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The Prettiest Woman: All a Pretty Prostitute Needs Is Her Own Dr. Henry Higgins

The Prettiest Woman
All a Pretty Prostitute Needs Is Her Own Dr. Henry Higgins
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Notes

table of contents
  1. Cover
  2. Half Title Page
  3. Series List
  4. Title Page
  5. Copyright Page
  6. Dedication
  7. Contents
  8. Like Clockwork: “Bring the Jobs Back to America”
  9. She’s a Pretty Woman
  10. Nostalgia
  11. A Hollywood Genealogy
  12. Cold Calling Is a Mug’s Game
  13. Wall Street
  14. You Are the Suit You Wear
  15. Raymond Williams: A Brief Word
  16. The Patient Is on Life Support but Is Not Yet Dead
  17. The Baseness of/in the Superstructure
  18. Working Women
  19. Late Industrial Capitalism 1: “Making Things in America”
  20. Late Industrial Capitalism 2: Nostalgia and Grievance
  21. On Morality: A Brief Žižekian Word
  22. It’s Big in Japan
  23. The Boro Aesthetic
  24. Bastard 1
  25. A New Economy of the Prostitute and Its Dangers
  26. My Fair Lady, Beverly Hills Style
  27. All a Pretty Prostitute Needs Is Her Own Dr. Henry Higgins
  28. The Upside of Not Knowing Which Fork to Use
  29. Who’s Driving Edward Lewis?
  30. Bastard 2: The Hostility of the Takeover
  31. Oedipal Drama, Pretty Woman Style
  32. Making and Unmaking in the Oedipal Family Drama
  33. To Make Something
  34. Father’s Son, Mother’s Son: The Enduring Phantasmatic Father
  35. The Žižekian Ethics of Mick Jagger
  36. “It Must Be Very Difficult to Let Go of Something So Beautiful”
  37. To Steal, to Make of Steel
  38. Acknowledgments
  39. Series List Continued (2 of 2)
  40. Author Biography

All a Pretty Prostitute Needs Is Her Own Dr. Henry Higgins

To understate the matter, all that the outspoken, opinionated Cockney (a working-class area in east London) woman Eliza Doolittle needed, of course, was a lesson in elocution. Vivian Ward, by contrast, needs a great deal more, not only how to speak the idiom of the Regent but how to speak that idiom without chewing gum. At no point, however, does Edward censor her. She is, at least in relation to him, free to speak her mind. A freedom she exercises to the fullest. (And she does so at least once, as we will see shortly, to the advantage of Morse Industries and late industrial capitalism.) Vivian must not only learn how to dress, but she must be instructed how to dress appropriately (that is, conform to bourgeois norms of respectability); not only how to dress, but how to dress tastefully, how to put aside her miniskirts and wear a demure and fetching brown-with-cream-polka dots sundress. Not only how to wear jewelry, but to choose the most flattering, discreet necklace.

In this regard, Vivian Ward has her own Mr. Henry Higgins, the professor of phonetics who instructs Eliza into perfect speech. The Henry Higgins function in Pretty Woman is performed by the Regent’s suave, understated and paternal (at least in relation to “Ms. Vivian”) concierge, Barnard “Barney” Thompson (Hector Elizondo). (Barney is much less enamored of “Ms. Kit de Luca.”) “Barney,” as “Ms. Vivian” is given to calling him, with unfailing and genuine exuberance (which contains more than a hint of gratitude and affection) provides a crash course in manners. “Barney” takes it upon himself to teach “Ms. Vivian” how to use expensive silverware, glassware, how to conduct herself in the rarefied environs of his hotel.

At heart, however, Vivian is still a working-class woman, sometimes finding herself ignorant of ruling-class etiquette. Sometimes she really doesn’t know which fork to use. For which Barney really cannot be blamed. After all, he only had so much time, and game as she is as a student, Barney couldn’t do much more than provide a quick primer in the art of manners.

And this is good luck for James Morse and his grandson, it turns out, because Vivian finds in James Morse, putatively, someone equally in need of instruction from a Ms. Manners or a Dr. Higgins.

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The Upside of Not Knowing Which Fork to Use
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Excerpts from “Street Life,” words and music by Will Jennings and Joe Sample, copyright 1979 Irving Music, Inc. and BMG Rights Management (UK) Ltd.; all rights for BMG Rights Management (UK) Ltd. administered by BMG Rights Management (US) LLC.; all rights reserved; used by permission; reprinted by permission of Hal Leonard LLC.

The Prettiest Woman: Nostalgia for Late Industrial Capitalism by Grant Farred is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
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