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قديم 18-05-2012, 11:51 AM   #15
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مع اشكر لكل المنتديات والدعاء للقائمين عليها جزاهم الله خير(صحوه...سما.. يمعه... المثالي ... منتدا الجامعهq8...الطالب... النخبه..... وجميعهم) ننقل بعض الملفات لكي يستفيد اكبر عدد من الطلاب ولهم ونحن الاجر انشاء الله
هذا ملف منقول للا اخت شيرين مبسط فيه الافكار الرئيسيه والثاني للاخت قطه في توضيح بالعربي
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نوع الملف: doc Pygmalion summary by cat.doc‏ (44.5 كيلوبايت, المشاهدات 206)
نوع الملف: docx Pygmalion Summary.docx‏ (15.9 كيلوبايت, المشاهدات 241)
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قديم 18-05-2012, 04:51 PM   #16
PylsaN PylsaN غير متصل
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يعطيــكم العافية جميعاً



التوقيع

بِقَدر ما نَرتفعْ وَنعلو


نَبدو صغاراً
للذينَ لا يَعرفون أن يَطيروا ..!
فريديريك نيتشه .،

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قديم 21-05-2012, 03:50 PM   #17
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أيضا السؤال منقول من سما ، لوليتا لامبيكا :



Eliza Doolittle talks about her "real education" as opposed to "learning to dance in the fashionable way" in George Bernard Shaw's play Pygmalion:


"It was just like learning to dance in the fashionable way:

there was nothing more than that in it. But do you know what

began my real education?"


Using this quotation as a springboard for your ideas, discuss what statement you think Shaw is making about social change.


Suggested Answer and Marking Emphasis:


*The student's essay should reflect a good understanding of the phrase "social change," which in this play can be discussed in the light of:

*social class and dialect
*women/gender
*conventional morality

*Very good essays will be able to reflect on how social change can be introduced into a society as presented by Shaw in Pygmalion.


Student answers should deal with at least two of the above suggested topics; dealing with one (i.e. gender) would not be enough to answer this question.

It is fitting to start this essay by pointing out that Shaw's aim as a dramatist is "to force the public to reconsider its morals" (Resource Book 2, p. 199). This reconsideration of morals entails social change. Shaw does not allow his readers/audience the satisfaction of feeling secure in their conventional beliefs concerning morality, relationships between men and women and social class and dialect.



Shaw harshly criticizes middle class morality through the character of Eliza's father, the illiterate dustman who becomes an eloquent spokesman for the "undeserving poor." Shaw unmasks the myth behind middle class morality, which according to Doolittle, is based on money. If one has money, then he can afford to be moral. The "morality" of the middle class is materialistically-based. It is a difference between the have and have- not. Shaw proceeds to explode one myth after another, uncovering the hypocrisy of society. The pretensions of the “high class” are dealt with humorously, especially in the character of Clara Eynsford Hill. Clara looks down upon the poor flower girl when she first meets her selling flowers on the street; however, when Eliza is physically removed and transformed into an exquisitely dressed young lady at Mrs. Higgins' "at home day," her lower class idiom becomes the fashionably new small talk, which Clara adores. Shaw here exposes the artificiality of class society. For Shaw, social change is not realized by speaking a certain dialect, wearing a new dress or learning to dance in the fashionable way.



Shaw deals class society a death blow by showing us how class demarcations are emphasized by the application of phonetics. A system based on pronunciation and fancy clothes is ludicrous. Higgins teaches Eliza how to speak like a duchess, but she still lacks the knowledge that would truly make a difference in her life. The beginning of her education, however, is learning self respect, and this in turn means self-education.


Shaw also frustrates the expectations of his audience by not ending the play with the marriage of Eliza and Higgins.Such a marriage would have meant that Shaw is not questioning the status of women in society. By keeping Eliza "free" of Higgins in a sense, Shaw is rejecting the traditional role of women in society. A "romantic"ending would have tamed the shrew, so to speak and reinforced the complacency of middle class audiences.



So, what is the key to social change? The key, Shaw seems to be suggesting, lies in education. Eliza and Freddy, we later learn in the epilogue, could not succeed without an education since "business, like phonetics, has to be learned" (p.117). This emphasis on education is hinted at in the main text of the play when Eliza tells Higgins that she will give the knowledge he gave her to others. Shaw seems to be saying that to possess knowledge is to possess power. The very idea that Eliza could possess this knowledge and give it to someone else drives Higgins crazy: "Teach him my methods! my discoveries" (p. 104).

It is indeed the possession of knowledge that can initiate social change, and not learning to dance in the fashionable way.
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قديم 21-05-2012, 03:53 PM   #18
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أيضا من سما ،


Discuss how Shaw draws on myth in order to help elucidate the theme of his play Pygmalion. How and why does Shaw break with the original myth? Discuss with relevance to the theme of the play.


Guidance :
In order to adequately answer this question, you should begin by first defining myth. Your discussion should include an explanation of the Pygmalion legend. You should proceed to discuss how Shaw utilizes this myth to help elucidate the theme; he is faithful to the Pygmalion myth in certain ways, but breaks with it in other ways. You should try to show how he makes the myth serve his purpose in the play. You are not to merely summarize the plot of the play. Make specific reference to dramatic incidents and parts of the dialogue in order to support your argument. Remember to document any words or ideas that are not your own.

Suggested Answer:
Myth is a "traditional, typically ancient story dealing with supernatural beings, ancestors, or heroes that serves as a fundamental type in the worldview of a people, as by explaining aspects of the natural world or delineating the psychology, ******s, or ideals of society" (American Heritage Dictionary). Mythical stories are often used by modern writers as the basic framework for their poems, novels or plays with the aim of highlighting a certain theme. However, modern writers are more often interested in rewriting the myth rather than producing a faithful retelling of it. The writer often aims at focusing on how and why his version of the myth departs from the original. If looked at in this manner, it can be argued that the message that the writer would like to convey is in the change he/she has introduced into the myth.
George Bernard Shaw's play Pygmalion is one such work. Shaw recreates the original myth in a modern setting but with one important difference. Higgins is the Pygmalion of Ovid's myth. Eliza is Galatea. In the original myth, however, Pygmalion falls in love with Galatea and marries her. Shaw does not allow for the marriage of Higgins and Eliza. Shaw, then, breaks with the myth intentionally in order to highlight Eliza's independent existence. If Shaw had been faithful to the myth, this would have defeated the purpose of his play, which is centered upon "liberating" Eliza from the moulding hands of her creator/artist Higgins. The reader cannot possibly imagine Eliza's true liberation in a marriage with the domineering Higgins who believes that he has made Eliza: "By George, Eliza, I said I'd make a woman of you; and I have. I like you like this" (Pygmalion 104). Of course, this statement comes in response to Eliza's assertion that she will use the knowledge that Higgins has given her. In other words, this knowledge, which Higgins "cant take away" (Pygmalion 104) will facilitate Eliza's liberation. Shaw actually makes Higgins utter some of the most feminist views in the play:
I think a woman fetching a man's slippers is a disgusting sight: did I ever fetch your slippers? I think a good deal more of you for throwing them in my face. No use slaving for me and then saying you want to be cared for: who cares for a slave? (Pygmalion 100)
One almost feels that Shaw alludes to Ovid's myth in the title of his play in order to nullify the creation myth—man cannot create and dominate woman. Higgins is intentionally presented as pompous and arrogant, and Eliza is rebellious from the very beginning. Thus, the traditional happy ending with the marriage of Higgins and Eliza is a far fetched conclusion. But does Shaw really grant Eliza true independence?

Although Shaw breaks with Ovid's myth for the purpose of liberating Eliza from her "creator's" grip, the final stroke of Shaw the artist, ironically, highlights Eliza's absolute dependence on men for her "liberation." Eliza's "real education" (Pygmalion 94) comes at the hands of another man, Pickering. Thus, Eliza's reformation is not realized from within the woman's sphere; it is rather something granted to her by a man. This mysteriously brings us back to the basic outlines of the Pygmalion legend.
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قديم 24-05-2012, 11:41 PM   #19
malak14 malak14 غير متصل
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يعطيكمــــــــ العافيه
malak14 غير متصل   رد مع اقتباس
قديم 25-05-2012, 12:01 AM   #20
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وهذا ملف رائع لا خت(Pinky_Princess) منتدا يمعه
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نوع الملف: doc Pygmalion unit 26 Summary-=.doc‏ (51.0 كيلوبايت, المشاهدات 166)
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