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Instead of a conclusion
Ruth Morse

the projection of an author’s particular interest or, more worryingly, of a critic’s. Measure for Measure ’s Lucio’s multiply insulting reference to Pygmalion invites us to linger over questions of allusion and interpretation in Shakespeare and his contemporaries: what was it that continued to make Pygmalion so useful to Shakespeare, and to Shakespearean reinterpretations in the late twentieth and

in Interweaving myths in Shakespeare and his contemporaries
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A Recombinant Pygmalion for the Twenty-First Century
Kathleen McConnell

As a gothic iteration of Ovid‘s Pygmalion myth, the television show ‘Dark Angel’ demonstrates how anxiety over the laboratory creation of people persists in popular culture. The paper looks through the lenses of media representation of cloning, complexity theory‘s trope of iteration, and gothic literary criticism, first to analyze Dark Angels heroine as a gothic version of Pygmalion‘s statue. It goes on to explore some of the implications of rewriting sculptor/lover Pygmalion into Dark Angels Donald Lydecker and Logan Cale, before examining the first season in its entirety. The analysis ends on a short exploration of some interactions between the show and the popular culture that produces and consumes it.

Gothic Studies
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This is a comprehensive critical study of Anthony Asquith. The author sets the director's work in the context of British cinema from the silent period to the 1960s, and examines the artistic and cultural influences within which his films can be understood. Asquith's silent films were compared favourably to those of his eminent contemporary Alfred Hitchcock, but his career faltered during the 1930s. However, the success of Pygmalion (1938) and French Without Tears (1939), based on plays by George Bernard Shaw and Terence Rattigan respectively, together with his significant contributions to wartime British cinema, re-established him as one of Britain's leading film makers. Asquith's post-war career includes several pictures in collaboration with Rattigan, and the definitive adaptation of Oscar Wilde's The Importance of Being Earnest (1951), but his versatility is demonstrated effectively in a number of modest genre films including The Woman in Question (1950), The Young Lovers (1954) and Orders to Kill (1958).

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Orpheus and Pygmalion
Sarah Annes Brown

female corpses and statues. Perhaps the most memorable examples in each category, corpse bride and living statue, are Eurydice and Galatea, 9 in particular the versions offered us by Ovid in his Metamorphoses . Although Ovid did not create either tale he was almost certainly the first to associate them together; he does this by making Orpheus himself the narrator of Pygmalion’s story. Over the course of the two

in A familiar compound ghost
Metaphor and relation in the poetry of Ted Hughes and Sylvia Plath
Charles Mundye

-dead wife Eurydice back to the land of the living. The rest of Book X consists of a series of tales sung by Orpheus to the god-inflected natural grove of trees, including the stories of Pygmalion, of Myrrha, and of Venus and Adonis. Hughes translates several of the tales that Ovid sings through Orpheus, although his text disrupts the dynastic sequence followed in the original, and also decontextualises the

in Incest in contemporary literature
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Tom Ryall

‘it was released with no reference to Korda in the credits’.31 The blend of romance and espionage which had worked so well for Hitchcock failed to bring similar results for Asquith. Ironically, just prior to beginning work on the film, he had written to Balcon and had congratulated him on the success of The 39 Steps.32 Pygmalion (1938) After Moscow Nights Asquith left Korda and entered another period of inactivity. In 1936 he signed a contract with Max Schach, a Hungarian producer, who had been involved with Moscow Nights through one of his many companies, Capitol

in Anthony Asquith
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Producing theatrical classics with a decorative aesthetic
Billy Smart

television through close analysis of three 1970s Play of the Month productions of works taken from different periods of theatre history, directed by Messina himself: George Bernard Shaw’s Pygmalion (1973), Shakespeare’s The Merchant of Venice (1972) and J. M. Barrie’s sentimental Victorian comedy The Little Minister (1975), made as an outside broadcast (OB) at Glamis Castle. This chapter

in Screen plays
Sarah Wright

(b. 1948) – de un barrio de ‘chupa y tira’ (from a dirt poor neighbourhood)2 – perform in a televised exhibition of the Coros y Danzas de Educación y Descanso (the 60 The child in Spanish cinema poor relation of the state endorsed Coros y Danzas of the Falangist Sección Femenina). Goyanes moved Flores with her mother from their home in Malaga to live with his family in Madrid to start making films under the stage-name Marisol. The transformations Goyanes wrought on his young star were recapitulated in the ‘Pygmalion theme’ (Triana-Toribio, 2003: 88) which was

in The child in Spanish cinema
Open Access (free)
Theatre and the politics of engagement

This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.

The unknowable image in The Winter’s Tale
Chloe Porter

the Pygmalion myth, as a group of shepherds ‘bewail their want of female sex’, and are answered by Nature, who reveals her ‘ shop ’, where stands a ‘ clothed image ’ of a woman, which is then given ‘sense and mind’, and made to ‘stand … move, or walk alone’ (1.1.50–77). Like the ‘goddess Nature’ described by Paulina, Lyly’s ‘Nature’ has made the woman, who is named

in Making and unmaking in early modern English drama