La contribución de George Bernard Shaw en la lucha por los derechos de la mujer en la sociedad

El propósito de este artículo es analizar la defensa de los derechos de la mujer en un contexto moderno de machismo e injusticia, lo cual se cree que se ha iniciado desde el comienzo de la historia. En esta supuesta lucha por la igualdad, algunos especialista han sugerido que las mujeres siempre han sido el sexo oprimido y subordinado, mientras que los hombres han sido el grupo dominante, ya que tenían el poder de hacer leyes para dictar normas sociales y políticas con el fin de colocar a las mujeres en una esfera limitada. Esto, es una tendencia a pensar que los hombres dudaron en recurrir a la violencia con la intención de consolidar su dominio sobre el llamado “sexo débil”. En este sentido, el estudio tiene como objetivo estudiar la contribución de George Bernard Shaw en la defensa de los derechos de las mujeres y ser consideradas libres y dignas, fuera de una condición de sometimiento.

The Public Music Theory of George Bernard Shaw

George Bernard Shaw is best known today for his plays, but he first exercised his incisive wit as a drama and music critic in London, intermittently from 1876, regularly from 1888 to 1894, and intermittently again to the end of his life. Shaw explicitly intended to make his reviews both educational and accessible to the general public, combining performance critiques with broader considerations, including aspects of music theory and music education, and avoiding technical terms to the extent possible. Thus, his music criticism serves as an example of public music theory. This chapter surveys Shaw’s music-theoretic comments through this lens, analyzing what they demonstrate about his own musical understanding and underlying ideologies, the educational purpose of his reviews, and the level of musical knowledge he assumed on the part of his late nineteenth-century London readership.

Art as the Commentary of Life

Literature has always been a mighty weapon in bringing reality to surface. It is the reflection of mirror in the form of print that actually ushers to forefront the reality of life. The main aim of art is to revolutionize the world in general and society in particular. “Art for the Sake of Life” generally refers to the notion that art makes us understand the conduct of everyday life. Although art encompasses literature yet it is more than that because it deals with every aspect of our life. It is the way to justify the grim realities of life while beautifying them. As a famous writer James Baldwin accords that “one can’t write a line without a message”. Art is a way of expressing oneself. Many people use it to express boundless emotions and thoughts, from turbulence to euphoria to bewilderment that everyone has within the heart, mind and soul. The authors have discovered an escape through art to seek meaning via truth, not just for the sake of art, but for the sake of life. Writers tweak the image of specific challenges so that a reader can see them through the same lens. George Bernard Shaw also avows that “For art’s sake alone I would not face the toil of writing a single sentence”. So, an artist should be moralist encumbered with a reforming zeal. Thus “Art for the sake of life” is a maxim that should be applied to all art; art with style, sophistication, pathos, and psychological resonance. It is not thus for the art’s sake rather it is for the life’s sake or social sake. Art is a medicine or elixir of pain which makes life bearable. The main aim of this paper is to showcase how art in general as well as in particular is only for life’s sake and not for art’s sake. Art thus has a cosmic phenomenon with a universal impact.

Millennial Dark Ladies

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.

In Search of a Cultural Background

The modernist architect and critic, Alfred Lawrence Kocher, proposed and commented on many bibliographical references in The Architectural Record in the years 1924-25. Recent studies on American architecture of the 1920s and 1930s have recognized the peculiar character of modernism in the United States and have gone in search of its cultural and social roots. However, Kocher’s extensive lists have so far been completely overlooked. They were based for the most part on the correspondence he exchanged with a number of American and British architects and George Bernard Shaw: he had sent to them a circular letter, asking for recommendations on texts on background literature that a young architect should know. The unpublished correspondence that Kocher had with Louis Sullivan and the 19 texts on “Aesthetics and Theory of Architecture” are analysed in particular by the author. Although from 1927 onwards Kocher became a passionate supporter of European rationalist architecture, his bibliographies cannot be considered a conscious foundational literature on modernism and modernity. They rather give an idea of the ‘cultural trunk’ on which the discussion on modern European architecture was going to be grafted; they help to illuminate the scene on which American architects moved in the mid-1920s. In some of the texts, the pragmatic notion of utility shines through, as − sometimes connectedly − does the concept of a creative act as a free, ‘natural’ act, which derived from American transcendentalism. Independent from Kocher’s will, a line of thought is even identifiable, through which one can explain the apparently contradictory combination of ‘maximum of utility’ and ‘maximum of free creativity’, openly advocated by the skyscraper architect Raymond Hood at the end of the 1920s. Such way of thinking was based on the recognition of the beauty of utility.

The Conflict of Virtue and Corruption in Shaw’s Major Barbara: A Perspective

This study focuses on analyzing the conflict between good and evil, and to ascertain the importance of justice and rights in society through a crucial factor that touches all people – poverty and wealth. It aims to detect the measure of the Islamic hints of George Bernard Shaw with particular reference to one of his great plays, Major Barbara, which focused on economy, money, and poverty. The paper begins with a general introduction about some social and dramatic philosophical indications of George Bernard Shaw. After that, it shifts to shed light on (1) the perspective of the dramatist, Bernard Shaw, on the contrastive concept of Good against Evil and (2) the analysis on the central part of the study illustrating the perspectives of the play. Then the paper ends with a summary on the results and discussion of the study to be followed by the conclusion. The study applies the deductive, critical, and analytical approach as a suitable method of literary research.

„The Fury of Realistic Common Sense“

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.