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Relevant bibliographies by topics / George Bernard Shaw

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Academic literature on the topic 'George Bernard Shaw'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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Journal articles on the topic "George Bernard Shaw"

1

Wright, A. "Osler, not George Bernard Shaw." BMJ 309, no. 6956 (September 17, 1994): 744. http://dx.doi.org/10.1136/bmj.309.6956.744c.

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Alston, Theodore A., and Daniel B. Carr. "George Bernard Shaw on Anesthesia." Journal of Anesthesia History 2, no. 2 (April 2016): 37–41. http://dx.doi.org/10.1016/j.janh.2016.02.003.

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Kauffmann, Stanley. "George Bernard Shaw: Twentieth-Century Victorian." Performing Arts Journal 10, no. 2 (1986): 54. http://dx.doi.org/10.2307/3245614.

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Schwartzman, Jack. "Henry George and George Bernard Shaw: Comparison and Contrast." American Journal of Economics and Sociology 49, no. 1 (January 1990): 113–27. http://dx.doi.org/10.1111/j.1536-7150.1990.tb02266.x.

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Laties, Victor G. "GEORGE BERNARD SHAW ON “HAVING” A PLAY." Journal of the Experimental Analysis of Behavior 86, no. 3 (November 2006): 336. http://dx.doi.org/10.1901/jeab.2006.71-06.

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Holroyd, Michael. "George Bernard Shaw and the New Age." Chesterton Review 26, no. 1 (2000): 243. http://dx.doi.org/10.5840/chesterton2000261/239.

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Dukore, Bernard F. "George Bernard Shaw on Japan, dateline 1934." Asian Affairs 19, no. 1 (February 1988): 45–48. http://dx.doi.org/10.1080/03068378808730292.

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Bertolini, John A. "Commentary on “George Bernard Shaw and Anesthesia”." Journal of Anesthesia History 2, no. 2 (April 2016): 33. http://dx.doi.org/10.1016/j.janh.2016.02.001.

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Scheurer, Maren. "„The Fury of Realistic Common Sense“." apropos [Perspektiven auf die Romania], no. 5 (December 17, 2020): 15. http://dx.doi.org/10.15460/apropos.5.1596.

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Anhand der Konstruktion von Joan of Arc in Saint Joan untersucht dieser Artikel, wie George Bernard Shaw die Position einer Außenseiterin nutzt, um seine geschlechtspolitischen und ästhetischen Ziele zu verdeutlichen. Im Vergleich mit älteren Darstellungen der französischen Nationalheldin wird Shaws spezifische Rezeption des Jeanne-d’Arc-Mythos skizziert und dargestellt, wie Shaw Joans geschlechtliche Differenz als Fortsetzung seiner Kritik an Geschlechternormen entwickelt. Aufbauend darauf präsentiert Shaw Joan zudem als mentale Ausnahmefigur, über deren Visionen ein anderer Begriff des Realismus stark gemacht wird, mit dem Shaw sein eigenes schriftstellerisches Wirken identifiziert.

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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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Dissertations / Theses on the topic "George Bernard Shaw"

1

Knoll, Elisabeth. "Produktive Missverständnisse : George Bernard Shaw und sein deutscher Übersetzer Siegfried Trebitsch /." Heidelberg : C. Winter, 1992. http://catalogue.bnf.fr/ark:/12148/cb36675044h.

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Ananisarab, Soudabeh. "George Bernard Shaw and the Malvern Festival." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/35979/.

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The Malvern Festival was established by Sir Barry Jackson in association with the lessee of the Malvern Theatre, Roy Limbert, in 1929. The Festival continued for ten seasons as an annual event until the outbreak of World War II in 1939, and then returned for one final season in 1949. The Festival was initially dedicated to the works of George Bernard Shaw with the repertoire of the first season wholly composed of the plays of this playwright. While during its twelve seasons the Festival fluctuated in the extent of its association with Shaw, in total the Festival presented two world premieres of Shaw’s plays and four British premieres. Furthermore, in addition to its dramatic productions, the Festival also featured other activities such as talks and exhibitions and attracted an impressive list of visitors and speakers including Allardyce Nicoll and Gabriel Pascal as well as performers such as Cedric Hardwicke and Stephen Murray. This thesis explores the development of the Malvern Festival, an event which has thus far given rise to scant academic scholarship. I argue that rediscovering the Malvern Festival has the potential to reorientate common critical understanding of early twentieth-century English theatre and its key locations. While much of the British theatre scholarship of this period has been concerned with drama in the capital, this study of Malvern demonstrates that regional theatres at this time had the capability of offering experimental drama which often failed to attract the attention of theatre managers in London. As the high prices of rent in the metropolis limited the financial risk accepted by many theatre managers in the early twentieth century, individuals such as Shaw and Jackson amongst others turned their attention away from London to the regions for new opportunities in staging a more experimental repertoire. This study of the Malvern Festival demonstrates that while Jackson and Shaw initially considered the Festival as the solution to their troubles with playhouses in London’s West End, the Festival soon became entangled with those familiar debates of venue and repertoire, and ultimately failed after twelve seasons. In the organisation of the Festival, there were a number of damaging contradictions, some of which were also evident in the ventures preceding the Festival such as the movement for building a National Theatre in England and the Vedrenne-Barker seasons at the Court Theatre. The Festival had simultaneous links with both the non-metropolitan, as a result of its location in Malvern, and the urban, through its target audience of the metropolitan elite. Thus while the Festival was held in Malvern, as a result of Jackson’s guiding philosophy much of the local population in Malvern were excluded from the activities included in the Festival. Additionally, the identity of the Festival was intertwined with both a sense of nostalgia for the past and an outlook towards the future. While Jackson emphasised less well-known classics in the repertoire of the Festival, he also flew critics into Malvern, and Limbert extended the activities of the Festival by presenting modern talkies. Other contradictions included Jackson’s pursuit of critical praise for the Festival’s productions and his desire to experiment away from theatrical norms, in addition to the lack of certainty surrounding the focus of the Festival which fluctuated between an emphasis on a star playwright, Shaw, and Jackson’s aim to celebrate the literary canon. Moreover, some of these clashes were then exacerbated by the Shavian drama performed as part of the Festival. It was the difficulties in reconciling such contradictions which resulted in the Festival’s failure to remain as an annual event. However, in this thesis I argue that regardless of the Festival’s lack of financial and popular success, the Malvern Festival allowed Shaw the creative space to write some of his most experimental work, which was then explored in production as part of the Festival on the stage of the Malvern Theatre.

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Guy, Stéphane. "George Bernard Shaw et les paradoxes du théâtre engagé." Paris 3, 2005. http://www.theses.fr/2005PA030124.

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Dramaturge prolifique, George Bernard Shaw fut également un intellectuel qui s'employa à dénoncer les abus de son temps et à proposer des réformes pour y remédier, jouant un rôle central dans l'élaboration de la doctrine fabienne. Si Shaw conçoit le théâtre comme résultant de l'engagement, le discours théâtral lui-même participe à la fois de la théorie que développent ses tracts, préfaces, articles et traités et de la pratique en tant que moyen d'action sur le public et sur le monde. En même temps qu'elles fustigent les poncifs des conventions bourgeoises, le théâtre en vogue et le profit capitaliste, les œuvres dramatiques désignent la figure de l'intellectuel comme une alternative à l'ordre établi qui s'apparente au gouvernant administrateur qu'appelle le réformateur. Elles organisent ainsi un système de pensée qui s'ancre dans le socialisme fabien et donnent à voir les ambivalences caractérisant la démarche de l'intellectuel issu des classes moyennes qui prend position dans la cité
The prolific playwright Bernard Shaw was also an intellectual whose concern it was to expose the injustice of his time and propose reforms to remedy them, playing a crucial part in the initial making of Fabian doctrine. While Shaw holds true drama as resulting from commitment to ideas, the dramatic discourse in the plays partakes both of the theory developed in his tracts, prefaces, articles and treatises and of practice, as a means of acting upon the public and society. The dramatic works criticize the commonplaces of bourgeois conventions, fashionable theatre and capitalist profit, and point to the intellectual as an alternative to the established order, who resembles the ruling administrator advocated by the reformist. In this respect, they unfold a system of thought which is rooted in Fabian socialism and bring to light the ambiguities of the middle-class intellectual taking a stand in the city

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Fleagle, Matthew. "Socialist Sacrilege: The Provocative Contributions of George Bernard Shaw and George Orwell to Socialism in the 20th Century." Akron, OH : University of Akron, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1248383758.

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Thesis (M.A.)--University of Akron, Dept. of English-Literature, 2009.
"August, 2009." Title from electronic thesis title page (viewed 10/21/2009) Advisor, Alan Ambrisco; Faculty readers, Hillary Nunn, Robert Pope; Department Chair, Michael Schuldiner; Dean of the College, Chand Midha; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

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Galliou, Patrick. "George Bernard Shaw et Augustin Hamon : les premiers temps d'une correspondance (1893-1913)." Brest, 1998. http://www.theses.fr/1998BRES1002.

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De la correspondance échangée entre 1893 et 1945 par George Bernard Shaw et son traducteur français, Augustin Hamon, n'avaient été publiés que quelques fragments. Nous avons entrepris d'en faire connaître la totalité, et on en trouvera les premiers éléments dans notre thèse, ou sont transcrites, annotées et analysées 802 lettres échangées par Shaw et Hamon entre juillet 1893 et la fin de l'année 1913. Le choix de la période prise en compte trouve son origine dans la biographie des deux hommes, mise en parallèle jusqu'aux premiers moments de leur correspondance. On s'attardera plus à l'analyse de la carrière militante d'Hamon. L'examen de ses archives révèle un homme dont la configuration psychologique et culturelle diffère du portrait sommaire qui en est d'ordinaire dressé. Certaines similitudes existentielles, des opinions politiques un temps partagées et une sympathie mutuelle permettent de comprendre pourquoi, à partir de 1904, Hamon fut ordonné traducteur officiel et unique des oeuvres de Shaw et chargé de les faire publier et jouer en France. Les lettres échangées au cours de la période étudiée y sont retranscrites et munies des annotations nécessaires. L'analyse thématique éclaire les difficultés rencontrées par Hamon pour faire publier en France l'oeuvre du dramaturge et imposer le théâtre de celui- ci. Loin d'être le seul responsable de ces échecs répétés, il dut composer avec des éditeurs et directeurs de théâtre et s'efforcer de les convaincre de la pertinence des exigences de Shaw. La mission ainsi confiée à Hamon plaçait ce dernier dans une situation paradoxale vis-à-vis du dramaturge. L'analyse montre que s'était établie entre les deux hommes une relation ambigüe, ou les rapports de domination et la jubilation du pouvoir tenaient un rôle éminent, sans pourtant exclure l'amitié et le respect mutuel. Ce bilan provisoire d'une alliance aux frontières mouvantes nous permet de dresser le portrait contrasté de deux hommes qui, malgré l'abîme social qui les séparait alors, surent s'associer durablement pour influer sur le théâtre de leur temps
Only a few fragments of the correspondence exchanged by George Bernard Shaw and Augustin Hamon had been published so far. The 802 letters exchanged by Shaw and Hamon between july 1893 and the end of 1913 are here transcribed, annotated and analysed. The choice of the period originates in the biographies of the two men, paralleled until the early moments of their correspondence. More stress is laid on the militant career of hamon, as the analysis of his archives brings out a fuller personality than the bare sketch commonly given by critics. Biographical similarities, political opinions held in common for a time and sympathy between Hamon and Shaw explain why, as early as 1904, Hamon was appointed sole translator of Shaw's works and entrusted with the task of having them published and performed in France. The letters exchanged during this period are given the necessary annotations and their thematic analysis throws some light on the difficulties met by Hamon as he strove to have Shaw's work published and performed. Far from being the only person to blame for the failure of these performances, he had to compromise with publishers and managers and try and convince them of the judiciousness of shaw's repeated demands. The mission entrusted to Hamon put the latter in a paradoxical position. Their letters show that a rather ambiguous relationship had developed between the two men, though the pleasures of domination did not exclude friendship and mutual respect. This provisional estimate of a fluctuating alliance opens on the contrasted portraits of two men who, though being poles apart, managed to form an enduring association and influence the theatre of their times

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Yde, Matthew. "The Utopian Imagination of George Bernard Shaw: Totalitarianism and the Seduction of the Superman." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1313083659.

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Matchett, Grace. "The relationship of parents and children in the English domestic plays of George Bernard Shaw." Thesis, University of Glasgow, 1990. http://theses.gla.ac.uk/1851/.

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The aim of this thesis is to bring a new critical perspective to the English domestic plays of George Bernard Shaw by analysing them in the light of Shaw's treatment of parent-child relationships. A domestic play is one in which the plot or problem centres around a family and in which the setting is that family's permanent or temporary home. The period 1890 and 1914 has been chosen for three reasons: first, it was during this time that Shaw began and succeeded in his career as a dramatist; secondly, this period saw the growth of the `new drama' movement, which considered a discussion of sociological issues a prerequisite for responsible dramatic literature, and thirdly, changes within the theatre itself, most noticeably Granville Barker's seasons at the Court Theatre (1904-1907) gave Shaw the opportunity to have his work intelligently and artistically presented to a growing audience of literary discrimination and social awareness. Heartbreak House is included in this analysis because although not finished until 1917 it was begun in 1913. The thesis begins with an examination of the influences on Shaw which made the treatment of the parent-child relationship a central theme of his earliest plays. These are (a) Biographical (b) Sociological (c) Theatrical - (i) Nineteenth century Popular Theatre including Melodrama (ii) Ibsenism Section Two describes Shaw's treatment of parents and children in his novels. The aim of this section is to demonstrate that the family relationships that assume major significance in the plays are prefigured in the novels not simply thematically but formally. In Section Three the English domestic plays are placed in four categories under the schematic headings which sometimes overlap: (a) Single Parents, Widowers' Houses, The Philanderer, Man and Superman, Pygmalion, Heartbreak House (b) The Return of the Absent Parent, Mrs Warren's Profession, You Never Can Tell, Major Barbara (c) Substitute Parents, You Never Can Tell, Candida, Man and Superman, Pygmalion, Heartbreak House (d) Happy Families, Getting Married, Misalliance, Fanny's First Play, The conclusion is that Shaw, in expressing his opinions on the relationships of children and their parents in the English domestic plays as well as in his other writings, was challenging the conventions of conventional middle-class society while at the same time expressing, perhaps compulsively, his personal quest for his own `true' parents.

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Tracy, Hannah R. "Willing progress: The literary Lamarckism of Olive Schreiner, George Bernard Shaw, and William Butler Yeats." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10596.

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ix, 288 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
While the impact of Darwin's theory of evolution on Victorian and modernist literature has been well-documented, very little critical attention has been paid to the influence of Lamarckian evolutionary theory on literary portrayals of human progress during this same period. Lamarck's theory of inherited acquired characteristics provided an attractive alternative to the mechanism and materialism of Darwin's theory of natural selection for many writers in the late-nineteenth and early-twentieth centuries, particularly those who refused to relinquish the role of the individual will in the evolutionary process. Lamarckian rhetoric permeated an ideologically diverse range of discourses related to progress, including reproduction, degeneration, race, class, eugenics, education, and even art. By analyzing the literary texts of Olive Schreiner, G.B. Shaw, and W.B. Yeats alongside their polemical writing, I demonstrate how Lamarckism inflected these writers' perceptions of the mechanism of human evolution and their ideas about human progress, and I argue that their work helped to sustain Lamarck's cultural influence beyond his scientific relevance. In the dissertation's introduction, I place the work of these three writers in the context of the Neo-Darwinian and Neo-Lamarckian evolutionary debates in order to establish the scientific credibility and cultural attractiveness of Lamarckism during this period. Chapter II argues that Schreiner creates her own evolutionary theory that rejects the cold, competitive materialism inherent in Darwinism and builds upon Lamarck's mechanism, modifying Lamarckism to include a uniquely feminist emphasis on the importance of community, motherhood, and self-sacrifice for the betterment of the human race. In Chapter III, I demonstrate that Shaw's "metabiological" religion of Creative Evolution, as portrayed in Man and Superman and Back to Methuselah , is not simply Bergsonian vitalism repackaged as a Neo-Lamarckian evolutionary theory but, rather, a uniquely Shavian theory of human progress that combines religious, philosophical, and political elements and is thoroughly steeped in contemporary evolutionary science. Finally, Chapter IV examines the interplay between Yeats's aesthetics and his anxieties about class in both his poetry and his 1939 essay collection On the Boiler to show how Lamarckian modes of thought inflected his understanding of degeneration and reproduction and eventually led him to embrace eugenics.
Committee in charge: Paul Peppis, Chairperson, English; Mark Quigley, Member, English; Paul Farber, Member, Not from U of O; Richard Stein, Member, English; John McCole, Outside Member, History

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Harless, Winston Neely. "Characterization in selected one-act plays of George Bernard Shaw: A display of enthymematic argument /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487592050228825.

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Furlanetto, Priscila Fernanda [UNESP]. "Análise descritiva da tradução para o português de Pygmalion de George Bernard Shaw por Millôr Fernandes." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/94101.

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Made available in DSpace on 2014-06-11T19:26:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-06-05Bitstream added on 2014-06-13T19:55:18Z : No. of bitstreams: 1 furlanetto_pf_me_assis.pdf: 716688 bytes, checksum: bc0efde3dd6db151baa0ee30dc1a663b (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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. O nosso objetivo nesta dissertação é analisar a peça Pygmalion, escrita por George Bernard Shaw em 1913, e sua tradução para o português pelo autor-tradutor Millôr Fernandes em 1963. A peça em cinco atos trata do professor de fonética Henry Higgins que se prontifica a transformar Eliza Doolittle, uma vendedora de flores que fala o dialeto cockney, em uma verdadeira dama, ensinando-a a falar “corretamente”. O que nos chama a atenção nesta obra de Shaw é o dialeto cockney e as muitas expressões que encontramos no decorrer da peça. A nossa intenção é, portanto, mostrar as soluções encontradas por Millôr ao traduzir Pygmalion. No primeiro capítulo, temos um panorama geral do gênero teatral, da tradução em si e posteriormente a história da tradução de teatro, assunto pouco explorado até hoje pelos teóricos e que nos é importante para que possamos ter uma visão geral da linha que cada um destes teóricos seguem. No segundo capítulo exploramos um pouco acerca do autor da peça, George Bernard Shaw, mostrando suas obras, sua vida e suas características principais, além de termos uma análise da peça com o objetivo de que os leitores possam entender quais são os pontos principais da obra e sua idéia central. O terceiro capítulo é o que nomeia esta dissertação, pois é onde analisamos a tradução para o português de Pygmalion, mostrando quais foram as maiores dificuldades encontradas por Millôr, chamado por nós de autor-tradutor, e as soluções apresentadas por ele para resolver o problema da...
The works by one of the most known Brazilian humorists, Millôr Fernandes, have already been explored by many researchers in general. However there is still an aspect of this author to be studied: Millôr as a translator. Our main objective in this dissertation is to analyze the work Pygmalion written by George Bernard Shaw in 1913 and translated to Portuguese by the author-translator Millôr Fernandes in 1963. The play is divided in five acts and deals with the phonetics professor, Henry Higgins, who is in charge of transforming Eliza Doolittle, a flower saleswoman who speaks cockney dialect, in a truthful lady, teaching her how to speak English properly. What draws our attention in Shaw’s work is the cockney dialect and the plenty of expressions that we can find in the play. Our main intention here is to show the difficulties and the solutions found out by Millôr during Pygmalion translation. In the first chapter we have a general panorama about the theatre genre, the translation itself and later about the history of the theatre translation, a subject that is not much explored by scholars and that is very important for us because we can have a general view of each tendency that these scholars follow. The second chapter explores a little bit about the play author, George Bernard Shaw, showing his works, his life and his main characteristics, besides having a play analysis to allow the readers a better understanding about the main points of the play and its central idea. The third chapter names this dissertation and analyses the Portuguese translation, showing the major difficulties found by Millôr, whom we call an author-translator, and the solutions he presents to the cultural... (Complete abstract click electronic access below)

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Books on the topic "George Bernard Shaw"

1

George Bernard Shaw. London: Macmillan Press, 1988.

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K, Chesterton G. George Bernard Shaw. Toronto: Bell and Cockburn, 1995.

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Chesterton, G. K. GEORGE BERNARD SHAW. Rockville: Wildside Press LLC, 2006.

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Harold, Bloom. George Bernard Shaw. New York: Bloom's Literary Criticism, 2011.

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George Bernard Shaw. New Delhi: Prestige Books in association with Indian Society for Commonwealth Studies, 1990.

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Bernard, George. Plays by George Bernard Shaw. New York: Penguin USA, Inc., 2009.

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Kent, Brad, ed. George Bernard Shaw in Context. Cambridge: Cambridge University Press, 2015. http://dx.doi.org/10.1017/cbo9781107239081.

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Shaw, Bernard. Monologues from George Bernard Shaw. Toluca Lake, CA: Dramaline Publications, 1991.

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Martin, Stewart. Pygmalion: George Bernard Shaw : guide. London: Letts, 1988.

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George Bernard Shaw, his religion & values. Delhi, India: Mittal Publications, 1985.

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Book chapters on the topic "George Bernard Shaw"

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Tönnies, Merle. "George Bernard Shaw." In Kindler Kompakt: Englische Literatur, 19. Jahrhundert, 177–79. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05527-9_41.

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Schäffner, Raimund. "Shaw, George Bernard." In Englischsprachige Autoren, 244–47. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02951-5_90.

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Slaney, Helen. "George Bernard Shaw." In A Handbook to the Reception of Classical Mythology, 419–31. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119072034.ch29.

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Schäffner, Raimund. "Shaw, George Bernard." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17060-1.

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Schäffner, Raimund. "George Bernard Shaw." In Kindler Kompakt: Drama des 20. Jahrhunderts, 74–75. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04526-3_12.

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Schäffner, Raimund. "Shaw, George Bernard: Candida." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17062-1.

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Schäffner, Raimund. "Shaw, George Bernard: Pygmalion." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17067-1.

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Mishra, Nishtha. "George Bernard Shaw, the forgotten feminist." In The Feminist Shaw, 3–30. London: Routledge India, 2021. http://dx.doi.org/10.4324/9780429280443-2.

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Newman, Peter. "Shaw, George Bernard (1856–1950)." In The New Palgrave Dictionary of Economics, 1–2. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1057/978-1-349-95121-5_1705-1.

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Harben, Niloufer. "George Bernard Shaw: Saint Joan." In Twentieth-Century English History Plays, 22–62. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-09007-5_2.

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