... included a sequel describing Eliza’s life after she left Higgins’s labora- tory.1 To the two painful transformations depicted in the play, he now added a third. After reading the novels of H. G. Wells, Freddy’s snobby sister Clara undergoes changes almost as drastic as Eliza’s or her father’s...

..., one in which Eliza’s overactive imagination appears to have been colonized by the melodramatic narratives of female victimization disseminated by social purity activists. Calling attention to the five-pound note Eliza’s father asks of Higgins, Marshik hears a satiric allusion to Stead’s...

... but made up of other pigments. 11. Eliza Rathbone and George Shackelford provide anecdotal support for the argument that the skull interested Cézanne as a means of studying volume at the same time that they acknowledge the resurgence of the painter’s interest in the skull at the end of his life (192...

... corner of blackface minstrelsy: black blackface, or what Susan Gubar calls ‘black black imper- sonation,’ Louis Chude Sokei calls ‘black-on-black minstrelsy,’ Grace Eliza- 177 Gary Edward Holcomb beth Hale calls ‘blacked-up black minstrelsy,’ and Eric Lott positions as the ‘genuine article...

...,” evoking the dismissive phrase, “deaf as a post” (139). 487 Maren Linett 4. Bowen’s reputation has taken a well deserved upswing in the past twenty years or so. Critical monographs of that period include Phyllis Lassner’s Eliza- beth Bowen (1989); Lassner’s Elizabeth Bowen: A Study of the Short...

... and species are of necessity interlaced: Eliza Doolittle’s class transformation is represented through animal metaphors, while the rebellion of Moreau’s “beast people” against their dictatorial ruler has clear sociopolitical overtones. Thus while Shaw’s work is often held to be more optimistic...

... by Eliza Flynn at the end of Joyce’s first mandate text, “The Sisters” inDubliners . Alone in his con- fessional, Father Flynn is observed by three priests and a clerk to be “Wide awake and laughing-like to himself” (18). The reference as “laughing-like,” rather than laughing proper, foregrounds...

..., David Medalie (E. M. Forster’s Modernism), Randall Stevenson, and Eliza- beth Langland. 2. Some thirty-five years ago Eugene Webb argued that literary critics were quick to praise Forster’s “destructive ironies,” but ignored what he calls the “constructive, exploratory side” of Forster’s effort...