...Elizabeth Jacobsson Valerie Vander Mark HUMN 100-41 July 3 2012 A Fair Lady in Pygmalion My Fair Lady is compared to Pygmalion My Fair Lady, directed by George Cukor, re-creates George Bernard Shaw’s play, Pygmalion on the big screen. Both stories are told in their own unique way, yet still bare the same story. Both stories tell the story of a young Cockney flower girl, Eliza Doolittle, who wishes to improve her English language with hopes of working as a clerk in a flower shop one day. In the beginning, the girl meets Higgins, an unkind, condescending gentleman while trying to hide from an unexpected rainfall. Higgins takes the girl into his home and teaches her how to become a lady. By the end, the girl learns everything about how to be a well brought-up young lady, and peruse her dream to work in the flower shop. While My Fair Lady follows Pygmalion’s storyline, the film is a musical production that really livens up the story with its upbeat singing and dancing. George Cukor (1899-1983) was born in New York City and moved to Hollywood in 1929 to begin his career as a dialogue director. Cukor's first big hit was "Little Women" in 1933. He continued to direct films for over fifty years. In this time period, he directed another big success, My Fair Lady, which he won an Oscar award for in 1964. George Barnard Shaw (1856-1950) lived in Dublin, Ireland, before moving to London in 1876. Shaw wrote music and literature regularly, but struggled financially. In 1895 he...
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...My Fair Lady Film Analysis CHARACTERS: * Eliza Doolittle: A cockney flower girl from Lisson Grove working outside Covent Garden. Her potential to become “a lady” becomes the object of bet between Higgins and Pickering. * Henry Higgins: British, Upper Class professional bachelor who is a famous phonetics expert, teacher and author of “Higgins’ Universal Alphabet.” * Colonel Pickering, Higgins's friend and fellow phoneticist who is a retired Brisiths officer with colonial experience and the author of “Spoken Sanskrit”. * Alfred P. Doolittle: Eliza's father, an elderly but vigorous dustman. * Freddy Eynsford-Hill: Upper Class young man who becomes completely smitten with Eliza. * Mrs. Higgins: Higgins's socialite mother * Mrs. Pearce: Higgins's housekeeper * Zoltan Karpathy: Higgins's former student and rival SETTING: "My Fair Lady" is set in Edwardian London, sometime between 1901 and 1910, which is the period covering the reign of King Edward VII. The costumes in the 1964 movie version of "My Fair Lady," such as the peach colored outfit Eliza wears after the ball, when she meets her father on the way to his wedding, and the type of automobiles seen indicate the year 1912. This would be the time just before the start of World War I, during the reign of King George V - just after the end of the Edwardian era. PLOT: * Introduction: Higgins hears Eliza shouting in her harsh ‘Cockney’ accent in Covent Garden. He says to his new acquaintance...
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...look for it... the world also has warmth. And love. And forgiveness. The world has joy in it. When you find a place that allows you to experience that joy, when you find people that make you feel safe and loved, like you belong... you don't walk away from it. You fight for it.”( Espenson). In The Tragedy of Romeo and Juliet by William Shakespeare a lot of violent and scary things happen, but the characters somehow find a way, in the midst of the chaos, to find that happiness. Shakespeare focuses on the power of love to capture the attention of his audience. This love leads to things all throughout the play to come across as much different than suspected and end up defying stereotypes. Shakespeare uses characterization, visual motifs and dialogue to convey this theme that things aren’t always what they seem. The first way that Shakespeare conveys this theme to his audience is through showing the thoughts on marriage from Capulet and Lady Capulet. Capulet says “And too soon marred are those so early made. / Earth hath swallowed all my hopes but she; / She is the hopeful lady of my earth. / But woo her, gentle Paris, get her heart, / My will to her consent is but a part, And she agreed, within her scope of choice/ Lies my consent and fair according voice.” (I. II. 13-19). Back in this era most fathers would marry off their daughters as early as possible to men that they thought would be suitable for them. The women would usually be reluctant to marry that early due to the fact that...
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...A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF G EORG E B E R N A R D S HAW ’S PYGMALION By LAURA REIS MAYER BUNCOMBE COUNTY SCHOOLS, ASHEVILLE, NORTH CAROLINA S E R I E S E D I T O R S JEANNE M. MCGLINN, Ph.D., University of North Carolina at Asheville and W. GEIGER ELLIS, Ed.D., University of Georgia, Professor Emeritus 2 A Teacher’s Guide to the Signet Classics Edition of George Bernard Shaw’s Pygmalion TABLE OF CONTENTS An Introduction .......................................................................................3 Synopsis of the Play .................................................................................3 Prereading Activities .................................................................................6 During Reading Activities ......................................................................13 After Reading Activities .........................................................................21 About the Author of this Guide .............................................................29 About the Editors of this Guide .............................................................29 Full List of Free Teacher's Guides...........................................................30 Click on a Classic ..................................................................................31 Copyright © 2007 by Penguin Group (USA) For additional teacher’s manuals, catalogs, or descriptive brochures, please email academic@penguin.com or write...
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...Pride and Prejudice, to support her argument that Austen uses irony to convey a "discursive authority" from which women can derive pleasure in a patriarchal society.] It is a truth universally acknowledged, right now, that language is involved in giving and taking both power and pleasure. Whether we begin by asking if the pen is a substitute for the penis, or think about why we read stories of love and adventure, or consider, from any point of view, pornography or psychoanalysis, we end by analyzing ways people please themselves and assert authority over others by using words. (To observe that critics writing about pleasure and power have managed to get what measure of the good stuff they can is to state the merely inevitable.) Claiming that women writers are powerful--i.e. effective and influential--has been a focus of feminist critics concerned to dispute the canon, to rehabilitate forgotten writers, and to revise women's relation to the languages of power. That Jane Austen, unforgotten, canonized, and stunningly authoritative, has been a problem for feminists is not surprising: in the struggle for power between politically radical and conservative critics, she has for years been claimed by both parties. Her own interest in power is suggested as her uses of the word acknowledge there are different kinds: in Pride and Prejudice, for instance, Elizabeth says that "It is not in my power to accept" an invitation (211), and, "I do not know any body who seems more to enjoy the power...
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...Name:_ Date_ _ Romeo & Juliet passages to translate and explicate: (you may use this paper or attach a separate sheet) Please explain the following dialogue in modern English. Pay particular attention to rewording the sections that are in bold. Explain what the words mean and their context in the story. In other words, (1) explain the whole context and (2) translate the bolded part into modern English. Do not forget to include your version of the bolded text. 1) Act I SCENE V A hall in CAPULET’s house. TYBALT: This, by his voice, should be a Montague. Fetch me my rapier, boy. What dares the slave Come hither, cover’d with an antic face, To fleer and scorn at our solemnity? Now, by the stock and honour of my kin, To strike him dead, I hold it not a sin. 2) Act II Scene II JULIET ’Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What’s Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What’s in a name? that which we call a rose By any other name would smell as sweet; So Romeo would, were he not Romeo call’d, Retain that dear perfection which he owes Without that title. Romeo, doff thy name, And for that name which is no part of thee Take all myself. ________________________________________________________________________ 3) Act III SCENE I MERCUTIO: I am hurt. A plague o’...
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...Elements of Drama by: Christina Sheryl L. Sianghio Character Most simply a character is one of the persons who appears in the play, one of the dramatis personae (literally, the persons of the play). In another sense of the term, the treatment of the character is the basic part of the playwright's work. Conventions of the period and the author's personal vision will affect the treatment of character. Most plays contain major characters and minor characters. The delineation and development of major characters is essential to the play; the conflict between Hamlet and Claudius depends upon the character of each. A minor character like Marcellus serves a specific function, to inform Hamlet of the appearance of his father's ghost. Once, that is done, he can depart in peace, for we need not know what sort of person he is or what happens to him. The distinction between major and minor characters is one of degree, as the character of Horatio might illustrate. The distinction between heroes (or heroines) and villains, between good guys and bad guys, between virtue and vice is useful in dealing with certain types of plays, but in many modern plays (and some not so modern) it is difficult to make. Is Gregers Werle in The Wild Duck, for example, a hero or a villain? Another common term in drama is protagonist. Etymologically, it means the first contestant. In the Greek drama, where the term arose, all the parts were played by one, two, or three actors (the more actors, the later the...
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...happens in the future.” In William Shakespeare’s Romeo and Juliet we are able to see how the theme of fate is cleverly infiltrated through events and dialogue throughout the play. Fate is mainly evident through the actions of Lord Capulet’s Servingman, Friar John, the timing of Romeo and Juliet’s death, and how the Montague’s and Capulet’s feud and been put to rest due to the tragedy in their lives. The first fated event was introduced to us in Act I Scene II, when Lord Capulet after finishing his conversation with Paris, regarding his request to marry Juliet, handed over a list of names to the Servingman and orders him to: [Rom....
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...Shakespeare develops the aspects of love which the sonnets reflect into an all-encompassing discussion on the major themes of life itself that continue to inform and direct the human condition, a fact which is perhaps partly responsible for their continuing popularity with both public and critics alike. This dissertation sets out to discover, through close reading of carefully selected representative sonnets and critical context, the way Shakespeare accomplishes this. The sonnet form as Shakespeare, whose 154 sonnets were first published in 1609, and his contemporaries used it was introduced into England in the sixteenth century by Sir Thomas Wyatt who translated sonnets in the Petrarchan form from the original Italian (Whitaker, 1953, p. 88) The Shakespearian or Elizabethan sonnet form differs from the Italian, originally developed by Petrarch in the fourteenth century, principally in form. Both styles are usually comprised of fourteen lines but have a different rhyme sequence and structure. The Petrarchan sonnet consists of an octet...
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...self. As a person matures and reaches the level of adulthood, they take on many different types of responsibilities as a functioning part of society. Society characterizes its members based on how effectively they deal with their responsibilities, and furthermore an individual’s identity and sense of self is derive in part, from their ability to handle the triumphs, growth and difficulties associated with being an adult. The way a person conducts his or herself determines how they as well as others perceive them. Ultimately, when making decision throughout life a person looks at what they as an individual value, and therefore what they perceive themselves to be influences their decision-making. When one works to destroy the reputation of another they seek to tarnish the way others perceive said person. On the other hand, in Shakespeare’s tragedy we see Iago go a step further, instead of just working to ruin Othello’s reputation, he targets the foundation of Othello’s sense of self. First, Iago plays on Othello’s jealousy by causing him to suspect Desdemona of being unfaithful without presenting any legitimate evidence. This jealousy leads to anxiety from which Iago goes on to insinuate that the very foundations of his love for Desdemona in fact are false and this brings into question everything Othello thought he knew, including his own self. Eventually Othello falls victim to paranoia by completely losing the characteristics that made in noble in the beginning of the drama...
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...lie in the musical numbers (p. 309, Wood, 2008). Musical films are often a beloved or hated genre due to the unrealistic nature of characters erupting into song and dance. This essay analyse four main conventions of the musical genre the spectacle, the narrative, the adaption of established stories and the power the combination of lyrics and music can achieve on screen. Examples from different periods in Hollywood will be used to explore these conventions and how they apply and have evolved to suite conventions of modern cinema. Kellner (2005) explains spectacles have been present in different cultures since pre-modern times. Examples of these spectacles include plays, the Olympics of Ancient Greece, in Ancient Rome public offerings of bread, circuses and gladiator games (Kellner, 2005). The human desire for the spectacle has not fallen into extinction but rather evolved with society and technology. Entertainment has always been a prime field of the spectacle and film has been one of the most productive industries to utilise the spectacle (Kellner, 2005). Hello Dolly (1969), My Fair Lady (1964) and Rodgers and Hammerstein’s Cinderella (1997) are three examples of film musical spectacles. All three of these movies contain elaborate costumes, bright colours and large dance casts. The large cast is designed to entertain and distract the audience with absurdity and fantasies (Kellner, 2005). It is unrealistic for people to join in a song and choreographed dance routine...
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...Bangladesh undergoes, to deal with the rapidly changing environment, which organizations face in the current globalize market place. It views differences in the strategic and coherent approach to the management of the under-covered bank and telecoms ’ most valued assets - the people working there who individually and collectively contribute to the achievement of the objectives of the business. Human resources management comprises several processes. Together, they are supposed to achieve the organization’s goal. These processes can be performed in an HR department, but some tasks can also be outsourced or performed by line-managers or other departments. The various HR activities which we focused on while doing this report have simply started from the range of Recruiting process, Training Process, Performance Appraisal, Transfer Process, Motivation Process, Employees Retention Programs and Respond to diversity. We surveyed two top telecom companies and one local private company altogether to prepare a high-quality research report. Our objective was to find out the strategic aspect of Human Resource Panning various HR issues that a bank and telecom company focuses for thriving in the market. The results of logistic regression indicate that the majority of the structure of HR approaches and proceedings of each of the organizations are studied. Table Of Contents: PART I 1. INTRODUCTION:…………………………………..6 1. Southeast Bank Ltd ..…………………6 ...
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... The couple are apparently reconstructing the murder story, however really it is their own story, a story of a woman discovering herself and a man desiring to kill his lover. I find it difficult to answer the question of whether the film or the novel was more successful because although there are differences in the film I found the mood and general atmosphere to be almost identical. For this reason I intend to argue for both sides, as I have experienced good and bad points within the two works. When we watch a movie or read a novel we have particular expectations of format. The introduction of characters, plot development and a certain outcome are the usual conventions that permit us a superior perspective on the narrative. However from my reading and viewing of Moderato Cantabile I have discovered that it goes against these formal conventions and is filled with symbols and metaphors. Studying it is difficult, as one must use intuition and go on a hunch, see through the allusion and try and understand what is being suggested and intimated to us. In comparison to formal conventions, it makes it difficult for the reader or viewer to achieve this vantage point. Their notable...
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...ENG2602/101/3/2015 Tutorial letter 101/3/2015 GENRES IN LITERATURE AND LANGUAGE: THEORY, STYLE AND POETICS ENG2602 Semesters 1 & 2 Department of English Studies IMPORTANT INFORMATION: This Tutorial Letter contains important information about your module. CONTENTS Page 1 INTRODUCTION .......................................................................................................................... 3 2 PURPOSE OF AND OUTCOMES FOR THE MODULE............................................................... 4 2.1 Purpose ........................................................................................................................................ 4 2.2 Outcomes .....................................................................................................................................4 3 LECTURER(S) AND CONTACT DETAILS................................................................................... 5 3.1 Lecturer(s) .................................................................................................................................... 5 3.2 Department ................................................................................................................................... 6 3.3 University ...................................................................................................................................... 6 4 MODULE-RELATED RESOURCES ..................
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...1. Preview. Look “around” the text before you start reading. ... 2. Annotate. Annotating puts you actively and immediately in a "dialogue” with an author and the issues and ideas you encounter in a written text. ... 3. Outline, Summarize, and Analyze. ... 4. Look for repetitions and patterns. ... 5. Contextualize. ... 6. Compare and Contrast. When you write about literature . . . Some Tips for Academic Writers Sentence Style 1. Use simple sentences as rubrics (pointers). 2. Use compound sentences to suggest balance and to present pairs of ideas of equal value. 3. Use complex sentence to emphasize the most important ideas and to subordinate less important ideas. 4. Avoid "empty" sentence frames that say little or restate the obvious. 5. Use present tense when referencing details in a literary work except for passages written in the past tense. 6. Incorporate short, key quoted phrases into analytical sentences. 7. Avoid the use of such words and phrases as "you" and "the reader" that often lead to wordiness. 8. Avoid the phrase, "In conclusion," when opening the concluding paragraph. 9. Avoid gratuitous complements and superlatives. Paragraph Development 1. Use Pattern 1 paragraph frames for most paragraphs in the body of academic essays. 2. Begin body paragraphs with claims as topic sentences that repeat key concepts from the thesis sentence. 3. Always introduce the speaker, context, and/or significance of block quotations. 4. Always follow block quotations...
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