The Pygmalion effect : from Ovid to Hitchcock /
Between life and the art that imitates it is a vague, more shadowy category: images that exist autonomously. Pygmalion's mythical sculpture, which magnanimous gods endowed with life after he fell in love with it, marks perhaps the first such instance in Western art history of an image that exis...
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| Format: | Book |
| Language: | English French |
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Chicago :
The University of Chicago Press,
2008
Chicago : University of Chicago Press, c2008 Chicago : 2008 Chicago : 2008 |
| Series: | Louise Smith Bross lecture series
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| 100 | 1 | |a Stoichiṭă, Victor Ieronim | |
| 100 | 1 | |a Stoichiță, Victor Ieronim |1 http://viaf.org/viaf/32141087 | |
| 100 | 1 | |a Stoichiță, Victor Ieronim | |
| 100 | 1 | |a Stoichiță, Victor Ieronim, |e author | |
| 100 | 1 | |a Stoichiță, Victor Ieronim |0 http://viaf.org/viaf/sourceID/LC|n80109453 | |
| 100 | 1 | |a Stoichiță, Victor Ieronim | |
| 245 | 1 | 4 | |a The Pygmalion effect : |b from Ovid to Hitchcock / |c Victor I. Stoichita ; translated by Alison Anderson |
| 260 | |a Chicago : |b The University of Chicago Press, |c 2008 | ||
| 260 | |a Chicago : |b The University of Chicago Press, |c c2008 | ||
| 260 | |a Chicago : |b University of Chicago Press, |c 2008 | ||
| 264 | 1 | |a Chicago : |b The University of Chicago Press, |c 2008 | |
| 300 | |a viii, 252 p., [12] p. of plates : |b ill. (some col.) ; |c 29 cm | ||
| 300 | |a viii, 252 pages, 12 unnumbered pages of plates : |b illustrations (some color) ; |c 29 cm | ||
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| 386 | |i Author: |m Gender group: |n gdr |a Men |2 lcdgt | ||
| 386 | |i Author: |m Occupation/field of activity group: |n occ |a University and college faculty members |2 lcdgt | ||
| 386 | |i Translator: |m Gender group: |n gdr |a Women |2 lcdgt | ||
| 490 | 1 | |a The Louise Smith Bross lectures | |
| 500 | |a This WorldCat-derived record is shareable under Open Data Commons ODC-BY, with attribution to OCLC |5 CTY | ||
| 500 | |a Translated from the French | ||
| 504 | |a Includes bibliographical references (p. 209-239) and index | ||
| 504 | |a Includes bibliographical references (pages 209-239) and index | ||
| 504 | |a Includes bibliographical references and index | ||
| 505 | 0 | |a Modifications -- Amplifications -- Variations -- Doubles -- The nervous statue -- Photography/sculpture -- The original copy | |
| 505 | 0 | 0 | |g l |t Modifications -- |g 2. |t Amplifications -- |g 3. |t Variations -- |g 4. |t Doubles -- |g 5. |t The Nervous Statue -- |g 6. |t Photography/Sculpture -- |g 7. |t The Original Copy -- |t In Guise of a Conclusion -- |g Appendix. |t Ovid, Metamorphoses, 10.238-97. |
| 505 | 0 | 0 | |g l |t Modifications -- |g 2. |t Amplifications -- |g 3. |t Variations -- |g 4. |t Doubles -- |g 5. |t Nervous Statue -- |g 6. |t Photography/Sculpture -- |g 7. |t Original Copy -- |t In Guise of a Conclusion -- |g Appendix. |t Ovid, Metamorphoses, 10.238-97. |
| 505 | 0 | 0 | |g l |t Modifications -- |g 2. |t Amplifications -- |g 3. |t Variations -- |g 4. |t Doubles -- |g 5. |t The Nervous Statue -- |g 6. |t Photography/Sculpture -- |g 7. |t The Original Copy -- |t In Guise of a Conclusion -- |g Appendix. |t Ovid, Metamorphoses, 10.238-97. |
| 505 | 0 | 0 | |t Modifications -- |t Bones and flesh -- |t Caresses -- |t Blush -- |g 2 |t Amplifications -- |t The arrow -- |t Living stone -- |t Songs, tubas, and cymbals -- |g 3. |t Variations -- |t Joys and sorrows of an artist's model -- |t Vive Figure -- |g 4. |t Doubles -- |t Helen and the Eidolon -- |t Helen and the statue -- |t The talking statue in the "Gallery" of the Cavalier Marino "Like an old tale" -- |g 5. |t The nervous statue -- |t The step -- |t The sculpture in painting/The sculpture in sculpture -- |t Knots -- |t "An ethereal fluid/Into the softened stone has already pentrated" -- |g 6. |t Photography/sculpture -- |t The end of the session (Photography and sculpture) -- |t The rise of the "Very lifelike ghost" (Photosculpture) -- |g 7. |t The original copy -- |t The Pygmalionian relationship -- |t Madeleine's Chignon -- |t Judy's face -- |t The transformation -- |t In guise of a conclusion -- |t Appendix: Ovid, Metamorphoses, 10.238-97. |
| 520 | |a Between life and the art that imitates it is a vague, more shadowy category: images that exist autonomously. Pygmalion's mythical sculpture, which magnanimous gods endowed with life after he fell in love with it, marks perhaps the first such instance in Western art history of an image that exists on its own terms, rather than simply imitating something (or someone) else. In The Pygmalion Effect, Victor I. Stoichita delivers this living image - as well as its many avatars over the centuries - from the long shadow cast by art that merely replicates reality. Stoichita traces the reverberations of Ovid's founding myth from ancient times through the advent of cinema. Emphasizing its erotic origins, he locates echoes of this famous fable in everything from legendary incarnations of Helen of Troy to surrealist paintings to photographs of both sculpture and people artfully posed to simulate statues. But it was only with the invention of moving pictures, Stoichita argues, that the modern age found a fitting embodiment of the Pygmalion story's influence. Concluding with an analysis of Alfred Hitchcock films that focuses on Kim Novak's double persona in Vertigo, The Pygmalion Effect illuminates the fluctuating connections that link aesthetics, magic, and technical skill. In the process, it sheds new light on a mysterious world of living artifacts that, until now, has occupied a dark and little-understood realm in the history of Western image making. -- From amazon.com | ||
| 520 | 1 | |a "Victor Stoichita traces the reverbations of Ovid's founding myth of Pygmalion from ancient times through the advent of cinema. Emphasizing its erotic origins, he locates echoes of this famous fable in everything from legendary incarnations of Helen of Troy to surrealist painting to photographs of both sculpture and people artfully posed to simulate statues. But it was only with the invention of moving pictures, Stoichita argues, that the modern age found a fitting embodiment of the Pygmalion story's influence. Concluding with an analysis of Alfred Hitchcock films that focuses on Kim Novak's double persona in Vertigo, The Pygmalion Effect illuminates the fluctuating connections that link aesthetics, magic, and technical skill. In the process, it sheds new light on a mysterious world of living artifacts that, until now, has occupied a dark and little-understood realm in the history of Western image making."--BOOK JACKET | |
| 520 | 8 | |a Pygmalion's sculpture, which the gods endowed with life, marks, according to this book, perhaps the first instance in Western art of an image that exists on its own terms, rather than simply imitating something else. Stoichita delivers this image and its avatars from the shadow cast by art that merely replicates reality | |
| 541 | |3 Eisenhower copy: |c Purchased with funds from the |a Steven Muller Endowment for the Humanities; |d FY2009 |5 MdBJ. | ||
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