The Pygmalion-Galatea Myth in Relation to Simulation Scenarios in Star Trek
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The Beautiful Galatea [Opéra Comique, in Two Acts; Text by Zell and Genée
The Beautiful Galatea [Opéra comique, in two acts; text by Zell and Genée. First produced in Vienna, 1865.] PERSONAGES. Galatea, the statue. Ganymede, Greek boy. Pygmalion, sculptor. Midas, art patron. [Chorus of Grecians.] The scene is laid in Greece; time, mythological. The opera of "Die Schöne Galatea" ("The Beautiful Galatea"), though of slight construction, is one of Suppé's most melodious works, while the story is a clever setting of the familiar mythological romance in a somewhat modern frame, in which respect it resembles the stories of Helen of Troy and Orpheus and Eurydice, which Offenbach so cleverly travestied. The first act opens with a graceful chorus of Grecians on their way to worship at the temple of Venus, at dawn ("Aurora is awaking in Heaven above"). Ganymede, Pygmalion's servant, declines to go with them, preferring to sleep, and bids them good-by with a lullaby ("With Violets, with Roses, let the Temple be decked"). His master, Pygmalion, who has finished a statue of Galatea, his ideal, also goes to the temple, and Ganymede decides to take a nap. His slumbers are interrupted, however, by Midas, a professional art patron, who has heard of the statue and informs Ganymede that he is ready to buy it, but first wishes to see it. The servant declares it is impossible, as his master is in love with it. Midas makes a further appeal to him in a long descriptive arietta ("My Dear Father Gordias") in which he boasts of his abilities, his patronage, and his conquests. He finally bribes Ganymede to show it to him, and as he stands gazing at it and praising its loveliness, Pygmalion, who has suddenly returned, enters and upbraids them. -
Pygmalion My Fair Lady
a comparison of the first scene of: PYGMALION with the first scene of: MY FAIR LADY I-1-1 PYGMALION by George Bernard Shaw ACT ONE Scene One Covent Garden at 11.15 p.m. Torrents of heavy summer rain. Cab whistles blowing frantically in all directions. Pedestrians running for shelter into the market and under the portico of St. Paul's Church, where there are already several people, among them a lady and her daughter in evening dress. They are all peering out gloomily at the rain, except one man with his back turned to the rest, who seems wholly preoccupied with a notebook in which he is writing busily. The church clock strikes the first quarter. THE DAUGHTER (in the space between the central pillars, close to the one on her left) I'm getting chilled to the bone. What can Freddy be doing all this time? He's been gone twenty minutes. THE MOTHER (on her daughter's right) Not so long. But he ought to have got us a cab by this. A BYSTANDER (on the lady's right) He won't get no cab not until half-past eleven, missus, when they come back after dropping their theatre fares. THE MOTHER But we must have a cab. We can't stand here until half-past eleven. It's too bad. I-1-2 THE BYSTANDER Well, it ain't my fault, missus. THE DAUGHTER If Freddy had a bit of gumption, he would have got one at the theatre door. THE MOTHER What could he have done, poor boy? THE DAUGHTER Other people got cabs. -
Star Trek" Mary Jo Deegan University of Nebraska-Lincoln, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UNL | Libraries University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sociology Department, Faculty Publications Sociology, Department of 1986 Sexism in Space: The rF eudian Formula in "Star Trek" Mary Jo Deegan University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/sociologyfacpub Part of the Family, Life Course, and Society Commons, and the Social Psychology and Interaction Commons Deegan, Mary Jo, "Sexism in Space: The rF eudian Formula in "Star Trek"" (1986). Sociology Department, Faculty Publications. 368. http://digitalcommons.unl.edu/sociologyfacpub/368 This Article is brought to you for free and open access by the Sociology, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sociology Department, Faculty Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THIS FILE CONTAINS THE FOLLOWING MATERIALS: Deegan, Mary Jo. 1986. “Sexism in Space: The Freudian Formula in ‘Star Trek.’” Pp. 209-224 in Eros in the Mind’s Eye: Sexuality and the Fantastic in Art and Film, edited by Donald Palumbo. (Contributions to the Study of Science Fiction and Fantasy, No. 21). New York: Greenwood Press. 17 Sexism in Space: The Freudian Formula in IIStar Trek" MARY JO DEEGAN Space, the final frontier. These are the voyages of the starship Enterprise, its five year mission to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no man has gone before. These words, spoken at the beginning of each televised "Star Trek" episode, set the stage for the fan tastic future. -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
How Ovid's “Pygmalion”
The Complex Relationship of Ars and Natura: How Ovid’s “Pygmalion” Employs the Power of the Artist Kelsey Littlefield ‘17 ublius Ovidius Naso, commonly known as Ovid, was a Roman poet and author who lived during the reign of P Augustus Caesar. He is renowned as poet of great variety and skill, and no work so wonderfully displays his talent as his Metamorphoses, a massive volume of mythological stories of transformation. Throughout the Metamorphoses, art and nature serve as unifying themes and are present in some capacity in each myth Ovid recounts. In particular, art and nature are prevalent in the myth of Pygmalion, a sculptor who falls in love with his ivory creation. An important contrast develops between art and nature in this story, and that contrast speaks to how the senses are woven into both. Roman literature is fond of treating the subjects of art and nature, and their contrasting figures appear again and again in the best works of the Ancient World. These two didactic terms are often used in elegiac poetry as a means of deciphering the interwoven relationships among the poet, lover, and girl (poeta, amator, and puella).1 The poet and the lover are one in the same, as the poet attempts to express the love and the experience of the beloved (i.e., the puella) to his reader. There is also, however, a sense of lament, as in all elegiac poetry, as the beloved has an unattainable quality that eventually leaves the poet/lover in despair. The girl, more specifically Pygmalion’s own beloved,2 exemplifies the erotic nature displayed in Ovid’s version of elegiac poetry and the grappling of the role that the artist plays in shaping his own art. -
2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021
2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021 Please Note: due to production considerations, duration for each production is subject to change. Please consult associated cue sheet for final cast list, timings, and more details. Please contact [email protected] for more information. PROGRAM #: OS 21-01 RELEASE: June 12, 2021 OPERA: Handel Double-Bill: Acis and Galatea & Apollo e Dafne COMPOSER: George Frideric Handel LIBRETTO: John Gay (Acis and Galatea) G.F. Handel (Apollo e Dafne) PRESENTING COMPANY: Haymarket Opera Company CAST: Acis and Galatea Acis Michael St. Peter Galatea Kimberly Jones Polyphemus David Govertsen Damon Kaitlin Foley Chorus Kaitlin Foley, Mallory Harding, Ryan Townsend Strand, Jianghai Ho, Dorian McCall CAST: Apollo e Dafne Apollo Ryan de Ryke Dafne Erica Schuller ENSEMBLE: Haymarket Ensemble CONDUCTOR: Craig Trompeter CREATIVE DIRECTOR: Chase Hopkins FILM DIRECTOR: Garry Grasinski LIGHTING DESIGNER: Lindsey Lyddan AUDIO ENGINEER: Mary Mazurek COVID COMPLIANCE OFFICER: Kait Samuels ORIGINAL ART: Zuleyka V. Benitez Approx. Length: 2 hours, 48 minutes PROGRAM #: OS 21-02 RELEASE: June 19, 2021 OPERA: Tosca (in Italian) COMPOSER: Giacomo Puccini LIBRETTO: Luigi Illica & Giuseppe Giacosa VENUE: Royal Opera House PRESENTING COMPANY: Royal Opera CAST: Tosca Angela Gheorghiu Cavaradossi Jonas Kaufmann Scarpia Sir Bryn Terfel Spoletta Hubert Francis Angelotti Lukas Jakobski Sacristan Jeremy White Sciarrone Zheng Zhou Shepherd Boy William Payne ENSEMBLE: Orchestra of the Royal Opera House, -
Voy-O-Ween *Spooky Music* JARRAH
Women at Warp Episode 18: Voy-o-ween *spooky music* JARRAH: Hi and welcome to Women At Warp. Join us as our crew of four women Star Trek fans boldly go on our biweekly mission to explore our favorite franchise. My name's Jarrah and thanks for tuning in. Today we have crew members Grace. GRACE: Hi. JARRAH: And Sue SUE: Hey there. JARRAH: And before we get started we have a little bit of housekeeping. I'm gonna start off by getting Grace to talk a little bit about Geek Girl Con and. GRACE: Yes Geek Girl Con. JARRAH: Yes, and about some other news. So go ahead Grace. GRACE: Well first off, we had a great turnout at Geek Girl con this weekend this past weekend. It was amazing, and I want to thank so many people for coming out and supporting the event, and supporting all of these great guests we had, and some of the wonderful topics that we got to explore together this weekend. Now in sadder news Star Trek original series actor Bruce Hyde has recently passed from throat cancer. For those of you who don't remember him he was and he was, I want to say Ensign, Kevin Riley. And I wanted to bring him up because I love the fact that he's just an incidental feminist in one of the few drunken throwaway lines he gets. He walks into a room sees all the girls at the control panels and goes “Yeah, this is what I like to see! Women getting to work too!” *Sue laughs* And then he gets drunk and hijacks the com system and starts singing Take Me Home Again Kathleen. -
Star Trek and the 1960'S Sung J. Woo English 268 Professor Sawyer April
Star Trek and the 1960's Sung J. Woo English 268 Professor Sawyer April 26, 1993 Star Trek is an important cultural artifact of the Sixties. In the guise of science fiction, the series dealt with substantive concerns such as Vietnam...and civil rights. It explored many of the cultural conflicts of our society by projecting them onto an idealized future.i Not many television shows have accomplished what Star Trek has done. A show that ran for only three seasons, between 1966 and 1969, Star Trek has become a phenomenon of epic proportions. Frank McConnell considers Star Trek a myth: Now that's [Star Trek] what a real mythology is. Not a Joseph Campbell/Bill Moyers discourse...about the proper pronunciation of `Krishna,' but a set of concepts, stories, names, and jokes to fit, and fit us into, the helter-skelter of the quotidian."ii Star Trek survives because it was more than just a television show that made people laugh or cry. It was a show that reached for more, for new ideals and new ideas, for substance. Star Trek indeed is a cultural artifact of the Sixties, and this is readily apparent in many of the episodes. "Let That Be Your Last Battlefield" is a racial parable; "A Taste of Armageddon" is allegorical to Vietnam and war in general; "Turnabout Intruder" deals with women's rights; and "The Paradise Syndrome" and "The Way to Eden" reflects heavily on pop culture. Yet it is important to see that although these episodes mirrored the culture of the Sixties, not all of them were in approval of it. -
Sunday Morning Grid 1/15/17 Latimes.Com/Tv Times
SUNDAY MORNING GRID 1/15/17 LATIMES.COM/TV TIMES 7 am 7:30 8 am 8:30 9 am 9:30 10 am 10:30 11 am 11:30 12 pm 12:30 2 CBS CBS News Sunday Face the Nation (N) Paid Program College Basketball Michigan State at Ohio State. (N) Å 4 NBC News (N) Å Meet the Press (N) (TVG) Football Night in America Football Pittsburgh Steelers at Kansas City Chiefs. (10:05) (N) 5 CW News (N) Å News (N) Å In Touch Paid Program 7 ABC News (N) Å This Week News (N) News (N) News Å Paid Program Eye on L.A. 9 KCAL News (N) Joel Osteen Schuller Pastor Mike Paid Program 11 FOX In Touch Paid Fox News Sunday Planet Weird DIY Sci Paid Program 13 MyNet Paid Matter Paid Program Best Buys Paid Program 18 KSCI Paid Program Church Faith Paid Program 22 KWHY Local Local Local Local Local Local Local Local Local Local Local Local 24 KVCR Paint With Painting Joy of Paint Wyland’s Paint This Painting Cook Mexico Martha Hubert Baking Mexican 28 KCET 1001 Nights Bug Bites Bug Bites Edisons Biz Kid$ Biz Kid$ Forever Painless With Miranda Age Fix With Dr. Anthony Youn 30 ION Jeremiah Youssef In Touch Leverage Å Leverage Å Leverage Å Leverage Å 34 KMEX Conexión En contacto Paid Program Fútbol Central (N) Fútbol Mexicano Primera División República Deportiva (N) 40 KTBN Walk in the Win Walk Prince Carpenter Jesse In Touch PowerPoint It Is Written Pathway Super Kelinda John Hagee 46 KFTR Paid Program Escape From New York ››› (1981) Kurt Russell. -
My Fair Lady
TEACHER RESOURCE GUIDE Teacher Resource Guide by Sara Cooper LINCOLN CENTER THEATER AT THE VIVIAN BEAUMONT André Bishop Adam Siegel Producing Artistic Director Hattie K. Jutagir Managing Director Executive Director of Development & Planning in association with Nederlander Presentations, Inc. presents LERNER & LOEWE’S Book and Lyrics Music Alan Jay Lerner Frederick Loewe Adapted from George Bernard Shaw’s play and Gabriel Pascal’s motion picture “Pygmalion” with Lauren Ambrose Harry Hadden-Paton Norbert Leo Butz Diana Rigg Allan Corduner Jordan Donica Linda Mugleston Manu Narayan Cameron Adams Shereen Ahmed Kerstin Anderson Heather Botts John Treacy Egan Rebecca Eichenberger SuEllen Estey Christopher Faison Steven Trumon Gray Adam Grupper Michael Halling Joe Hart Sasha Hutchings Kate Marilley Liz McCartney Justin Lee Miller Rommel Pierre O’Choa Keven Quillon JoAnna Rhinehart Tony Roach Lance Roberts Blair Ross Christine Cornish Smith Paul Slade Smith Samantha Sturm Matt Wall Michael Williams Minami Yusui Lee Zarrett Sets Costumes Lighting Sound Michael Yeargan Catherine Zuber Donald Holder Marc Salzberg Musical Arrangements Dance Arrangements Robert Russell Bennett & Phil Lang Trude Rittmann Mindich Chair Casting Hair & Wigs Production Stage Manager Musical Theater Associate Producer Telsey + Company Tom Watson Jennifer Rae Moore Ira Weitzman General Manager Production Manager Director of Marketing General Press Agent Jessica Niebanck Paul Smithyman Linda Mason Ross Philip Rinaldi Music Direction Ted Sperling Choreography Christopher Gattelli Directed by Bartlett Sher The Jerome L. Greene Foundation is the Lead Sponsor of MY FAIR LADY. Major support is also generously provided by: The Blanche and Irving Laurie Foundation • Florence Kaufman The New York Community Trust - Mary P. Oenslager Foundation Fund • The Ted & Mary Jo Shen Charitable Gift Fund The Bernard Gersten LCT Productions Fund • The Peter Jay Sharp Foundation’s Special Fund for LCT with additional support from the National Endowment for the Arts. -
Pygmalion Study Guide April 16
STUDY GUIDE 2004 CONTAINS ONTARIO CURRICULUM SUPPORT MATERIAL PYGMALION by Bernard Shaw Education Partner PRESENTS Pygmalion by Bernard Shaw This study guide for Pygmalion contains background informa- tion for the play, suggested themes and topics for discussion, and curriculum-based lessons that are designed by educators and theatre professionals. TABLE OF CONTENTS The lessons and themes for discussion are organized in mod- ules that can be used independently or interdependently ac- cording to your class’s level and time availability. The Players ..............................................................................3 The general information is on white paper and the lessons are on green. Running Time .........................................................................3 The Author..............................................................................4 THIS GUIDE WAS WRITTEN AND COMPILED BY DENIS The Characters ........................................................................5 JOHNSTON, DEBRA MCLAUCHLAN, AND JOHN SWEENEY. The Story .............................................................................6-7 ADDITIONAL MATERIALS WERE PROVIDED BY BARBARA WORTHY, JACKIE MAXWELL, AND SUE LEPAGE West End Gossip Sheet.........................................................8 Director’s Notes .....................................................................9 Classroom Application Before Attending the Play .............................................10-17 Pygmalion After Attending the Play................................................18-24 -
Ela Best Standards
Table of Contents Table of Contents .......................................................................................................................................... 1 Introduction ................................................................................................................................................... 5 Standards Map ............................................................................................................................................ 10 Progression of Foundations Benchmarks .................................................................................................... 11 Spiraled Standards in a Vertical Progression .............................................................................................. 13 Kindergarten ........................................................................................................................................... 26 Foundational Skills ............................................................................................................................. 26 Reading ............................................................................................................................................... 27 Communication ................................................................................................................................... 29 Vocabulary .......................................................................................................................................... 32 Sample texts by