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

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Clark, Lauren. "Bernard Shaw as artist-Fabian." Irish Studies Review 18, no. 3 (August 2010): 380–82. http://dx.doi.org/10.1080/09670882.2010.493040.

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12

Sparks, Julie A. "Bernard Shaw and the French (review)." Comparative Literature Studies 40, no. 4 (2003): 452–56. http://dx.doi.org/10.1353/cls.2003.0036.

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13

Kilner-Johnson. "Bernard Shaw's Gnostic Genius." Shaw 41, no. 1 (2021): 35. http://dx.doi.org/10.5325/shaw.41.1.0035.

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14

Gahan. "Bernard Shaw and Richard Strauss: A Friendship." Shaw 39, no. 1 (2019): 10. http://dx.doi.org/10.5325/shaw.39.1.0010.

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15

Dukore, Bernard F., Stanely Weintraub, and Samuel A. Weiss. "Bernard Shaw: The Diaries 1885-1897." Theatre Journal 39, no. 4 (December 1987): 539. http://dx.doi.org/10.2307/3208274.

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16

Dillon, Cynthia Bishop, and John A. Bertolini. "The Playwrighting Self of Bernard Shaw." Theatre Journal 45, no. 2 (May 1993): 273. http://dx.doi.org/10.2307/3208947.

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17

Lenker. "Bernard Shaw's Interior Authors: The Novels." Shaw 41, no. 1 (2021): 87. http://dx.doi.org/10.5325/shaw.41.1.0087.

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18

King, Daniel P., and Michael Holroyd. "Bernard Shaw. 4: The Last Laugh, 1950-1991." World Literature Today 67, no. 2 (1993): 391. http://dx.doi.org/10.2307/40149207.

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19

Pharand. "The Roycroft Fiend: Bernard Shaw v. Elbert Hubbard." Shaw 39, no. 2 (2019): 255. http://dx.doi.org/10.5325/shaw.39.2.0255.

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20

BECKSON, KARL. "OSCAR WILDE'S CELEBRATED REMARK ON BERNARD SHAW." Notes and Queries 41, no. 3 (September 1, 1994): 360–61. http://dx.doi.org/10.1093/nq/41-3-360.

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21

King, Daniel P., and Michael Holroyd. "Bernard Shaw. 3: The Lure of Fantasy, 1918-1951." World Literature Today 67, no. 1 (1993): 188. http://dx.doi.org/10.2307/40148955.

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22

Dukore. "Bernard Shaw and the Smallpox Epidemic of 1901–2." Shaw 40, no. 2 (2020): 285. http://dx.doi.org/10.5325/shaw.40.2.0285.

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23

Radavich. "Eastern Paradox in Bernard Shaw's Major Barbara." Shaw 36, no. 2 (2016): 256. http://dx.doi.org/10.5325/shaw.36.2.0256.

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24

Weintraub. "Bernard Shaw's Other Playbook: The Playlets Outside the Plays." Shaw 37, no. 2 (2017): 245. http://dx.doi.org/10.5325/shaw.37.2.0245.

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25

Christopher Wixson. "Acts of Revision: Bernard Shaw, Noël Coward, and “Born Bosses”." Journal of Modern Literature 40, no. 4 (2017): 166. http://dx.doi.org/10.2979/jmodelite.40.4.13.

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26

Innes, Christopher. "Bernard Shaw: A Life, by A. M. Gibbs, andShaw Shadows: Rereading the Texts of Bernard Shaw, by Peter Gahan." Victorian Studies 49, no. 2 (January 2007): 374–77. http://dx.doi.org/10.2979/vic.2007.49.2.374.

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27

Harding. "Utopia and Endless War: Bernard Shaw's Major Barbara." Shaw 39, no. 2 (2019): 158. http://dx.doi.org/10.5325/shaw.39.2.0158.

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28

Houlihan. "Directing Bernard Shaw at the Abbey Theatre: Interview with Annabelle Comyn." Shaw 40, no. 2 (2020): 265. http://dx.doi.org/10.5325/shaw.40.2.0265.

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29

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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30

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

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

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31

Pharand. "A Selected Bibliography of Writings By and About Bernard Shaw Concerning Music." Shaw 39, no. 1 (2019): 111. http://dx.doi.org/10.5325/shaw.39.1.0111.

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32

Ducrey, Guy. "Le Théâtre contre la charité. Octave Mirbeau, Eugène Brieux, Bernard Shaw." Littératures, no. 64 (November 1, 2011): 167–84. http://dx.doi.org/10.4000/litteratures.496.

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33

Rodríguez Martín, Gustavo A. "Comparison and other “Modes of Order” in the plays of Bernard Shaw." International Journal of English Studies 12, no. 2 (December 1, 2012): 151. http://dx.doi.org/10.6018/ijes/2012/2/161801.

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Bernard Shaw is widely regarded as one of the most important playwrights in the English language, ranking often second only to Shakespeare. This literary prominence, however, is not matched by a significant number of stylistic analyses, much more so in the case of linguistically-oriented ones. One of the few studies in Shaviana with a clear stylistic approach is Ohmann’s (1962) monograph. However, it focuses on Shaw’s non-dramatic writings and, due to its publication date, it does not utilize software tools for corpus stylistics. The purpose of this paper is to analyze Bernard Shaw’s use of certain comparative structures in his dramatic writings (what Ohmann calls ‘Modes of Order’ in his book) with the aid of the technical and methodological advances of computer-based stylistics, thus utilizing an innovative outlook because of the combination of stylistics and corpora research.

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34

Robinson, P. "Bernard Spencer's 'Boat Poem'." English 58, no. 223 (September 11, 2009): 318–39. http://dx.doi.org/10.1093/english/efp030.

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35

Einsohn. "Prophetic Comedy: Bernard Shaw, Flannery O'Connor, and the Sacred Laughter of Distance Realism." Shaw 38, no. 2 (2018): 214. http://dx.doi.org/10.5325/shaw.38.2.0214.

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36

Larson, Gale K., and Michael Holroyd. "Bernard Shaw: The Pursuit of Power, Vol. II. 1898-1918." Theatre Journal 42, no. 4 (December 1990): 519. http://dx.doi.org/10.2307/3207740.

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37

Larson, Gale K., and Michael Holroyd. "Bernard Shaw: The Search for Love, Vol. I, 1856-1898." Theatre Journal 41, no. 3 (October 1989): 426. http://dx.doi.org/10.2307/3208205.

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38

Gahan. "Bernard Shaw's The Glimpse of Reality and the Iconography of Saint Barbara." Shaw 38, no. 2 (2018): 133. http://dx.doi.org/10.5325/shaw.38.2.0133.

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39

Cardullo, Robert J. "Bernard Shaw, The Philanderer, and the (Un)Making of Shavian Drama." Neophilologus 96, no. 1 (April 3, 2011): 137–50. http://dx.doi.org/10.1007/s11061-011-9251-7.

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40

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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41

Pharand. "A Selected Bibliography of Writings by Bernard Shaw Concerning Health, the Medical Profession, and Related Topics." Shaw 34, no. 1 (2014): 176. http://dx.doi.org/10.5325/shaw.34.1.0176.

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42

McDiarmid, Lucy. "Augusta Gregory, Bernard Shaw, and the Shewing-Up of Dublin Castle." PMLA 109, no. 1 (January 1994): 26. http://dx.doi.org/10.2307/463009.

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43

Nottingham. "Bernard Shaw as Artist-Fabian, by Charles A. Carpenter." Victorian Studies 53, no. 4 (2011): 732. http://dx.doi.org/10.2979/victorianstudies.53.4.732.

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44

Weiss, Rudolf. "Harley Granville Barker: the First English Chekhovian?" New Theatre Quarterly 14, no. 53 (February 1998): 53–62. http://dx.doi.org/10.1017/s0266464x00011738.

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Harley Granville Barker, the major innovator in the English theatre at the beginning of the present century, was long underestimated as a playwright, and misjudged as a mediocre imitator of Bernard Shaw. In more recent years major revivals of his plays, as well as new critical studies and editions, have witnessed a renewed interest in Barker as a dramatist, which, Rudolf Weiss here argues, testifies to the Chekhovian rather than the Shavian qualities of his plays. In the following article Weiss explores these qualities in the context of the early reception of Chekhov's plays in Britain, and on the basis of a reassessment of the existing records he offers a new view of Barker's originality as a playwright, concluding that the quasi-Chekhovian stamp of his work does not derive from influence but reflects the distinctive Zeitgeist of the turn of the twentieth century. Rudolf Weiss, who teaches in the English Department of the University of Vienna, has previously published on Arthur Wing Pinero, John Galsworthy, Harley Granville Barker, and Elizabeth Baker.

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45

Jurak, Mirko. "Bernard Hickey : (1931-2007) : in memoriam." Acta Neophilologica 40, no. 1-2 (December 15, 2007): 207–9. http://dx.doi.org/10.4312/an.40.1-2.207-209.

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In the mid-1970s the Australian government began to stimulate departments of English at various European universities to include in their curricula the teaching of Australian literature. Literature Board of the Australia Council helped organize vari ous seminars and conferences, it provided some basic text-books and literary works, and also financially supported Australian university professors to give lectures at these institutions. The Department of English at the University of Ljubljana showed interest in developing these relations and Bernard Hickey was one of the first Australian guests at our university.

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46

Hellman. "A Protective Shield and Mistrust of Romantic Love: Some Psychological Consequences to Bernard Shaw from the Family Ménage à Trois." Shaw 39, no. 2 (2019): 279. http://dx.doi.org/10.5325/shaw.39.2.0279.

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47

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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48

Wolf, Laurie J. "Shaw: The Neglected Plays. Volume 7, Shaw, The Annual of Bernard Shaw Studies. Edited by Alfred TurcoJr. Pennsylvania: The Pennsylvania State University Press, 1987. Pp. 368. $25.00." Theatre Research International 14, no. 3 (1989): 301–2. http://dx.doi.org/10.1017/s0307883300009068.

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49

Spencer, Jenny S., and Niloufer Harben. "Twentieth-Century English History Plays: From Shaw to Bond." Theatre Journal 42, no. 4 (December 1990): 527. http://dx.doi.org/10.2307/3207745.

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50

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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