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Pygmalion
The immensely popular and durable Pygmalion has long been familiar to readers and audiences as a unique combination and reworking of two well-known stories, Ovid's telling of the Pygmalion myth and Charles Perrault's "Cinderella". According to Berst, Shaw's heartily derivative play is well on its way to assuming a "major place in the mythic tradition" alongside these two classics. As he accompanies the reader through each of the play's five acts, Berst illumines not only Shaw's understanding of the mythic power of the Pygmalion and Cinderella stories but also the striking departures he took from them. What results is new insight into the theatrical skill that has made Shaw, in the eyes of ma...
Pygmalion and Galatea
This title was published in 2001. Pygmalion and Galatea presents an account of the development of the Pygmalion story from its origins in early Greek myth until the twentieth century. It focuses on the use of the story in nineteenth-century British literature, exploring gender issues, the nature of artistic creativity and the morality of Greek art.
Pygmalion’s Power
Pushed to the height of its illusionistic powers during the first centuries of the Roman Empire, sculpture was largely abandoned with the ascendancy of Christianity, as the apparent animation of the material image and practices associated with sculpture were considered both superstitious and idolatrous. In Pygmalion’s Power, Thomas E. A. Dale argues that the reintroduction of architectural sculpture after a hiatus of some seven hundred years arose with the particular goal of engaging the senses in a Christian religious experience. Since the term “Romanesque” was coined in the nineteenth century, the reintroduction of stone sculpture around the mid-eleventh century has been explained as...
The Myth and Identity of the Romantic Artist in European Literature
This study addresses the question of artistic identity and the myth of the artist as it has been shaped by the artists themselves. While the term artist is to be understood in a broad sense, the focus of this study is the literature of the Romantic tradition. Identity is largely perceived as a construct, and a central hypothesis of this book concerns its aesthetic value and the ways it creates dominant narratives of self-perception that produce powerful myths. The construction of the artist’s identity, be it collective or personal, rests on a series of aesthetic praxes. Caught between the mythic idealisation of poetic genius and its social devaluation, the Romantic artist seeks to create a place for himself, and in doing so, he engages in his own mythmaking. This process is studied in an interdisciplinary perspective, approaching texts and writers from different traditions. The study analyses various typologies of the artist, numerous mythmaking strategies as well as several postural techniques; all of which have sketched major direct or indirect fictional self-portraits in the European tradition.
Publisher and Bookseller
Vols. for 1871-76, 1913-14 include an extra number, The Christmas bookseller, separately paged and not included in the consecutive numbering of the regular series.
Musical Theater
Musical Theater: An Appreciation, Second Edition offers a history of musical theater from its operating origins to the Broadway shows of today, combined with an in-depth study of the musical styles that paralleled changes on stage. Alyson McLamore teaches readers how to listen to both the words and the music of the stage musical, enabling them to understand how all the components of a show interact to create a compelling experience for audiences. This second edition has been updated with new chapters covering recent developments in the twenty-first century, while insights from recent scholarship on musical theater have been incorporated throughout the text. The musical examples discussed in the text now include detailed listening guides, while a new companion website includes plot summaries and links to audio of the musical examples. From Don Giovanni to Hamilton, Musical Theater: An Appreciation both explores the history of musical theater and develops a deep appreciation of the musical elements at the heart of this unique art form.
Image Acts
Heavily represented sections of contemporary philosophy subscribe to the notion of "embodiment". However promising this pragmatic turn of events may be, it remains limited in that it interprets the world as a projection of the cognizing "I". By contrast, Image Acts focuses on the counterforce of the form of images. The book subdivides this sphere into three parts: imitation, substitution, and the pure effect of the form. All three parts are contemplated with examples from antiquity through to the present and the iconoclastic controversies of our times. From this reconstruction of the image act springs the element of a new philosophy of affordance.
