Henry Irving's 'Waterloo': Theatrical Engagements with Arthur Conan Doyle, George Bernard Shaw, Ellen Terry, Edward Gordon Craig. Late-Victorian Culture: Assorted Ghosts, Old Men, War, and History

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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Análise descritiva da tradução de Millôr Fernandes para o português da peça “Pygmalion”, de George Bernard Shaw

Cadernos de Literatura em Tradução ◽

10.11606/issn.2359-5388.i9p67-83 ◽

2008 ◽

pp. 67-83

Author(s):

Priscila Fernanda Furlanetto

Keyword(s):

George Bernard Shaw ◽

Bernard Shaw

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.

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Millennial Dark Ladies

Critical Survey ◽

10.3167/cs.2021.330208 ◽

2021 ◽

Vol 33 (2) ◽

pp. 79-92

Author(s):

Katherine Scheil

Keyword(s):

Women Writers ◽

George Bernard Shaw ◽

Central Figure ◽

Anthony Burgess ◽

Victorian Period ◽

The Subject ◽

Bernard Shaw

The Dark Lady evoked in Shakespeare’s Sonnets has been the subject of numerous speculations since the Victorian period. Several male writers and critics – George Bernard Shaw, Frank Harris, A. L. Rowse and Anthony Burgess, for example – have undertaken extended imaginative explorations of this alternative woman. More recently, the Dark Lady has become a central figure in millennial novels by women writers, designed primarily for a female reading audience. This article considers what’s at stake by placing this imaginary woman at the heart of Shakespeare’s artistic inspiration, and what this tells us about the meaning(s) of ‘Shakespeare’ for contemporary women writers and readers.

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Keith Garebian. George Bernard Shaw and Christopher Newton: Explorations of Shavian Theatre

Theatre Research in Canada ◽

10.3138/tric.15.1.114 ◽

1994 ◽

Vol 15 (1) ◽

pp. 114-115

Author(s):

J. Percy Smith

Keyword(s):

George Bernard Shaw ◽

Bernard Shaw

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J. M. Barrie’s Gothic: Ghosts, Fairy Tales and Lost Children

Scottish Gothic ◽

10.3366/edinburgh/9781474408196.003.0012 ◽

2017 ◽

pp. 155-167

Author(s):

Sarah Dunnigan

Keyword(s):

Recent Work ◽

Fairy Tales ◽

George Bernard Shaw ◽

Peter Pan ◽

Bernard Shaw

In his obituary of J. M. Barrie, George Bernard Shaw called his plays ‘terrifying’. Although Peter Pan (first performed in 1904) had long become a cherished children’s fantasy and a staple of Christmas theatricals, Shaw seemed more perturbed than enchanted by it (1993: 151). Barrie is seldom described as a Gothic writer, although his own well-known and often reductively understood biography has been ‘Gothicised’ into a dark psycho-narrative. Rather than use the latter to suggest Barrie’s election to the Scottish Gothic canon, this chapter takes its cue from recent work by R. D. S. Jack (2010), Valentina Bold and Andrew Nash (2014) and others, who demonstrate how Barrie is a writer of complexity and contradiction. The generic and thematic range of Barrie’s writing means that he is not a consistent or fully fledged Gothic writer but nevertheless Gothicism still inks a recurrent pattern of motifs and ideas in his work.

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