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Relevant bibliographies by topics / Arms and the man (Shaw, Bernard)

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Academic literature on the topic 'Arms and the man (Shaw, Bernard)'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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Journal articles on the topic "Arms and the man (Shaw, Bernard)"

1

Stoyan Tchaprazov. "The Bulgarians of Bernard Shaw's Arms and the Man." Shaw 31, no. 1 (2011): 71. http://dx.doi.org/10.5325/shaw.31.1.0071.

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Ibrahim, Ghassan Awad, and Mahmoud Ali Ahmed Omer. "G. B. Shaw's War Antipathy in Arms and the Man and Major Barbara." Vol-6, Issue-2, March - April 2021 6, no. 2 (2021): 315–21. http://dx.doi.org/10.22161/ijels.62.47.

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This research paper deals with George Bernard Shaw's treatment of wars and their warmongers whose intention is to urge or attempt as much as they can to stir up war which largely culminates in death, destruction and all kinds of evil not to mention social diseases such as poverty, ignorance, starvation, prostitution and the like. In Arms and the Man and Major Barbara, Shaw expresses by his own ideas his real feelings of hatred and hostility when he pours his poignant criticism against capitalists and war makers, including weapon dealers, who encourage people to start or join a war to achieve their personal interests. The purpose of Shaw in writing his aforementioned plays is to show people the real ugly face of the wicked forces whose capitalistic and insatiable greed are so profound that they only aspire to personal power so that people can amend their wrong ideas of war fascination. Shaw's ideas represent a revolution against those warmongers who cannot silence him so that no peoples worldwide are denied their right to peace and a life free from fear.

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Azizmohammadi, Fatemeh. "Sexism or Gender Differentiation and Class Differentiation in George Bernard Shaw′s Arms and the Man." International Journal of Literature and Arts 2, no. 1 (2014): 6. http://dx.doi.org/10.11648/j.ijla.20140201.12.

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Woods, Leigh. "‘The Wooden Heads of the People’: Arnold Daly and Bernard Shaw." New Theatre Quarterly 22, no. 1 (February 2006): 54–69. http://dx.doi.org/10.1017/s0266464x06000297.

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Once Arnold Daly and Bernard Shaw had got through their baptisms of fire in the transatlantic theatre of the 1890s, the circumstances for their future collaboration must have seemed propitious to them both. However, the Irish-American's inflexibility and the Anglo-Irishman's passion for control led to the fracturing of the relationship within the span of a few years in the first decade of the new century. The exposure of their work – in tandem in American vaudeville and later as competitors on the English variety stage – marked points of their disagreement and quirks in their difficult personalities as they scrambled for audiences who rarely appreciated them as much as both felt they deserved. Leigh Woods, Head of Theatre Studies at the University of Michigan, explores the breakdown of a partnership that launched one man on a course to oblivion and the other on a path to greater glory.

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Sen, Amartya. "Property and Hunger." Economics and Philosophy 4, no. 1 (April 1988): 57–68. http://dx.doi.org/10.1017/s026626710000033x.

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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.

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Hughes, Patricia, and Ian Kerr. "Transference and countertransference in communication between doctor and patient." Advances in Psychiatric Treatment 6, no. 1 (January 2000): 57–64. http://dx.doi.org/10.1192/apt.6.1.57.

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Khaleel Al-Khalili, Raja, and Jumana Jameel. "George Bernard Shaw’s Arms and the Man: A Stylistic Analysis." Arab World English Journal For Translation and Literary Studies 3, no. 1 (February 15, 2019): 246–56. http://dx.doi.org/10.24093/awejtls/vol3no1.19.

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Leary. "Virgilian Echoes: Arms and the Man and the Aeneid." Shaw 37, no. 1 (2017): 101. http://dx.doi.org/10.5325/shaw.37.1.0101.

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Leary. "Anagoge/Archetype in Arms and the Man: Shaw, Virgil, and Jung." Shaw 38, no. 2 (2018): 196. http://dx.doi.org/10.5325/shaw.38.2.0196.

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10

Ibrahim, Md Ibrahim Khalil. "An An Existential Reading of GB Shaw’s Arms and the Man." International Journal of Linguistics, Literature and Translation 4, no. 5 (May 30, 2021): 178–83. http://dx.doi.org/10.32996/ijllt.2021.4.5.19.

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This paper attempts to analyze George Bernard Shaw’s Arms and the Man from existentialistic approach. Adopting a qualitative content analysis method, it concentrates on the fundamental components of existentialism such as searching for the true identity and selfhood, the authenticity of meaningless war and absurd romantic love questioning freedom of choice and decision. Representing the futile Bulgarian war along with its controversial customs and manners, it demonstrates the ultimate destination of the individuals of the play. Additionally, it figures out how the major characters like Sergius and Bluntschli reached the peak of their sincere individuality and refuted their conventional professional advantages and ancestral positions. The study also includes how the downtrodden characters like Louka and Nicola confronted the worthless social system, the erroneous noble lifestyle and the deceitful aristocracy for the search of a distinguished survival.

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Dissertations / Theses on the topic "Arms and the man (Shaw, Bernard)"

1

Matsuba, Stephen N. "The Prism of war : Shaw's treatment of war in Arms and the man and Heartbreak house." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26887.

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Many critics examine Shaw's plays in terms of the subjects they deal with, but they often ignore what aspects of these subjects Shaw draws on or how he uses them. One subject that appears in many of his works is war. This thesis examines Shaw's treatment of war in Arms and the Man and Heartbreak House, and attempts to discover a common element between them that reveals something not only about the plays themselves, but also about Shaw's drama in general. The chapter on Arms and the Man notes how Shaw makes war a highly visible element of the play, but avoids dealing with issues directly related to war. Shaw does not draw on war itself, but on its image. The sources for Catherine's and Bluntschli's impressions of both war and Sergius—Lady Butler's paintings, the military melodrama and extravaganza, Tennyson's "Charge of the Light Brigade," and accounts of the Battle of Balaklava—indicate that the play's focus is not on war, but on how one perceives the world. This idea is further reinforced by Shaw's own views about idealism, romanticism, and realism. Unlike Arms and the Man, war is an integral part of Heartbreak House. Shaw uses elements from the British homefront during the First World War—the wasted lives of England's youth, the lies of the government and the press, and the potential for violence both on the front and at home during the conflict—to help create the play's deep sense of crisis and impending doom. But as with Arms and the Man, Heartbreak House is not a play about war. Whereas war is highly visible in the former, its presence is negligible in the latter: there are no military characters or any clear indication that a war is in progress until the end of the play. Moreover, Shaw does not draw on sources related only to the war. Thus while Heartbreak House was born largely out of the despair of the First World War, its themes go beyond that conflict to deal with questions about the individual, the family, and the fabric of society itself. This thesis concludes by briefly examining Saint Joan, and notes that it combines the two approaches to war found in Arms and the Man and Heartbreak House, but distances its intended audience—the English—by using a historical conflict where Englishmen are the enemy. In comparing the three plays' treatment of war, one can conclude that the common element in Shaw's treatment of war is his distancing of an audience from the subject itself. Moreover, one discovers that this distancing is related to the nature of the subjects that Shaw uses for his plays. Only subjects that he believed were complex were suitable for creating his dramatic works. Therefore, it is fruitless for critics to examine Shaw's plays for his opinions about a subject; they should concentrate on how Shaw uses these subjects in his plays instead.
Arts, Faculty of
English, Department of
Graduate

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2

Månevik, Anna. "What Makes a Man? : Hegemonic Masculinity in Arms and the Man by G.B. Shaw." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-9315.

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The focus of this essay is the interaction between the male characters in the play Arms and the Man by George Bernard Shaw and how those characters position themselves according to R.W. Connell’s theories on hegemonic masculinity. Connell’s theories can be productively applied to Shaw’s play, highlighting many similarities and exposing interesting patterns. The most striking example of this is the fact that Captain Bluntschli, the character that finally reaches the top of the hierarchical ladder of hegemonic masculinity, does that by repudiating conventional masculine ideals where patriotism, soldiering and violence are core ingredients. Bluntschli’s ascendance within the hierarchy is built upon consent from the other male characters in the play, which is in line with what Connell argues about complicity being one of the most important factors of hegemonic masculinity. The other male characters jointly give way to Bluntschli, thus accepting his general critique of what they used to consider self-evident masculine values and ideals that they have felt compelled to live up to. For Major Sergius Saranoff the new way to look upon masculinity implies great relief. He can finally give in to his true self and let down his guard against the people around him, and he also dares follow his heart and marry below his class. My conclusion is that Shaw, apart from satirizing love, war and heroism, wanted Arms and the Man to convey a message that there are alternative ways for men to gain respect and be considered highly masculine than through violence, economic power and oppression. If Shaw had been presented with Connell’s theories on hegemonic masculinity he would probably have felt even more inspired in his mission to argue against destructive masculine ideals as expressed in patriotism and war.

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3

Parfitt, Anne-Marie. ""Elasticity and Image" : directing George Bernard Shaw's Arms and the Man." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/33566.

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“Elasticity and Image”: Directing George Bernard Shaw’s Arms and the Man examines the research, preparation, and rehearsal process behind Arms and the Man, staged at the University of British Columbia’s Frederic Wood Theatre from March 18-27, 2010. My objective was to discover how to create a production that stayed true to the text, while appealing to a more contemporary audience. The ideas of elasticity and image were cornerstones in the development and rehearsal process. I was interested to see in which ways I could stretch the world of the play while maintaining its authenticity. During rehearsal, I wanted to create an environment of exploration and support the actors in staying connected to the text. Chapter 1 identifies key areas of research on George Bernard Shaw’s life leading up to and directly following 1894, when he wrote Arms and the Man. It includes bibliographical information. Chapter 2 is a detailed directorial analysis. Chapter 3 is a journal that follows my process from early design meetings, through development and research, rehearsal and the complete run of the production. Chapter 4 is a reflection, focusing on two elements of the process, using the theme of elasticity as the foundation for creation and the transition from the rehearsal hall into the theatre.

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4

Kramer, Johanna I. "George Bernard Shaw's "Big Three" : an althusserian reading of Man and Superman, John Bull's Other Island, and Major Barbara." Thesis, 1998. http://hdl.handle.net/1957/33556.

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Traditional readings of George Bernard Shaw's texts suggest that he is not a pure Marxist socialist because of the spiritual and nationalist aspects of his vision. This thesis attempts to confront Shaw's politics in order to demonstrate that he indeed offers a viable socialist program. Overlaying his socialism with Louis Althusser's concepts of "overdetermination," "structural causality," and "ideology" reveals that Shaw uses relatively autonomous instances of the superstructure toward socialist ends. This reevaluation of Shaw is best achieved through a combined reading of three of his major plays -- John Bull's Other Island, Man and Superman, and Major Barbara. In John Bull, Shaw incorporates the controversy of nationalism into his socialist vision by explaining it as an inevitable step in the development of an oppressed nation toward socialism. Man and Superman discusses the need for spirituality in the form of Shaw's concepts of Creative Evolution and the Life Force, which drive toward the development of a consciousness that recognizes socialism as the only sustainable internationalist program. Major Barbara combines Shaw's socialist and spiritual views by showing that both stand in reciprocal relation to each other; they are equally necessary to the Shavian world, one providing the ideal social system, the other the most enlightened human sensibility. This project demonstrates that Shaw's integration of these elements usually considered contradictory to Marxism becomes a way to understand him as practicing the Althusserian idea that any displacements of the infrastructure are economic in the last instance.
Graduation date: 1999

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Books on the topic "Arms and the man (Shaw, Bernard)"

1

(undifferentiated), David Smith. Bernard Shaw - 'Arms and the man'. Harmondsworth: Penguin, 1986.

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1929-, Weintraub Stanley, ed. The portable Bernard Shaw. New York: Penguin Books, 1986.

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3

Peters, Sally. Bernard Shaw: The ascent of the superman. New Haven: Yale University Press, 1996.

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Carrington, Norman T. Brodie's Notes on George Bernard Shaw's "Arms and the Man". Basingstoke: Macmillan, 1993.

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Dietrich, Richard F. Bernard Shaw's novels: Portraits of the artist as man and superman. Gainesville: University Press of Florida, 1996.

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Pagliaro, Harold E. Relations between the sexes in the plays of George Bernard Shaw. Lewiston, N.Y: Edwin Mellen Press, 2004.

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Shaw, Bernard. George Bernard Shaw's plays: Mrs Warren's profession, Pygmalion, Man and superman, Major Barbara : contexts and criticism. 2nd ed. New York: W.W. Norton, 2002.

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Shaw, Bernard. Widowers' Houses, The Philanderer, Mrs Warren's Profession, Arms and the man, Candida, The Man of Destiny, and You Never Can Tell; (Collected Works of Bernard Shaw). Classic Books, 2000.

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Burton, Richard. Bernard Shaw: The Man and the Mask. Kessinger Publishing, 2004.

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Burton, Richard. Bernard Shaw: The Man and the Mask. Kessinger Publishing, LLC, 2007.

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Book chapters on the topic "Arms and the man (Shaw, Bernard)"

1

Reitemeier, Rüdiger, and Raimund Schäffner. "Shaw, George Bernard: Arms and the Man." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17061-1.

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Arnot, R. Page. "Arms and the Man: I." In Shaw, 125–27. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-05402-2_63.

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Yeats, W. B. "Arms and the Man: II." In Shaw, 127–29. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-05402-2_64.

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Stephens, Yorke. "Arms and the Man: III." In Shaw, 129–30. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-05402-2_65.

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Schäffner, Raimund. "Shaw, George Bernard: Man and Superman." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17064-1.

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Yde, Matthew. "From Hell to Heaven: Creative Evolution and the Drive toward the Military-Industrial-Religious Complex: Man and Superman, John Bull’s Other Island, Major Barbara." In Bernard Shaw and Totalitarianism, 66–110. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137330208_4.

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Roche, Anthony. "“The Rush of Air, the Windows Opened on Extravagance and Storm of Idea …”: Kate O’Brien’s The Last of Summer and Bernard Shaw’s Man and Superman." In Bernard Shaw and the Making of Modern Ireland, 19–49. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42113-7_3.

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Wixson, Christopher. "3. ‘Pleasant’." In George Bernard Shaw: A Very Short Introduction, 39–53. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198850090.003.0004.

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‘Pleasant’ examines the plays contained in George Bernard Shaw’s 1898 volume Plays Pleasant, namely Arms and the Man (1893–4), Candida (1894), The Man of Destiny (1895), and You Never Can Tell (1895–6), and concludes with the zenith of Shaw’s ‘pleasant’ comedy, Pygmalion (1912). In them, Shaw turned tropes drawn from romantic and sentimental comedy, the comedy of manners, and farce against one another, challenging the audience’s assumptions and expectations. Frequently making characters who adhere to conventional values and beliefs buffoonish, Shaw uses humour to reclaim the theatre as an arena dedicated to the dissection of the status quo.

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"6. ‘I Won’t Have That Man on the Air’: The War Years." In Bernard Shaw and the BBC. Toronto: University of Toronto Press, 2009. http://dx.doi.org/10.3138/9781442687431-011.

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10

Berg, Fredric. "Structure and philosophy in Man and Superman and Major Barbara." In The Cambridge Companion to George Bernard Shaw, 144–61. Cambridge University Press, 1998. http://dx.doi.org/10.1017/ccol0521562376.007.

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