Fair Lady Research Articles

Critical Exploration of Eliza’s Use of Restricted Code and Elaborated Code in Pygmalion

This research paper explored the character of Eliza Doolittle in Pygmalion and its movie adaptation, My Fair Lady, through the use of Restricted and Elaborated Code. These concepts examined Eliza’s transformation from a common flower girl to a duchess at the hands of Henry Higgins. The research employed the qualitative method and used Restricted Code and Elaborated Code concepts presented by Basildon Bernstein in his 2003 book, Theoretical Studies towards a Sociology of Language (Class, Codes and Control) for deductive thematic analysis. Given the context, Eliza’s dialogues and the settings in the play and the movie where she delivered those dialogues were also taken into account because the relationship between social class and language could not be ignored in the society Eliza inhabits. The study also focused on her dilemmas, dreams, desires and struggles to determine the outcomes of Eliza’s transformation, whether it was a blessing or a curse. By analysing Eliza’s use of language and interactions, the findings offered insights into the power dynamics of language and social class in shaping individual’s identity.

Interpretation of the Non-verbal Communication in the Film My Fair Lady from the Pragmatic Perspective

Verbal communication and non-verbal communication are two essential ways of human communication behavior. From the pragmatic perspective, non-verbal communication can even convey more content in certain situations than verbal communication. In non-verbal communication, body language, dress and personal adornment, and boundary play a single or comprehensive role in reinforcing, supplementing, and weakening verbal information. This article takes two typical scenes of the film My Fair Lady as examples to interpret non-verbal communication behavior in a pragmatic sense.

INTERSECTIONAL OPPRESSIONS THROUGH LANGUAGE: CASE STUDIES IN RACE, GENDER AND CLASS IN TO KILL A MOCKINGBIRD AND MY FAIR LADY

This study aims to investigate the impact of many dimensions on language use in Harper Lee’s To kill a mockingbird and George Cukor’s My fair lady. Regarding the first one, we distinctly focus on racially charged terminology, further exploring gender and class biases portrayed in the second one. Our methodology involves in-depth discourse analysis and critical examination of linguistic nuances, societal implications and narrative contexts within the works. The main hypothesis is that language acts as both a reflection and a catalyst for societal norms, playing a pivotal role in shaping perceptions, either for inclusivity or exclusion within specific communities.

Psychological Growth of the Protagonist in Pygmalion from Ecological System Theory

George Bernard Shaw was an Irish playwright, critic, polemicist and political activist. His influence on Western theatre, culture and politics has extended all over the world from 1880s up until now. He wrote more than sixty plays, including major works such as Man and Superman, Pygmalion and Saint Joan. With the great capacity of using play to reflect the reality, Shaw became the leading dramatist of his era. Shaw’s Pygmalion is one of the most popular of his plays. It has been staged all over the English speaking world. And even a film based on the play called My Fair Lady has proved to be an immense success, and has made everyone knows about this play. Its popularity has been perennial and universal.Henry Higgins, a professor of phonetics, one day overhears a flower girl named Eliza Doolittle and mocks the common way she talks. The next day, Eliza shows up and asks Higgins to teach her talk properly. But his friend Colonel Pickering bets him that he can’t make Eliza talk like a lady in six months’ time. During the time that he accepts the challenge and teaches Eliza, Eliza has many psychological growth. Based on the ecological system theory, this paper makes an analysis of the positive influences of the environment on Eliza from different people and society in reference with five dimensions—microsystem, mesosystem, exosystem, macrosystem and chronosystem. The influence from Eliza’s original family, especially from her father, the guidance and deeds of Higgins, and some effects from the society as the microsystem provide positive help for the psychological growth of Eliza. And the interactions among the microsystem, which construct the mesosystem, together with the exosystem and macrosystem make Eliza, a flower girl, grows into a Duchess Eliza with pride and self-consciousness.

Russian Musicals Against the Background of the History of the Genre

The article presents a generalisation of some features of Russian musical in the context of its history. Against the background of the worldwide promotion of the genre, musical in Russia has its own distinctive features and original history. The notable role in it was played by the “Thea-Jazz” of the artist, singer and conductor Leonid Utesov and the fi rst musical fi lm comedy “Jolly Fellows” (1934) directed by Grigory Alexandrov with the participation of Utesov and his band (the music by Isaac Dunaevsky). The further fate of Russian musicals is also associated with the parallel development of the musical fi lm genre, on the one hand, and theatrical performances in Soviet theatres of outstanding examples of foreign composers, on the other hand. Acquaintance with such works as the jazz opera “Porgy and Bess” by George Gershwin, “The Threepenny Opera” by Kurt Weill, the “My Fair Lady” musical by Frederick Loewe and “West Side Story” by Leonard Bernstein increased the interest of composers and the public in the genre and led to the appearance of their own successful versions.

Introduction

Introduction

The Moor and the fair lady- An analysis of Othello, Shakespeare’s play through the lens of marginalisation

William Shakespeare’s play Othello features the life of Othello, a black Moor, a Muslim, who although is the most trusted man of the King of Venice, struggles to fit in with the prominent White, Christian medieval framework of Venice. He indirectly subscribes to the prevailing morality and thinks himself inferior to the rich, white European Christians. He tries to be like them, imbibing their values and their codes, but still struggles with his different color and has an inferiority complex. This ultimately leads to his downfall and it results in him killing his beloved wife, Desdemona and it ultimately led to his suicide.

My Own Fair Lady

My Own Fair Lady

The Great Resignation III

The Great Resignation III

Rehabilitating Romberg

Few Neurologists will be unfamiliar with referral letters stating that the patient has “Rhomberg’s sign” or some “mild rhombergism” (capitalisation variable), a particularly irritating misnomer for the pedants among us. As Henry Higgins the fictional Professor of Phonetics [1] observed: ‘Does the same thing hold true in India, Pickering? Is there the peculiar habit of not only dropping a letter like the letter “h”, but using it where it doesn’t belong, like “hever” instead of “ever”?’ My Fair Lady – Act 1, Scene 5, p58 [1]. Or Rhomberg instead of Romberg! So, who was “Rhomberg,” and what did he describe?

Retelling Cinderella: Cultural and Creative Transformations

Retelling Cinderella: Cultural and Creative Transformations

‘To have children with the Fair Lady…’. On the history of the correspondence between Maria Shkapskaya and Aleksandr Blok

The article methodically analyses several versions of M. Shkapskaya’s poem ‘To have children with the Fair Lady…’ [‘Detey ot prekrasnoy damy…’], dedicated to A. Blok, and examines the changes made by Shkapskaya as she was revising the draft. It is a well-known fact that, in 1920, a year before his death, it was Blok who helped Shkapskaya establish a literary career. Having read a typewritten copy of her collection of poems entitled Mater Dolorosa, he supplied a favourable review, which, along with personal recommendations of M. Kuzmin, M. Lozinsky and N. Gumilyov, ensured Shkapskaya’s membership in the Petrograd Union of Poets, despite the fact that none of her work had been published at the time. The article lists several lesser-known facts about Blok’s life (for example, that he personally knew and corresponded with Shkapskaya, who was also a friend and correspondent of his mother’s, A. Kublitskaya-Piottukh), and includes the complete text of Shkapskaya’s comical ‘opera’ Blok Aleksandr, sent to Blok in a letter dated 16 January 1921; the text is supplied with notes. Also included is another of her ‘operas,’ Shkapsky Orest.

Thoracolumbar Rotation During Tai Chi Movements-A Biomechanical Analysis of the Entire Peking Style Routine.

The impact of spinal mobility and sagittal spinal shape on the development of balance impairment supports the hypothesis that enhancing spine flexibility results in an improvement in postural balance ability. Therefore, the aim of this study was to investigate whether the range of motion of thoracolumbar rotation during the movements of the Tai Chi Peking style routine is sufficient to improve thoracolumbar flexibility. Three-dimensional kinematic and kinetic data were collected from eight athletes of the German Wushu Federation, while performing all movements of the entire Peking style routine (1) in a competition version corresponding to national/international championships and (2) in a health sport version performed with shorter and higher stances (i.e. a smaller distance between the feet and thus less knee flexion). For each movement the total mean and standard deviation values for the total range of motion of thoracolumbar rotation was calculated. Statistical analysis was performed using the Wilcoxon signed-rank test for paired differences. Eight movements showed major differences (10.12–19.73°) between the two versions. For the remaining movements, only minor differences (0.7–9.56°) were observed. All movements performed on both sides showed no significant lateral differences. Most of the Tai Chi movements, regardless of the performed version, cover a range of motion of thoracolumbar rotation that has the potential to lead to an improvement of thoracolumbal spine flexibility with appropriate training. The most effective single movements (25.97–72.22°) are Brush Knee and Step Forward, Step Back and Repulse Monkey, Grasp the Sparrow‘s Tail, Wave Hand in the Clouds, and Fair Lady Weaves with Shuttle.

My Fine Fellow by Jennieke Cohen

Reviewed by: My Fine Fellow by Jennieke Cohen Alaine Martaus Cohen, Jennieke My Fine Fellow. HarperTeen, 2022 [352p] Trade ed. ISBN 9780063047532 $17.99 E-book ed. ISBN 9780063047556 $9.99 Reviewed from digital galleys R Gr. 7-12 In an alt-world 1833, seventeen-year-old Helena Higgins is poised to become London's most renowned Culinarian, crafting cutting-edge dishes for the social elite. On the brink of graduation, she's taking on an unusual final project: to turn street-food hawking Elijah Little into a famous gentleman chef. At her side, and functioning as her conscience, is best friend Penelope Pickering, who steps in to smooth the way when Helena turns out to not be the most effective teacher. Between Elijah's natural talent and their tutelage, his food soon impresses the elevated palates of British society, and suddenly Elijah's even vying for the hand of the Crown Princess. As the countdown to the final cooking competition commences, Helena [End Page 149] learns that Elijah has secrets that could ruin not just Helena's success, but Elijah's future. A triumphant mix of food, flirtation, and friendship, this My Fair Lady inspired, genre-blending treat will delight fans of historical romances, musicals, and bake-offs. Its alternative timeline, with Britain ruled by a Queen, helpfully frees the narrative from critiques of its ahistorical progressiveness, and the result is an enjoyable confection of lessons learned, wish-fulfillment, and happy endings. Bi-racial Penelope gives the novel a way to reimagine Britain's colonial reach, but it's Elijah's Jewishness that forms the core conflict. The resulting social commentary is more frothy than forceful but nonetheless draws attention to discrimination often overlooked. Ultimately sidelining Helena and allowing Penelope and Elijah to take ownership of their own reinvention, the story's more than a simple retelling; it's a refreshing remix of well-loved ingredients, sure to please. Copyright © 2021 The Board of Trustees of the University of Illinois

Taking a Different Path: From Voice Teacher to Speech-Language Pathologist

Taking a Different Path: From Voice Teacher to Speech-Language Pathologist Brian Manternach (bio), Elizabeth Lanza (bio), and Megan Lee (bio) THE INDEPENDENT TEACHER INTRODUCTION In a 2019 Journal of Singing article, D. Brian Lee outlines the many advantages voice teachers may enjoy when they take on "non-voicerelated jobs."1 He highlights how they can provide financial stability, an outlet for creative pursuits outside of music, and the freedom to take on students and performance opportunities out of desire rather than necessity. Besides non-voice-related jobs, many voice teachers also find themselves drawn to music adjacent careers, where the skills they have developed as singers and educators are even more directly applicable. One of these fields is speech-language pathology. According to the American Speech-Language-Hearing Association (ASHA), speech-language pathologists (also called SLPs) are experts in communication who work with people of all ages to treat many types of communication and swallowing problems.2 They have a variety of areas of focus, including addressing problems with speech sounds (how we create sounds and put sounds together into words), language (how well we understand what we hear or read and how we use words to tell others what we are thinking), and voice (how our voices sound).3 SLPs work in a variety of settings, including private practices, physicians' offices, hospitals, schools, colleges and universities, rehabilitation centers, and long-term and residential health care facilities.4 This column will provide profiles of two voice teacher-singers who have shifted to speech-language pathology (one working professional and one current graduate student). We will explore their backgrounds and experiences, the elements that led them to shift careers, and how their work as voice teachers informs their work in speech-language pathology. MUSICAL BEGINNINGS Elizabeth Lanza claims she was in love with musical theatre from day one. She means this quite literally, since the soundtrack to Guys and Dolls was playing in the background when she was born. Her parents—both theatre aficionados—provided a steady stream of classic Golden Age musicals like Oklahoma, Camelot, My Fair Lady, and Fiddler on the Roof in their house during her formative years. The season tickets her family held at their local Equity theatre also allowed for many opportunities to see live, professional [End Page 383] theatre up close. Lanza specifically remembers watching the actors on stage and thinking, "I could do that!" In fact, she did "do that," albeit on a much smaller stage, as she and her cousin would regularly mount their own living room productions of The Little Mermaid and Beauty and the Beast. Even at that early age, Lanza appreciated music as a vehicle for storytelling, which only grew throughout middle school and high school. She credits her high school choir director and "an incredibly supportive voice teacher" for playing significant roles in her decision to major in music in college and to pursue it as a career. Megan Lee similarly developed a love of singing that began in early childhood. Instead of the footlights of the theatrical stage, however, she found her passion in the choir stalls of a cathedral. When she was 10 years old, Lee began attending the renowned Madeleine Choir School in Salt Lake City, where—instead of Oklahoma and Camelot—she sang everything from Gregorian chant to Poulenc. Lee never considered herself a "natural" when it came to singing. Although she developed strong musicianship, sight-reading skills, and choral singing abilities throughout her schooling, she felt that singing always presented challenges to overcome. When she first started taking voice lessons, it was primarily because of her goal to get into one of the top choirs at her school. However, she soon became fascinated with vocal technique, the mind-body connection, and the functioning of the vocal mechanism. Studying voice in college seemed a logical next step, given how her background had placed her on that path. But she also viewed pursuing voice at the next level as a personal challenge. Knowing how hard she had worked on her singing during her teen years, she saw college vocal studies as a tremendous opportunity for self-exploration. COLLEGE AND EARLY CAREER When...

My Fair Lady? Inferring Organizational Trust From the Mere Presence of Women in Leadership Roles.

The history of male dominance in organizational hierarchy can leave a residue of mistrust in which women in particular do not expect fair treatment. The mere presence of a female leader relative to a male leader led perceivers to anticipate fairer treatment in that organization (Study 1) and greater projected salary and status (Study 2). This mere presence effect occurred uniquely through communal and not agentic affordances; these patterns emerged especially or only for women. Female leaders cued organizational trust in both male- and female-dominated industries (Study 3) and when they occupied different levels of the organizational hierarchy (Study 4). When information about organizational communal affordances is directly communicated, both female and male leaders signal trust (Study 5). The processes and practices of male-dominated organizational culture can leave a residue of mistrust, but viewing women in leadership is one beacon illuminating paths forward and upward.

Let's talk about sex: Differences in drug therapy in males and females.

Professor Henry Higgins in My Fair Lady said, 'Why can't a woman be more like a man?' Perhaps unintended, such narration extends to the reality of current drug development. A clear sex-gap exists in pharmaceutical research spanning from preclinical studies, clinical trials to post-marketing surveillance with a bias towards males. Consequently, women experience adverse drug reactions from approved drug products more often than men. Distinct differences in pharmaceutical response across drug classes and the lack of understanding of disease pathophysiology also exists between the sexes, often leading to suboptimal drug therapy in women. This review explores the influence of sex as a biological variable in drug delivery, pharmacokinetic response and overall efficacy in the context of pharmaceutical research and practice in the clinic. Prospective recommendations are provided to guide researchers towards the consideration of sex differences in methodologies and analyses. The promotion of disaggregating data according to sex to strengthen scientific rigour, encouraging innovation through the personalisation of medicines and adopting machine learning algorithms is vital for optimised drug development in the sexes and population health equity.

عرس الزين دراسة في ضوء النظرية السلوکية اللغوية

تقوم هذه الدراسة على تطبيق النظرية السلوکية اللغوية لبلومفيلد على رواية عرس الزين للطيب صالح، واـلتي تـقوم عـلى فـکـرة الـمثـيـر والاسـتجابة، وإذا کانت النظرية تنص على أن المثير من قبل المتکلم والاستجابة من قبل المتلقي، وأنها استجابة حتمية، فإنه قـد تـبـيـن للباحثين في هذه الدراسة أن الاستجابة ليست کما يراد لها دائما، فهي قد تـکـون نـاجـحـة، وهـو الـغـالـب في الـروايـة، أو فاشلـة، وهو الأقل، أو متعددة، وذلک في حالة ما إذا کـان هـناک أکـثـر مـن مـتـلـق ومخاطـب، فـحـيـنـئـذ تـتـعـدد الاستجـابـات. وهـو مـا أثـبـتـتـه هـذه الـدراسـة بالأمثلة؛ وهذا الذي نقول به يؤدي بنا إلى أن نقول بتوسيع مجال النظرية لتشمل الاستجابات المختلفة الناجحة والفاشلة والمتعددة. وما نقوله هنا ليس نقضا للنظرية ولا اعتراضا عليها، بل هو من قبيل الاستدراک، فهي نظرية صالحة للأخذ بها وتطبيقها على نصوص أدبية کثيرة، وغير أدبية في المجالات الإنسانية الأخرى. وتقوم رواية عرس الزين للطيب صالح على حدث بالغ الأهمية في إثارة النفوس، وهو زواج الزين من الفتاة التي تشرئب لها الأعناق إنها نعمة ذات الجمال والنعمة والدلال؛ إذ عصف خبر زواج الزين منها بأهل القرية الذين تـلقوه بانـدهـاش، مع اخـتـلاف في الاستـجابـات، مـا بـيـن محب فــرح، وکاره غـاضـب. فکان هذا هو الحدث الأبرز في تحريک النفوس، وإثارة الخواطر، ومـن الـجمل الـمـثـيـرة الــتي أصبحـت تـتـلقى بالاهــتـمـام مقـولة الزين: أنـا مکتـول في حـوش ...، والتي أثارت اهتمام الشباب إلى أن هـناک فـتـاة ذات جـمـال بـاهـر، فـيـهـرعـون إلـى خـطـبـتـها، وانـتـبـاه الـکبار الذين لم يعجبهم مثل هذا الـکـلام الـخـارج عـن مـفـاهيم وعـادات المجتمع، وانتباه الأمهات لخطورة العبارة، وجلب نظر الشباب لخطبة بناتهن، واستلطاف الزين وإظهار الود له ليقول هذه العبارة الذهبية في بناتهن ليتزوجن في أسرع وقت ممکن. تزعم هذه الدراسة أن استخدام اللغة في هذه الرواية يقوم على فکرة المثير والاستجابة، وهما أساس النظرية السلوکية اللغوية، التي تبناها بلومفيلد، وقد هدفت الدراسة إلى أن تطبق النظرية السلوکية على رواية عرس الزين، فکانت النتائج تسير وفق المأمول. وظهر لنا أن الرواية في أغلبها تخضع لفکرة المثير والاستجابة. الکلمات المفتاحية: عرس الزين، کاتلالها کتيل، الزين، نعمة، أنا مکتول في حوش ... Abstract The wedding of Zein A study in the light of behavioural theory This study aims to apply the behavioral theory on the novel that is called ‘The wedding of Zein’. Based on the idea that all behaviors request response and simulation, this study reveals that some intended responses may be achieved and that is dominated through this story. On the other hand, some responses may be failed which is rare in this story and some are multiple especially if there are more than one addressee. Accordingly, there will be different responses. This research provides many examples go with behavioral theory. The villagers have received the idea of ‘The wedding of Zein’ surprisingly with different responses; some are happy and some are mad. The most popular sentence “I am dying over there…” is received much attention from villagers. The young men think that there is a fair lady so they hurry to propose marriage. The old men have noticed what happened but they don’t like this issue which violates all their traditions and customs. Moreover, the mothers have noticed the danger of this popular sentence. The golden sentence is meant to be said in order to make the girls in village getting married as soon as possible.

ИНТЕРПРЕТАЦИЯ ЖАНРА МЮЗИКЛА В ТВОРЧЕСТВЕ Р. ИГНАТЬЕВА И К. БРЕЙТБУРГА

Theater in Russia has for a long time neither cultivated nor encouraged the pursuit of entertainment and commercial success. Perhaps that is why, the first attempts to integrate the musical into the Russian theater environment ended in failure. "My Fair Lady" by F. Loewe, staged at the Stanislavsky and Nemirovich-Danchenko Theatre, "Avtograd–1929", staged at the Satire Theater and the "Chicago" musical, after several performances, were removed from the repertoire or, like enterprise productions, ceased to exist. The purpose of this research is to determine the reasons for the growing popularity of the literary musical in Russia. The article examines the development of literary musical through the work of its outstanding representatives, composers R. Ignatiev and K. Breitburg. Scientific novelty of the work lies in the study of previously unpopular classical literature samples, which are the basis for the modern musical theatre genre.

My Fair Lady Entre L’Egyptianisation Théâtrale et l’Adaptation Cinématographique

My Fair Lady Between Theatrical Egyptization and Film Adaptation 
 Adapting stage techniques to cinematic functioning is one of George Cukor's major challenges in his grandiose production of My Fair Lady. How then are the theatrical and the cinematographic structured and in what way do they structure in their turn Cukor's film masterpiece? And what meaning do they take? And how to get from a Bernard Shaw theatrical piece without a declaration of love, no dancing or sung scenes, a successful romantic and choreographic musical? And how has this musical been theatrically reproduced in Egyptian style so as to defy anything that seems a limit? Is it the Egyptianization of My Fair Lady was just a simple transposition from screen to stage, or does it retain a specific character that breaks with technical conventions intimately linked to the work of Bernard Shaw? These are the questions that this research will highlight and answer.