The second part of Dr. Stephen Montgomery's quartet on love and coercion among the types focuses on the Guardians (SJ) uniquely responsible style of caring for others. Montgomery has selected characters from works of Jane Austen, Sinclair Lewis, Virginia Woolf, and half a dozen other authors to bring to life the Guardian's parental way in love and marriage, and to illustrate their earnest style of interpersonal manipulation, what Keirsey calls the Pygmalion Project. The book examines Guardians both as instigators and as victims of marital games with the Rationals (NT), the Idealists (NF) and particularly with the childlike Artisans (SP). If you have a Guardian spouse (or even a Guardian parent), this book will help you understand and appreciate them.

The first part of Dr. Stephen Montgomery's quartet on love and coercion among the types focuses on the Artisans (SP) playful and charming way in relations with Guardian (SJ), Rational (NT), Idealist (NF) partners. Begin by completing Keirsey's personality test, then read about the Artisan mating game, how they delight and dismay their loved ones, as presented in the pages of D.H. Lawrence, Ernest Hemingway, F. Scott Fitzgerald, and eight other authors. More importantly learn more about Keirsey's concept of the Pygmalion Project, how we are manipulated by them in return. If you've ever been in love with an Artisan (or ever been fooled by one), The Pygmalion Project will prove fascinating reading.

"Pygmalion and the Image" is a poem form The Earthly Paradise by William Morris which is a lengthy collection of retellings of various myths and legends from Greece and Scandinavia. The poem is exceptionally balanced in all its parts. Over all the other versions, its superiority is not because of the manner narration but stems from its greater spirituality, a more refined feeling rather than a more refined form. Before the appearance of "Pygmalion and the Image," each narrator of the legend had resided mainly on the physical side, sensuous according to his temperament, of the tale. It's the only poem from the collection for the illustration of which Burne-Jones actually executed a complete series of pictures; and though the finished paintings are four in number, and the original designs, were twelve, the numerically smaller set is complete in the best sense. Not only does it illustrate fully the text and spirit of Morris's poem, but each picture in it, though finished with the loving care and elaboration which Burne-Jones lavished on his paintings, fails of its full significance unless considered in its relation to the series of which it forms a part." The illustrations consist: The Heart Desires; The Hand Refrains; The Godhead Fires; The Soul Attains

Sci-fi luminary Stanley G. Weinbaum first broke through with the hugely influential story "A Martian Odyssey," one of the first to depict an alien being in a somewhat sympathetic light. Written in 1935, the short tale "Pygmalion's Spectacles" is no less innovative: it centers around the implications of a technology that's surprisingly close to what we now call virtual reality.

As a teenager, artist Edmier remembers reading that his favorite TV star, Farrah Fawcett, was an artist. Twenty years later, he asked her to collaborate on a project--she accepted. After nine months in a studio together, the two produced this body of sculpture and photography. 200 illustrations.

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.

The literary school called deconstruction has long been dogged by the charge that it is unprincipled, its doors closed to the larger world of moral and social concern. J. Hillis Miller, one of America s leading teacher-critics, sets the record straight by looking into a series of fictions that allow him to show that ethics has always been at the heart of deconstructive literary criticism. Miller proves his point not by assertion but by doing deconstruction is here in the hands of a master teacher. Miller s controlling image is Ovid s Pygmalion, who made a statue that came alive and whose descendants (the incestuous Myrrha, the bloodied Adonis) then had to bear the effects of what he did. All storytellers can be seen as Pygmalions, creating characters (personification) who must then act, choose, and evaluate (what Miller calls the ethics of narration ). If storytellers must be held accountable for what they create, then so must critics or teachers who have their own stories to tell when they write or discuss stories. If the choices are heavy, they are also, Miller wryly points out, happily unpredictable. The teacher s first ethical act is the choice of what to teach, and Miller chooses his texts boldly. As an active reader, the kind demanded by deconstruction, Miller refashions each story, another ethical act, an intervention that may have social, political, and historical consequences. He then looks beyond text and critical theory to ask whether writing literature, reading it, teaching it, or writing about it makes anything happen in the real world of material history."

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.

Numerous studies show that people will rise, or fall, to the level where their superiors believe them capable. As a manager, it is up to you to have high expectations for your employees, and to communicate those expectations to them. In Pygmalion in Management, J. Sterling Livingston urges you to understand the power you have over your subordinates' success, and use it to benefit everyone involved. Since 1922, Harvard Business Review has been a leading source of breakthrough ideas in management practice. The Harvard Business Review Classics series now offers you the opportunity to make these seminal pieces a part of your permanent management library. Each highly readable volume contains a groundbreaking idea that continues to shape best practices and inspire countless managers around the world.