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Le professeur Higgins et le colonel Pickering prennent pour cobaye une jeune vendeuse de fleurs qu'ils tentent de transformer en une vraie dame de la bonne société. Ils lui apprennent comment prononcer un mot, un phrase, correctement et enrichissent son vocabulaire, croyant que l'appartenance à la classe supérieure est une question de prononciation. Eliza fait des progrès surprenants et évolue de mieux en mieux dans le milieu de la grande bourgeoisie. Mais elle reste consciente de ses origines et s'émancipe de son « maître ». Une expérimentation sociétale dans l'air du temps, où Bernard Shaw détourne le mythe antique avec humour. Shaw défendait avec virulence un théâtre engagé et livra avec ses plus de cinquante pièces une cinglante critique de la morale dominante. Son arme fut la comédie, sa poudre son esprit. Dans l'art de descendre les puissants par l'ironie de leur piédestal il était un maître.… (plus d'informations)
7/10 Although I've never seen My Fair Lady (a travesty, I know), I've heard of it quite a bit - so reading the source play made a lot of sense when I picked this up. The story is simple enough - two bachelors making a bet to themselves that they could pass off a flower girl as a princess in six months - and the younger of the two falling in love (or not, it's never made clear) with the flower girl in the process. I'll not spoil it for others who've never read it, but the ending was a welcome surprise. There are two endings in the version I read, along with a sequel of sorts - in which Shaw elaborates why he chose the ending he did (which is rife with casual sexism), but if you can get past that - I suppose it does make sense. Pygmalion was a pleasant and short read, with some laugh-out-loud moments - I couldn't have asked for anything more. ( )
A study of the effects of manners of speech on social stabnding. The effects are still with us today, though much subtler, due to mass media. This is the basis of the hit musical "My Fair Lady"as well as a classic in its own right. the musical ends well before the afterword to the play does. ( )
"Pigmalión” satiriza el sistema de clases inglés y la artificiosidad con el que este dividía a las personas, a la vez que celebra el individualismo que es capaz de romper con esas cadenas, personificado en Liza, la florista protagonista. Shaw critica la rigidez de un sistema en el que la brecha entre los pobres y la alta sociedad no solo se debe a una cuestión económica, sino también a diferencias estructurales imposibles, en un principio, de sortear. Trata de Blancas. Tarde de verano en el jardín de una quinta situada en la pendiente oriental de una colina algo al sur de Haslemere,en Surrey. Mirando hacia la cumbre de la colina, se ve la quinta en La esquina izquierda del jardín, con su tejado de paja y su porche, y un ventanal enrejado a la izquierda de éste.
PYGMALION é baseado na reinterpretação de George Bernard Shaw do mito grego sobre Pigmalião. Neste conto antigo, Pigmalião é um artista que cria uma estátua da "mulher perfeita", tão bonita que ele se apaixona por ela. Os deuses veem o que aconteceu e ficam com pena, então eles transformam Galatea (a estátua) em uma mulher real e os 2 vivem felizes para sempre. Em sua peça, Shaw injeta um pouco de humor no conto, pois em vez do ferido Pigmalião, Henry Higgins é um misógino que só passa a cuidar de sua "criação" (Eliza Doolittle) quando é tarde demais. Shaw resistiu a fazer de "Pygmalion" uma comédia romântica. Ignorou deliberadamente o mito original onde Pigmalião se apaixonou e casou com a criação. Além de classe social, a peça também trata do tema do feminismo, com Eliza vista como uma "nova mulher" forte e determinada que aprende a se defender depois de ser intimidada primeiro por seu pai bêbado e mulherengo réprobo e depois por Higgins. Ao contrário dos filmes e do musical My Fair Lady, na peça Eliza rejeita o esnobe misógino e assim permite que seja passada a ¨mensagem do autor¨, em cuja obra Pygmalion se situa abaixo de Man and Superman (1905) A profissão da sra. Warren (1893) Heartbreak House (1920) Saint Joan (1923) mas francamente acima de Candida (1894) The Devil's Disciple (1897) Caesar and Cleopatra (1901) Major Barbara (1905) The Doctor's Dilemma (1906) Back to Methuselah (1922) e A Milionária ( )
I don‘t have much to say about this. A retelling of the myth, it‘s a very unusual premise for a play, but I‘m so glad it ends differently than the musical. The afterword by Shaw is helpful to read, but his analysis of the characters has a pop-psychology style which is bizarre. The only reason I‘m not panning this is because Eliza sticks up for herself at the end. I‘m rewatching the musical for a class so the comparison will be interesting. ( )
[from the sequel] And so it came about that Eliza's luck held, and the expected opposition to the flower shop melted away. The shop is in the arcade of a railway station not very far from the Victoria and Albert Museum; and if you live in that neighbourhood you may go there any day and buy a buttonhole from Eliza.
You see, really and truly, apart from the things anyone can pick up (the dressing and the proper way of speaking, and so on), the difference between a lady and a flower girl is not how she behaves, but how she's treated. I shall always be a flower girl to Professor Higgins, because he always treats me as a flower girl, and always will; but I know I can be a lady to you, because you always treat me as a lady, and always will.
Derniers mots
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
Galatea never does quite like Pygmalian: his relation to her is too godlike to be altogether agreeable.
Le professeur Higgins et le colonel Pickering prennent pour cobaye une jeune vendeuse de fleurs qu'ils tentent de transformer en une vraie dame de la bonne société. Ils lui apprennent comment prononcer un mot, un phrase, correctement et enrichissent son vocabulaire, croyant que l'appartenance à la classe supérieure est une question de prononciation. Eliza fait des progrès surprenants et évolue de mieux en mieux dans le milieu de la grande bourgeoisie. Mais elle reste consciente de ses origines et s'émancipe de son « maître ». Une expérimentation sociétale dans l'air du temps, où Bernard Shaw détourne le mythe antique avec humour. Shaw défendait avec virulence un théâtre engagé et livra avec ses plus de cinquante pièces une cinglante critique de la morale dominante. Son arme fut la comédie, sa poudre son esprit. Dans l'art de descendre les puissants par l'ironie de leur piédestal il était un maître.
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Although I've never seen My Fair Lady (a travesty, I know), I've heard of it quite a bit - so reading the source play made a lot of sense when I picked this up.
The story is simple enough - two bachelors making a bet to themselves that they could pass off a flower girl as a princess in six months - and the younger of the two falling in love (or not, it's never made clear) with the flower girl in the process.
I'll not spoil it for others who've never read it, but the ending was a welcome surprise. There are two endings in the version I read, along with a sequel of sorts - in which Shaw elaborates why he chose the ending he did (which is rife with casual sexism), but if you can get past that - I suppose it does make sense.
Pygmalion was a pleasant and short read, with some laugh-out-loud moments - I couldn't have asked for anything more. ( )