{"title":"“Tomfoolery” That Deserves Our Attention (Playlets)","authors":"Jean Reynolds","doi":"10.5325/shaw.42.2.0499","DOIUrl":"https://doi.org/10.5325/shaw.42.2.0499","url":null,"abstract":"","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45975064","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 addresses the argument and form of Ghosts with his 1908 play, Getting Married. With the creation of a new "disquisitory" form, Shaw provides an analogue to Ibsen's Ghosts. In Getting Married, Shaw dramatizes one long discussion on the status of marriage and the necessity for liberalizing divorce laws. Central in the loose narrative are three distinct "New Women," repudiating their duty to Victorian idealism and providing a snapshot of the myriad outcomes for women facing the same problem as Ghosts's Mrs. Alving. In its dramaturgical construction and underlying theme, Getting Married can be seen as response to the Alving's terrible marriage in Ibsen's Ghosts. Lesbia Grantham, Mrs. George Collins, and Edith Bridgenorth function as the potential future iterations of Helene Alving. Getting Married responds, reimagines, and redresses through discourse and dramaturgy a potential world and a potential marriage contract for women that Ibsen's dramatic plotting excises.
{"title":"Ghosts, Part 2 or Getting Married: Shaw's Emendation of the Ibsenian New Woman","authors":"Justine Zapin","doi":"10.5325/shaw.42.2.0396","DOIUrl":"https://doi.org/10.5325/shaw.42.2.0396","url":null,"abstract":"abstract:Shaw addresses the argument and form of Ghosts with his 1908 play, Getting Married. With the creation of a new \"disquisitory\" form, Shaw provides an analogue to Ibsen's Ghosts. In Getting Married, Shaw dramatizes one long discussion on the status of marriage and the necessity for liberalizing divorce laws. Central in the loose narrative are three distinct \"New Women,\" repudiating their duty to Victorian idealism and providing a snapshot of the myriad outcomes for women facing the same problem as Ghosts's Mrs. Alving. In its dramaturgical construction and underlying theme, Getting Married can be seen as response to the Alving's terrible marriage in Ibsen's Ghosts. Lesbia Grantham, Mrs. George Collins, and Edith Bridgenorth function as the potential future iterations of Helene Alving. Getting Married responds, reimagines, and redresses through discourse and dramaturgy a potential world and a potential marriage contract for women that Ibsen's dramatic plotting excises.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"24 1","pages":"396 - 417"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91278470","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 Back to Methuselah and Luigi Antonelli's A Man Confronts Himself both had their origin in 1918, as mass slaughter from the Great War, an assault on traditional values by the Russian Revolution, and the devastation of the flu pandemic created a fascination with the extension of human life. Both dramatists juxtapose immortality with the grotesque business of ordinary life. However, Antonelli sounds a traditionalist warning, while Shaw looks forward to unleashed potential. Though Shaw's work strives for philosophical purity, it forfeits the powerful tensions of the grotesque, which seeks to live life even in the midst of death.
{"title":"War, Pandemic, and Immortality: 1918 and the Drama of Eternal Life","authors":"James Armstrong","doi":"10.5325/shaw.42.2.0460","DOIUrl":"https://doi.org/10.5325/shaw.42.2.0460","url":null,"abstract":"abstract:Bernard Shaw's Back to Methuselah and Luigi Antonelli's A Man Confronts Himself both had their origin in 1918, as mass slaughter from the Great War, an assault on traditional values by the Russian Revolution, and the devastation of the flu pandemic created a fascination with the extension of human life. Both dramatists juxtapose immortality with the grotesque business of ordinary life. However, Antonelli sounds a traditionalist warning, while Shaw looks forward to unleashed potential. Though Shaw's work strives for philosophical purity, it forfeits the powerful tensions of the grotesque, which seeks to live life even in the midst of death.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"42 1","pages":"460 - 479"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86866316","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:We know very little about Bernard Shaw's sister Elinor Agnes beyond that she died from consumption just shy of twenty-two years of age. Shaw spoke so little of her, revealing so little of his feelings for her, that we might wonder how important Agnes was to him and how her death affected him. Searching for what is known of Agnes led to a number of clues suggesting a close bond existed between Shaw and his sister. Shaw's silence regarding the dates of the deaths of his sisters Lucy and Agnes speaks of unresolved mourning and complicated grief. What led Shaw to so protect himself from the emotional pain it appears he experienced from death and loss? Importantly, it appears that Shaw's memories of Agnes and his wishes for her contributed to the creation of his iconic young heroines.
{"title":"Mourning Agnes: The Hidden Impact on Bernard Shaw of the Death of His Sister","authors":"Jesse M. Hellman","doi":"10.5325/shaw.42.2.0327","DOIUrl":"https://doi.org/10.5325/shaw.42.2.0327","url":null,"abstract":"abstract:We know very little about Bernard Shaw's sister Elinor Agnes beyond that she died from consumption just shy of twenty-two years of age. Shaw spoke so little of her, revealing so little of his feelings for her, that we might wonder how important Agnes was to him and how her death affected him. Searching for what is known of Agnes led to a number of clues suggesting a close bond existed between Shaw and his sister. Shaw's silence regarding the dates of the deaths of his sisters Lucy and Agnes speaks of unresolved mourning and complicated grief. What led Shaw to so protect himself from the emotional pain it appears he experienced from death and loss? Importantly, it appears that Shaw's memories of Agnes and his wishes for her contributed to the creation of his iconic young heroines.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"3 1","pages":"327 - 355"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74374975","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}
{"title":"Shaw the Fighter (Bernard Shaw and the Censors. Fights and Failures, Stage and Screen)","authors":"M. Pharand","doi":"10.5325/shaw.42.2.0492","DOIUrl":"https://doi.org/10.5325/shaw.42.2.0492","url":null,"abstract":"","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43781964","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:The aims of this article are to examine how chatbots on Shaw's works can be created through IBM artificial intelligence and cloud computing platform. The article will focus on a use case done by our Sagittarius Literature Digitizing Project: a Shaw Bot created on the IBM Cloud Computing Platform, to identify some best practices contributive to the creation of a literature bot, especially a theater bot. The article will also report on the pilot we did and some of the interesting findings. This project is a collaboration with the Shaw Festival and IBM Canada.
{"title":"The Shaw Bot: Creating Literature Bots Using IBM Artificial Intelligence and Cloud Computing Platform","authors":"Kay Li","doi":"10.5325/shaw.42.2.0480","DOIUrl":"https://doi.org/10.5325/shaw.42.2.0480","url":null,"abstract":"abstract:The aims of this article are to examine how chatbots on Shaw's works can be created through IBM artificial intelligence and cloud computing platform. The article will focus on a use case done by our Sagittarius Literature Digitizing Project: a Shaw Bot created on the IBM Cloud Computing Platform, to identify some best practices contributive to the creation of a literature bot, especially a theater bot. The article will also report on the pilot we did and some of the interesting findings. This project is a collaboration with the Shaw Festival and IBM Canada.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"218 1","pages":"480 - 491"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75545724","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:Pygmalion opened in London in 1914 but took almost a decade to reach Paris, where it premiered in 1923. During that interim, Shaw and his French translator Augustin Hamon exchanged countless cross-Channel letters and debated how to translate the play and adapt it to a foreign sociocultural milieu. "Pygmalion has never failed," Shaw boasted to him in 1919. Yet despite their combined efforts at fine-tuning the play to suit the French temperament, it did. While Hamon blamed the Théâtre des Arts manager and what he called a "cabal" of French critics, Shaw blamed Pauline Pax (Eliza), the "tomfoolery and vulgarity" of the production (photos of which he found "appalling"), and "the cretinous imbecile who produced the play." "If theatrical people persist in regarding the play as a love affair between Higgins and Eliza," he told Hamon, "they deserve all they get in the way of failure."
{"title":"Pygmalion in Paris","authors":"M. Pharand","doi":"10.5325/shaw.42.1.0011","DOIUrl":"https://doi.org/10.5325/shaw.42.1.0011","url":null,"abstract":"ABSTRACT:Pygmalion opened in London in 1914 but took almost a decade to reach Paris, where it premiered in 1923. During that interim, Shaw and his French translator Augustin Hamon exchanged countless cross-Channel letters and debated how to translate the play and adapt it to a foreign sociocultural milieu. \"Pygmalion has never failed,\" Shaw boasted to him in 1919. Yet despite their combined efforts at fine-tuning the play to suit the French temperament, it did. While Hamon blamed the Théâtre des Arts manager and what he called a \"cabal\" of French critics, Shaw blamed Pauline Pax (Eliza), the \"tomfoolery and vulgarity\" of the production (photos of which he found \"appalling\"), and \"the cretinous imbecile who produced the play.\" \"If theatrical people persist in regarding the play as a love affair between Higgins and Eliza,\" he told Hamon, \"they deserve all they get in the way of failure.\"","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"27 1","pages":"11 - 32"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89017447","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}
{"title":"Shaw's Criticism and Philosophy Dramatized","authors":"R. Dietrich","doi":"10.5325/shaw.42.1.0243","DOIUrl":"https://doi.org/10.5325/shaw.42.1.0243","url":null,"abstract":"","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"40 1","pages":"243 - 248"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76275223","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:Éloi de Grandmont's 1968 translation of Bernard Shaw's Pygmalion, staged by Théâtre du Nouveau Monde in their 1968–69 season, featured dialogue in standard French as well as joual, paralleling Shaw's dichotomy between Cockney and Standard English from the 1941 source text, and also reterritorialized London's environs to Montreal. Grandmont's translation of Pygmalion highlights translation as creative and productive, rather than derivative and secondary, work because it reconstructs and reterritorializes, rather than mimics, a Shavian Montreal. Adapting the original play demonstrates how language influences and constructs identity through the layering of various other linguistic and cultural constructions. This article therefore demonstrates the impact of Grandmont's proactive translation of Shaw's Pygmalion, serving to inspire later sociopolitically proactive translations in Quebec, and analyzes how the translator foregrounds Québécois identity during the formative period of La Révolution Tranquille.
摘要:Éloi de Grandmont在1968年翻译了萧伯纳的《皮格玛里翁》，由th新世界社(tre du Nouveau Monde)在1968 - 69年的演出季中上演，以标准法语和日记的对话为特色，与萧伯纳1941年原版中伦敦方言和标准英语的两分法相对应，并将伦敦周边地区重新划分为蒙特利尔。格朗蒙特对《皮格马利翁》的翻译强调了翻译是一种创造性和生产性的工作，而不是派生的和次要的工作，因为它重构和重新定位了一个萧伯纳式的蒙特利尔，而不是模仿。通过对原剧的改编，我们可以看到语言是如何通过各种语言和文化结构的分层来影响和建构身份的。因此，本文论证了格朗蒙特对萧伯纳的《皮格马利翁》的主动翻译的影响，为后来魁北克的社会政治主动翻译提供了启示，并分析了在《La r volution Tranquille》的形成时期，格朗蒙特是如何突出qusambsamcois身份的。
{"title":"\"Un 'Pygmalion' québécois: une victoire\": Éloi de Grandmont's Translation of Bernard Shaw's Pygmalion","authors":"Aileen R. Ruane","doi":"10.5325/shaw.42.1.0033","DOIUrl":"https://doi.org/10.5325/shaw.42.1.0033","url":null,"abstract":"ABSTRACT:Éloi de Grandmont's 1968 translation of Bernard Shaw's Pygmalion, staged by Théâtre du Nouveau Monde in their 1968–69 season, featured dialogue in standard French as well as joual, paralleling Shaw's dichotomy between Cockney and Standard English from the 1941 source text, and also reterritorialized London's environs to Montreal. Grandmont's translation of Pygmalion highlights translation as creative and productive, rather than derivative and secondary, work because it reconstructs and reterritorializes, rather than mimics, a Shavian Montreal. Adapting the original play demonstrates how language influences and constructs identity through the layering of various other linguistic and cultural constructions. This article therefore demonstrates the impact of Grandmont's proactive translation of Shaw's Pygmalion, serving to inspire later sociopolitically proactive translations in Quebec, and analyzes how the translator foregrounds Québécois identity during the formative period of La Révolution Tranquille.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"33 1","pages":"33 - 58"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77596343","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 wrote Mrs. Warren's Profession in the latter half of 1893, but the first Portuguese-language production in Brazil was staged only in 1960, almost seventy years later. In May 2018, a new production of Mrs. Warren's Profession premiered in São Paulo, and in June that year, the magazine Veja São Paulo listed it as one of the five best plays running in the city. This article describes the process of producing the play, examines the newly translated script, and discusses some reviews of the 2018 staging together with reviews of some previous productions of the play in Brazil.
{"title":"Producing Mrs.Warren's Profession in São Paulo, Brazil","authors":"R. Haddad","doi":"10.5325/shaw.42.1.0132","DOIUrl":"https://doi.org/10.5325/shaw.42.1.0132","url":null,"abstract":"ABSTRACT:Shaw wrote Mrs. Warren's Profession in the latter half of 1893, but the first Portuguese-language production in Brazil was staged only in 1960, almost seventy years later. In May 2018, a new production of Mrs. Warren's Profession premiered in São Paulo, and in June that year, the magazine Veja São Paulo listed it as one of the five best plays running in the city. This article describes the process of producing the play, examines the newly translated script, and discusses some reviews of the 2018 staging together with reviews of some previous productions of the play in Brazil.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"110 1","pages":"132 - 155"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78716052","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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