Pygmalion is a play by George Bernard Shaw, named after a Greek mythological figure. It was first presented on stage to the public in 1913. In ancient Greek mythology, Pygmalion fell in love with one of his sculptures, which then came to life. The general idea of that myth was a popular subject for Victorian era English playwrights, including one of Shaw's influences, W. S. Gilbert, who wrote a successful play based on the story called Pygmalion and Galatea that was first presented in 1871. Shaw would also have been familiar with the burlesque version, Galatea, or Pygmalion Reversed. Shaw's play has been adapted numerous times, most notably as the musical My Fair Lady and its film version. Shaw mentioned that the character of Professor Henry Higgins was inspired by several British professors of phonetics: Alexander Melville Bell, Alexander J. Ellis, Tito Pagliardini, but above all, the cantankerous Henry
Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. 1st World Library-Literary Society is a non-profit educational organization. Visit us online at www.1stWorldLibrary.ORG - - As will be seen later on, Pygmalion needs, not a preface, but a sequel, which I have supplied in its due place. The English have no respect for their language, and will not teach their children to speak it. They spell it so abominably that no man can teach himself what it sounds like. It is impossible for an Englishman to open his mouth without making some other Englishman hate or despise him. German and Spanish are accessible to foreigners: English is not accessible even to English-men. The reformer England needs today is an energetic phonetic enthusiast: that is why I have made such a one the hero of a popular play. There have been heroes of that kind crying in the wilderness for many years past. When I became interested in the subject towards the end of the eighteen-seventies, Melville Bell was dead; but Alexander J. Ellis was still a living patriarch, with an impressive head always covered by a velvet skull cap, for which he would apologize to public meetings in a very courtly manner. He and Tito Pagliardini, another phonetic veteran, were men whom it was impossible to dislike. Henry Sweet, then a young man, lacked their sweetness of character: he was about as conciliatory to conventional mortals as Ibsen or Samuel Butler. His great ability as a phonetician (he was, I think, the best of them all at his job) would have entitled him to high official recognition, and perhaps enabled him to popularize his subject, but for his Satanic contempt for all academic dignitaries and persons in general who thought more of Greek than of phonetics. Once, in the days when the Imperial Institute rose in South Kensington, and Joseph Chamberlain was booming the Empire, I induced the editor of a leading monthly review to commission an article from Sweet on the imperial importance of his subject. When it arrived, it contained nothing but a savagely derisive attack on a professor of language and literature whose chair Sweet regarded as proper to a phonetic expert only. The article, being libelous, had to be returned as impossible; and I had to renounce my dream of dragging its author into the limelight. When I met him afterwards, for the first time for many years, I found to my astonishment that he, who had been a quite tolerably presentable young man, had actually managed by sheer scorn to alter his personal appearance until he had become a sort of walking repudiation of Oxford and all its traditions. It must have been largely in his own despite that he was squeezed into something called a Readership of phonetics there. The future of phonetics rests probably with his pupils, who all swore by him; but nothing could bring the man himself into any sort of compliance with the university, to which he nevertheless clung by divine right in an intensely Oxonian way. I daresay his papers, if he has left any, include some satires that may be published without too destructive results fifty years hence. He was, I believe, not in the least an ill-natured man: very much the opposite, I should say; but he would not suffer fools gladly.
Pygmalion is a play by George Bernard Shaw, named after a Greek mythological figure. It was first presented on stage to the public in 1913. In ancient Greek mythology, Pygmalion fell in love with one of his sculptures, which then came to life. The general idea of that myth was a popular subject for Victorian era British playwrights, including one of Shaw's influences, W. S. Gilbert, who wrote a successful play based on the story called Pygmalion and Galatea that was first presented in 1871. Shaw would also have been familiar with the burlesque version, Galatea, or Pygmalion Reversed. Shaw's play has been adapted numerous times, most notably as the 1938 film Pygmalion, the 1956 musical My Fair Lady and its 1964 film version. Shaw mentioned that the character of Professor Henry Higgins was inspired by several British professors of phonetics: Alexander Melville Bell, Alexander J. Ellis, Tito Pagliardini, but above all, the cantankerous Henry Sweet.
Pygmalion's sculpture, which the gods endowed with life, marks, according to this book, perhaps the first instance in Western art of an image that exists on its own terms, rather than simply imitating something else. Stoichita delivers this image and its avatars from the shadow cast by art that merely replicates reality.
Discusses the ethics of writing and reading fiction, the creation and action of characters, and works by Henry James, Melville, Heinrich von Kleist, and Maurice Blanchot
Pygmalion is a play by George Bernard Shaw, named after a Greek mythological figure. It was first presented on stage to the public in 1913.
The Pygmalion Effect takes place in the year 2104 CE when genetically-enhanced intelligence has split the world into two classes, the rich and the poor. The young protagonist, Corbin, lives on the burned out streets of Boston, barely scraping by for food and shelter. Through manipulation, infiltration, and pure genius, he must fight back against the system and try to dismantle a massive plot aimed at killing his people in an attempt to cleanse the world of all non-enhanced beings.
This enchanting tale of Eliza Doolittle's transformation from Cockney flower girl into elegant lady under the guidance of cantankerous linguist Henry Higgins has been a hit with audiences since it was first performed in 1913. The play skillfully blends social satire, philosophical wit, a heated battle of the sexes, and what is perhaps the greatest platonic romance ever committed to paper. Pygmalion's musical incarnation, My Fair Lady, remains a Broadway staple. The original play is actually funnier than the musical, and its story and characters are more fully developed. The play is also much easier and less expensive for acting companies to produce. The only reason Pygmalion is not performed more often is its ponderous length: almost three hours, extended by intermissions. This seamless abridgment trims the excess from G. B. Shaw's often-verbose script while retaining all of its wit and charm. The result is a leaner, livelier Pygmalion which is less demanding of performers and more entertaining for their audiences. The cast has been reduced to twelve roles (4M, 6F, 2 either), with some doubling possible. The royalty-free script lends itself to modest-budget productions and is easily adapted as a staged reading. Pygmalion, like fine wine, gets better with age. This artful adaptation by an award-winning playwright makes Shaw's classic accessible to the widest possible audience.
Seminar paper from the year 2005 in the subject English Language and Literature Studies - Literature, grade: 2,3, University of Trier, course: Introduction to Drama Analysis, 5 entries in the bibliography, language: English, abstract: Bei dieser Arbeit handelt es sich um die Rolle, welche die Exposition in Pygmalion hat. Dies wird, nach einem generellen Eindruck, am Beispiel der einzelnen, wichtigsten, Charactere deutlich gemacht. Diese Carakterer waren: Higgins, Pickering und naturlich Eliza. Am Ende der Arbeit werden die einzelnen Charactere, beziehungsweise ihre Exposition, miteinander verglichen und gezeigt, wie sie sich ineinander verflechten."
This collection chronicles the fiction and non fiction classics by the greatest writers the world has ever known. The inclusion of both popular as well as overlooked pieces is pivotal to providing a broad and representative collection of classic works.
Calvino and the Pygmalion Paradigm: Fashioning the Feminine in I nostri antenati and Gli amori difficili is the first book-length analysis of the representation of the feminine in Calvino’s fiction. Using the structural umbrella of the Pygmalion paradigm and using feminist interpretative techniques, this book offers interesting alternative readings of two of Calvino’s important early narrative collections. The Pygmalion paradigm concerns the creation by a male ‘artist’ of a feminine ideal and highlights the artificiality and narcissistic desire associated with the creation process. This book discusses Calvino’s active and deliberate work of self-creation, accomplished through extensive self-commentaries and exposes both the lack of importance Calvino placed on the feminine in his narratives and the relative absence of critical attention focused on this area. Relying on the analogy between Pygmalion’s pieces of ivory and Barthes’ ‘seme’ and drawing upon the ideas underlying Kristevan intertextuality, the book demonstrates that, despite Calvino’s professed lack of interest in character development, his female characters are carefully and purposefully constructed. A close reading of Calvino’s narratives, engaging directly with Freud, Lacan and the feminist psychoanalytical thinking of Kofmann, Kristeva, Kaplan and others, demonstrates how Calvino uses his female characters as foils for the existential reflections of his typically maladjusted and narcissistic male characters.
|Author||: Stefanie Eck|
|Publisher||: Anchor Academic Publishing (aap_verlag)|
|Release Date||: 2014-02-01|
|ISBN 10||: 3954895994|
|Pages||: 43 pages|
The Pygmalion myth, most famously told by Ovid in his Metamorphoses, has always fascinated artists. This fascination, due to the erotic potential of the story, resulted in an abundance of patriarchal re-narrations from the Middle Ages to the late 19th century. With the turn of the 20th century, however, the Pygmalion stories gradually changed under the influence of feminist thought and emancipation. The woman created by Pygmalion no longer remained a passive creature but began to resist her master and his male fantasies, sometimes in a subtle way, sometimes in open rebellion. The study at hand focuses on the development of the tale in the Anglo-Saxon literature of the 20th and 21st centuries. The author will analyze some of these modern Pygmalion versions, written by George Bernard Shaw, Carol Ann Duffy and Neil LaBute amongst other significant author
"Examines the work of eighteenth-century sculptor Ignaz Gèunther within the context of Bavarian Rococo art and Counter-Reformation religious visual culture"--Provided by publisher.
Presents a critical introduction to Shaw's classic drama, covering characterization, plot, symbolism, and setting.
|Author||: William Schwenck Gilbert|
|Release Date||: 1872|
|Pages||: 40 pages|