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PART TWO: WORKS ABOUT SPECIFIC PLAYS: S Through Z
Saint Joan (see also ‘Shaw’s Screenplays’)
Gibbs, A. M.,
ed. Bernard Shaw: Man and Superman and Saint Joan: a casebook.
Basingstoke: Macmillan, 1992. 235 pp
Weintraub, Stanley,
ed. Saint Joan fifty years after, 1923/24-1973/74. Baton Rouge:
Louisiana State UP, 1973. 259 pp
Abbott,
Anthony S. Shaw and Christianity. NY: Seabury Pr., 1965, 157-73: ‘Saint
Joan’
Astell, Ann
W. Joan of Arc and sacrificial authorship. Notre Dame, IN: Notre Dame
UP, 2003, 123-31, 149-51
Austin,
Don. ‘Comedy through tragedy: dramatic structure in Saint Joan.’ Shaw
Review 8 1965 52-62
Barfoot, C.
C. ‘By way of an introduction: the case of Saint Joan.’ Pp 1-14 in
Barfoot & Rias van den Doel, eds. Ritual remembering: history, myth and
politics in Anglo-Irish drama. Amsterdam: Rodopi, 1995 (Costerus 99)
Bartlett,
Sally A. ‘Fantasy as internal mimesis in Bernard Shaw’s Saint Joan.’ Notes
on Modern Irish Literature 3 1991 5-12
Becker,
William. ‘Joan and Margaret.’ Hudson Review 4 1952 597-602 (critique of
Margaret Webster’s production at the Guild Theatre)
Bécsy,
Tamás. A drámamodellek és a mai dráma. Budapest: Akadémiai, 1974,
284-88: ‘Szent Johanna’
Bermel,
Albert. Contradictory characters: an interpretation of the modern theatre.
NY: Dutton, 1973, 185-206: ‘The virgin as heretic: Saint Joan’
Berst,
Charles A. ‘As kingfishers catch fire: the saints and poetics of Shaw and T. S.
Eliot.’ SHAW 14 1994 105-25
-----. Bernard
Shaw and the art of drama. Urbana: Univ. of Illinois Pr., 1973, 259-92: ‘Saint
Joan: spiritual epic as tragicomedy’; 259-60 and 268-76 repr. on pp 187-95
in Gibbs
Bertolini,
John A. The playwrighting self of Bernard Shaw. Carbondale: Southern
Illinois UP, 1991, 123-44: ‘Saint Joan: the self as imagination’ (from
‘Imagining Saint Joan.’ SHAW 3 1983 149-61)
Bhalla,
Alok. ‘An obstinate margin in tragedy: Shaw’s Saint Joan.’ Quest
54 1967 45-51
Biasio,
Laura del Giudice. ‘Giovanna d’Arco nel dramma de Schiller ed in quello di
Shaw: crisi individuale e crisi sociale.’ Annuario (Liceo-Ginnasio
Statale ‘G. Palmierii,’ Lecce) 1960-61 59-79
Bloom,
Harold, ed. George Bernard Shaw’s Saint Joan: modern critical
interpretations. NY: Chelsea, 1987. 147 pp (repr. essays, except for
introduction by editor)
Boas,
Frederick S. ‘Joan of Arc in Shakespeare, Schiller, and Shaw.’ Shakespeare
Quarterly 2 1951 35-45
Brooks,
Cleanth, John T. Purser, & Robert Penn Warren. An approach to literature.
NY: Appleton, Century, Crofts, 1964, 619-22: ‘Discussion [of Saint Joan]’
Chaning-Pearce,
M. The terrible crystal: studies in Kierkegaard and modern Christianity.
NY: Oxford, 1941, 194-201: ‘Beyond the tragic climax’
Ciarletta,
Nicola. Agnus volontario: dalla ‘persona’ alla persona. Rome: Bulzoni,
1974, 312-17
Cohen, M.
A. ‘The “Shavianization” of Cauchon.’ Shaw Review 20 1977 63-70; repr.
on pp 203-13 in Gibbs
Conolly, L.
W. ‘GBS and the BBC: Saint Joan, 1929.’ Theatre Notebook 57 2003
11-24
Conolly,
Thomas E. ‘Shaw’s Saint Joan.’ Explicator 14 1955 item 18 (on
Joan’s use of archaic speech)
Crompton,
Louis. Shaw the dramatist. Lincoln: Univ. of Nebraska Pr., 1969,
193-214; largely repr. on pp 170-80 in Gibbs
Crum, Jane
A. ‘“I must get out of this into the air”: transfiguration and ascent in three
plays by Bernard Shaw.’ Pp 5-13 in Bert Cardullo, ed. Before his eyes:
essays in honor of Stanley Kauffmann. Lanham, MD: UP of America, 1986 (Major
Barbara, Misalliance, and Saint Joan)
Cummings,
Constance. ‘Playing Joan on radio and television.’ SHAW 4 1984 139-47
Dass, Veena
N. ‘Bernard Shaw’s Saint Joan, Mohan Rakesh’s One Day in Ashadha
and Girish Karnad’s Tughlaq as history plays.’ Pp 116-25 in Pandey
Denninghaus,
Friedhelm. Die dramatische Konzeption George Bernard Shaws: Untersuchungen
zur Struktur der Bühnengesellschaft und zum Aufbau der Figuren in den Stücken
Shaws. Stuttgart: Kohlhammer, 1971, 50-65: ‘Das Problem der Gewissens- und
Willensfreiheit im sozialen deterministischen Drama’
DiSalvo,
Jacqueline. ‘Milton and Shaw once more: Samson Agonistes and St. Joan.’
Milton Quarterly 22 1988 115-20
Dolis, John
J. ‘Bernard Shaw’s Saint Joan: language is not enough.’ Massachusetts
Studies in English 4 iv 1974 17-25
Dukore,
Bernard F. ‘[Barnes’s] Red Noses and Saint Joan.’ Modern Drama
30 1987 340-51
-----. Bernard
Shaw, playwright: aspects of Shavian drama. Columbia: Univ. of Missouri
Pr., 1973, 135-44, 256-58
-----.
‘Brecht’s Shavian saint.’ Quarterly Journal of Speech 50 1964
136-39; repr. in California Shavian 5 iv 1964 1-4
-----.
‘Introduction.’ Pp xi-xliii in Shaw. Saint Joan: a screenplay. Seattle:
Univ. of Washington Pr., 1968
-----.
‘“Responsibility to another”? Graham Greene’s screen version of Bernard Shaw’s Saint
Joan.’ Theatre History Studies 16 1996 3-13
Eastman,
Fred. Christ in the drama: a study of the influence of Christ on the drama
of England and America. NY: Macmillan, 1947, 54-60
Esslinger-Carr,
Pat M. ‘The epilogue one more time: Shaw and the tragedy of waste.’ Western
Humanities Review 29 1975 292-95
Fielden,
John. ‘Shaw’s Saint Joan as tragedy.’ Twentieth Century Literature 3
1957 59-67; repr. on pp 185-96 in Weintraub, S
Fischer,
Ulrich. Das Fortschritt im Jeanne-d’Arc-Drama des 20. Jahrhunderts.
Frankfurt: Lang, 1982, 85-156
Gahan,
Peter. ‘Fouquet’s Boccaccio.’ SHAW 22 2002 83-98 (the Dauphin’s bedside
book)
Gainor, J.
Ellen. Shaw’s daughters: dramatic and narrative constructions of gender.
Ann Arbor: Univ. of Michigan Pr., 1991, 136-48
Gerould,
Daniel C. ‘Saint Joan in Paris.’ Shaw Review 7 1964 11-23; repr.
on pp 201-19 in Weintraub, S (the one play Frenchmen could comprehend)
Ghosh, P.
C. ‘Shaw’s saint play.’ Bulletin of the Department of English, Calcutta
4 i-ii 1963 1-12
Gibbs, A.
M. Bernard Shaw: a life. Gainesville: UP of Florida, 2005, 372-74 and
see index
Gilman,
Richard. Common and uncommon masks: writings on theatre 1961-1970. NY:
Random House, 1971, 64-67: ‘The special quality of Joan’
Gordon,
David J. Bernard Shaw and the comic sublime. NY: St. Martin’s Pr., 1990,
171-77
Gorelick,
Mordecai. ‘Metaphorically speaking.’ Theatre Arts Monthly 38 1954 78-80,
91 (scenes that embody metaphoric meaning)
Gottschalk,
Klaus D. ‘St. Athanasius gegen Saint Joan bei Shaw.’ Literatur in
Wissenschaft und Unterricht 13 1980 284-95
Grene,
Nicholas. Bernard Shaw: a critical view. London: Macmillan, 1984, 132-50
Gribben,
John L. ‘Shaw’s Saint Joan: a tragic heroine.’ Thought 40 1965 549-66
Griffin,
Alice. ‘The New York critics and Saint Joan.’ Shaw Bulletin no. 7
1955 10-15; repr. on pp 451-57 in Smith
Gruber, W.
E. ‘The imperfect action of comedy.’ Genre 10 1977 115-29 (part on the
play)
Hall,
Murray G. ‘Robert Musil und die Wiener Presse, mit zwei unbekannten
Thaterkritiken.’ Literatur und Kritik 86-87 1974 368-80 (one is a review
of the play)
Hamilton,
Craig. ‘Constructing a cultural icon: nomos and Shaw’s Saint Joan
in Paris.’ Modern Drama 43 2000 359-75
Harben,
Niloufer. Twentieth-century English history plays from Shaw to Bond.
Totowa, NJ: Barnes & Noble, 1988, 22-62
Hegedüs,
Géza, & Judit Kónya. Kalandozás a dramaturgia világában. Budapest:
Gondolat, 1973, 204-15: ‘Szent Johanna’
Hermann,
István. A személyiség nyomában: drámai kalauz. Budapest: MagvetÅ, 1972, 405-17: ‘Az ember fölösleges: Bernard Shaw, Szent
Johanna’
Hernadi,
Paul. Interpreting events: tragicomedies of history on the modern stage.
Ithaca, NY: Cornell UP, 1985, 17-37: ‘Re-presenting the past: Saint Joan
and [Anouilh’s] L’Alouette’; repr. on pp 153-67 in Harold Bloom, ed. Major
literary characters: Joan of Arc. NY: Chelsea, 1992
-----.
‘Modern martyr plays beyond genre.’ Neohelicon 13 1986 141-62 (plays by
Shaw, Eliot, Brecht, etc.)
Hill,
Holly. Playing Joan: actresses on the challenge of Shaw’s Saint Joan:
twenty-six interviews. NY: Theatre Communications Group, 1987. 253 pp
(incorporates ‘Saint Joan’s voices: actresses on Shaw’s maid.’ SHAW 6
1986 127-55)
Hodgson,
Terry. Modern drama from Ibsen to Fugard. London: Batsford, 1992,
104-12: ‘Shaw’s St Joan and the history play’
Holroyd,
Michael. Bernard Shaw, volume III: 1918-1951: The lure of fantasy. NY:
Random House, 1991, 70-93
Horsley,
Lee. Fictions of power in English literature: 1900-1950. London:
Longman, 1995, 73-82: ‘Martyred prophets: Buchan’s Prester John and
Shaw’s St Joan’
Hugo, Leon
H. Bernard Shaw, playwright and preacher. London: Methuen, 1971, 195-206
Irvine,
William. The universe of G.B.S. NY: McGraw-Hill, 1949, 320-26
Kasimow,
Harold. ‘The conflict between the mystic and the church as reflected in Bernard
Shaw’s Saint Joan and Jean Anouilh’s The Lark.’ Mystics
Quarterly 14 1988 94-100
Kaul, A. N.
The action of English comedy. New Haven, CT: Yale UP, 1970, 284-327:
‘George Bernard Shaw: from anti-romance to pure fantasy’; 321-26 on the play;
repr. on pp 242-46 in Weintraub, S
Kiberd,
Declan. ‘Saint Joan: Fabian feminist and Protestant mystic.’ Pp 205-22 in
Okifumi Komesu & Masaru Sekine, eds. Irish writers and politics.
Savage, MD: Barnes & Noble, 1990
Korff,
Hermann A. Lessing, Kleist, Schiller, Shaw, Anouilh: drei Vorträge.
Frankfurt: Dausien, 1962, 59-87: ‘Die heilige Johanna bei Schiller, Shaw und
Anouilh’
Lane,
Clarinda. ‘Saint Joan through the eyes of Saint Bernard.’ Western Speech
22 Spring 1958 81-87
Leary,
Daniel J. ‘The rest could not be silence.’ Independent Shavian 3 1965
40-42 (the Epilogue)
Lorichs,
Sonja. The unwomanly woman in Bernard Shaw’s drama and her social and
political background. Stockholm: Almqvist & Wiksell, 1973, 155-79:
‘Joan of Arc in Saint Joan: A Chronicle Play in Six Scenes and an Epilogue:
individualism versus authority’
MacCarthy,
Anne. ‘History in Saint Joan.’ Shavian 8 viii 2000 9-12
Macksoud,
S. John, & Ross Altman. ‘Voices in opposition: a Burkeian rhetoric of Saint
Joan.’ Quarterly Journal of Speech 57 1971 140-46
Martz,
Louis L. ‘The saint as tragic hero: Saint Joan and Murder in the
Cathedral.’ Pp 150-78 in Cleanth Brooks, ed. Tragic themes in Western
literature. New Haven, CT: Yale UP, 1955; repr. on pp 143-61 in Kaufmann
and on 144-65 in Weintraub, S
Mateo Martínez,
José. ‘Ironía y cortesía en el discurso dramático de Saint Joan de
George Bernard Shaw.’ Atlantis: Revista de la Asociación Española de
Estudios Anglo-Norteamericanos 14 i-ii 1992 121-44
Mayer,
Hans. ‘Johanna oder die Vernunft des Herzens: über die Jeanne-d’Arc-Stücke von
Schiller, Shaw und Brecht.’ Theater Heute 9 vi 1968 22-27
-----. Aussenseiter.
Frankfurt: Suhrkamp, 1975, 42-67: ‘Skandal der Jeanne d’Arc: Schiller, Shaw,
Brecht, Wischnewski’; Outsiders: a study in life and letters. Cambridge,
MA: MIT Pr., 1982, 29-51: ‘The scandal of Joan of Arc: Schiller, Shaw, Brecht,
Vishnevskii’
McKeown, A.
‘Sainte Jeanne de Bernard Shaw: pourquoi une sainte?’ Études
Medievales 1 2000 207-14
Meisel,
Martin. Shaw and the nineteenth-century theater. Princeton, NJ:
Princeton UP, 1963, 365-70 and see index
Meller,
Horst. ‘Saint Joan.’ Pp 75-98 in Heinz Nyszkiewicz, ed. Zeitgenössische
englische Dichtung: Einführung in die englische Literaturbetrachtung mit
Interpretationen, III: Drama. Frankfurt: Hirschgraben, 1968
Mensching,
Gerhard. ‘Die Kirche auf dem Theater: Shaw—Schnitzler—Brecht—Hochhuth.’ Pp
332-45 in Religion und Religionen: Festschrift für Gustav Mensching zu
seinem 65. Geburtstag. Bonn: Roehrscheid, 1967
Merritt, James
D. ‘Shaw and the pre-Raphaelites.’ Pp 70-83 in Rosenblood 2
Mizener,
Arthur. ‘Poetic drama and the well-made play.’ English Institute Essays
1949 33-54; 45-54 treat the play and Heartbreak House
Moloney,
Karen M. ‘Saints for all seasons: Lavina Fielding Anderson and Bernard Shaw’s
Joan of Arc.’ Dialogue: A Journal of Mormon Thought 36 iii 2003 27-39
Moran,
James. Staging the Easter Rising: 1916 as theatre. Cork: Cork UP, 2005,
92-99 (the play’s analogies to the Rising and Roger Casement)
Morgan, Margery
M. The Shavian playground: an exploration of the art of George Bernard Shaw.
London: Methuen, 1972, 248-56; 251-56 repr. on pp 180-87 in Gibbs
Mukherjee,
Tutun. ‘The rhetoric of voices and visions in Saint Joan.’ Pp 82-93 in Pandey
Nelson,
Raymond S. ‘The visions of Saint Joan.’ Research Studies (Washington
State Univ.) 38 1970 235-39 (sources)
Newton, K.
M. In defence of literary interpretation: theory and practice. London:
Macmillan, 1986, 83-114: ‘Shaw and tragedy’ (84-97 on the play)
Obraztsova,
Anna. ‘A people’s heroine.’ Pp 220-29 in Weintraub, S (translated
excerpts from a 1965 Russian book on Shaw)
Odin,
Roger. ‘À propos d’une source trop négligée de la Jeanne d’Arc de George
Bernard Shaw: hommage à Mary Hankinson.’ Revue d’Histoire du Théâtre 28
1976 242-65
Ormond,
Leonée. St. Joan by George Bernard Shaw. Basingstoke: Macmillan, 1986.
75 pp
Osborne,
John J. ‘At sea: an exploration of implicit assumptions in Hamlet, Oedipus,
and St. Joan.’ Cardozo Studies in Language and Literature 1 1989
199-210
Padma, M.
‘Saint Joan and religious experience.’ Literary Half-Yearly 31 i 1990
130-38
Pagliaro,
Harold E. Relations between the sexes in the plays of George Bernard Shaw.
Lewiston, NY: Edwin Mellen Pr., 2004, 198-203
Papajewski,
Helmut. ‘Bernard Shaws chronicle play Saint Joan.’ Germanisch-Romanische
Monatsschrift 6 1956 262-77
-----.
‘George Bernard Shaw: Saint Joan.’ Pp 171-87 in Horst Oppel, ed. Das
moderne englische Drama: Interpretationen. 3rd ed. Berlin: Erich Schmidt,
1976
Pellew, C.
Kenneth. ‘Portrait of a leader? George Bernard Shaw’s Saint Joan.’ International
Journal of Public Administration 28 2005 489-503
Peters,
Julie S. ‘Joan of Arc internationale: Shaw, Brecht and the law of nations.’ Comparative
Drama 38 2004-2005 355-77 (359-65 on the play)
Petzold,
Dieter. ‘Aspekte des Dramas: George Bernard Shaw, Saint Joan.’ Pp 104-20
in Jobst C. Rojahn, ed. Einführung in das Studium der englischen Literatur.
2nd ed. Heidelberg: Quelle & Meyer, 1978
Pharand,
Michel W. Bernard Shaw and the French. Gainesville: UP of Florida, 2000,
149-93: ‘Shaw et Jeanne d’Arc’ (incorporates ‘From Shavian warrior to Gallic
waif: Bernard Shaw’s Saint Joan on the French stage.’ Pp 75-81 in
Karelisa Hartigan, ed. Text and presentation 12. Gainesville, FL: Maupin
House, 1992)
-----. ‘Saint
Joan on the continent: Jeanne in Paris and Giovanna in Rome.’ Shavian
9 iv 2002-03 8-15
Puschmann-Nalenz,
Barbara. ‘Jeanne d’Arc und der Mythos der Nationen in den Dramen William
Shakespeares und George Bernard Shaws.’ Pp 246-56 in P. Csobadi et al., eds. Politische
Mythen und nationale Identitäten im (Musik) Theater: Vorträge und Gespräche des
Salzburger Symposions 2001, I. Salzburg: Anif, 2003
Raknem,
Ingvald. Joan of Arc in history, legend and literature. Oslo:
Universitetsforlaget, 1971, 180-203
Reddy, K.
Venkata. ‘Shaw’s Joan as a self-actualizing character.’ Pp 94-102 in Pandey
Rohmann,
Gerd. ‘Shaws metabiologisches Testament in Saint Joan.’ Pp 494-507 in Otten
Roll-Hansen,
Diderik. ‘Shaw’s Saint Joan on the stage: some early and some recent
London productions compared.’ English Studies 71 1990 253-60; repr. on
pp 296-304 in Peter Bilton et al., eds. Essays in honour of Kristian Smidt.
Oslo: Univ. of Oslo, Institute of English Studies, 1986
Rosselli,
John. ‘The right Joan and the wrong one.’ Twentieth Century 157 1955
374-83
Roy, R. N.
George Bernard Shaw’s historical plays. Delhi: Macmillan, 1976, 44-78
Rudman,
Harry W. ‘Shaw’s Saint Joan and motion picture censorship.’ Shaw
Bulletin 2 vi 1958 1-14
Saint-Auclaire,
Le comte de. ‘De Viviani à la Jeanne d’Arc de Bernard Shaw.’ Oeuvres
Libres April 1953 107-38
Sathyanarayana
Reddy, K. ‘The dialectics of sainthood: a study in Shaw’s St. Joan.’
Journal of Literature and Aesthetics (Quilon) 4 iv 1984 57-59
Schirmer-Imhoff,
Ruth. ‘Saint Joan: die Quelle und ihre Bearbeitung.’ Anglia 74
1956 102-32
Schoeps,
Karl H. Bertolt Brecht und Bernard Shaw. Bonn: Bouvier, 1974, 29-67
Schwartz,
Alfred. From Büchner to Beckett: dramatic theory and the modes of tragic
drama. Athens: Ohio Univ. Pr., 1978, 80-87
Searle,
William. The saint & the skeptics: Joan of Arc in the work of Mark
Twain, Anatole France, and Bernard Shaw. Detroit: Wayne State UP, 1976,
97-144: ‘Bernard Shaw and The Maid: a vitalist view’
Silver,
Arnold J. Saint Joan: playing with
fire. NY: Twayne, 1993. 129 pp
Slogsnat,
Helmut. ‘G. B. Shaw, Saint Joan: ein Idealfall des
Literaturunterrichts.’ Anglistik & Englischunterricht 9 1979 85-106
Smith,
Warren S. Bishop of everywhere: Bernard Shaw and the Life Force. Univ.
Park: Penn State UP, 1982, 127-32
Solomon,
Stanley J. ‘Saint Joan as epic tragedy.’ Modern Drama 6 1964
437-49
Spector,
Susan. ‘Disappointments of the Theatre Guild’s second St. Joan, 1951.’ Theatre
History Studies 11 1991 63-79
Stafford,
Tony J. ‘From hens’ eggs to cinders: avian imagery in Shaw’s Saint Joan.’
Rocky Mountain Review of Language and Literature 40 1986 213-20
Steege,
Viktor. ‘George Bernard Shaw: Die heilige Johanna.’ Pp 87-107 in Europäische
Dramen von Ibsen bis Zuckmayer: dargestellt an Einzelinterpretationen.
Frankfurt: Diesterweg, 1959
Stewart, J.
I. M. Eight modern writers. Oxford: Clarendon Pr., 1963, 179-82; repr.
on pp 162-65 in Gibbs
Stoppel,
Hans. ‘Shaw and sainthood.’ English Studies 36 1955 49-63; repr. on pp
166-84 in Weintraub, S
Stowell,
Sheila. ‘“Dame Joan, Saint Christabel.”’ Modern Drama 37 1994 421-36
Stürzl,
Erwin, & James Hogg. The stage history of G. B. Shaw’s Saint Joan.
Salzburg: Institut für Englische Sprache und Literatur, Universität Salzburg,
1975
Styan, J.
L. The elements of drama. Cambridge: Cambridge UP, 1960, 146-48
Tetzeli von
Rosador, Kurt. Das englische Geschichtsdrama seit Shaw. Heidelberg:
Winter, 1976, 125-60 (144-53 on the play; from ‘Shaws Saint Joan und die
Historiker.’ Germanisch-Romanische Monatsschrift 23 1973 342-55)
Thierfelder,
William R. ‘Shaw’s Saint Joan.’ Explicator 44 ii 1986 32-33 (link
to Parsifal?)
Thomas,
Francis N. Writer writing: philosophic acts in literature. Princeton,
NJ: Princeton UP, 1993, 72-103: “Bernard Shaw: historical exploration” (86-103
on the play)
Tyson,
Brian F. The story of Shaw’s Saint Joan. Kingston, Ont.: McGill-Queen’s
UP, 1982. 142 pp
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Oxford UP, 1973, 368-91
Waltonen,
Karma. ‘Saint Joan: from Renaissance witch to New Woman.’ SHAW 24
2004 186-203
Walshe,
Eibhear. ‘“Angels of death”: Wilde’s Salomé and Shaw’s Saint Joan.’
Irish University Review 27 1997 24-32
Ward, A. C.
‘Introduction to Saint Joan,’ ‘Notes on the preface to Saint Joan,’
and ‘Notes on Saint Joan.’ Pp 175-208 in Shaw. Saint Joan.
London: Longmans, Green, 1957
Watt,
Stephen M. ‘Shaw’s Saint Joan and the modern history play.’ Comparative
Drama 19 1985 58-86
Weintraub,
Stanley. Shaw’s people: Victoria to Churchill. Univ. Park: Penn State
UP, 1996, 162-77: ‘“Lawrence of Arabia”: Bernard Shaw’s other Saint Joan’
(first publ. as ‘Bernard Shaw’s other Saint Joan.’ Shavian 2 x 1964
7-13; repr. in South Atlantic Quarterly 64 1965 194-205; repr. on pp
230-41 in Weintraub, S)
-----. The
unexpected Shaw: biographical approaches to G.B.S. and his work. NY: Ungar,
1982, 181-93: ‘The genesis of Joan’ (first publ. as introduction to
Shaw. Saint Joan. Indianapolis, IN: Bobbs-Merrill, 1971, which was repr.
as ‘The genesis of Saint Joan.’ Literatur in Wissenschaft und
Unterricht 10 1977 259-74)
West, E. J.
‘Saint Joan: a modern classic reconsidered.’ Quarterly Journal
of Speech 40 1954 249-59; repr. on pp 125-40 in Weintraub, S
Whitman,
Robert F. Shaw and the play of ideas. Ithaca, NY: Cornell UP, 1977,
267-74
Williams,
Raymond. Drama from Ibsen to Brecht. Harmondsworth: Penguin, 1973,
149-52; repr. on pp 151-54 in Gibbs
Wise, Ivan.
‘Saint Joan on film.’ Shavian 10 iv 2007 2-7 (screen adaptations)
Wisenthal,
J. L. The marriage of contraries: Bernard Shaw’s middle plays.
Cambridge, MA: Harvard UP, 1974, 172-92; 185-92 repr. on pp 196-203 in Gibbs
-----. Shaw’s
sense of history. Oxford: Clarendon Pr., 1988, 81-91
Woodbridge,
Homer. George Bernard Shaw: creative artist. Carbondale: Southern
Illinois UP, 1963, 116-26
Woodring,
Carl. ‘Ricketts and Saint Joan.’ Columbia Library Columns 37 iii
1988 25-33
Zabrouski,
Monica A., & Robert P. Kirschmann. ‘The ungendered will and the Shavian
Superman.’ SHAW 26 2006 79-99 (83-87 on Joan)
Shakes Versus Shav
Bertolini,
John A. The playwrighting self of Bernard Shaw. Carbondale: Southern
Illinois UP, 1991, 169-71
Peters,
Sally. ‘Shaw’s double dethroned: The Dark Lady of the Sonnets, Cymbeline
Refinished, and Shakes Versus Shav.’ SHAW 7 1987 301-16
Schubert,
Berit B. [Enter Shakespeare]: der Dramatiker als Figur im modernen
Drama. Frankfurt: Lang, 2002, 127-32: ‘Shakes Versus Shav’
Wilshire,
Lewis. ‘Shaw’s last play.’ English 8 1951 193-95
The Shewing-up of Blanco Posnet
Abbott,
Anthony S. Shaw and Christianity. NY: Seabury Pr., 1965, 108-18: ‘The
Shewing-up of Blanco Posnet’
Dean, Joan F. Riot and great
anger: stage censorship in twentieth-century Ireland. Madison: Univ. of
Wisconsin Pr., 2004, 88-96
Haddad,
Rosalie R. ‘Shaw and censorship: The Shewing-up of Blanco Posnet
(1909).’ Independent Shavian 39 2001 11-18
Holroyd,
Michael. Bernard Shaw, volume II: 1898-1918: The pursuit of power. NY:
Random House, 1989, 227-35
Matual,
David. ‘Shaw’s The Shewing-up of Blanco Posnet and Tolstoy’s The
Power of Darkness: dramatic kinship and theological opposition.’ SHAW
1 1981 129-39
McDiarmid,
Lucy. ‘The Abbey and the theatrics of controversy, 1909-1915.’ In Stephen Watt
et al., eds. A century of Irish drama: widening the stage. Bloomington:
Indiana UP, 2000, 57-71
-----. The
Irish art of controversy. Dublin: Lilliput Pr., 2005, 87-122: ‘The shewing-up
of Dublin Castle: Lady Gregory, Shaw, and Blanco Posnet, August 1909’
(from ‘Augusta Gregory, Bernard Shaw, and the shewing-up of Dublin Castle.’ PMLA
109 1994 26-44)
Meisel,
Martin. Shaw and the nineteenth-century theater. Princeton, NJ:
Princeton UP, 1963, 215-22
Nelson,
Raymond S. ‘Blanco Posnet: adversary of God.’ Modern Drama 13 1970 1-9
‘Symposium:
The Shewing-up of Blanco Posnet and The Man of Destiny.’ SHAW
14 1994 57-65
Yorks,
Samuel. The evolution of Bernard Shaw. Washington: UP of America, 1981,
128-37
The Simpleton of the Unexpected Isles
Abbott,
Anthony S. Shaw and Christianity. NY: Seabury Pr., 1965, 174-90: ‘Shaw’s
vision of judgment: The Simpleton of the Unexpected Isles’
Berg,
Fredric. ‘Bernard Shaw’s The Simpleton of the Unexpected Isles: a new
approach.’ Modern Drama 36 1993 538-46
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama. Columbia:
Univ. of Missouri Pr., 1973, 120-30 (incorporates ‘Shaw’s doomsday.’ Educational
Theatre Journal 19 1967 61-71)
Holroyd,
Michael. Bernard Shaw, volume III: 1918-1951: The lure of fantasy. NY:
Random House, 1991, 344-52
Hummert,
Paul A. Bernard Shaw’s Marxian romance. Lincoln: Univ. of Nebraska Pr.,
1973, 175-81
Kamer,
Hansruedi. Künstlerische und politische Extravaganz im Spätwerk Shaws.
Bern: Francke, 1973, 127-39: ‘Eugenik und Revolution: The Simpleton of the
Unexpected Isles’
Lawrence,
Kenneth. ‘Bernard Shaw: the career of the Life Force.’ Modern Drama 15
1972 130-46 (Man and Superman, Back to Methuselah, and The
Simpleton as thesis dramas)
Leary,
Daniel J. ‘About nothing in Shaw’s The Simpleton of the Unexpected Isles.’
Educational Theatre Journal 24 1973 139-48
McDowell,
Frederick P. W. ‘Spiritual and political reality: Shaw’s The Simpleton of
the Unexpected Isles.’ Modern Drama 3 1960 196-210
Meisel,
Martin. Shaw and the nineteenth-century theater. Princeton, NJ:
Princeton UP, 1963, 423-27
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw. London: Methuen, 1972, 286-302
Nelson,
Raymond S. ‘The Simpleton of the Unexpected Isles: Shaw’s “last
judgment.”’ Queen’s Quarterly 76 1969 692-706
Rao, Valli.
‘Seeking the unknowable: Shaw in India.’ SHAW 5 1985 181-209 (background
of the play)
Sharma, Vinod
B. ‘The heretic in Shaw: The Simpleton of the Unexpected Isles.’ Pp
103-08 in Pandey
Silver,
Arnold J. Bernard Shaw: the darker side. Stanford, CA: Stanford UP,
1982, 27-51: ‘The Simpleton of the Unexpected Isles: defining the
conflict’
Stone, Susan
C. ‘Biblical myth Shavianized.’ Modern Drama 18 1975 153-63
Switzky, Lawrence. ‘The last
word on last words: Shaw and catastrophic drama.’ SHAW 27 2007 190-
200
Weintraub,
Rodelle. ‘Bernard Shaw’s fantasy island: Simpleton of the Unexpected Isles.’
SHAW 17 1997 97-105
Whitman,
Robert F. Shaw and the play of ideas. Ithaca, NY: Cornell UP, 1977,
275-78
Yorks,
Samuel. The evolution of Bernard Shaw. Washington: UP of America, 1981,
198-210
The Six of Calais
Bertolini,
John A. The playwrighting self of Bernard Shaw. Carbondale: Southern
Illinois UP, 1991, 163-65
Too True to be Good
Carpenter,
Charles A. ‘The strategy and the bacteriology: scrutinizing the microbe in Too
True to be Good.’ SHAW 27 2007 135-55
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama. Columbia:
Univ. of Missouri Pr., 1973, 231-42
Gatch,
Katherine H. ‘The last plays of Bernard Shaw: dialectic and despair.’ Pp 126-47
in W. K. Wimsatt, ed. English stage comedy. NY: Columbia UP, 1955 (English
Institute Essays, 1954); repr. on pp 459-72 in Smith
Holroyd,
Michael. Bernard Shaw, volume III: 1918-1951: The lure of fantasy. NY:
Random House, 1991, 255-71
Hopwood,
Alison L. ‘Too True to be Good: prologue to Shaw’s later plays.’ Shaw
Review 11 1968 109-18
Hugo, Leon
H. Bernard Shaw, playwright and preacher. London: Methuen, 1971, 218-22
Hummert,
Paul A. Bernard Shaw’s Marxian romance. Lincoln: Univ. of Nebraska Pr.,
1973, 161-66
Kamer,
Hansruedi. Künstlerische und politische Extravaganz im Spätwerk Shaws.
Bern: Francke, 1973, 97-112: ‘Relativität der Ethik: Too True to be Good’
Leary,
Daniel J. ‘Too True to be Good and Shaw’s romantic synthesis: a religion
for our times.’ SHAW 1 1981 183-203
Martin, W.
R. ‘GBS, DHL, and TEL: mainly Lady Chatterley and Too True.’ SHAW
4 1984 107-12 (‘T. E. Lawrence is in both’)
Matoba,
Junka. ‘Too True to be Good: Bernard Shaw between two world wars.’ Studies
in English Literature (Tokyo) 1981 45-59
McDowell,
Frederick P. W. ‘The “pentecostal flame” and the “lower centers”: Too True
to be Good.’ Shaw Review 2 ix 1959 27-38; repr. on pp 476-90 in Smith
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw. London: Methuen, 1972, 258-71: ‘Farewell to Platonism: Too
True to be Good’
Muklewicz,
Shannon. ‘Is Too True to be Good good at all?’ Independent Shavian
43 2005 25-37
Nathan,
Rhoda B. ‘From Shaw to Beckett: the road to absurdity.’ Independent Shavian
36 1998 3-10
Rabey,
David I. ‘Power, culture, and the politics of absolute play: Heartbreak
House and Too True to be Good as existential expressionism.’ SHAW
12 1992 199-212
Regan,
Arthur E. ‘The fantastic reality of Bernard Shaw: a look at Augustus and
Too True.’ Shaw Review 11 1968 2-10
Weintraub,
Rodelle. ‘Too True to be Good: the bottomless abyss following World War
I.’ SHAW 19 1999 119-27
Weintraub,
Stanley. Private Shaw and public Shaw. NY: Braziller, 1963. 302 pp
(touches on resemblances between Private Meek and T. E. Lawrence); ‘The two
sides of “Lawrence of Arabia”: Aubrey and Meek.’ Shaw Review 7 1964
54-57; repr. on pp 472-76 in Smith
-----.
The unexpected Shaw: biographical approaches to G.B.S. and his work. NY:
Ungar, 1982, 223-33: ‘The avant-garde Shaw: Too True to be Good and its
predecessors’ (first publ. as ‘The avant-garde Shaw’ on pp 33-52 in Rosenblood;
repr. on pp 341-55 in Smith and on pp 119-32 in Adams)
Wright,
Anne. ‘Shaw’s burglars: Heartbreak House and Too True to be Good.’
Shaw Review 23 1980 2-10
Village Wooing
Bertolini,
John A. The playwrighting self of Bernard Shaw. Carbondale: Southern
Illinois UP, 1991, 165-69
Everding,
Robert G. ‘Village Wooing: a call for individual regeneration.’ SHAW 7
1987 221-41 (235-40: ‘Appendix: The beginnings of a stage history of Village
Wooing’)
Gahan,
Peter. Shaw shadows: rereading the texts of Bernard Shaw. Gainesville:
UP of Florida, 2004, 151-56
Why She Would Not
Laurence,
Dan H. ‘Shaw’s final curtain.’ Shaw Bulletin 1 ix 1955 19-21; ‘The facts
about Why She Would Not.’ Theatre Arts Monthly 40 1956 20-21,
89-90
O’Hare,
John. ‘How the play reached publication.’ Theatre Arts Monthly 40
1956 22-23 (precedes text of the play)
Trilling,
Ossia.’ Mysteriet omkring Bernard Shaws sidste stykke: Hvorfor Hun Idde
Vilde.’ Danske Magasin 5 1957 20-25
Widowers’ Houses
Appasamy,
S. P. ‘God, Mammon and Bernard Shaw.’ Commonwealth Quarterly 7 1978
98-112
Bringle,
Jerald E. ‘Introduction.’ Pp xiii-xxx in Shaw. Widowers’ Houses: facsimiles
of the shorthand and holograph manuscripts and the 1893 published text. NY:
Garland, 1981
Carpenter,
Charles A. Bernard Shaw & the art of destroying ideals: the early plays.
Madison: Univ. of Wisconsin Pr., 1969, 33-41
Denninghaus,
Friedhelm. Die dramatische Konzeption George Bernard Shaws: Untersuchungen
zur Struktur der Bühnengesellschaft und zum Aufbau der Figuren in den Stücken
Shaws. Stuttgart: Kohlhammer, 1971, 24-40: ‘Shaws Debüt als Dramatiker des
sozialen deterministischen Dramas’
Dervin,
Daniel. Bernard Shaw: a psychological study. Lewisburg, PA: Bucknell UP,
1975, 207-17
Downer,
Alan S. ‘Shaw’s first play.’ Pp 3-24 in Rosenblood 2 (on both Widowers’
Houses and Getting Married)
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama. Columbia:
Univ. of Missouri Pr., 1973, 275-81
-----. ‘Widowers’
Houses: a question of genre.’ Modern Drama 17 1974 27-32
Ganz,
Arthur. George Bernard Shaw. London: Macmillan, 1983, 80-89
Gibbs, A.
M. The art and mind of Shaw: essays in criticism. NY: St. Martin’s Pr.,
1983, 42-49
Greiner,
Norbert. Idealism und Realism im Frühwerk George Bernard Shaws: die
Bedeutung und Funktion der Begriffe in den politischen, ästhetischen und
dramatischen Schriften. Heidelberg: Winter, 1977, 141-63: ‘Widowers’
Houses: die Karikierung idealistischer Verhaltensweisen’
Holroyd,
Michael. Bernard Shaw, volume I: 1856-1898: The search for love. NY:
Random House, 1988, 274-84
Hummert,
Paul A. Bernard Shaw’s Marxian romance. Lincoln: Univ. of Nebraska Pr.,
1973, 54-66
Marker,
Frederick J. ‘Shaw’s early plays.’ Pp 103-23 in Innes (104-11 on the
play)
McDowell,
Frederick P. W. ‘Widowers’ Houses: a play for the 1890s and the 1990s.’ SHAW
14 1994 231-40
Meisel,
Martin. Shaw and the nineteenth-century theater. Princeton, NJ:
Princeton UP, 1963, 127-30, 134-38, 161-68
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw. London: Methuen, 1972, 23-30, 36-41
Nelson,
Raymond S. ‘Shaw’s Widowers’ Houses.’ Research Studies
(Washington State Univ.) 37 1969 27-37
Newton,
Christopher. ‘The 9th of December 1892: going to the theater in the nineties—a
fantasia in the manner of Sacheverell Sitwell.’ SHAW 14 1994 25-42
Oppel,
Horst. ‘George Bernard Shaw: Widowers’ Houses.’ Pp 281-93 in Heinz Kosok,
ed. Das englische Drama im 18. und 19. Jahrhunderts: Interpretationen.
Berlin: Schmidt, 1976 (in German)
Ravindranathan,
S. ‘The Life Force in the offing: a reinterpretation of Widowers’ Houses.’
Shavian 6 vi 1988 9-11
Roby,
Kinley E. ‘Stap Street to Robbins’s Row.’ Shaw Review 18 1975 2-5
(background to the play)
Rockman,
Robert E. ‘Dickens and Shaw: another parallel.’ Shaw Bulletin 2 i 1957
8-10 (Sartorius and Lickcheese may derive from Little Dorrit)
Roll-Hansen,
Diderik. ‘Sartorius and the scribes of the Bible: satiric method in Widowers’
Houses.’ Shaw Review 18 1975 6-9
Sedlak,
Werner. ‘Die Erstrezeption von G. B. Shaws sozialem Drama Widowers’ Houses
in ihrem gesellschaftlichen Kontext.’ Pp 295-315 in Manfred Pfister & Bernd
Schulte-Middelich, eds. Die nineties: das englische fin de siècle
zwischen Dekadenz und Sozialkritik. Munich: Francke, 1983
Shattuck,
Charles H. ‘Bernard Shaw’s “bad quarto.”’ Pp 170-82 in Studies by members of
the English Department, University of Illinois, in memory of John Jay Parray.
Urbana: Univ. of Illinois Pr., 1955; also in Journal of English and Germanic
Philology 54 1955 651-53, and in California Shavian 5 i-ii 1964
11-17
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Oxford UP, 1973, 66-72, 79-86
Vogeler,
Martha S. ‘Widowers’ Houses and the London County Council.’ Independent
Shavian 24 1986 3-11
Weintraub,
Stanley. ‘Shaw decides to become a playwright: July-December 1892.’ SHAW
14 1994 9-23
West,
Alick. George Bernard Shaw: ‘a good man fallen among Fabians’. NY:
International, 1950, 48-54
Woodfield,
James. ‘Shaw’s Widowers’ Houses: comedy for socialism’s sake.’ SHAW
11 1991 47-64
You Never Can Tell
Behrman, S.
N. ‘The Paddy vein.’ Prairie Schooner 35 1961 10-13 (also publ. as
preface to the 1961 Univ. of Nebraska Pr. edition of the play)
Bertolini,
John A. ‘Wilde and Shakespeare in Shaw’s You Never Can Tell.’ SHAW
27 2007 156-64
Carpenter,
Charles A. Bernard Shaw & the art of destroying ideals: the early plays.
Madison: Univ. of Wisconsin Pr., 1969, 127-39
Chirico,
Miriam. ‘Social critique and comedic reconciliation in Shaw’s You Never Can
Tell.’ SHAW 25 2005 105-26
Coxe,
Louis. Enabling acts: selected essays in criticism. Columbia: Univ. of
Missouri Pr., 1976, 125-42: ‘You Never Can Tell: George Bernard Shaw
reviewed’ (from Western Humanities Review 9 1965 313-25)
Dukore,
Bernard F. ‘Dolly finds a father: Shaw’s dramatic development.’ Papers on
Language and Literature 24 1988 81-90 (link with Major Barbara)
Fisher,
James. ‘Harlequinade: commedia dell’arte on the early twentieth-century British
stage.’ Theatre Journal 41 1989 30-44
Gainor, J.
Ellen. Shaw’s daughters: dramatic and narrative constructions of gender.
Ann Arbor: Univ. of Michigan Pr., 1991, 40-47
Gibbs, A.
M. The art and mind of Shaw: essays in criticism. NY: St. Martin’s Pr.,
1983, 90-103
Greiner,
Norbert. Idealism und Realism im Frühwerk George Bernard Shaws: die
Bedeutung und Funktion der Begriffe in den politischen, ästhetischen und
dramatischen Schriften. Heidelberg: Winter, 1977, 230-36
Hadfield,
Dorothy A. ‘What runs (in) the family: iterated retelling, gender, and genre in
You Never Can Tell and Major Barbara.’ SHAW 26 2006 58-78
Hendrick,
George. Henry Salt: humanitarian reformer and man of letters. Urbana:
Univ. of Illinois Pr., 1977, 140-58 (possible effects of the Salt family on the
play)
Herman,
Vimala. ‘Dramatic dialogue and the systematics of turn-taking.’ Semiotica
112 1991 97-121 (part examines a scene of the play)
Herr, Linda
L. ‘Dickens’ Jaggers and Shaw’s Bohun: a study of “character lifting.”’ Shaw
Review 20 1977 110-18
Holroyd,
Michael. Bernard Shaw, volume I: 1856-1898: The search for love. NY:
Random House, 1988, 383-93
Leary,
Daniel J. ‘Introduction.’ Pp xiii-xxii in Shaw. You Never Can Tell: a
facsimile of the holograph manuscript. NY: Garland, 1981
Leech,
Geoffrey. ‘Pragmatic principles in Shaw’s You Never Can Tell.’ Pp 259-80
in Michael Toolan, ed. Language, text, and context: essays in stylistics.
London: Routledge, 1992
McDowell,
Frederick P. W. ‘Shaw’s “higher comedy” par excellence: You Never Can Tell.’
SHAW 7 1987 63-83
Meisel,
Martin. Shaw and the nineteenth-century theater. Princeton, NJ:
Princeton UP, 1963, 253-59 and see index
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw. London: Methuen, 1972, 83-99: ‘Making the skeleton dance’
(from ‘Introduction.’ Pp 7-32 in Shaw. You Never Can Tell. Sydney: Hicks
Smith, 1967)
Pagliaro,
Harold E. Relations between the sexes in the plays of George Bernard Shaw.
Lewiston, NY: Edwin Mellen Pr., 2004, 71-82, 145-47
Speckhard,
Robert R. ‘Shaw’s therapeutic satire.’ Marabar Review 1 Summer 1964
94-99
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Oxford UP, 1973, 146-54
Weintraub,
Rodelle. ‘Extracting the roots of sorrow: You Never Can Tell as dream
play.’ SHAW 18 1998 137-46
Weintraub,
Stanley. The unexpected Shaw: biographical approaches to G.B.S. and his work.
NY: Ungar, 1982, 97-104: ‘G.B.S. borrows from Sarah Grand: The Heavenly
Twins and You Never Can Tell’ (from Modern Drama 14 1971
288-97)
Whitaker,
Thomas R. Mirrors of our playing: paradigms and presences in modern drama.
Ann Arbor: Univ. of Michigan Pr., 1999, 52-56 on the play