George Bernard Shaw: Twentieth-Century Victorian

1986 ◽  
Vol 10 (2) ◽  
pp. 54 ◽  
Author(s):  
Stanley Kauffmann
Keyword(s):  
Twentieth Century ◽  
George Bernard Shaw ◽  
Bernard Shaw

Desiring Women: Irish Playwrights, New Women and Queer Socialism, 1892–1894

2018 ◽  
Author(s):  
Susan Cannon Harris
Keyword(s):  
Twentieth Century ◽  
Percy Bysshe Shelley ◽  
Social Progress ◽  
George Bernard Shaw ◽  
William Morris ◽  
English Drama ◽  
New Women ◽  
Edward Carpenter ◽  
Bernard Shaw

The interrelationship between sexual and social revolutions in London in the 1890s shaped both the Irish dramatic revival and twentieth-century English drama. W. B. Yeats and George Bernard Shaw both embraced a socialism rooted in the radical eros of Percy Bysshe Shelley and developed by William Morris, Oscar Wilde, and Edward Carpenter. This “queer socialism” (the chapter acknowledges but departs from from Patrick Mullen’s earlier use of the phrase) was defined by its insistence on pleasure as the means and as the end of social progress. Yeats, Shaw, and John Todhunter—all Shelley enthusiasts, and all fascinated by Florence Farr’s bisexuality—contributed plays to a season that Farr produced at the Avenue Theatre. The opening night audience violently protested the double bill of Yeats’s Land of Heart’s Desire and Todhunter’s A Comedy of Sighs, in part because both plays mythologized the New Woman’s transgressive sexuality through occult representations of lesbian desire. Shaw moved to protect himself from homophobic condemnation by replacing Farr in the lead role of Arms and the Man with a more gender-conforming actress. After Shaw’s brilliant success, Yeats decided to pursue his dramatic career in Dublin, leaving Shaw to found a straightforwardly socialist dramatic revival in London.

scholarly journals The Comic Genius in Shaw’s Drama

2018 ◽  
Vol 6 (10) ◽  
pp. 12
Author(s):  
Shawqi Ali Daghem Mohammed ◽  
Dr. Shaikh Samad
Keyword(s):  
Twentieth Century ◽  
Nobel Laureate ◽  
George Bernard Shaw ◽  
Social Reformer ◽  
History Of ◽  
Current Article ◽  
History Of Literature ◽  
Bernard Shaw

George Bernard Shaw (1856 - 1950) the socialist, politician, economist, social reformer and the Nobel Laureate playwright, is one of the most venerable authors in the history of literature in general and the theater in particular. He is a great laughter making and thinking motivator, where his comedies always revealed the values of the time. His plays are enjoyable and resonating until today. In this respect, the current article aims to explore Shaw’s comic genius and his contributions to the art of comedy as a leading dramatist of the twentieth century. It reveals how he employs jokes and humour to deliver his philosophy and his intellectual judgment on life in a clever and amusing way. The paper describes the development of Shaw’s comic and technical style. It focuses on some of Shaw’s memorable comedies, which display his comic genius during his career.

George Bernard Shaw

2011 ◽  
Author(s):  
Mark Bevir
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
George Bernard Shaw ◽  
Social Democratic ◽  
The Social ◽  
Bernard Shaw

This chapter concerns the famous playwright George Bernard Shaw. Shaw's biographers consistently discuss his debt to Marx, but intellectual historians have found little sign of this debt. It shows how Shaw's Marxism becomes visible if we look for the kind of Marxism found among his contemporaries, as opposed to the kinds of Marxism that became prominent later in the twentieth century. In the mid-1880s, Shaw shared many of the Marxist ideas of the Social Democratic Federation. Even later, after he rejected Marxist economics for marginalism, he continued to defend several Marxist themes in ways that distanced him from the other leading Fabians, most importantly Sidney Webb.

scholarly journals PYGMALION: A STUDY OF SOCIO-SEMANTICS

2015 ◽  
Vol 21 (2) ◽  
pp. 202
Author(s):  
Mirjam Anugerahwati
Keyword(s):  
Communicative Competence ◽  
George Bernard Shaw ◽  
The Novel ◽  
The Subject ◽  
Bernard Shaw ◽  
The Way

This article discusses the novel Pygmalionby George Bernard Shaw (1957) which depicts Eliza, a flower girl from East London, who became the subject of an “experiment” by a Professor of Phonetics who vowed to change the way she spoke. The story is an excellent example of a very real and contextual portrait of how language, particularly socio-semantics, play a role in the achievement of communicative competence.

scholarly journals Análise descritiva da tradução de Millôr Fernandes para o português da peça “Pygmalion”, de George Bernard Shaw

2008 ◽  
pp. 67-83
Author(s):  
Priscila Fernanda Furlanetto
Keyword(s):  
George Bernard Shaw ◽  
Bernard Shaw

As obras de um dos mais conhecidos humoristas brasileiros, Millôr Fernandes, já foram bastante exploradas pelos pesquisadores de uma forma geral. Mesmo assim, há ainda uma vertente desse autor a ser estudada: o Millôr Tradutor.

Millennial Dark Ladies

2021 ◽  
Vol 33 (2) ◽  
pp. 79-92
Author(s):  
Katherine Scheil
Keyword(s):  
Women Writers ◽  
George Bernard Shaw ◽  
Central Figure ◽  
Anthony Burgess ◽  
Victorian Period ◽  
The Subject ◽  
Bernard Shaw

The Dark Lady evoked in Shakespeare’s Sonnets has been the subject of numerous speculations since the Victorian period. Several male writers and critics – George Bernard Shaw, Frank Harris, A. L. Rowse and Anthony Burgess, for example – have undertaken extended imaginative explorations of this alternative woman. More recently, the Dark Lady has become a central figure in millennial novels by women writers, designed primarily for a female reading audience. This article considers what’s at stake by placing this imaginary woman at the heart of Shakespeare’s artistic inspiration, and what this tells us about the meaning(s) of ‘Shakespeare’ for contemporary women writers and readers.

J. M. Barrie’s Gothic: Ghosts, Fairy Tales and Lost Children

2017 ◽  
pp. 155-167
Author(s):  
Sarah Dunnigan
Keyword(s):  
Recent Work ◽  
Fairy Tales ◽  
George Bernard Shaw ◽  
Peter Pan ◽  
Bernard Shaw

In his obituary of J. M. Barrie, George Bernard Shaw called his plays ‘terrifying’. Although Peter Pan (first performed in 1904) had long become a cherished children’s fantasy and a staple of Christmas theatricals, Shaw seemed more perturbed than enchanted by it (1993: 151). Barrie is seldom described as a Gothic writer, although his own well-known and often reductively understood biography has been ‘Gothicised’ into a dark psycho-narrative. Rather than use the latter to suggest Barrie’s election to the Scottish Gothic canon, this chapter takes its cue from recent work by R. D. S. Jack (2010), Valentina Bold and Andrew Nash (2014) and others, who demonstrate how Barrie is a writer of complexity and contradiction. The generic and thematic range of Barrie’s writing means that he is not a consistent or fully fledged Gothic writer but nevertheless Gothicism still inks a recurrent pattern of motifs and ideas in his work.

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