scholarly journals The Other Darwin’s Plots: Evolution as Literature in Erasmus Darwin, Samuel Butler and George Bernard Shaw

2016 ◽  
Author(s):  
Martin Priestman
Keyword(s):  
The Other ◽  
George Bernard Shaw ◽  
Samuel Butler ◽  
Bernard Shaw ◽  
Erasmus Darwin

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.

Property and Hunger

1988 ◽  
Vol 4 (1) ◽  
pp. 57-68 ◽  
Author(s):  
Amartya Sen
Keyword(s):  
Property Rights ◽  
Social Problems ◽  
Moral Belief ◽  
The Other ◽  
George Bernard Shaw ◽  
Economic Aspects ◽  
Henry George ◽  
Bernard Shaw

In an interesting letter to Anna George, the daughter of Henry George, Bernard Shaw wrote: “Your father found me a literary dilettante and militant rationalist in religion, and a barren rascal at that. By turning my mind to economics he made a man of me” (George, 1979, p. xiii). I am not able to determine what making a man of Bernard Shaw would exactly consist of, but it is clear that the kind of moral and social problems with which Shaw was deeply concerned could not be sensibly pursued without examining their economic aspects. For example, the claims of property rights, which some would defend and some (including Shaw) would dispute, are not just matters of basic moral belief that could not possibly be influenced one way or the other by any empirical arguments. They call for sensitive moral analysis responsive to empirical realities, including economic ones.

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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