvement, but she also feels alienated because she has left her class as a result of the knowledge she has learned and is not fully welcomed by a different class. To put it another way, Liza's education in phonetics helped her to conform to society and do so, but it did not materially improve her social status.

The Great Resignation III

The Great Resignation III

Bernard Shaw as Political Writer

Bernard Shaw as Political Writer

A Study on the Legitimacy of the Revolution and the Monotheistic System in the North Korean Novel The Flower Girl

A Study on the Legitimacy of the Revolution and the Monotheistic System in the North Korean Novel The Flower Girl

‘Marriageism’: The self-identity of the Nigerian woman in selected Nollywood films

Marriage is an essential element of the family that is necessary for societal existence. In times past, the institution of marriage was totally constituted on cultural and parental dictates without recourse to the woman‟s consent. Consequently, her identity was defined by culture, the environment she lived in, and her family. In recent times, there has been a redefinition of self-identity towards the institution called marriage. The 21st-century woman champions a re-structural phenomenon called „marriageism‟ as a means of self-identity. This paper examines the identity placed on the woman by her environment, especially in the area of marriage. This study evaluates if truly the 21st century woman is free from the clutches of cultural and societal norms and how she can navigate within the patriarchal confines of the Nigerian society. Attention is given to three Nollywood films, namely Flower Girl (2013), When Love Happens (2014) and Isoken (2017). The films are appraised to show the concept of „marriageism‟ identity as an ongoing phenomenon that still defines Nigerian woman. The study utilises the ecofeminism theory to show the relationship between the woman and her environment and how this plays out in her daily life.

Ecocriticism and the Anthropocene in Nineteenth-Century Art and Visual Culture, edited by Maura Coughlin and Emily Gephart

Reviewed by: Ecocriticism and the Anthropocene in Nineteenth-Century Art and Visual Culture ed. by Maura Coughlin and Emily Gephart Elizabeth Chang (bio) Ecocriticism and the Anthropocene in Nineteenth-Century Art and Visual Culture, edited by Maura Coughlin and Emily Gephart; pp. xvii + 265. New York: Routledge, 2019, $160.00, $44.05 ebook, £120.00, £33.29 ebook. For humanities scholars, the Anthropocene periodizes a history of imperiled and imperiling human existence that demands interdisciplinary explanation. The scope and scale of the explanation required has compelled a widening of focus for entire subfields now charged with addressing long-unnoticed particulars of ecological crisis in the intersections of multiple fields of study. In nineteenth-century visual studies, this has meant an expansion from art historical considerations of the pastoral toward study of a far wider range of human objects and interventions. The sheer complexity of the nineteenth-century material environment is satisfyingly addressed by Ecocriticism and the Anthropocene in Nineteenth-Century Art and Visual Culture, edited by Maura Coughlin and Emily Gephart and illustrated extensively with both black-and-white figures and color plates. The eighteen short essays included within the collection are divided into five sections interleaved with a series of contextual introductions, each emphasizing, following Karl Kusserow, that "ecocriticism is not merely a method but a habit of mind" (2). [End Page 598] These sections of the collection—political and material ecologies, natural resource management, agricultural husbandry, and animal histories—follow an ecocritical logic; art historians and other visual studies scholars will likely, as the editors note, find multiple other ways to group the approaches. Some essays resituate familiar famous works in new contexts, such as Joan Greer's linkage of Vincent van Gogh's painting Giant Peacock Moth (1889) not with French Post-Impressionism, but rather with Willem Roselof's earlier Hague School landscape In the Floodplains of the River Ijssel (1870–97) in order to describe a new art-historical category of nineteenth-century "ecological envisioning" (208). Other essays elevate lesser-known decorative objects for closer scrutiny, like Naomi Slipp's study of the plant and animal life highlighted on Rutherford B. Hayes's presidential dining service. And still others use fine and decorative arts as a stepping-off point for discussion of a broader environmental concern, as in Laura Turner Igoe's use of Randolph Rogers's sculpture Nydia, the Blind Flower Girl of Pompeii (1861) to anchor an investigation of the practices of mining Carrara marble in the nineteenth century. As these brief summaries make clear, the diversity of the collection's essays makes its contribution especially valuable for readers interested in quickly surveying a variety of methodologies and subject matters appropriate to this growing field. Coughlin and Gephart's introductory materials help situate the interventions of the individual essays while also laying out the key theoretical underpinnings of the collection, which draws from nineteenth-century and contemporary studies as well as academic and curatorial models in an attempt to resituate traditional art historical frameworks of biography and provenance. The essays in the collection cluster around the visual culture of the nineteenth-century Americas, including George Philip LeBourdais on George Henry Durrie's "cryoscapes" of snowy New England scenes that freeze their mid-century bucolic homesteads against narrative progress, Caroline L. Gillaspie's evocation of the global commodity trade in a study of Francis Guy's Tontine Coffee House, N.Y.C. (c. 1797), and Shana Klein's survey of Cincinnati horticulturalists' engagement with the African-American artist Robert Duncanson's still-life paintings of fruit (93). Going a bit further afield, Annie Ronan follows the loving destruction of Albert Laessle's goat sculpture Billy (1914) within Rittenhouse Square Park in Philadelphia, Jessica Landau theorizes the self-defeatingly anti-conservationist effects of trap camera photography by George Shiras, and Emily Gephart and Michael Rossi show the complex ecocritical conversation spurred in American periodicals by condemnations of the fashion for ladies' millinery decorated with bird plumage—the accompanying Punch cartoons of these rapacious hat-wearers make particularly striking illustration here. British and European fine art, though not the main focus of the collection, offers a good opportunity for authors to continue existing art historical scholarship in...

Song, and: Connecticut, and: My Brother Does Not Return for My Mother’s Fiftieth

Song, and: Connecticut, and: My Brother Does Not Return for My Mother’s Fiftieth Tawanda Mulalu (bio) Song Forgive myself for breath and I should die.Self-love an excuse but for that exit: this daydreamof me ended. Of feet parched with weight beyondthe hurt of pale bathroom scale. Or love thisitch between thighs as slower metabolism giftsslower moods, these dull penetrations of faceinto pillowcase. So die then, says another countryor lover; splits me long through thoughts of this spine.And a dream of nerve cells copying beneath this glass.How inexact to possess skin. Like a flailing sacktoo stuffed with consciousness. I feel as a piñataand you are peckish. Not just the promise of guns shotbut allergic itch draws blood in late summer. I’m sorryother Black men died. I’m sorry I keep thinking,I look like him. I’m sorry my life feels as easyas these leaves failing to defend themselves againsttheir too-soon shifting colors. But I want myself.I want to want myself as much as I want your shadowsflickering against the walls of this cave, fooling meof presences beyond myself. And this music: I want thisfoolishness of my mouth transmuted into woodwindand brass. As if this could salve. As if this grass betweenmy lips epistles this gray sky as any virtue but failed rain.As if peaches. Forgive myself for breath and this songshould die. I am as new as the paintings in this cave.Am the same burrowing of grain into body and loss.Am the same ochre and hematite, inevitable and sorry. [End Page 18] Connecticut Mornings, his wife could not remember who my face was.Her face stared at me with a mushy smile while Henry ate the same corn flakes with bananas. I watched the yellow flakesuncrisping in his bowl of milk, his gums too soft to bear them. Henry then put me to work on his “fields.” I don’t know whofirst said it. Probably, his teeth cackled “fields” to his friend who visited him—limping gently—as Henry rolled around in hisred tractor. It roared through his backyard, funneling narrow lanes into the black, hot soil. Waddling after him in my white sneakers,I held blue seeds of grass that pricked my fingers. I tossed them over the soil like a flower girl. “Why are they blue?” I asked him.“Fertilizer coating,” he said. “Dry, mutant rice,” said my fizzy mind. Nights—they opened with heavy sweat—he would sit and watchFox News blare. Me next to him, reading a long novel on suffering. But he shouldn’t have paid me as a gardener. I dug about as wellas a child in a sandbox—shallow, amazed by my skinny handling of that spade. Its crusted rust as dark as my dry skin. No, Henry paidmy hands to hold his loneliness. To hear him. I needed a place to stay. He liked to hear me singing off-key in the mornings, taking longcold showers. And walk down these stairs to him: aging, waiting to plant more blue seeds. [End Page 19] My Brother Does Not Return for My Mother’s Fiftieth Egg that could but did not quite, I see you in theirmuseums, the coal-dark African masks, your blank face. To not find you walking with me with thesestolen faces, to not find you crawling up from dust— I left you landlocked with our parents, heard tidesbefore my body, wet axes carving shore to noise, and who has ever rescued the drive home? Washedmy crusted hands and what—stubborn grains. Dried my hands with a cold towel, your little hands driedbut could not hold their shores—though other grains now live between your fingers. This world will nothold little hands but turned to dust. At this party, I sip on bitter-dark drink, bearing warm speecheswhile your body turns to airlessness. My thoughts on this glass, roundedness of your once new skullI never saw. My flight returns to their shores. Your face escapes me...

From Violated Girl to Revolutionary Woman

Feminism, both as theory and praxis, has long grappled with the dilemma of sex difference—whether to celebrate women’s “difference” from men as offering a more emancipatory potential or to challenge those differences as man-made in the process of delineating modern sexed subjects. While this debate may be familiar within contemporary feminist discourses, communist feminisms that stretched across the Cold War divide were no less conflicted about what to do with sex difference, most explicitly represented by sexual violence and biological motherhood. Even as communist states implemented top-down, often paternalistic measures, such policies were carried out ostensibly to elevate women’s status as a form of state feminism professing equality for the sexes. Comparing North Korea with China, this article explores how communist feminisms attempted to tackle the dilemma of sexual difference. Through an intertextual reading of two of the most popular revolutionary operas in 1970s communist East Asia—The Flower Girl from North Korea and The White-Haired Girl from China—it attends to the diverse strategies in addressing the “woman question” and the possibilities as well as limits opened up by communist feminisms.

Charlie Chaplin and Aristotle: The Mechanics of Ending City Lights

Charlie Chaplin and Aristotle:The Mechanics of Ending City Lights Roy Glassberg In the words of film critic Roger Ebert, "The last scene of City Lights is justly famous as one of the great emotional moments in the movies."1 What accounts for its success? In the course of what follows I will suggest that a pair of structural elements—reversal and recognition, first described by Aristotle—underlie the scene, and account in large measure for its emotive power. The scene is available for viewing on the internet by searching on "City Lights last scene." For those who have not seen the film, I offer the following recap. The Little Tramp (Chaplin's character) falls in love with a blind flower girl (played by Virginia Cherrill), who mistakenly believes he's rich. He also becomes entangled with an alcoholic millionaire (Harry Myers) whom he saves from suicide. When drunk, the millionaire regards the tramp as his best friend, but doesn't remember him when sober. After a night on the town, the millionaire gives the tramp cash for an operation to repair the blind girl's eyes. The tramp gets the money to the girl, but the millionaire, now sober, accuses him of having stolen it. The tramp is arrested and sent to prison. Time passes. In the final scene, we see the tramp, newly released, his clothing in tatters, shuffling dejectedly down a busy city street. He is harassed by a pair of newsboys, one with a peashooter. Observing the fracas is the flower girl. Her eyesight restored, she is now the proprietress of an upscale flower shop and watches the tramp and the boys from her window. She of course hasn't seen the tramp before, and is amused. The tramp turns, sees the flower girl in the window, and is transfixed. "I've made a conquest," she says laughingly to her assistant. Playful, believing [End Page 492] that what the tramp wants is a flower, she exits her shop and offers him a rose and a coin. The tramp shyly takes the flower but is reluctant to accept the coin. The girl takes his hand to place the money in it, and something changes. Her fingers trace the back of his hand and up the arm of his jacket to his face. "You?" she asks. He nods in agreement. "You can see now," he says. "Yes, I can see now," she answers. At the close, we see the tramp smiling, the rose pressed to his cheek, with the flower girl gently pressing his other hand to her chest. So then, what is the source of the last scene's power? For critic James Agee, its strength lies in its acting. He praises Chaplin's and Cherrill's performances as being "the greatest single piece of acting ever committed to celluloid."2 The brilliance of its acting notwithstanding, I would like to suggest another cause for the scene's success, a strategy described some twenty-three hundred years ago by Aristotle in his Poetics: the concurrence of reversal and recognition. The Poetics, in large measure, describes the methods that Aristotle found successful in the theater of his time. Thus he writes in chapter 6 that "the most powerful elements of emotional interest in Tragedy [are] Peripeteia or Reversal of the Situation, and Recognition scenes."3 Aristotle's remarks on comedy are for the most part lost, but I submit that the emotive powers of reversal and recognition function in comedy as well. Concerning reversal of the situation, Aristotle offers us the example of the messenger in Oedipus Tyrannus, who comes bearing good news that proves disastrous. "Recognition," Aristotle tells us, "is a change from ignorance to knowledge, producing love or hate between persons destined by the poet for good or bad fortune. The best form of recognition is coincident with a Reversal of the Situation" (A, p. 41). I submit that the emotive power of the ending of City Lights arises in large measure from the employment of these elements. Consider the final action once again. The flower girl exits her shop to give a rose and a coin to a person who, to her, is merely...

An elegant lady or a flower girl? A critical discourse analysis of pygmalion through a systemic functional perspective

The purpose of this study was to investigate the language of the main female character called Eliza in the play ‘Pygmalion’ by Bernard Shaw. This analysis is done by applying the transitivity system, which is part of English linguist Halliday’s (1985; 1994) systemic-functional grammar. According to the transitivity system, verbs can be classified into six processes: material, mental, relational, verbal, behavioural and existential. The most important ones, which are analysed in the play Pygmalion for the analysis of power status, are the material, mental and relational processes. When considering the pattern of participant representation in a text from the perspective of critical discourse analysis, it is useful to have some general sense of the types of participants, which tend to be construed grammatically as powerful and of those which are construed as less powerful or even powerless. The investigation is based on the ideas suggested by Goatly (2000) who made the interesting suggestion that we may construct a hierarchy of participant power relations in a text based on their roles in different types of clauses and processes. The results show that Eliza's change of power status has an effect on her role as a participant in clauses and processes in the play that is in accordance with Goatly's (2000) theory about participants' power hierarchy in process types.
 Keywords: CDA, systemic functional grammar, transitivity, power, participant role.

Gained in translation: The reception of foreign cinema in Mao’s China

This article studies the exhibition and reception of popular foreign titles in the cinematic memories of those who grew up in the Cultural Revolution: Soviet film Lenin in 1918 (1939), North Korean film The Flower Girl (1972), Albanian film Victory Over Death (1967), and Indian film Awara (1951). I argue that, as films crossed national, even continental borders to meet with mass audiences for whom they were never intended, the radically different exhibition and reception contexts helped generate new meanings “gained in translation.” Those heteroglossic “extrinsic meanings” revise David Bordwell’s referential, explicit, implicit and symptomatic meanings. This article will also delve into affective responses, hidden pleasures, and viewer identifications. Studying foreign cinema’s reception in Mao’s China broadens the field of “Chinese cinema studies” to include “cinema in China” with all of its cosmopolitan connections, revises our assessment of the Cultural Revolution, and invites us to reconsider today’s Chinese media ecology in light of its socialist past.

The Seeds

The Seeds Cecily Parks (bio) The mouth closes around a word full of O.Hope: a plea, a sigh, a pieceof enclosed land, a small bounded valley. Also an inlet, a small bay, a havenin the lake I steer my boat into (dropping my good shoes and then my feet into the biting water) because the waterreminds me of a dance floor. O, I'm thirty-four again, in summer, giddied by grease smoke and soft serve from the fast food shacks, my blown-back hairmimicking the bankside cattailseach time I do a double takeat the drive-in marquee. Each timeI ride a car around the lake it's an odyssey. Did I hope like Odysseus or like Penelope? I no longer remember the steps the stranger and I dancedat the party by the water, expectingwhat we desired. Sweat darkened my dove-graydress, nasturtium petals toppledthrough the salad leaves, waveletsfrom a storm far offshoremet the black breakwater and surged upward. Like the particular hop in the stomach when I see pews with sky blue cushions stacked in the back of a pickup truck on the highway, or when we pushed our beds togetherin the damp rented room. The lake had already [End Page 143] rolled in our sheets, mildewmarbled the walls with fungal mist. I hoped the storm would stay offshore. I hoped a storm would come in. It's said there's a wooden chest at the foot of the bedthat a girl should pack with a heart-shapedstone, a nightgown, and a clumpof forget-me-nots she finds by the stream. Not me. I packed a jar of lake waterand my grandmother's two sets of silverwhose tarnishes clouded the spoonsdarker, reminding me to be diligent,for no woman has swallowed a storm. Along with Faith and Love, Hopeis personified as one of the threeheavenly female graces. Emily Dickinson: "'Hope' is a thing with feathers."Gertrude Stein: "I hope, I hope and I hope. I hope that I hope and I hope."Dorothy Wordsworth: "I lingered out of doors in hope of hearing my Brothers tread." Is hope the province of women? "As I hope to show": a means of arguing gentlyin a scholarly essay. The blind peer reviewerchastised me for using it, correctly assumingmy gender. The water rings on my wooden desk marked pools of thought that I daredto reign. Delete, delete. I erased hopein order to argue, I presumed,like a man, offering an analysis not as one of manyprovisional approaches to a textbut rather as the only routeto the palace. "I hope all will be well," Ophelia says, but we knowshe is doomed when she starts talkingabout fennel, columbines, violets, and rue. [End Page 144] Not a hope in hell, hope against hope, hope for the best. Ophelia reminds me of the mountain laurelthe botanical illustrator placed in a bathtub full of waterto paint branch and bloom undistortedby gravity, lifelike evenas they died. I've heard of a horticulturalist who entered a field thinking that whatever he neededhe would find, a method I find irresistibleuntil I suspect it is only availableto men. The difference between hope and entitlement is the difference between imagining how much hay the meadow will bear and assuming your winter ponies won't starve. Gertrude Stein again: "Hope in gates, hope in spoons, hope in doors, hope in tables, no hope in daintiness and determination. Hope in dates." Historical hope: on the Internetyou can find a poster of the man who becamepresident. Red and blue, the word in all capslike a vine twisting up the stakeof history. A long time ago. MeanwhileI circumnavigated a minor lake.In a car. I was thirty-four when I put down the Ziploc of candy I'd been surviving on and admitted that I was a woman. I stopped hopingto be a flower girl in a weddingwearing a daisy crown and scattering petalsfrom a demolished rose. Some...

“새로운 일라이자들 만들기” : Pygmalion에 나타난 자동인형과 계급의 불안

The article investigates the subversive possibilities and limitations of Eliza’s acting in George Bernard Shaw’s Pygmalion(1914), focusing on the recurring trope of the marionette. Drawing upon the emergent discourses on automaton at the turn of the twentieth century, which coincided with the early modernist attempts to eliminate human actors on stage, the article demonstrates how the heroine’s transformation from a flower girl to a perfect duchess evokes ambivalent feelings of fascination and anxiety in the viewer. Eliza’s compelling performance as an “artificial duchess” destabilizes the essentialist notion of class and poses a threat to the existing social order. This potentially disruptive power, however, is precarious because Eliza is subjected to Higgins’s directorial control and lacks agency over her own identity. The article argues that the play’s subversive promise is manifested in the heroine’s ultimate transition from an automaton-like actress to the uber-marionette, an ideal performer equipped with free will and self-control, that Edward Gordon Craig has suggested for the theater of the future.

The Goblin Men and the Flower Girl: New Sources for "Goblin Market"

The Goblin Men and the Flower Girl: New Sources for "Goblin Market"

Professor Higgins: A Master Psychologist in ‘Pygmalion’

One of the most important characteristics of human beings is their capacity to learn. Our habits, skill, knowledge, attitudes, interests and character are largely the result of our learning. Learning is not only purposeful and goal-oriented, but it is also a psychological process. The research paper is based on one of the didactic plays of George Bernard Shaw that is ‘Pygmalion’ and seeks to prove Professor Higgins as a Master Psychologist. It is actually the knowledge of various Psychological Learning theories and the art of applying the same on Lisa, which helps Professor Higgins to manipulate the mind of Lisa and ultimately transform her from a flower girl to a Duchess.

Transformation of Eliza from a Flower Girl to Duchess

George Bernard Shaw’s Pygmalion is a complex work of art and such a number of themes and ideas stand out. However, in the play its central theme is the education of Eliza Doolittle and the progress of her soul from spiritual darkness to light. Paper discusses how Eliza a poverty-stricken, shabby girl becomes heroine of the play, which is concerned entirely with her transformation from a flower girl to a lady.Eliza proves difference with a flower girl is not how she behaves but how she is treated. She achieves spiritual illumination through successive stages of despair, self-realization, and the ultimate achievement of social identity and a sense of belonging. Therefore, her transformation is both internal and external.In the words of Jane Rolland Martin-“Eliza’s is nothing less than a whole person transformation.”