To see the other types of publications on this topic, follow the link: George Bernard Shaw.
Dissertations / Theses on the topic 'George Bernard Shaw'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 22 dissertations / theses for your research on the topic 'George Bernard Shaw.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
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.
Full text
2
Ananisarab, Soudabeh. "George Bernard Shaw and the Malvern Festival." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/35979/.
Full textAbstract:
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.
3
Guy, Stéphane. "George Bernard Shaw et les paradoxes du théâtre engagé." Paris 3, 2005. http://www.theses.fr/2005PA030124.
Full textAbstract:
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 citéThe 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
4
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.
Full textAbstract:
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.
5
Galliou, Patrick. "George Bernard Shaw et Augustin Hamon : les premiers temps d'une correspondance (1893-1913)." Brest, 1998. http://www.theses.fr/1998BRES1002.
Full textAbstract:
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 tempsOnly 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
6
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.
Full text
7
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/.
Full textAbstract:
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.
8
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.
Full textAbstract:
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
9
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.
Full text
10
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.
Full textAbstract:
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)
11
Furlanetto, Priscila Fernanda. "Análise descritiva da tradução para o português de Pygmalion de George Bernard Shaw por Millôr Fernandes /." Assis : [s.n.], 2008. http://hdl.handle.net/11449/94101.
Full textAbstract:
Orientador: Cleide Antônia RapucciBanca: Solange Aranha
Banca: Sérgio Augusto Zanoto
Resumo: 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... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: 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)
Mestre
12
Spicer, Arwen. "Toward sustainable change : the legacy of William Morris, George Bernard Shaw, and H. G. Wells in the ecological discourse of contemporary science fiction /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181131.
Full textAbstract:
Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 261-272). Also available for download via the World Wide Web; free to University of Oregon users.
13
Sanogo, Ibrahima. "Une analyse compare des pieces de theatre de Jean Anouilh (L'Alouette), de George Bernard Shaw (St. Joan) et D'Andre Obey (La Fenetre)." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1999. http://digitalcommons.auctr.edu/dissertations/2204.
Full textAbstract:
This study compared and analyzed the premises of the three authors and their versions of the life of Joan of Arc. Their presentations enabled us to see the reasons of disparities among the authors' views.
This study has shown that the philosophies of the three authors have different origins, differences which gave a unique slant to their individual interpretations. Their philosophical backgrounds were mainly obtained from diverse sources: published works, unpublished works, and personal interviews of my advisor with Andre Obey, one of the dramatists.
We found in our research that the dramatists' theatrical works represented their own historical understanding of France's medieval heroine. They understood Joan of Arc's story in terms of their own existence and their own interpretations, which were different. The goal of this comparative study was reached through the juxtaposition of these differences.
We concluded that each of the three authors had a unique experience. That uniqueness was articulated to rekindle the remarkable history of Joan of Arc.
In 1750 J.-J. Rousseau advised that we should put a limit on theatrical art, because he said the theater perverts illusion. We used that advice as a yardstick to judge the three plays of the authors. That statement helped us to look at the work of these three playwrights as different chapters in the history of the life of Joan of Arc.
14
Anderson, Haley D. "Female Agency in Restoration and Nineteenth-Century Drama." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1560.
Full textAbstract:
This thesis examines issues of female agency in the plays The Rover and The Widow Ranter by Aphra Behn, Mrs. Warren's Profession by George Bernard Shaw, and Votes for Women! by Elizabeth Robins. The heroines of each of these plays work toward gaining agency for themselves, and in order to achieve this goal, they often stray from cultural norms of femininity and encroach on the masculine world. This thesis postulates that agency for women becomes a fluid notion, not statically defined. These plays show a fluctuating and evolving sense of feminine agency.
15
O'Flaherty, GearoÌid Noel Patrick. "Wilde and Shaw : nationalism, socialism and sexuality : a selective and comparative study of Oscar Wilde and George Bernard Shaw's identities, ideologies and contribution to Anglo Irish literature." Thesis, University of Kent, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252585.
Full text
16
Humphries, David. "Peace and Mind: Religion, Race, and Gender among Progressive Intellectuals and Activists." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-08062007-121143/.
Full textAbstract:
Thesis (M.A.)--Georgia State University, 2007.Title from file title page. Ian Fletcher, committee chair; Jared Poley, Hugh Hudson, committee members. Electronic text (110 [i.e. 105] p.) : digital, PDF file. Pages 18, 45, 76, 77 and 95 blank. Description based on contents viewed Jan. 16, 2008. Includes bibliographical references (p. 100-110).
17
Frem, Fakhry Sonia. "Le Théâtre historique en France pendant la première moitié du XXe siècle." Paris 3, 1987. http://www.theses.fr/1989PA030004.
Full textAbstract:
C'est une etude dramaturgique appliquee aux pieces dites "historiques" de la premiere moitie du xxe siecle. On y distingue les pieces d'histoire-objet de st. G. De bouhelier, r. Rolland, a. Poirat, s. Guitry. . . Et les pieces d'histoire-pretexte de j-r. Bloch, p. Raynal, g. Giraudoux, j. Anouilh, h. De montherlant. . . Apres definition et determination des pieces historiques, nous avons etudie l'action, le personnage et son discours, l'espace et le decorThis study deals with the french playwrights relevant to the so-called historical drama on the first half of the twentieth century. Distinction is made between drama concerning the "history-purpose" (st. G. De bouhelier, r. Rolland, a. Poirat, s. Guitry. . . ) and drama concerning the "history-pretext" (j. R. Bloch, j-p sartre, p. Raynal, j. Giraudoux, j. Anouilh, h. De montherlant. . . ) after definition and identification of historical playwrights, study has been made on action, the characters and their speech, the space and the scene
18
Campanella, Francesca. "Censura e Tradução: George Bernard Shaw em Portugal." Master's thesis, 2018. http://hdl.handle.net/10362/61174.
Full textAbstract:
A presente dissertação de mestrado visa oferecer mais um contributo para o desenvolvimento dos Estudos de Tradução e Censura, mediante a análise de três peças de teatro da autoria de George Bernard Shaw (1856-1950), traduzidas para português, que sofreram vários cortes levados a cabo pelos censores, durante o Estado Novo (1933-1974).
Após um levantamento das traduções das peças escritas por Bernard Shaw, optou-se justamente por seleccionar, como objecto de estudo, aquelas que foram alvo do “lápis azul” da Censura: Cândida (1963), do original Candida (1894), O Senhor do Destino (1963), do original The Man of Destiny (1897) e Nunca se Sabe (1963), do original You Never Can Tell (1897). Mediante a análise dos respectivos relatórios dos censores, tentar-se-á, por um lado, perceber como funcionava a Censura em relação a peças de teatro, cuja tradução almejava a sua subida ao palco, bem como as razões específicas dos cortes relativos às obras em apreço. Por outro lado, tentar-se-á compreender se houve qualquer tentativa de autocensura por parte dos tradutores, Nuno Fradique, que traduziu O Senhor do Destino e Cândida, e Francisco Nicholson, que traduziu Nunca se Sabe.
Assim, através de uma análise comparativa dos textos originais e das traduções, tentar-se-á apurar as temáticas mais sensíveis à mentalidade do Estado Novo, bem como as tácticas tradutórias utilizadas para evitar os cortesThe aim of this dissertation is to offer a further contribution to the development of the relationship between Translation Studies and Censorship, throughout the analysis of three plays by George Bernard Shaw (1856-1950) which were the object of numerous cuts by the censorship, during the Estado Novo period (1933-1974). After carrying out a survey of Bernard Shaw’s plays in Portuguese, it was decided to choose those which were victims of censorship, for the purpose of this study: Cândida (1963), from the original Candida (1894), O Senhor do Destino (1963), from the original The Man of Destiny (1897) and Nunca se Sabe (1963), from the original You Never Can Tell (1897). By analysing the censors’ respective reports on each of them, an attempt will be made to understand the censors’ approach to plays, which were intended to be approved and consequently to be performed, as well as the specific reasons for the cuts in the plays. An attempt will also be made to assess if there was a measure of self-censorship on the part of the translators, Nuno Fradique, who translated O Senhor do Destino and Cândida, and Francisco Nicholson who translated Nunca se Sabe. Finally, through a comparative analysis between the original texts and the translations, a further attempt will be made to identify what themes were considered to be more sensitive by the Estado Novo, as well as the translation strategies used to avoid the cuts.
19
Soares, Nuno Filipe Gomes. "George Bernard Shaw: Tradução de Getting Married e breve análise biobibliográfica." Dissertação, 2014. https://repositorio-aberto.up.pt/handle/10216/77146.
Full text
20
Soares, Nuno Filipe Gomes. "George Bernard Shaw: Tradução de Getting Married e breve análise biobibliográfica." Master's thesis, 2014. https://repositorio-aberto.up.pt/handle/10216/77146.
Full text
21
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.
Full textAbstract:
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
22
Wang, Shu-fang, and 王淑芳. "Reading Gender and Class in George Bernard Shaw's Pygmalion: the Transformation of the Flower Girl." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/wx63q6.
Full textAbstract:
碩士世新大學
英語學研究所(含碩專班)
100
This paper will investigate how George Bernard Shaw’s Pygmalion portrays the social phenomena in the Edwardian era through the rapid development of capitalism and the great progress of the Industrial Revolution. As a socialist, Shaw dedicates himself to revealing social injustice through his writing; furthermore, all Shaw’s concerns relate to gender and class matters so that Marxist perception will be applied in this thesis. Shaw emphasizes the point that woman should emancipate herself from the social norm and repudiate those duties which men put on them. He demonstrates the idea that the main female character in Pygmalion can achieve a level of autonomy and self-growth in the process of self-awareness through education. Chapter One will examine how economic conditions determine one’s social status by Marxist perception. The central notion of Marxism indicates that everything could be seen as a commodity to exchange for the valued object or money which people want in the capitalist society. Thus, Eliza the flower girl is her father’s possession for the exchange of money; in the meantime, she is also seen as merchandise of Higgins to exchange for winning a bet. Chapter Two will investigate how a woman struggles against men’s dominance and gets her independent thinking through the process of self-awareness. Chapter Three will explore whether the transformation of the flower girl is a success or a failure. Shaw manages in the afterword to illuminate the inconvenient truth: that is the gender and class boundaries are entwined and determined. Finally, to conclude the discussion about Bernard Shaw’s Pygmalion, Shaw bestows upon Eliza the most worthy prize of her autonomy which provides her with spiritual renewal. The flower girl discovers her authentic self and achieves her independence through the process of transformation. Though the flower girl fails to move up the ladder of social power, she has her independent thinking, and her autonomy is in her own hands.