abstract:This article returns attention to Bernard Shaw's heterodox understanding of religion and faith, which bears subtle yet consistent traces of theosophical, hermetic, and gnostic influence. Although he did not possess anything beyond a passing intellectual interest in occult practice, the esoteric inclinations of Shaw's inner circle mingled with his own deeply felt faith in the progress of humanity to give rise to his well-remembered belief in the "Life Force." From his early collaborative relationships with leading occultists Florence Farr and Annie Besant to the visionary brilliance portrayed in Saint Joan, Shaw's dramatic writing and religious speeches capture a complex and ever-shifting understanding of the relationship between humanity and the divine, and an unerring faith in the ability of the individual to pursue their own gnostic genius.
{"title":"Bernard Shaw's Gnostic Genius","authors":"Allan Kilner-Johnson","doi":"10.5325/SHAW.41.1.0035","DOIUrl":"https://doi.org/10.5325/SHAW.41.1.0035","url":null,"abstract":"abstract:This article returns attention to Bernard Shaw's heterodox understanding of religion and faith, which bears subtle yet consistent traces of theosophical, hermetic, and gnostic influence. Although he did not possess anything beyond a passing intellectual interest in occult practice, the esoteric inclinations of Shaw's inner circle mingled with his own deeply felt faith in the progress of humanity to give rise to his well-remembered belief in the \"Life Force.\" From his early collaborative relationships with leading occultists Florence Farr and Annie Besant to the visionary brilliance portrayed in Saint Joan, Shaw's dramatic writing and religious speeches capture a complex and ever-shifting understanding of the relationship between humanity and the divine, and an unerring faith in the ability of the individual to pursue their own gnostic genius.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"1 1","pages":"35 - 49"},"PeriodicalIF":0.0,"publicationDate":"2021-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85324913","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 feminist concerns of the group of artists and socialists in which Shaw was an active voice were expressed in numerous ways. Wilhelmina Stirling in 1904 published a novel, Toy Gods, virtually unknown today, which has plot elements similar to those of Pygmalion. As she and her family, which included Pre-Raphaelite artists and writers, were themselves in society and experienced its constraints, her observations are particularly relevant. Her novel illuminates the social and feminist concerns so important to Shaw, in particular those expressed by Eliza when she told Higgins, "I only want to be natural." Written by Mary De Morgan (Stirling's sister Evelyn's sister-in-law), the fairy tale "A Toy Princess" further expresses these concerns. The romanticization of Shaw's play is discussed in the context of these issues.
{"title":"Toy Gods: A Scarce Novel Illuminates Eliza Doolittle's Plea, \"I Only Want to Be Natural\"","authors":"Jesse M. Hellman","doi":"10.5325/SHAW.41.1.0167","DOIUrl":"https://doi.org/10.5325/SHAW.41.1.0167","url":null,"abstract":"abstract:The feminist concerns of the group of artists and socialists in which Shaw was an active voice were expressed in numerous ways. Wilhelmina Stirling in 1904 published a novel, Toy Gods, virtually unknown today, which has plot elements similar to those of Pygmalion. As she and her family, which included Pre-Raphaelite artists and writers, were themselves in society and experienced its constraints, her observations are particularly relevant. Her novel illuminates the social and feminist concerns so important to Shaw, in particular those expressed by Eliza when she told Higgins, \"I only want to be natural.\" Written by Mary De Morgan (Stirling's sister Evelyn's sister-in-law), the fairy tale \"A Toy Princess\" further expresses these concerns. The romanticization of Shaw's play is discussed in the context of these issues.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"2 1","pages":"167 - 187"},"PeriodicalIF":0.0,"publicationDate":"2021-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80822653","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 Ding Xilin's (丁西林) (1893–1974) Chinese translation of The Man of Destiny by making use of artificial intelligence and machine learning functionalities on IBM Cloud Computing Platforms to decipher Ding's cultural translation. While an untrained model of IBM Natural Language Understanding reveals Ding's using the translation to criticize imperialism, a trained machine learning model using IBM Watson Knowledge Studio shows the qualities of the Shavian Great Man. The IBM artificial intelligence and machine learning platforms, drawing attention to words and the semantic relations between them, uncover a subtle relationship between Ding Xilin's Chinese translation and the personality cult around China's Great Man, Mao Zedong (1893–1976), around the time of Ding's translation. The artificial intelligence platforms show that there may be subtle connections between Shaw's play and the most dominant figure in China at the time of the translation.
{"title":"Ding Xilin's Chinese Translation of The Man of Destiny: Reading Shaw through IBM Artificial Intelligence and Cloud Computing Platform","authors":"Kay Li","doi":"10.5325/SHAW.41.1.0151","DOIUrl":"https://doi.org/10.5325/SHAW.41.1.0151","url":null,"abstract":"abstract:This article examines Ding Xilin's (丁西林) (1893–1974) Chinese translation of The Man of Destiny by making use of artificial intelligence and machine learning functionalities on IBM Cloud Computing Platforms to decipher Ding's cultural translation. While an untrained model of IBM Natural Language Understanding reveals Ding's using the translation to criticize imperialism, a trained machine learning model using IBM Watson Knowledge Studio shows the qualities of the Shavian Great Man. The IBM artificial intelligence and machine learning platforms, drawing attention to words and the semantic relations between them, uncover a subtle relationship between Ding Xilin's Chinese translation and the personality cult around China's Great Man, Mao Zedong (1893–1976), around the time of Ding's translation. The artificial intelligence platforms show that there may be subtle connections between Shaw's play and the most dominant figure in China at the time of the translation.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"22 1","pages":"151 - 166"},"PeriodicalIF":0.0,"publicationDate":"2021-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85025242","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 a contradiction to the main story line of Man and Superman that derives from the presence in the play of John Tanner's chauffeur Henry Straker. As driver and fixer of a robot, an automobile, and graduate of a polytechnic school, Straker as a kind of "Roboman" represents the science and engineering prowess of humankind that has already thoroughly mechanized the planet and that threatens humankind with an increasing automation in all phases of life, potentially capped off by a world overrun with advanced robots. This possibility raises the question of whether the organic evolution from "man" to "superman" that is central to the philosophy of Man and Superman may find competition from an inorganic, Engineered Evolution that may follow from Homo sapiens inadvertently replacing itself with something superior to the projected "superman" in the form of highly sophisticated android robots that could "pass" as humans.
{"title":"Man and Roboman, or The Secret Co-Author of Man and Superman","authors":"R. Dietrich","doi":"10.5325/SHAW.41.1.0139","DOIUrl":"https://doi.org/10.5325/SHAW.41.1.0139","url":null,"abstract":"abstract:This article examines a contradiction to the main story line of Man and Superman that derives from the presence in the play of John Tanner's chauffeur Henry Straker. As driver and fixer of a robot, an automobile, and graduate of a polytechnic school, Straker as a kind of \"Roboman\" represents the science and engineering prowess of humankind that has already thoroughly mechanized the planet and that threatens humankind with an increasing automation in all phases of life, potentially capped off by a world overrun with advanced robots. This possibility raises the question of whether the organic evolution from \"man\" to \"superman\" that is central to the philosophy of Man and Superman may find competition from an inorganic, Engineered Evolution that may follow from Homo sapiens inadvertently replacing itself with something superior to the projected \"superman\" in the form of highly sophisticated android robots that could \"pass\" as humans.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"6 1","pages":"139 - 150"},"PeriodicalIF":0.0,"publicationDate":"2021-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85484827","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:When Bernard Shaw adapted his 1912 play Pygmalion for the British film version in 1938, his screenplay was not always faithfully represented in the resulting adaptation. What has gone largely unremarked, however, is that there were two quite different prints of the 1938 film: one for British cinema audiences and a truncated and censored version for the American market. While Shaw saw, and publicly approved of, the British print, in all likelihood he was unaware that the widely seen American print, which ironically earned him an Academy Award for his screenplay, was a much inferior version of the film. This essay examines the changes foisted on Shaw's screenplay during the process of its translation to film and then compares the British print with its American counterpart, underlining the considerable differences between the two versions.
{"title":"A Tale of Two Prints: The British and American Film Versions of Shaw's Oscar-Winning Screenplay","authors":"Derek Mcgovern","doi":"10.5325/SHAW.41.1.0119","DOIUrl":"https://doi.org/10.5325/SHAW.41.1.0119","url":null,"abstract":"abstract:When Bernard Shaw adapted his 1912 play Pygmalion for the British film version in 1938, his screenplay was not always faithfully represented in the resulting adaptation. What has gone largely unremarked, however, is that there were two quite different prints of the 1938 film: one for British cinema audiences and a truncated and censored version for the American market. While Shaw saw, and publicly approved of, the British print, in all likelihood he was unaware that the widely seen American print, which ironically earned him an Academy Award for his screenplay, was a much inferior version of the film. This essay examines the changes foisted on Shaw's screenplay during the process of its translation to film and then compares the British print with its American counterpart, underlining the considerable differences between the two versions.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"6 1","pages":"119 - 138"},"PeriodicalIF":0.0,"publicationDate":"2021-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78516473","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 argues that the synergy between Bernard Shaw, Martin Luther King Jr., and the renowned French philosopher Paul Ricoeur—particularly with respect to the latter's dialectic of ideology and utopia—constitutes the best chance the human species has for achieving planetary wellness and avoiding biological extinction, or worse. Like Ricoeur, Shaw and King are dialecticians, and their dialectics are Ricoeurian not only in form but also in substance. Both launched parallel critiques against the imperialist capitalist ideology they confronted in their respective countries during a time of war and also offered congruent utopian correctives to counter the grave danger presented by a predatory capitalism that elevates plutocratic materialism over ecumenical spiritually. In sum, the article maintains that, together, the artist, the preacher, and the sage hold the keys to a Jesusian kingdom of heaven on earth.
{"title":"Resolving the Jangling Discords of Inconsonant Nations: Bernard Shaw, Martin Luther King Jr., and the Dialectics of Paul Ricoeur—With Special Reference to His Reflections on Ideology and Utopia","authors":"Howard Ira Einsohn","doi":"10.5325/SHAW.41.1.0050","DOIUrl":"https://doi.org/10.5325/SHAW.41.1.0050","url":null,"abstract":"abstract:This article argues that the synergy between Bernard Shaw, Martin Luther King Jr., and the renowned French philosopher Paul Ricoeur—particularly with respect to the latter's dialectic of ideology and utopia—constitutes the best chance the human species has for achieving planetary wellness and avoiding biological extinction, or worse. Like Ricoeur, Shaw and King are dialecticians, and their dialectics are Ricoeurian not only in form but also in substance. Both launched parallel critiques against the imperialist capitalist ideology they confronted in their respective countries during a time of war and also offered congruent utopian correctives to counter the grave danger presented by a predatory capitalism that elevates plutocratic materialism over ecumenical spiritually. In sum, the article maintains that, together, the artist, the preacher, and the sage hold the keys to a Jesusian kingdom of heaven on earth.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"6 1","pages":"50 - 86"},"PeriodicalIF":0.0,"publicationDate":"2021-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86459841","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}
On the occasion of its fortieth birthday, SHAW turned to two of its emeritus general editors for a bit of backstory.
摘要:在《邵逸夫》创刊四十周年之际，邵逸夫向两位名誉总编辑请教了一些背景故事。
{"title":"A Pen Portrait of SHAW's Creative Evolution","authors":"S. Weintraub, M. Pharand","doi":"10.5325/shaw.40.2.0298","DOIUrl":"https://doi.org/10.5325/shaw.40.2.0298","url":null,"abstract":"<p>abstract:</p><p>On the occasion of its fortieth birthday, <i>SHAW</i> turned to two of its emeritus general editors for a bit of backstory.</p>","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"21 1","pages":"298 - 301"},"PeriodicalIF":0.0,"publicationDate":"2021-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79362082","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:Judging Shaw was staged by ANU Productions in collaboration with playwright Colin Murphy as a site-specific promenade performance in the Royal Irish Academy (RIA) Dublin. It took place on the inaugural Shaw Day, 2 November 2017. The performance piece took its inspiration from Fintan O'Toole's biography of George Bernard Shaw, also called Judging Shaw. In this interview, Colin Murphy, playwright, journalist, and author of the performance script, discusses writing, staging, and indeed judging Shaw with Dr. Tricia O'Beirne. Additionally, an excerpt from Murphy's playscript "Judging Shaw: Sketches on the Life (and Afterlife) of George Bernard Shaw" to mark Shaw Day 2017 is included in this journal.
{"title":"Staging Shaw: An Interview with Colin Murphy","authors":"P. O’Beirne","doi":"10.5325/shaw.40.2.0257","DOIUrl":"https://doi.org/10.5325/shaw.40.2.0257","url":null,"abstract":"abstract:Judging Shaw was staged by ANU Productions in collaboration with playwright Colin Murphy as a site-specific promenade performance in the Royal Irish Academy (RIA) Dublin. It took place on the inaugural Shaw Day, 2 November 2017. The performance piece took its inspiration from Fintan O'Toole's biography of George Bernard Shaw, also called Judging Shaw. In this interview, Colin Murphy, playwright, journalist, and author of the performance script, discusses writing, staging, and indeed judging Shaw with Dr. Tricia O'Beirne. Additionally, an excerpt from Murphy's playscript \"Judging Shaw: Sketches on the Life (and Afterlife) of George Bernard Shaw\" to mark Shaw Day 2017 is included in this journal.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"64 1","pages":"257 - 264"},"PeriodicalIF":0.0,"publicationDate":"2021-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84951342","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}
Based on the book Judging Shaw by Fintan O'Toole, and featuring excerpts from Shaw's letters, articles, prefaces, and plays.
摘要:本文以芬坦·奥图尔的《评断萧伯纳》为基础，选录了萧伯纳的书信、文章、序言和剧作。
{"title":"Judging Shaw—A Play Extract: Sketches on the Life (and Afterlife) of George Bernard Shaw","authors":"Colin Murphy","doi":"10.5325/shaw.40.2.0323","DOIUrl":"https://doi.org/10.5325/shaw.40.2.0323","url":null,"abstract":"<p>abstract:</p><p>Based on the book <i>Judging Shaw</i> by Fintan O'Toole, and featuring excerpts from Shaw's letters, articles, prefaces, and plays.</p>","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"43 1","pages":"323 - 331"},"PeriodicalIF":0.0,"publicationDate":"2021-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73796321","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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