Illustrated by Rachel Berman Juliet Hogsworth is a shy little piglet who can sing and dance and tap her little toes off at home. But will she have the nerve to do it in public, on stage? Following her quest to win the title role of Eliza Piglittle in George Barnyard Shaw's 'Pigmalion', this amusing tale is full of dramatic tension and comic pig-puns. Little piglets will cheer when Juliet's stout heart wins out against tremendous odds, and she triumphs to the delight of all, including the famous director Monsieur Le Cochon. In full-colour. Ages 5-8.

Reading is not an unusual or unfamiliar thing. It must be the first condition of life. Though illiterate or literate, humans should read things, letters, incidents, and situations according to each level of recognition so that they can survive surroundings under the brutal principle of natural selection. Namely, reading must be a reaction for survival. By the way, there are many kinds of readings in the literary world: close reading that new criticism favored, authentic reading that modernism based on elitism pursued, and misreading, as suggested by Harold Bloom, that wayward postmodernism allows. Whichever reading we may choose, it would be innocent because any reading must linger on the level of the parable of Platos cave, in which humans could read the dim shadows of things reflected on the wall. In this sense, Blooms term is very honest rather than being postmodern or deconstructive. Thus, humans cant read the existence of thing itself. What they can read at best is nothing but the indirect, misunderstood fruit through the medium of language according to F. Saussures linguistics. Frankly, humans were born to tell a lie about thing itself, which would be the truth or fate of human existence. Accordingly, however, meticulously we may read poems that would be no better than misreading. Hence, my book has a naive aim that worldwide readers can freely read esoteric English poetry by famed poets regardless of these or those ways of reading, and the interpretations of English poetry dont belong to those professional or authoritarian but to reading public. Furthermore, through reading this subjective criticism on English poetry, worldwide readers can feel interested in how a Korean is reading it. Thus, this book can dedicate itself to the dialectic convergence between the Eastern and the Western ideal.

Dramatic Comedy / 9m, 8f (cross casting and double casting possible) Inspired by Pygmalion, Shaw's classic drawing room tale of language and class division, and its musical incarnation, My Fair Lady, the play tells the story of one Eliza Doolittle-the daughter of a hardscrabble Mississippi pig farmer-who sells homemade pork rinds at the Tri-Counties Fair and Livestock Show, and dreams of someday working as a waitress at "one of those nice downtown barbecue restaurants where all the tourists go.

Pygmalion is a play by George Bernard Shaw, named after a Greek mythological figure. It was first presented on stage to the public in 1913.

This reissue of a classic book (the first edition of which sold 50,000 copies) explores the 'Pygmalion phenomenon', the self-fulfilling prophecy embedded in teachers' expectations.

Redefining Elizabethan Literature examines the new definitions of literature and authorship that emerged in one of the most remarkable decades in English literary history, the 1590s. Georgia Brown analyses the period's obsession with shame as both a literary theme and a conscious authorial position. She explores the related obsession of this generation of authors with fragmentary and marginal forms of expression, such as the epyllion, paradoxical encomium, sonnet sequence, and complaint. Combining developments in literary theory with close readings of a wide range of Elizabethan texts, Brown casts light on the wholesale eroticisation of Elizabethan literary culture, the form and meaning of Englishness, the function of gender and sexuality in establishing literary authority, and the contexts of the works of Shakespeare, Marlowe, Spenser and Sidney. This study will be of great interest to scholars of Renaissance literature as well as cultural history and gender studies.

This persuasive book analyses the complex, often violent connections between body and voice in Ovid's Metamorphoses and narrative, lyric and dramatic works by Petrarch, Marston and Shakespeare. Lynn Enterline describes the foundational yet often disruptive force that Ovidian rhetoric exerts on early modern poetry, particularly on representations of the self, the body and erotic life. Paying close attention to the trope of the female voice in the Metamorphoses, as well as early modern attempts at transgendered ventriloquism that are indebted to Ovid's work, she argues that Ovid's rhetoric of the body profoundly challenges Renaissance representations of authorship as well as conceptions about the difference between male and female experience. This vividly original book makes a vital contribution to the study of Ovid's presence in Renaissance literature.