For almost a century critics of George Bernard Shaw's dramatic
works have accepted the characterization of Shaw as an artist and
thinker well ahead of his time with regard to social issues women's
liberation in particular. Since the first wave of feminist
criticism in the 1960s and 1970s, however, very little effort has
been made to examine Shaw's works in the light of the most recent
and challenging developments in feminist theory and gender studies.
Now, at a time of renewed historical interest in his plays, J.
Ellen Gainor brings the critical understanding of Shaw's work into
the present day. Gainor introduces previously unexamined reviews
and articles by Shaw's female contemporaries and discovers among
them a remarkable resistance to his depictions of women. Through an
analysis of three major character tropes Gainor discovers
dramaturgical patterns in Shaw's gender construction that work
against the contention that the author created positive and
progressive images of women and that situate his work well within
the dominant social ideologies of the late Victorian and Edwardian
eras. Gainor demonstrates that positioning Shaw firmly among his
contemporaries may actually resolve some of the troubling issues in
his dramaturgy, allowing us to understand more clearly the origins
of a number of his female character types, and even to see
continuities throughout his work where they have not been shown
before.
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