Relevant bibliographies by topics / Shaw, Bernard, English literature

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Shaw, Bernard, English literature'

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Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Shaw, Bernard, English literature"

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Khan, Amara, Zainab Akram, and Irfan Ullah. "Leo Nikolayevich Tolstoy and the Influence of English Literature." Global Regional Review IV, no. II (June 30, 2019): 536–45. http://dx.doi.org/10.31703/grr.2019(iv-ii).56.

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While Tolstoy is regarded as the greatest writer of global literature and his work being translated into all major languages of the world, his literary relationship with the literature in the English language is largely ignored. The paper explores the influence of the Anglophone scholars and literary figures on the formation of Tolstoy as a great pillar of literature. The paper explores the influence of English and American writers by detailing the contents of his personal library, publications and diary entries. H.D. Thoreau, R.W. Emerson, Longfellow, Mark Twain, Walt Whitman, Laurence Stern, Ernest Miller Hemingway, William Shakespeare, and George Bernard Shaw. His moral rectitude, his love for realism and his humanism find a close connection with the mentioned writers, and the paper details this connection. The paper establishes the position that Tolstoy was a person with the greatest creativity and imagination, he was open to the formative influence and in the process forged his original form of the influence he imbibed in his realistic writings.
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Prośniak, Anna. "“Sardoodledom” on the English Stage: T. W. Robertson and the Assimilation of Well-Made Play into the English Theatre." Text Matters, no. 10 (November 24, 2020): 446–59. http://dx.doi.org/10.18778/2083-2931.10.25.

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The article discusses a vital figure in the development of modern English theatre, Thomas William Robertson, in the context of his borrowings, inspirations, translations and adaptations of the French dramatic formula pièce bien faite (well-made play). The paper gives the definition and enumerates features of the formula created with great success by the French dramatist Eugène Scribe. Presenting the figure of Thomas William Robertson, the father of theatre management and realism in Victorian theatre, the focus is placed on his adaptations of French plays and his incorporation of the formula of the well-made play and its conventional dramatic devices into his original, and most successful, plays, Society and Caste. The paper also examines the critical response to the well-made play in England and dramatists who use its formula, especially from the point of view of George Bernard Shaw, who famously called the French plays of Scribe and Victorien Sardou—“Sardoodledom.”
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Özkul, Ali Efdal, and Mete Özsezer. "Kıbrıs Türk Eğitim Tarihinde Shakespeare Okulu ve Nejmi Sagıp Bodamyalızade / Shakespeare School and Nejmi Sagip Bodamyalizade in Cyprus Turkish Education History." Journal of History Culture and Art Research 6, no. 3 (June 18, 2017): 739. http://dx.doi.org/10.7596/taksad.v6i3.892.

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<p><strong>Abstract</strong></p><p class="yiv9127107781msonormal">Nejmi Sagıp Bodamyalızade, who was originally from Paphos in the south-west of Cyprus, completed his education at Oxford University. Then he returned to the island and established the Shakespeare School, which is one of the first private schools of the island. He has undertaken both teaching and school management roles here. Many Turkish Cypriots have been educated in this private school which offers English education. Nejmi Sagıp, which has a high level of general culture, has been nicknamed Feylosof (philosopher) by the community. During World War II, Nejmi Sagıp declared himself as a deputy of Cypriot Muslims by the signing of thousands of people in Nicosia. By using this title, Mr. Nejmi sent letters to the presidents and deputies of several countries, mainly the United Kingdom, defending the rights of Turkish Cypriots against the Enosis requests of Greek Cypriots. Mr. Nejmi has literary works besides education and political activities. One of his literary was the Quran which he translates to English. He also translated some of the classics of Turkish literature into English. Many people, especially the Irish writer George Bernard Shaw, Nobel Peace Prize-winning, have already begun to appreciate him for his translations. As a result, Mr. Nejmi has an important value for the Turkish Cypriot Political, Cultural and Educational history. </p><p><strong>Öz</strong></p><p>Aslen Kıbrıs’ın güney batısında bulunan Baf Kazasından olan Nejmi Sagıp Bodamyalızade, Oxford Üniversitesi’ndeki eğitimini tamamladıktan sonra adaya dönerek adanın ilk özel okullarından olan Shakespeare Okulu’nu kurmuştur. Burada hem öğretmenlik hem de okul müdürlüğü görevlerini üstlenmiştir. İngilizce eğitim veren bu özel okulda birçok Kıbrıslı Türk eğitim almıştır. Genel kültür düzeyi yüksek olan Nejmi Sagıp’a halk tarafından Feylosof (Filozof) lakabı takılmıştır. Nejmi Sagıp, II. Dünya Savaşı sırasında Lefkoşa’da binlerce kişiden imza toplayarak kendisini Kıbrıslı Müslümanların vekili ilan etmiştir. Nejmi Bey bu unvanı kullanarak başta İngiltere olmak üzere birçok ülkenin başkan ve elçilerine Kıbrıslı Rumların Enosis taleplerine karşı Kıbrıs Türklerinin haklarını savunan mektuplar göndermiştir. Nejmi Bey’in eğitim ve siyasi faaliyetlerinin yanında edebi çalışmaları da bulunmaktadır. Kaleme aldığı edebi eserlerinden birisi de İngilizceye çevirdiği manzum Kur’an-ı Kerim’dir. Ayrıca Türk Edebiyatının klasiklerinin bazılarını da İngilizceye tercüme etmiştir. Yaptığı bu çeviriler sayesinde başta Nobel Barış ödülü sahibi İrlandalı yazar George Bernard Shaw olmak üzere birçok kişinin takdirini toplamayı başarmıştır. Sonuç olarak Nejmi Bey Kıbrıs Türk Siyasi, Kültürel ve Eğitim tarihinin bir dönemine damgasını vurmuştur denilebilir.</p>
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Andrianova, Irina. "Stenography and Literature: What did Western European and Russian Writers Master the Art of Shorthand Writing For?" Studia Slavica Academiae Scientiarum Hungaricae 64, no. 1 (June 2019): 1–11. http://dx.doi.org/10.1556/060.2019.64101.

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What brings together Daniel Defoe, Charles Dickens, Vsevolod Krestovsky, Nikolai Chernyshevsky, Fyodor Dostoevsky, Аlexander Kuprin, George Bernard Shaw, and Аstrid Lindgren, i.e. writers from different countries and belonging to different epochs? In their creative work, they all used stenography, or rapid writing, permitting a person to listen to true speech and record it simultaneously. This paper discloses the role of stenography in literary activities of European and Russian writers in the 19th and early 20th centuries. Some researchers believe that the first ties between shorthand and literature appeared in the days of Shakespeare when the playwright's competitors used shorthand to put down the texts of his plays. Others have convincingly refuted this viewpoint, proving that such records never existed. The most famous English novelist in the 17th and 18th centuries Daniel Defoe can be considered one of the first writers who used shorthand in his literary work. The writers mastering the art of shorthand writing such as Defoe, Dickens, and Lindgren were popular in various professional spheres (among others, the secret service, journalism, and secretarial service) where they successfully applied their skills in shorthand writing. Stenography was an integral part of a creative process of the authors who resorted to it (Dostoevsky, Krestovsky, Shaw, and Lindgren). It economized their time and efforts, saved them from poverty and from the terms of enslavement stipulated in the contracts between writers and publishers. It is mainly thanks to stenography that their works became renowned all over the world. If Charles Dickens called himself “the best writer-stenographer” of the 19th century, F. M. Dostoevsky became a great admirer of the “high art” of shorthand. He was the second writer in Russia (following V. Krestovsky), who applied shorthand writing in his literary work but the only one in the world literature for whom stenography became something more than just shorthand. This art modified and enriched the model of his creative process not for a while but for life, and it had an influence on the poetics of his novels and the story A Gentle Creature, and led to changes in the writer's private life. In the course of the years of the marriage of Dostoevsky and his stenographer Anna Snitkina, the author's artistic talent came to the peak. The largest and most important part of his literary writings was created in that period. As a matter of fact, having become the “photograph” of live speech two centuries ago, shorthand made a revolution in the world, and became art and science for people. However, its history did not turn to be everlasting. In the 21st century, the art of shorthand writing is on the edge of disappearing and in deep crisis. The author of the paper touches upon the problem of revival of social interest in stenography and its maintenance as an art. Archival collections in Europe and Russia contain numerous documents written in short-hand by means of various shorthand systems. If humanity does not study shorthand and loses the ability to read verbatim records, the content of these documents will be hidden for us forever.
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Stokes, John, J. Percy Smith, and Bernard Shaw. "Selected Correspondence of Bernard Shaw: Bernard Shaw and H. G. Wells." Modern Language Review 92, no. 4 (October 1997): 960. http://dx.doi.org/10.2307/3734238.

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Li, Kay. "Bernard Shaw: A Life." English Studies 88, no. 6 (December 2007): 736–37. http://dx.doi.org/10.1080/00138380701566276.

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Einsohn. "Bernard Shaw and Paul Ricoeur." Shaw 34, no. 1 (2014): 133. http://dx.doi.org/10.5325/shaw.34.1.0133.

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Pharand, Michel W., and A. M. Gibbs. "Bernard Shaw: A Life." Modern Language Review 102, no. 4 (October 1, 2007): 1149. http://dx.doi.org/10.2307/20467577.

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Dukore. "Bernard Shaw: The Director as Dramatist." Shaw 35, no. 2 (2015): 136. http://dx.doi.org/10.5325/shaw.35.2.0136.

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Buckley. "Introduction: Bernard Shaw and New Media." Shaw 40, no. 1 (2020): 1. http://dx.doi.org/10.5325/shaw.40.1.0001.

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Dissertations / Theses on the topic "Shaw, Bernard, English literature"

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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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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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Byrne, Monique. "Bernard Shaw's reconfiguration of family in You never can tell." Click here for download, 2006. http://wwwlib.umi.com/cr/villanova/fullcit?p1432837.

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Nforbin, Gerald [Verfasser]. "Bernard Shaw’'s reconfiguration of dramatic genres as force-fields in socio-cultural and new aesthetic criticism / Gerald Nforbin." Gießen : Universitätsbibliothek, 2012. http://d-nb.info/1063953642/34.

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

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Many critics examine Shaw's plays in terms of the subjects they deal with, but they often ignore what aspects of these subjects Shaw draws on or how he uses them. One subject that appears in many of his works is war. This thesis examines Shaw's treatment of war in Arms and the Man and Heartbreak House, and attempts to discover a common element between them that reveals something not only about the plays themselves, but also about Shaw's drama in general. The chapter on Arms and the Man notes how Shaw makes war a highly visible element of the play, but avoids dealing with issues directly related to war. Shaw does not draw on war itself, but on its image. The sources for Catherine's and Bluntschli's impressions of both war and Sergius—Lady Butler's paintings, the military melodrama and extravaganza, Tennyson's "Charge of the Light Brigade," and accounts of the Battle of Balaklava—indicate that the play's focus is not on war, but on how one perceives the world. This idea is further reinforced by Shaw's own views about idealism, romanticism, and realism. Unlike Arms and the Man, war is an integral part of Heartbreak House. Shaw uses elements from the British homefront during the First World War—the wasted lives of England's youth, the lies of the government and the press, and the potential for violence both on the front and at home during the conflict—to help create the play's deep sense of crisis and impending doom. But as with Arms and the Man, Heartbreak House is not a play about war. Whereas war is highly visible in the former, its presence is negligible in the latter: there are no military characters or any clear indication that a war is in progress until the end of the play. Moreover, Shaw does not draw on sources related only to the war. Thus while Heartbreak House was born largely out of the despair of the First World War, its themes go beyond that conflict to deal with questions about the individual, the family, and the fabric of society itself. This thesis concludes by briefly examining Saint Joan, and notes that it combines the two approaches to war found in Arms and the Man and Heartbreak House, but distances its intended audience—the English—by using a historical conflict where Englishmen are the enemy. In comparing the three plays' treatment of war, one can conclude that the common element in Shaw's treatment of war is his distancing of an audience from the subject itself. Moreover, one discovers that this distancing is related to the nature of the subjects that Shaw uses for his plays. Only subjects that he believed were complex were suitable for creating his dramatic works. Therefore, it is fruitless for critics to examine Shaw's plays for his opinions about a subject; they should concentrate on how Shaw uses these subjects in his plays instead.
Arts, Faculty of
English, Department of
Graduate
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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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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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McKee, Anthony Patrick Francis. "An anatomy of power : the early works of Bernard Mandeville." Thesis, Connect to e-thesis, 1991. http://theses.gla.ac.uk/675/.

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Thesis (Ph.D.) - University of Glasgow, 1991.
Ph.D. thesis submitted to the Department of English Literature, Faculty of Arts, University of Glasgow, 1991. Includes bibliographical references. Print version also available.
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Downing, Phoebe C. "Fabians and 'Fabianism' : a cultural history, 1884-1914." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:425127c1-94c1-4d20-ba58-fdd457c1f6b8.

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This thesis is a cultural history of the early Fabian Society, focusing on the decades between 1884, the Society’s inaugural year, and 1914. The canonical view is that ‘Fabianism,’ which the Oxford English Dictionary defines as the ‘doctrine and principles of the Fabian Society,’ is synonymous with State socialism and bureaucratic ‘efficiency.’ By bringing the methods of cultural history to bear on the Society’s founding members and decades, this thesis reveals that ‘Fabianism’ was in fact used as a dynamic metonymy, not a fixed doctrine, which signified a range of cultural, and even literary, meanings for British commentators in the 1890s and 1900s (Part 1). Further, by expanding the scope of traditional histories of the Fabian Society, which conventionally operate within political and economic sub-fields and focus on the Society’s ‘official’ literature, to include a close examination of the broader discursive context in which ‘Fabianism’ came into being, this thesis sets out to recover the symbolic aspects of the Fabians’ efforts to negotiate what ‘Fabianism’ meant to the English reading public. The Fabians’ conspicuous leadership in the modern education debates and the liberal fight for a ‘free stage,’ and their solidarity with the international political émigrés living in London at the turn of the twentieth century all contribute to this revised perspective on who the founding Fabians were, what they saw themselves as trying to achieve, and where the Fabian Society belonged—and was perceived to belong—in relation to British politics, culture, and society (Part 2). The original contribution of this thesis is the argument that the Fabians explicitly and implicitly evoked Matthew Arnold as a precursor in their efforts to articulate a kind of Fabian—latterly social-democratic—liberalism and a public vocation that balanced English liberties and the duty of the State to provide the ‘best’ for its citizens in education and in culture, as in politics.
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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.

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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.
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Books on the topic "Shaw, Bernard, English literature"

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Gibbs, A. M. A Bernard Shaw chronology. Basingstoke: Macmillan, 2000.

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

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Bryan, George B. The proverbial Bernard Shaw: An index to proverbs in the works of George Bernard Shaw. Westport, Conn: Greenwood Press, 1994.

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Pharand, Michel W. Bernard Shaw and the French. Gainesville: University Press of Florida, 2000.

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

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The politics and plays of Bernard Shaw. Jefferson, N.C: McFarland & Co., 2003.

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Margery, Morgan, ed. File on Shaw. London: Methuen Drama, 1989.

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Soboleva, Olga. "The only hope of the world": George Bernard Shaw and Russia. New York: Peter Lang, 2012.

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Socialism and superior brains: The political thought of Bernard Shaw. London: Routledge, 1993.

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Socialism and superior brains: The political thought of Bernard Shaw. London: Routledge, 1995.

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Book chapters on the topic "Shaw, Bernard, English literature"

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Innes, Christopher. "Defining Irishness: Bernard Shaw and the Irish Connection on the English Stage." In A Companion to Irish Literature, 35–49. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444328066.ch31.

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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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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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Tuman, Myron. "Pygmalion in Love—Bernard Shaw." In The Sensitive Son and the Feminine Ideal in Literature, 77–91. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15701-2_6.

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Clare, David. "Shaw and the Stage Englishman in Irish Literature." In Bernard Shaw’s Irish Outlook, 67–121. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1007/978-1-137-54043-0_5.

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Hart, Jonathan. "Writing and History: T.E. Lawrence and Bernard and Charlotte Shaw." In Interpreting Cultures: Literature, Religion, and the Human Sciences, 106–41. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-11665-9_5.

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Chothia, Jean. "George Bernard Shaw." In English Drama of the Early Modern Period, 1890–1940, 154–77. Routledge, 2016. http://dx.doi.org/10.4324/9781315504216-6.

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"Victorian drama: Ibsen, Chekhov, Shaw and Wilde." In English Literature, 275–81. Routledge, 2013. http://dx.doi.org/10.4324/9781315838274-26.

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Winter, J. M. "Bernard Shaw, Bertold Brecht and the businessman in literature." In Business Life and Public Policy, 185–204. Cambridge University Press, 1986. http://dx.doi.org/10.1017/cbo9780511560712.010.

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Wixson, Christopher. "5. ‘Political’." In George Bernard Shaw: A Very Short Introduction, 69–90. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198850090.003.0006.

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Abstract:
‘Political’ details a difficult time in George Bernard Shaw’s career when his views about the First World War placed him intensely at odds with public opinion. Shaw’s journalism castigates British nationalism and foreign policy, boldly assigning culpability for the conflict to failed government leadership on both sides. His major plays throughout the 1920s were also composed in the war’s long shadow and vitalized by the principles Shaw enumerated in his recent, controversial public writings. The chapter then examines Shaw’s Heartbreak House (1916–17), Back to Methuselah (1918–20), Saint Joan (1923), and Too True to Be Good (1931). The success of Saint Joan and the award of the 1925 Nobel Prize for Literature solidified Shaw as Britain’s pre-eminent playwright.
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