abstract:Since the 1970s, scientists and psychologists have described what they call ELIZA effects: the tendency to attribute intelligence to responsive computers. ELIZA effects can be traced back to a natural language processing program or chatbot named ELIZA and created by Joseph Weizenbaum at MIT in the mid-1960s and to Weizenbaum's inspiration, Eliza Doolittle, in Bernard Shaw's play Pygmalion. This article examines Shaw's influence on ELIZA and his anticipatory engagement with questions about machine "thinking" and the origin and nature of intelligence that continue to drive research in computer science. It illuminates Shaw's significance for Weizenbaum and the pathbreaking English mathematician and theorist of artificial intelligence Alan Turing. It also proposes how we might reread Shaw's plays, and Pygmalion in particular, in light of what Weizenbaum and Turing found in Shaw.
{"title":"ELIZA Effects: Pygmalion and the Early Development of Artificial Intelligence","authors":"Lawrence Switzky","doi":"10.5325/shaw.40.1.0050","DOIUrl":"https://doi.org/10.5325/shaw.40.1.0050","url":null,"abstract":"abstract:Since the 1970s, scientists and psychologists have described what they call ELIZA effects: the tendency to attribute intelligence to responsive computers. ELIZA effects can be traced back to a natural language processing program or chatbot named ELIZA and created by Joseph Weizenbaum at MIT in the mid-1960s and to Weizenbaum's inspiration, Eliza Doolittle, in Bernard Shaw's play Pygmalion. This article examines Shaw's influence on ELIZA and his anticipatory engagement with questions about machine \"thinking\" and the origin and nature of intelligence that continue to drive research in computer science. It illuminates Shaw's significance for Weizenbaum and the pathbreaking English mathematician and theorist of artificial intelligence Alan Turing. It also proposes how we might reread Shaw's plays, and Pygmalion in particular, in light of what Weizenbaum and Turing found in Shaw.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"84 1","pages":"50 - 68"},"PeriodicalIF":0.0,"publicationDate":"2020-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90322487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:From the inception of the adjective "Shavian," a sought-after term that Shaw came up with almost by chance, the meaning and use of this word has changed a great deal. Once merely denotative, it used to refer to everything Shaw related. Progressively, it came to be used to qualify those works and ideas that were typically Shaw's, that is, the idiosyncratically "Shavian" stuff. The purpose of this article is to situate the meaning of the word "Shavian" and to trace the evolution of its meaning in later years, especially as the arrival of new media made it possible for this word to colonize other domains. In order to do so, a corpus-based analysis of the most common collocates for "Shavian" has been utilized to map the recurring binomials that shape the meaning of the term. Later, this article looks into specific uses of the term that, for different reasons, have come to be used (1) in a sense that is alien to what is usually covered by Shaw studies and/or (2) in new media of the digital age. This part allows us to gain insights into the semantic transformation of "Shavian" after Shaw.
{"title":"Shavian Media: The Meaning of \"Shavian\" after Shaw","authors":"J. L. Oncins-Martínez","doi":"10.5325/shaw.40.1.0069","DOIUrl":"https://doi.org/10.5325/shaw.40.1.0069","url":null,"abstract":"abstract:From the inception of the adjective \"Shavian,\" a sought-after term that Shaw came up with almost by chance, the meaning and use of this word has changed a great deal. Once merely denotative, it used to refer to everything Shaw related. Progressively, it came to be used to qualify those works and ideas that were typically Shaw's, that is, the idiosyncratically \"Shavian\" stuff. The purpose of this article is to situate the meaning of the word \"Shavian\" and to trace the evolution of its meaning in later years, especially as the arrival of new media made it possible for this word to colonize other domains. In order to do so, a corpus-based analysis of the most common collocates for \"Shavian\" has been utilized to map the recurring binomials that shape the meaning of the term. Later, this article looks into specific uses of the term that, for different reasons, have come to be used (1) in a sense that is alien to what is usually covered by Shaw studies and/or (2) in new media of the digital age. This part allows us to gain insights into the semantic transformation of \"Shavian\" after Shaw.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"23 1","pages":"69 - 88"},"PeriodicalIF":0.0,"publicationDate":"2020-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77247336","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:A tribute to the late Stan Weintraub composed of excerpts from "The Dreaded Weintraub" and a selected bibliography of his writings related to Bernard Shaw.
向已故的斯坦·温特劳布致敬，由《可怕的温特劳布》节选和他与萧伯纳有关的作品参考书目组成。
{"title":"The Dreaded Weintraub","authors":"M. Pharand, C. Wixson","doi":"10.5325/shaw.40.1.0089","DOIUrl":"https://doi.org/10.5325/shaw.40.1.0089","url":null,"abstract":"abstract:A tribute to the late Stan Weintraub composed of excerpts from \"The Dreaded Weintraub\" and a selected bibliography of his writings related to Bernard Shaw.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"56 1","pages":"89 - 95"},"PeriodicalIF":0.0,"publicationDate":"2020-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90953392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:This article examines the responses of business students to the 1941 film version of Major Barbara. It argues that today’s business students are quite receptive to the arguments of the play and eager to make comparisons with contemporary debates in business ethics. Due to the nature of drama, plays have a unique pedagogical potential to reach students and engage with them more fully. Shaw, in particular, provides especially helpful tools for teaching business students as well as students in other fields that typically do not have plays on their syllabi. The article suggests several ways Shaw’s works can be incorporated into curricula outside of literary and theater studies to enrich the education of nontraditional future Shavians.
{"title":"Undershaft in B-School: Responses of Business Students to Major Barbara","authors":"J. Armstrong","doi":"10.5325/shaw.39.2.0298","DOIUrl":"https://doi.org/10.5325/shaw.39.2.0298","url":null,"abstract":"ABSTRACT:This article examines the responses of business students to the 1941 film version of Major Barbara. It argues that today’s business students are quite receptive to the arguments of the play and eager to make comparisons with contemporary debates in business ethics. Due to the nature of drama, plays have a unique pedagogical potential to reach students and engage with them more fully. Shaw, in particular, provides especially helpful tools for teaching business students as well as students in other fields that typically do not have plays on their syllabi. The article suggests several ways Shaw’s works can be incorporated into curricula outside of literary and theater studies to enrich the education of nontraditional future Shavians.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"82 1","pages":"298 - 306"},"PeriodicalIF":0.0,"publicationDate":"2019-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79966056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:This article focuses on how Bernard Shaw’s plays build bridges to Chinese culture, through looking at the famous Chinese painter Xu Bei Hong’s Slave and the Lion (1924) and Shaw’s Androcles and the Lion (1912). Xu’s oil painting was created in 1924 in Berlin, where Siegfried Trebitsch’s translation of Androcles and the Lion had been staged in November 1912. Much of the message Xu invested in the painting reflected ideas young Chinese intellectuals were gathering from Shaw and his plays, especially concerning negotiations between authority and the individual will within the struggle for survival and resistance to oppression. Xu was part of an intricate network making use of Shaw to advocate social reforms and boost Chinese nationalism. The article examines the coexistence of the Western and Chinese perspectives in the painting to show how Xu dexterously made use of the original myth to provide multiple levels of meanings.
摘要:本文以中国著名画家徐贝洪的《奴隶与狮子》(1924)和萧伯纳的《双雄与狮子》(1912)为例，探讨萧伯纳的戏剧如何为中国文化搭建桥梁。徐的油画创作于1924年在柏林，1912年11月，齐格弗里德·特雷比施(Siegfried Trebitsch)翻译的《安德克勒斯与狮子》(Androcles and the Lion)在柏林上演。许在这幅画中所传达的信息反映了年轻的中国知识分子从萧伯纳和他的戏剧中收集到的思想，特别是关于生存斗争和反抗压迫中权威与个人意志之间的谈判。徐是一个错综复杂的网络的一部分，利用邵逸夫来倡导社会改革和促进中国的民族主义。本文考察了西方和中国视角在绘画中的共存，以展示徐如何巧妙地利用原始神话提供多层次的意义。
{"title":"From Xu Bei Hong’s “Slave and the Lion” to Shaw’s Androcles and the Lion: Shaw’s Bridges to Chinese Culture","authors":"Kay Li","doi":"10.5325/shaw.39.2.0226","DOIUrl":"https://doi.org/10.5325/shaw.39.2.0226","url":null,"abstract":"ABSTRACT:This article focuses on how Bernard Shaw’s plays build bridges to Chinese culture, through looking at the famous Chinese painter Xu Bei Hong’s Slave and the Lion (1924) and Shaw’s Androcles and the Lion (1912). Xu’s oil painting was created in 1924 in Berlin, where Siegfried Trebitsch’s translation of Androcles and the Lion had been staged in November 1912. Much of the message Xu invested in the painting reflected ideas young Chinese intellectuals were gathering from Shaw and his plays, especially concerning negotiations between authority and the individual will within the struggle for survival and resistance to oppression. Xu was part of an intricate network making use of Shaw to advocate social reforms and boost Chinese nationalism. The article examines the coexistence of the Western and Chinese perspectives in the painting to show how Xu dexterously made use of the original myth to provide multiple levels of meanings.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"14 1","pages":"226 - 242"},"PeriodicalIF":0.0,"publicationDate":"2019-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86608733","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:Shaw was self-admittedly an unreliable reporter in his autobiographical writings, and this is particularly true of his accounts of his immediate family. Too much credence has been given to these accounts by his biographers, and too little attention has been paid to evidence that calls them into question. Shaw himself is the sole source of negative views of his parents that have not only been unfair to them but also been deployed in weakly based theorizing and assertions about Shaw’s psychological state and development in his early years. This article presents evidence that raises serious doubts about the frequently repeated negative views of Shaw’s parents, and questions the idea that Shaw was beset by loneliness in his childhood and young manhood, with attendant psychological problems.
{"title":"The Slaying of His Da and Other Recurrent Problems in Shavian Biography","authors":"A. Gibbs","doi":"10.5325/shaw.39.2.0243","DOIUrl":"https://doi.org/10.5325/shaw.39.2.0243","url":null,"abstract":"ABSTRACT:Shaw was self-admittedly an unreliable reporter in his autobiographical writings, and this is particularly true of his accounts of his immediate family. Too much credence has been given to these accounts by his biographers, and too little attention has been paid to evidence that calls them into question. Shaw himself is the sole source of negative views of his parents that have not only been unfair to them but also been deployed in weakly based theorizing and assertions about Shaw’s psychological state and development in his early years. This article presents evidence that raises serious doubts about the frequently repeated negative views of Shaw’s parents, and questions the idea that Shaw was beset by loneliness in his childhood and young manhood, with attendant psychological problems.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"23 1","pages":"243 - 254"},"PeriodicalIF":0.0,"publicationDate":"2019-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76809162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:Bernard Shaw always insisted as “innocent” the relationship in his childhood family that consisted of his mother, Bessie; her voice teacher, Vandeleur Lee; and his father, George Carr Shaw, while simultaneously referring to it as a ménage à trois. That family triad and the secrets it appeared to hold interfered with the development of the trust he would later need in a committed romantic relationship. How it did so and how Shaw protected himself from romantic betrayal are explored in this essay. His relationship with May Morris and his affair with Molly Tompkins help further elucidate what had affected him.
{"title":"A Protective Shield and Mistrust of Romantic Love: Some Psychological Consequences to Bernard Shaw from the Family Ménage à Trois","authors":"Jesse M. Hellman","doi":"10.5325/shaw.39.2.0279","DOIUrl":"https://doi.org/10.5325/shaw.39.2.0279","url":null,"abstract":"ABSTRACT:Bernard Shaw always insisted as “innocent” the relationship in his childhood family that consisted of his mother, Bessie; her voice teacher, Vandeleur Lee; and his father, George Carr Shaw, while simultaneously referring to it as a ménage à trois. That family triad and the secrets it appeared to hold interfered with the development of the trust he would later need in a committed romantic relationship. How it did so and how Shaw protected himself from romantic betrayal are explored in this essay. His relationship with May Morris and his affair with Molly Tompkins help further elucidate what had affected him.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"76 1","pages":"279 - 297"},"PeriodicalIF":0.0,"publicationDate":"2019-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88541260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:Shaw’s 1901 play The Admirable Bashville, itself an adaptation of his novel Cashel Byron’s Profession, has twice been adapted for the professional musical stage. In the first of these adaptations, the 1983 Bashville, Shaw’s play was left largely untouched in favor of an outwardly reverential adaptation that inserted songs at various points in the original text and expanded its nonspeaking cast to allow for large-scale musical ensembles. In contrast, the 1995 Bashville in Love was a much smaller-scale work that took considerable liberties with its source material. This article analyzes the textual changes and musical treatments in both works and concludes that the latter adaptation, in spite of its numerous departures from Shaw’s play, is in fact the more Shavian of the two musicals.
{"title":"A Plethora of Bashvilles: Shaw’s “Masterpiece” and the Musicals It Spawned","authors":"Derek Mcgovern","doi":"10.5325/shaw.39.2.0204","DOIUrl":"https://doi.org/10.5325/shaw.39.2.0204","url":null,"abstract":"ABSTRACT:Shaw’s 1901 play The Admirable Bashville, itself an adaptation of his novel Cashel Byron’s Profession, has twice been adapted for the professional musical stage. In the first of these adaptations, the 1983 Bashville, Shaw’s play was left largely untouched in favor of an outwardly reverential adaptation that inserted songs at various points in the original text and expanded its nonspeaking cast to allow for large-scale musical ensembles. In contrast, the 1995 Bashville in Love was a much smaller-scale work that took considerable liberties with its source material. This article analyzes the textual changes and musical treatments in both works and concludes that the latter adaptation, in spite of its numerous departures from Shaw’s play, is in fact the more Shavian of the two musicals.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"118 1","pages":"204 - 225"},"PeriodicalIF":0.0,"publicationDate":"2019-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80243498","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:Bernard Shaw’s Major Barbara (1905) revives the premodern notion of utopia and in doing so bears a more complex relation to modernism and capitalist culture than previously acknowledged. In keeping with his lifelong commitment to a radical reorganization of urban society, Shaw uses the cooperative form of urban polity that is Perivale St. Andrews to challenge the claim that unfettered markets go hand in hand with urban democracy; rather, Undershaft’s fundamentalist brand of “disaster” capitalism engenders a brutal form of coercion masquerading as a better, more rational model of urban existence predicated on a state of endless war.
摘要:萧伯纳的《芭芭拉少校》(1905)复兴了前现代的乌托邦概念，与现代主义和资本主义文化之间的关系比人们之前认识到的更为复杂。为了与他对城市社会的彻底重组的终身承诺保持一致，肖使用了城市政治的合作形式，即Perivale St. Andrews，来挑战不受约束的市场与城市民主齐头并进的说法;相反，Undershaft的原教旨主义“灾难”资本主义产生了一种残酷的强制形式，伪装成一种更好、更理性的城市生存模式，这种模式基于无休止的战争状态。
{"title":"Utopia and Endless War: Bernard Shaw’s Major Barbara","authors":"D. Harding","doi":"10.5325/shaw.39.2.0158","DOIUrl":"https://doi.org/10.5325/shaw.39.2.0158","url":null,"abstract":"ABSTRACT:Bernard Shaw’s Major Barbara (1905) revives the premodern notion of utopia and in doing so bears a more complex relation to modernism and capitalist culture than previously acknowledged. In keeping with his lifelong commitment to a radical reorganization of urban society, Shaw uses the cooperative form of urban polity that is Perivale St. Andrews to challenge the claim that unfettered markets go hand in hand with urban democracy; rather, Undershaft’s fundamentalist brand of “disaster” capitalism engenders a brutal form of coercion masquerading as a better, more rational model of urban existence predicated on a state of endless war.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"100 1","pages":"158 - 182"},"PeriodicalIF":0.0,"publicationDate":"2019-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76057276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:Nietzsche and Shaw are famous and infamous: famous for their innovative and influential forms of writing, but infamous for their apparent support of totalitarianism and Nazism. However, while it has long been shown that Nietzsche’s provocative language about “breeding” and “masters and slaves” was intended to enhance culture through competition, it is still an open question how and when Shaw supported biological eugenics. Via Nietzsche’s “philosophical breeding,” this article presents a new reading of Shaw’s Man and Superman: on the one hand, it contrasts Nietzsche’s philosophical Übermensch with Shaw’s eugenic Superman; and on the other hand, it connects Nietzsche’s agonistic enhancement of culture with Shaw’s philosophical reflections in “Don Juan in Hell.” In contrast to Tanner’s support of eugenic breeding in his Revolutionist’s Handbook, Shaw’s Don Juan remarkably resembles Nietzsche’s notion of “philosophical breeding” toward a more competent, truthful, and autonomous orientation that is needed in increasingly complex global politics.
{"title":"The “Breeding of Humanity”: Nietzsche and Shaw’s Man and Superman","authors":"Reinhard G. Mueller","doi":"10.5325/shaw.39.2.0183","DOIUrl":"https://doi.org/10.5325/shaw.39.2.0183","url":null,"abstract":"ABSTRACT:Nietzsche and Shaw are famous and infamous: famous for their innovative and influential forms of writing, but infamous for their apparent support of totalitarianism and Nazism. However, while it has long been shown that Nietzsche’s provocative language about “breeding” and “masters and slaves” was intended to enhance culture through competition, it is still an open question how and when Shaw supported biological eugenics. Via Nietzsche’s “philosophical breeding,” this article presents a new reading of Shaw’s Man and Superman: on the one hand, it contrasts Nietzsche’s philosophical Übermensch with Shaw’s eugenic Superman; and on the other hand, it connects Nietzsche’s agonistic enhancement of culture with Shaw’s philosophical reflections in “Don Juan in Hell.” In contrast to Tanner’s support of eugenic breeding in his Revolutionist’s Handbook, Shaw’s Don Juan remarkably resembles Nietzsche’s notion of “philosophical breeding” toward a more competent, truthful, and autonomous orientation that is needed in increasingly complex global politics.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"166 3","pages":"183 - 203"},"PeriodicalIF":0.0,"publicationDate":"2019-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72407744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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