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Journal articles on the topic 'George Bernard Shaw'

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Published: 4 June 2021
Last updated: 25 April 2022

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Palmer, Donald B., and Tamar Freiberger. "Does the immune system grow old gracefully?" Biochemist 41, no. 1 (February 1, 2019): 26–29. http://dx.doi.org/10.1042/bio04101026.

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12

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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13

Srinivas, Dr C. S. "The Early Plays of George Bernard Shaw: An Analysis." IOSR Journal of Humanities and Social Science 19, no. 12 (2014): 159–61. http://dx.doi.org/10.9790/0837-19124159161.

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14

Holroyd, Michael. "Excerpt from Michael Holroyd's Biography of George Bernard Shaw." Chesterton Review 24, no. 4 (1998): 533–41. http://dx.doi.org/10.5840/chesterton1998244107.

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15

Eliggi, María Graciela, and Ma Elena Pérez Bustillo. "Translating George Bernard Shaw, a linguistic and cultural challenge." ABEI Journal 21, no. 2 (May 13, 2020): 109. http://dx.doi.org/10.37389/abei.v21i2.3817.

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16

Cortina Urdampilleta, Álvaro. "Henri Bergson y George Bernard Shaw: hábito, vida, muerte." Pensamiento. Revista de Investigación e Información Filosófica 70, no. 264 (January 26, 2015): 613. http://dx.doi.org/10.14422/pen.v70.i264.y2014.010.

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17

Gates, Eugene. "The Music Criticism and Aesthetics of George Bernard Shaw." Journal of Aesthetic Education 35, no. 3 (2001): 63. http://dx.doi.org/10.2307/3333610.

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18

Van Der Weyden, Martin B. "The ghost of George Bernard Shaw and Australian doctors’ dilemmas." Medical Journal of Australia 185, no. 11-12 (December 2006): 585–86. http://dx.doi.org/10.5694/j.1326-5377.2006.tb00717.x.

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19

Ashton, J. R. ""All professions are conspiracies against the laity" (George Bernard-Shaw)." Journal of Epidemiology & Community Health 57, no. 3 (March 1, 2003): 161—a—161. http://dx.doi.org/10.1136/jech.57.3.161-a.

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20

Searle, Arthur. "Review: The British Library Catalogue of George Bernard Shaw Papers." Library 7, no. 3 (September 1, 2006): 341–42. http://dx.doi.org/10.1093/library/7.3.341.

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21

Cahill, Patrick. "Debate Between Father Vincent McNabb and George Bernard Shaw, September 1931." Chesterton Review 22, no. 1 (1996): 211–13. http://dx.doi.org/10.5840/chesterton1996221/245.

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22

Evans, Rachel. "Hamlet by William Shakespeare, and: Saint Joan by George Bernard Shaw." Theatre Journal 70, no. 1 (2018): 92–94. http://dx.doi.org/10.1353/tj.2018.0010.

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23

Maddison, Isobel. "Cross-Currents: Elizabeth von Arnim, Max Beerbohm and George Bernard Shaw." Women: A Cultural Review 28, no. 1-2 (April 3, 2017): 130–43. http://dx.doi.org/10.1080/09574042.2017.1320071.

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24

Sharp, Sister Corona. "The Cambridge Companion to George Bernard Shaw ed. by Christopher Innes." ESC: English Studies in Canada 26, no. 4 (2000): 510–12. http://dx.doi.org/10.1353/esc.2000.0048.

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25

Murphy. "Judging Shaw—A Play Extract: Sketches on the Life (and Afterlife) of George Bernard Shaw." Shaw 40, no. 2 (2020): 323. http://dx.doi.org/10.5325/shaw.40.2.0323.

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26

Cuomo, Glenn R. ""Saint Joan before the Cannibals": George Bernard Shaw in the Third Reich." German Studies Review 16, no. 3 (October 1993): 435. http://dx.doi.org/10.2307/1432140.

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27

Cotter, Paul E., Catherine Wilkinson, Michelle Canavan, and Shaun T. O'Keeffe. "LANGUAGE CHANGE WITH AGING IN PELHAM GRENVILLE WODEHOUSE AND GEORGE BERNARD SHAW." Journal of the American Geriatrics Society 59, no. 8 (August 2011): 1567–68. http://dx.doi.org/10.1111/j.1532-5415.2011.03531.x.

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28

Maguza, A. S., and S. V. Radetska. "THE APPEARANCE AND USE OF APHORISM IN PYGMALION BY GEORGE BERNARD SHAW." International Humanitarian University Herald. Philology 5, no. 43 (2019): 98–100. http://dx.doi.org/10.32841/2409-1154.2019.43.5.26.

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29

Smith, J. Percy. "Keith Garebian. George Bernard Shaw and Christopher Newton: Explorations of Shavian Theatre." Theatre Research in Canada 15, no. 1 (January 1994): 114–15. http://dx.doi.org/10.3138/tric.15.1.114.

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30

Anugerahwati, Mirjam. "PYGMALION: A STUDY OF SOCIO-SEMANTICS." TEFLIN Journal - A publication on the teaching and learning of English 21, no. 2 (August 29, 2015): 202. http://dx.doi.org/10.15639/teflinjournal.v21i2/202-210.

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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.
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31

Thompson, Andrew S. "The Language of Imperialism and the Meanings of Empire: Imperial Discourse in British Politics, 1895–1914." Journal of British Studies 36, no. 2 (April 1997): 147–77. http://dx.doi.org/10.1086/386132.

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The forthcoming General Election will turn, we are told, mainly on the popularity of Imperialism. If this be so, it is important that voters should make up their minds what Imperialism means.(George Bernard Shaw)Thus wrote George Bernard Shaw on behalf of the Fabian Society in October 1900. Shaw recognized what many historians have subsequently failed to see: the meaning of imperialism inside British politics was not fixed. Rather, the terms “empire” and “imperialism” were like empty boxes that were continuously being filled up and emptied of their meanings. Of course, the same was true of other political concepts: the idea of patriotism, for instance, was constantly being reinvented by politicians. But the idea of empire was all the more vulnerable to this sort of treatment because it was sensitive to changing circumstances at home and abroad and because it had to take account of a colonial as well as a British audience. Furthermore, the fact that opinion in Britain was widely felt to be ignorant or indifferent to the empire meant that politicians had to be particularly careful in deciding what sort of imperial language to use.This article will consider what contemporaries meant when they spoke of empire, how its meaning varied between different political groups in Britain, and whether it is possible to point to a prevailing vision of empire during the period between the launch of the Jameson Raid in December 1895 and the outbreak of the Great War in 1914.
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32

Kahn, A. ""Votre beauté et mon cerveau"*ou l'inverse, le cauchemar de George Bernard Shaw." médecine/sciences 13, no. 8-9 (1997): 1039. http://dx.doi.org/10.4267/10608/503.

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33

Pharand, Michel W. "An Inestimable Debt (The Bntish Library Catalogue of George Bernard Shaw Papers edited by Anne Summers)." Shaw 26 (January 1, 2006): 226–29. http://dx.doi.org/10.5325/shaw.26.2006.0226.

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34

Dukore, Bernard F. "Blatant Heterosexuals (Relations between the Sexes in the Plays of George Bernard Shaw, by Harold Pagliaro)." Shaw 25, no. 1 (January 1, 2005): 289–91. http://dx.doi.org/10.5325/shaw.25.2005.0289.

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35

Ghassan Faeq Hamad. "L’Independence de la femme et le mariage conventionnel dans Candida de George Bernard Shaw." journal of the college of basic education 26, no. 109 (April 6, 2022): 634–46. http://dx.doi.org/10.35950/cbej.v26i109.5450.

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La vie des femmes victorienne dépendait largement de leur classe sociale, de leur profession et de leur statut matrimonial. Selon le livre d’Eleonor Gordon, Vies publiques, c’est une association de femmes avec la maison et la famille qui est cruciale pour son image d’ange dans la maison. C’est ce rôle à la maison qui les a éloignées des pratiques corrompues du monde public. Pendant le règne de la reine Victoria, le rôle d’une femme était celui d’une femme au foyer et d’une mère. La persistance de ces rôles et leur acceptation sociale aliénaient les femmes de la société dans laquelle elles vivaient. Sans un moyen de contribuer activement à la société, les femmes se sentaient inadéquates, inférieures et consumées par des sentiments d’impuissance “ à cause d’une négativité terrible, d’un manque de but dans leurs vies, un manque d’environnement pour développer la personnalité. ”[1]. George Bernard Shaw était un dramaturge qui, pendant plus d’un demi-siècle, a été largement vénéré pour l’originalité et la réalité des personnages qu’il a écrits dans ses pièces. “ Ma méthode est de prendre le maximum de peine pour trouver les bonnes choses à dire, et ensuite de le dire avec la plus grande légèreté ”, a déclaré Shaw, libre penseur et défenseur des droits des femmes. Shaw était un membre de la société Fabian- un groupe socialiste de classe moyenne en Angleterre qui croyait en la transformation de la société non par la révolution, mais par l’invasion de la vie intellectuelle et politique du pays. Shaw dans sa pièce Candida parle de l’indépendance des femmes dans la société victorienne. Le personnage principal est Candida, elle est la femme parfaite du révérend James Mavor Morell et elle est responsable de la plupart de ses succès. Un jeune poète du nom de Marchbanks tombe amoureux de Candida et elle doit décider de partir avec lui ou de rester avec son mari. Le thème principal de cette pièce est l’amour et le mariage victoriens et ce dont la femme a vraiment besoin dans sa vie [1] Calder, Jenni. La Maison Victorienne, londres, Batsford, 1977, p.136.
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36

Jones, Norman L. "The Doctor's Dilemma: Oranges or Apples?" Canadian Respiratory Journal 7, no. 4 (2000): 297–98. http://dx.doi.org/10.1155/2000/319102.

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George Bernard Shaw's famous play,Doctor's Dilemma(1), is one of the attractions at the Shaw Festival this year, and recently we went to see it on a beautiful Niagara summer day, followed by a picnic beside Ball's Falls. Several weeks earlier, I had decided to read the play, with its 80-page "Preface on Doctors", and was prepared for an anticlimactic experience on the day. However, the production was a delight and I gained additional insights from the live performance.
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37

Simpson, Stephen. "Theatre of Sound: Radio and the Drama of the Imagination. By Dermot Rattigan. Dublin: Carysfort Press, 2003; pp. 384. $27.95 paper." Theatre Survey 45, no. 1 (May 2004): 139–40. http://dx.doi.org/10.1017/s0040557404320089.

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Anyone old enough to remember the wailing sirens and portentous footsteps of Gangbusters or the clattering consequences of opening the closet door belonging to Fibber McGee and Molly probably has a soft spot for the radio dramas of the past. Those who never experienced the medium that George Bernard Shaw called “the invisible play” may lack a context. Admitting that you remember those nostalgic broadcasts dates you. In a world of HDTV, GPS, home THX, and digital imaging by cell phone, what good is radio?
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38

Majeed, Inst Rafid Sami. "Partners in a Moral Crime A Social study in George Bernard Shaw's Play Widowers' Houses." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 213, no. 1 (November 11, 2018): 27–44. http://dx.doi.org/10.36473/ujhss.v213i1.641.

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The madly rush upon money may derive a person to sell the values and ethics ​​that he is supposed to enjoy having. The human emotions could be affected by the exaggeration of the greed for money and also magnifies its negative impact on a noble feeling like love, but is love a parcel to be bought and sold by money and for the sake of money? Is it not a supreme value upon which there isn’t any compromise? If the case became that business becomes the justification for the rich to profit from the sweat and misery of the poor and disadvantaged, is there any sense of love and compassion left in them? George Bernard Shaw in his play Widowers' Houses gives answers to these questions outweighing money on morality and love in the time when feelings become of little value, and the collected money becomes the measure of manhood and success .In such time ,there is no place for true love in the world of business. Bernard Shaw grants his pen the freedom to portrait money in the figure of a contagious disease which attacks the rich to make themselves richer ,and the poor get the disease from the rich so that they might exceed the poverty situation even if it is at the expense of their feelings, sympathy and morals .
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39

Guy, Stéphane. "Progrès et illusion théâtrale : la scène engagée de George Bernard Shaw dans Heartbreak House (1915)." Études anglaises 55, no. 1 (2002): 40. http://dx.doi.org/10.3917/etan.551.50.

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40

HASHEMIPOUR, Dr Saman, Asya Vedia GÜVENSOY, and Dilara ARAP. "An Intertextual Study of Pygmalion Myth: George Bernard Shaw Interprets an Ovidean Tale about Transforming." International Journal of English Literature and Social Sciences 4, no. 5 (2019): 1625–28. http://dx.doi.org/10.22161/ijels.45.57.

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41

McEwan, Alice. "George Bernard Shaw and his Writing Hut: Privacy and Publicity as Performance at Shaw's Corner." Interiors 2, no. 3 (November 2011): 333–56. http://dx.doi.org/10.2752/10.2752/204191211x13116005651992.

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42

Liu, Maosheng. "Ethical Traditions in British Drama: A Case Study of Oscar Wilde and George Bernard Shaw." Kritika Kultura, no. 37 (December 10, 2021): 534–48. http://dx.doi.org/10.13185/kk2021.003726.

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43

Brand, Cassie. "In Defense of the Printed Book." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 17, no. 1 (March 1, 2016): 44–46. http://dx.doi.org/10.5860/rbm.17.1.457.

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“But nowadays, instead of looking at books, people read them.” ∼George Bernard Shaw As a librarian, I am often asked about the imminent demise of the printed book. The question comes from all sorts: friends and family concerned about the viability of my chosen profession, bibliophiles worried about losing the books they love so much, and even the occasional stranger who wishes to provoke me into a passionate rant about the printed word. My answer, however, is always the same. Books will never go away. Though society will change and adapt to new technologies, the printed book will remain constant.
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44

Studen, Goran. "Swiss foundation law reform: profound game-changer or a case of “never change a winning formula”?" Trusts & Trustees 26, no. 6 (July 1, 2020): 590–94. http://dx.doi.org/10.1093/tandt/ttaa046.

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Abstract In the words of the dramatist George Bernard Shaw: “Progress is impossible without change, and those who cannot change their minds cannot change anything.” While Swiss foundation law has undergone changes since 1912, these have been rather modest compared to the substantial overhauls of Swiss corporate or family law in the same period. Nevertheless, the question remains: Does Switzerland really need to reform its foundation law? While the sector is currently debating the pros and cons of a parliamentary initiative that could bring substantial changes, this article aims to systematize the various proposals from a practical perspective.
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45

Baker, William. "The British Library Catalogue of George Bernard Shaw Papers2006417Compiled by Anne Summers. The British Library Catalogue of George Bernard Shaw Papers. London: British Library 2005. xvii+321 pp. £50, ISBN: 0 7123 4887 5." Reference Reviews 20, no. 8 (December 2006): 24–25. http://dx.doi.org/10.1108/09504120610709529.

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46

Dr. Shahid Abbas, Dr. Ijaz Asghar, and Qamar Hussain. "Analyzing George Bernard Shaw’s Portrayal of Women in the Light of Postfeminist Theory." sjesr 4, no. 2 (July 3, 2021): 438–43. http://dx.doi.org/10.36902/sjesr-vol4-iss2-2021(438-443).

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The paper aims at investigating the critical opinions about Bernard Shaw’s ambivalent relation to feminism. In this regard, the researchers highlight the emerging role of postfeminism and its overlapping elements with the Islamic portrayal of womanhood. Shaw differs from his predecessors drastically – he portrays independent female characters as compared to the invisible and submissive females of the past. Thus, one of the striking features of Shaw’s drama is the depiction of liberated women. The Shavian women do not consider men folk as their rivals. There is a shift from powerless to empowered women in academia. The researchers find out that there is an ideological conflict between feminism and Islam but as far as postfeminism is concerned, there is none. Rather, postfeminism propagates and supports the Islamic concept of womanhood thoroughly. It is also worth noting that feminist ideas and ideology have greatly dented the social and political fabric of mankind and human civilization in general. Whereas, postfeminism propagates in favor of maintaining a balanced position for womanhood in life which is a balance between social and individual life, and a balance between professional and family life. The purpose of this article is to promote a better understanding of the status of women in Islam and its overlapping and common areas with postfeminism, that is, God has equated female folk at par with their male folk. The research is significant as it challenges the western notion of women in Islam and dispels the erroneous notions of suppression of women in Islam. The prime finding of this research is that postfeminism proclaims equal footing for men and women in life, as enshrined in the Holy Quran. Further, the researchers lament that just because of myopic-minded people, the world is not making any progress intellectually. The researchers recommend that there is a dire need to promote liberal intellectuals like Shaw who harbor no bias against Islam and Muslims to maintain peace and order in the world.
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47

Bragan, Ken. "Individuality, Narcissism and the Bipolar Self." Australian & New Zealand Journal of Psychiatry 24, no. 4 (December 1990): 537–42. http://dx.doi.org/10.3109/00048679009062910.

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Oscar Wilde and George Bernard Shaw are introduced as great exponents of the cult of individuality and as providing examples of the two poles of the self as defined by Kohut. Wilde's need for mirroring, and his use of defensive strategies to support the self, is contrasted with Shaw's compensatory use of idealisation to create a strong and stable self. While acknowledging the way self psychology can explain some aspects of the personalities of these great men, it is also suggested that it does not explain all, and in particular does not explain the economic aspect. Questions about the latter are raised in conclusion.
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48

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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49

Jackson, Russell. "Shaw's Reviews of Daly's Shakespeare: The Wooing of Ada Rehan." Theatre Research International 19, no. 3 (1994): 203–13. http://dx.doi.org/10.1017/s0307883300006611.

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George Bernard Shaw reviewed three of Augustin Daly's Shakespeare productions in the course of his stint as theatre critic of The Saturday Review, and wrote briefly on another when he was the music critic of The World. At the beginning of the last of these notices, describing As You Like It in 1897 and Ada Rehan's performance in it, Shaw wrote: ‘I never see Miss Ada Rehan act without burning to present Mr Augustin Daly with a delightful villa in Saint Helena.’ Listing some of the production's errors produced a more sombre threat:To think that Mr Daly will die in his bed, whilst innocent presidents of republics, who never harmed an immortal bard, are falling on all sides under the knives of well-intentioned reformers whose only crime is that they assassinate the wrong people! And yet let me be magnanimous. I confess I would not like to see Mr Daly assassinated. Saint Helena would satisfy me. (ShSh, 44) Readers of Shaw's reviews, especially those who encounter them only through Edwin Wilson's selection in Shaw on Shakespeare, will only know Augustin Daly's productions as seen by Shaw. But these critiques were part of a campaign on behalf of Shaw's aims for the theatre, and, specifically, a ‘wooing’ of Ada Rehan for the Shavian drama.
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50

Linsky, Jeffrey L. "Summary of IAU Symposium 176." Symposium - International Astronomical Union 176 (1996): 567–81. http://dx.doi.org/10.1017/s0074180900083595.

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This IAU Symposium 176 on the topic “Stellar Surface Structure” provided a much needed opportunity for instrumentalists, observers, and theoreticians to present their exciting new results and to preview the even more exciting future for high-resolution imaging of stellar surfaces. I will attempt a critical summary of this symposium by calling attention to those areas that will likely be very productive in the future and by discussing some important topics that have not been addressed adequately to date, such as the roles of systematic and random errors, the true nature of the solar-stellar connection, and the physical processes responsible for stellar surface structure.Lesser artists borrow, great artists steal. Igor StravinskyYou never can tell. George Bernard Shaw
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