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PART TWO: WORKS
ABOUT SPECIFIC PLAYS
Paczesny,
Reinhard. ‘Haut’se, haut’se, immer auf die Schnauze, oder das Drama des Boxers
in Boxerdramen.’ Sprache im Technischen Zeitalter 92 1984 252-60 (part
compares the play with Odets’s Golden Boy)
Abbott,
Anthony S. Shaw and Christianity. NY: Seabury Pr., 1965, 141-56: ‘The triumph
of laughter: Androcles and the Lion’
Berst,
Charles A. Bernard Shaw and the art of drama.
Brown,
John Mason. Seeing more things. NY: McGraw-Hill, 1948, 179-87 (on a
performance of the play)
Cardullo,
Bert. ‘The artistic evolvement of Androcles and the Lion.’ Studia
Neophilologica 57 1985 187-90
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama.
Eastman,
Fred. Christ in the drama: a study of the influence of Christ on the drama
of England and America. NY: Macmillan, 1947, 44-54
Meisel,
Martin. Shaw and the nineteenth-century theater.
Nelson,
Raymond S. ‘Wisdom and power in Androcles and the Lion.’ Yearbook of
English Studies 2 1972 192-204
O’Hara,
Michael M. ‘Federal Theatre’s Androcles and the Lion: Shaw in black and
white.’ SHAW 19 1999 129-48
Stone,
Susan C. ‘Unity in diversity: Androcles and the Lion.’ Shaw Review 21
1978 92-99
Turco,
Alfred. ‘Reflections on Androcles—self, fable, and history.’ Independent
Shavian 27 1989 51-59 (issue marked vol. 3)
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Ward, A.
C. ‘Introduction to Androcles and the Lion,’ ‘Notes on the preface . .
.,’ and ‘Notes on Androcles and the Lion.’ Pp 161-208 in Shaw. Androcles
and the Lion.
Bertolini,
John A. The playwrighting self of Bernard Shaw.
Gainor,
J. Ellen. Shaw’s daughters: dramatic and narrative constructions of gender.
Grendon,
Felix. ‘Shaw’s Annajanska.’ Shavian no. 3 1954 26-29
Altrincham,
Lord. ‘Reflections on The Apple Cart.’ National and English Review 151
July 1958 18-23
Donaghy,
Henry J. ‘The Apple Cart: a Chestertonian play.’ Shaw Review 11
1968 104-08
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama.
Einsohn,
Howard I. ‘The intelligent reader’s guide to The Apple Cart.’ SHAW
9 1989 145-60 (its kinship with The Intelligent Woman’s Guide to Socialism
and Capitalism)
Hugo,
Leon H.. Bernard Shaw, playwright and preacher.
Kamer,
Hansruedi. Künstlerische und politische Extravaganz im Spätwerk Shaws.
McDowell,
Frederick P. W. ‘The eternal against the expedient: structure and theme in
Shaw’s The Apple Cart.’ Modern Drama 2 1959 99-113
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw.
Peters,
Margot. ‘[Discovery:] Shaw vs. Stella: the battle of The Apple Cart.’ Harvard
Magazine March-April 1984 56A-H (suppressed passages from the
correspondence pertaining to their dispute over the play)
Sengupta,
Gautam. ‘A protest and a quest: a study of Shaw’s political vision in The
Apple Cart.’ Journal of the Department of English,
Smith,
Warren S. Bishop of everywhere: Bernard Shaw and the Life Force.
Walker,
Watson,
Barbara B. ‘The theater of love and the theater of politics in The Apple
Cart.’ SHAW 7 1987 207-20
Wellwarth,
George. ‘Gattie’s glass of water; or, the origins of Breakages, Ltd.’ Shaw
Review 11 1968 99-103; ‘ “Gattie’s glass of water”: addendum.’ Shaw
Review 12 1969 28-29
Alexander,
Nigel. A critical commentary on Bernard Shaw’s Arms and the Man and Pygmalion.
Amalric,
Jean C. ‘Modèle actantiel et investissement thématique: quelques remarques sur Arms
and the
-----.
‘Satire et comique plaisants et déplaisants: Mrs. Warren’s Profession et
Arms and the
Bala,
Suman. ‘Arms and the Man: the naked reality of love and war.’ Pp 63-81
in Pandey
Berst,
Charles A. ‘The action of Shaw’s settings and props.’ SHAW 3 1983 41-65
(44-47 on the play)
-----. Bernard
Shaw and the art of drama.
Blaicher,
Günther. ‘Mortifikation: ein vernachlässigter Aspekt der Komödientheorie.’ Arbeiten
aus Anglistik und Amerikanistik 13 1988 139-53 (146-48 on the play)
Borkat,
Roberta F. S. ‘Swift, Shaw, and the idealistic swain.’ English Studies
61 1980 498-506 (the play and Swift’s poems)
Carpenter,
Charles A. Bernard Shaw & the art of destroying ideals: the early plays.
Chung,
Kwangsook. ‘Reading war, history, and historicity in Shaw’s Arms and the
Crompton,
Louis. ‘Introduction.’ Pp ix-xxxiii in Shaw. Arms and the
-----. Shaw
the dramatist.
Denninghaus,
Friedhelm. Die dramatische Konzeption George Bernard Shaws: Untersuchungen
zur Struktur der Bühnengesellschaft und zum Aufbau der Figuren in den Stücken
Shaws.
Dukore,
Bernard F. ‘The ablest man in
-----. Bernard
Shaw, playwright: aspects of Shavian drama.
-----,
ed. Bernard Shaw’s Arms and the Man: a composite production book.
Elliott,
Robert C. ‘Shaw’s Captain Bluntschli: a latter-day Falstaff.’ Modern
Language Notes 67 1952 461-64
Farooqui,
Khalida S. ‘Reflections upon war and humour in G. B. Shaw’s Arms and the
Gibbs,
A. M. The art and mind of Shaw: essays in criticism. NY:
Gobin,
Pierre B. ‘La comédie militariste (1890-1930): l’évolution des techniques
scéniques et des genres littéraires.’ Pp 767-79 in Béla Köpeczi et al., eds. Actes
du VIIIe congrès de l’Association Internationale de Littérature
Comparée, I. Stuttgart: Kunst und Wissen, 1980
Greiner,
Norbert. Idealism und Realism im Frühwerk George Bernard Shaws: die
Bedeutung und Funktion der Begriffe in den politischen, ästhetischen und
dramatischen Schriften.
Higgs,
Calvin T. ‘Shaw’s use of Vergil’s Aeneid in Arms and the
Innes,
Christopher. Modern british drama: the twentieth century.
Jenckes,
Norma. ‘Introduction.’ Pp xiii-xxiii in Shaw. Arms and the Man: a facsimile
of the holograph manuscript. NY:
Kaler,
Anne K. ‘Conventions of chocolate as weapons of war and peace in Shaw’s Arms
and the Man, Straus’s The Chocolate Soldier and in the MGM film
version, The Chocolate Soldier.’ Pp 47-58 in Alex Szogyi, ed. Chocolate,
food of the gods.
King,
Kiberd,
Declan. Irish classics.
Lee, J.
Scott. ‘Comic unity in Arms and the
Mills,
John A. Language and laughter: comic diction in the plays of Bernard Shaw.
Tucson: Univ. of Arizona Pr., 1969, 64-71
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw. London: Methuen, 1972, 47-55
Newton,
K. M. In defence of literary interpretation: theory and practice.
London: Macmillan, 1986, 83-114: ‘Shaw and tragedy’ (102-08 on the play)
O’Hara,
Michael. ‘Arms and the Man and the Federal Theatre: love and war in
troubled times.’ SHAW 14 1994 145-52
Perrine,
Laurence. ‘Shaw’s Arms and the Man.’ Explicator 15 1957 item 54
Quinn,
Michael. ‘Form and intention: a negative view of Arms and the Man.’ Critical
Quarterly 5 1963 148-54; repr. on pp 179-87 in Henry Popkin, ed. Arms
and the Man. NY: Avon Books, 1967
Rodríguez-Seda,
Asela. ‘Arms and the Man y [Nemesio R. Canales’s] El héroe galopante:
la desmitificación del heroísmo.’ Latin American Theatre Review 9 1976
63-67
Saffron,
John. ‘Caesar and Bluntschli: Shaw’s view of heroism.’ Shavian 3 viii
1967 10-14
Sauer,
David K. ‘“Only a woman” in Arms and the Man.’ SHAW 15 1995
151-66
Sawyer,
Paul. ‘The last line of Arms and the Man.’ SHAW 6 1986 123-25
(not ‘What a man! What a man!’ or ‘What a man! Is he a man?’ but ‘What a man!
Is he a man!’)
Styan,
J. L. The elements of drama. Cambridge: Cambridge UP, 1960, 169-74
-----. Modern
drama in theory and practice, I: Realism and naturalism. London: Cambridge
UP, 1981, 57-70: ‘Shaw’s contribution to realism’
Turco,
Alfred. Shaw’s moral vision: the self and salvation. Ithaca, NY: Cornell
UP, 1976, 75-82
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Oxford UP, 1973, 104-17
Weintraub,
Rodelle. ‘“Oh, the dreaming, the dreaming”: Arms and the Man.’ Pp 31-40
in Rusinko
Weiss,
Samuel A. ‘Shaw, Arms and the Man, and the Bulgarians.’ SHAW 10
1990 27-44
West,
Alick. George Bernard Shaw: ‘a good man fallen among Fabians’. NY:
International, 1950, 82-88
West, E.
J. ‘“Arma virumque” Shaw did not sing.’ Colorado Quarterly 1 1953
267-80; repr. on pp 161-75 in Henry Popkin, ed. Arms and the Man. NY:
Avon Books, 1967
Regan,
Arthur E. ‘The fantastic reality of Bernard Shaw: a look at Augustus and
Too True.’ Shaw Review 11 1968 2-10
Adams,
Elsie B. Bernard Shaw and the aesthetes. Columbus: Ohio State UP, 1971,
137-47 (on ‘As Far as Thought Can Reach’)
Aquino,
John. ‘Shaw and C. S. Lewis’s Space Trilogy.’ Shaw Review 18 1975
28-32
Armstrong,
Daniel. ‘Back to Methuselah: Shaw’s debt to Swift.’ Cahiers
Victoriens & Édouardiens 21 1985 63-71
Arnold,
Armin. Die Literatur des Expressionismus: sprachliche und thematische
Quellen. Stuttgart: Kohlhammer, 1966, 107-13: ‘Der neue Mensch als
Methusalem: G. B. Shaws Langleber’
Bailey,
J. O. ‘Shaw’s Life Force and science fiction.’ Shaw Review 16 1973 48-58
(stresses the play)
Barnes,
John. ‘Tropics of a desirable oxymoron: the radical superman in Back to
Methuselah.’ SHAW 17 1997 155-64
Black,
Martha F. ‘Back to Methuselah: a “grand precurser” [intentional sic]
to Finnegans Wake.’ SHAW 23 2003 7-16
Bose,
Tirthankar. ‘How far does Shaw’s thought reach in Back to Methuselah?’ Uttar
Pradesh Studies in English (Agra) 1 1980 70-75
Brown,
David. ‘Shaw’s Genesis.’ Explicator 50 1991 31-32
Brustein,
Robert. The theatre of revolt. London: Methuen, 1965, 195-204
Christopher,
J. R. ‘Methuselah, out of Heinlein by Shaw.’ Shaw Review 16 1973 79-88
Cole,
Susan A. ‘The evolutionary fantasy: Shaw and Utopian fiction.’ Shaw Review 16
1973 89-97
Conrad,
Peter. The history of English literature: one indivisible, unending book.
London: Dent, 1985, 639-45
Crawford,
Fred D. ‘Shaw among the Houyhnhnms.’ Shaw Review 19 1976 102-19 (parts
IV and V)
Crompton,
Louis. Shaw the dramatist. Lincoln: Univ. of Nebraska Pr., 1969, 169-92
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, 166-74: ‘Der utopische Kern des
sozialen determinischen Dramas’
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama. Columbia:
Univ. of Missouri Pr., 1973, 110-17, 253-57, 266-68
Frank,
Joseph. ‘Soph v. Shaw.’ Shaw Review 19 1976 93-94, 99 (part IV’s
affinities with Oedipus Rex)
Furlong,
William B. GBS / GKC: Shaw and Chesterton: the metaphysical jesters.
Univ. Park: Penn State UP, 1970, 153-74: ‘A new glimpse of Methuselah’
(on the discarded scene about ‘Immenso Champernoon’)
Gahan,
Peter. Shaw shadows: rereading the texts of Bernard Shaw. Gainesville:
UP of Florida, 2004, 228-63: ‘The image and the word’ (reworks his ‘Back to
Methuselah: an exercise of imagination.’ SHAW 17 1997 215-38); see
also 128-31
Geduld,
Harry M. ‘Back to Methuselah and the Birmingham Repertory Company.’ Modern
Drama 2 1959 115-29
-----. ‘Back
to Methuselah: textual problems in Shaw.’ Pp 208-18 in Ronald Gottesman
& Scott Bennett, eds. Art and error: modern textual editing.
Bloomington: Indiana UP, 1970 (derived from ‘The textual problem in Shaw.’ Shaw
Review 5 1962 54-60)
-----.
‘The lineage of Lilith.’ Shaw Review 7 1964 58-61
-----.
‘Place and treatment of persons in Back to Methuselah.’ California
Shavian 5 v 1964 1-12
-----.
‘The premiere of the Pentateuch.’ California Shavian 4 i 1963 1-17
-----.
‘Shaw’s philosophy as expounded in Back to Methuselah.’ California
Shavian 5 v 1964 11-19 (from ‘Shaw’s philosophy and cosmology.’ California
Shavian 1 iv 1960 1-8)
-----.
‘Sources and influences of Shaw’s Pentateuch.’ California Shavian 5 iii
1964 1-10
Gordon,
David J. Bernard Shaw and the comic sublime. NY: St. Martin’s Pr., 1990,
163-70
Hamilton,
Robert. ‘The philosophy of Bernard Shaw: a study of Back to Methuselah.’
London Quarterly and Holborn Review 170 1945 333-41
Horton,
Merrill. ‘Bergsonian laughter in Bernard Shaw’s Back to Methuselah.’ Analecta
Husserliana 56 1998 71-76
Hull,
Elizabeth A. ‘On his shoulders: Shaw’s influence on [Arthur C.] Clarke’s Childhood’s
End.’ SHAW 17 1997 107-17 (especially Lilith’s final exhortation)
Hummert,
Paul A. Bernard Shaw’s Marxian romance. Lincoln: Univ. of Nebraska Pr.,
1973, 135-47
Indick,
Ben P. ‘Shaw’s science fiction on the boards.’ SHAW 17 1997 19-37
(stresses the play)
Innes,
Christopher. ‘Utopian apocalypses: Shaw, war, and H. G. Wells.’ SHAW 23
2003 37-46
Knepper,
Bill G. ‘Shaw’s debt to [Lytton’s] The Coming Race.’ Journal of
Modern Literature 1 1971 339-53
Knörrich,
Otto. ‘G. B. Shaw—Mystiker der Ratio.’ Neueren Sprachen 3 1961 110-20
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 of the Unexpected Isles as thesis dramas)
Leary,
Daniel J. ‘The ends of childhood: eschatology in Shaw and [Arthur C.] Clarke.’ Shaw
Review 16 1973 67-78
-----,
& Richard Foster. ‘Adam and Eve: evolving archetypes in Back to
Methuselah.’ Shaw Review 4 ii 1961 12-23; repr. on pp 105-18 in Adams
Lenker,
Lagretta T. ‘Why? versus why not?: Potentialities of aging in Shaw’s Back to
Methuselah.’ Pp 47-59 in Sara M.
Deats & Lenker, eds. Aging and identity: a humanities perspective.
Westport, CT: Praeger, 1999
McDowell,
Frederick P. W. ‘Some reflections on Back to Methuselah in performance.’
SHAW 8 1988 153-62
Meisel,
Martin. Shaw and the nineteenth-century theater. Princeton, NJ:
Princeton UP, 1963, 412-22
Miller,
Tom. ‘Forward from Fiore: a reconsideration of Back to Methuselah.’ Shavian
8 v 1998-99 12-15
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw. London: Methuen, 1972, 221-38: ‘Back to Methuselah:
the poet and the city’ (expanded from Essays and Studies 13 1960 82-98,
which is repr. in Kaufmann)
Nathan,
Rhoda B. ‘All about Eve: testing the Miltonic formula.’ SHAW 23 2003
65-74
Nelson,
Raymond S. ‘Back to Methuselah: Shaw’s modern Bible.’ Costerus 5
1972 117-23
Pagliaro,
Harold E. Relations between the sexes in the plays of George Bernard Shaw.
Lewiston, NY: Edwin Mellen Pr., 2004, 168-71, 194-98
Peart,
Barbara. ‘Shelley and Shaw’s prose.’ Shaw Review 15 1972 39-45 (stresses
the preface to the play)
Peereboom,
J. J. ‘Shaw’s own Utopia.’ Pp 198-210 in Dominic Baker-Smith & C. C.
Barfoot, eds. Between dream and nature: essays on Utopia and Dystopia.
Amsterdam: Rodopi, 1987
Philomène
de los Reyes, Marie. The biblical theme in modern drama. Quezon City:
Philippines UP, 1978, 95-99: ‘Back to Methuselah: discussion in prose’;
see also 27-31
Rankin,
H. D. ‘Plato and Bernard Shaw: their ideal communities.’ Hermathena 93
1959 71-77 (on ‘As Far As Thought Can Reach’)
Rao,
Valli. ‘Back to Methuselah: a Blakean interpretation.’ SHAW 1
1981 141-81
Reitemeier,
Rüdiger. ‘Sündenfall und Übermensch in G. B. Shaws Back to Methuselah.’ Germanisch-Romanische
Monatsschrift 16 1966 65-76; repr. on pp 461-76 in Otten
Robinson,
David. ‘The development of Shaw’s teacher-hero.’ Iowa State Journal of
Research 52 1977 261-69
Roppen,
Georg. Evolution and poetic belief. Oslo: Oslo Univ. Pr., 1956, 368-402:
‘Back to Methuselah and forward to Utopia’
Rostand,
Jean. ‘Étude sur G.-B. Shaw et sa métabiologie.’ Pp 7-15 in Shaw. Retour à
Mathusalem: Pentateuque Métabiologique. Paris: Aubier, 1959
Roston,
Murray. Biblical drama in England from the Middle Ages to the present day.
London: Faber & Faber, 1968, 257-64: ‘Shavian wit’ (the play as a departure
from the norm of biblical drama)
Slusser,
George. ‘Last men and first women: the dynamics of life extension in Shaw and
Heinlein.’ SHAW 17 1997 133-53
Shippey,
Tom. ‘Skeptical speculation and Back to Methuselah.’ SHAW 17 1997
199-213
Smith,
Warren S. Bishop of everywhere: Bernard Shaw and the Life Force. Univ.
Park: Penn State UP, 1982, 108-18 (incorporates ‘Serendipity or Life Force? The
Darwinians, Teilhard de Chardin and Back to Methuselah.’ Teilhard
Review 14 i 1979 2-22)
-----.
‘Future shock and discouragement: The Tragedy of an Elderly Gentleman.’ Shaw
Review 18 1975 22-27
Sparks,
Julie A. ‘Cavemen in Eden? Bernard Shaw and Mark Twain offer radical revisions
of Genesis.’ SHAW 21 2001 107-32
-----.
‘Shaw for the Utopians, „apek for the anti-Utopians.’ SHAW 17 1997
165-83 (the play and R.U.R.)
Spiel,
Hilde. ‘Shaw und die Frauen: Methusalem zwischen Gefühl und Sinnlichkeit.’ Monat
7 Nov 1954 113-28
Stone-Blackburn,
Susan C. ‘Biblical myth Shavianized.’ Modern Drama 18 1975 153-63
-----.
‘Science and spirituality in Back to Methuselah and Last and First
Men.’ SHAW 17 1997 185-98
-----.
‘Whatever happened to Shaw’s mother-genius portrait?’ pp 130-42 in Weintraub,
R
Tanzy,
Eugene. ‘Contrasting views of man and the evolutionary process: Back to
Methuselah and Childhood’s End.’ Pp 172-95 in Joseph D. Olander
& Martin Greenberg, eds. Arthur C. Clarke. NY: Taplinger, 1977
Tippett,
Michael. ‘Back to Methuselah and “The Ice Break.”’ Shaw Review 21
1978 100-103 (Tippett notes his debt to the play)
Valderry,
Carmen. ‘Arte e immortalidad en el teatro de Bernard Shaw.’ Arbor 434
1982 107-14
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Oxford UP, 1973, 349-68
Weintraub,
Stanley. ‘Bernard Shaw’s other Irelands: 1915-1919.’ English Literature in
Transition 42 1999 433-42 (on O’Flaherty, V.C. and ‘The Tragedy of
an Elderly Gentleman’)
-----.
Journey to heartbreak: the crucible years of Bernard Shaw 1914-1918. NY:
Weybright & Talley, 1971, 293-308
Whitman,
Robert F. Shaw and the play of ideas. Ithaca, NY: Cornell UP, 1977,
257-67
Wisenthal,
J. L. The marriage of contraries: Bernard Shaw’s middle plays.
Cambridge, MA: Harvard UP, 1974, 193-217
Woodbridge,
Homer. George Bernard Shaw: creative artist. Carbondale: Southern
Illinois UP, 1963, 109-15
Yorks,
Samuel. The evolution of Bernard Shaw. Washington: UP of America, 1981,
158-69
Carpenter,
Charles A. Dramatists and the bomb: American and British playwrights
confront the Nuclear Age, 1945-1964. Westport, CT: Greenwood Pr., 1999,
55-60: ‘Shaw’s reactions to the birth of the Atomic Age’ (from SHAW 18
1998 173-79)
Dubost,
Thierry. ‘Les voies de la vérité dans Milliards flottants.’ Pp 99-118 in
Brennan
Gilkison,
Cari. ‘Zen and the art of Shaw.’ Shavian 9 i 2000 10-11
Hummert,
Paul A. Bernard Shaw’s Marxian romance. Lincoln: Univ. of Nebraska Pr.,
1973, 204-09
Joyce,
Steven. Transformations and texts: G. B. Shaw’s Buoyant Billions.
Columbia, SC: Camden House, 1992. 135 pp (incorporates ‘The ice age cometh: a
major emendation of Buoyant Billions in critical perspective.’ SHAW
7 1987 279-99 and ‘Translation and the shape of the text: Siegfried Trebitsch’s
Zu viel Geld and George Bernard Shaw’s Buoyant Billions.’ Seminar
27 1991 136-52)
-----.
‘The worldbetterers: philanthropists in George Bernard Shaw’s Buoyant
Billions and Thomas Bernhard’s Der Weltverbesserer.’ Comparatist
15 1991 78-85
Li, Kay.
‘Hong Kong in Buoyant Billions: the exotic in Bernard Shaw.’ SHAW
15 1995 57-62
McDowell,
Frederick P. W. ‘The world, God, and world bettering: Shaw’s Buoyant
Billions.’ Boston University Studies in English 3 1957 167-76
Nickson,
Richard. ‘The world betterer: Shav versus Shav.’ Shaw Review 2 ix 1959
39-44; repr. in Independent Shavian 20 1982 9-16
Adams,
Elsie B. ‘Shaw’s Caesar and Cleopatra: decadence barely averted.’
Shaw Review 18 1975 79-82
Austin,
Don. ‘Dramatic structure in Caesar and Cleopatra.’ California Shavian
3 v 1962 unpaged
Bentley,
Eric. A century of hero-worship: a study of the idea of heroism in Carlyle
and Nietzsche, with notes on other hero-worshippers of modern times.
Philadelphia, PA: Lippincott, 1944, 183-201: ‘Bernard Shaw, Caesar, and Stalin’
Berst,
Charles A. ‘The action of Shaw’s settings and props.’ SHAW 3 1983 41-65
(53-59 on the play)
-----. Bernard
Shaw and the art of drama. Urbana: Univ. of Illinois Pr., 1973, 75-95: ‘Caesar
and Cleopatra: an anatomy of greatness’ (from ‘The anatomy of greatness in Caesar
and Cleopatra.’ Journal of English and Germanic Philology 68 1969
74-91)
Bertolini,
John A. The playwrighting self of Bernard Shaw. Carbondale: Southern
Illinois UP, 1991, 9-26: ‘Caesar and Cleopatra: the heroic self’ (from
‘Shaw’s ironic view of Caesar.’ Twentieth Century Literature 27 1981
331-42)
Bonerandi,
Joseph. ‘Nietzsche et Bernard Shaw, commenteurs de Shakespeare.’ Pp 427-42 in
Jean P. Fenaux, ed. Jules César de William Shakespeare et l’honneur.
Paris: Marketing, 1979
Brainerd,
Barron, & Victoria Neufeldt. ‘On Marcus’ methods for the analysis of the
strategy of a play.’ Poetics 10 1974 31-74 (the play is one of four
examples)
Brooks,
Harold F. ‘Shavian sources in the notes to “Queen Mab.”’ Shaw Review 20
1977 83-84
Carpenter,
Charles A. Bernard Shaw & the art of destroying ideals: the early plays.
Madison: Univ. of Wisconsin Pr., 1969, 168-91
Couchman,
Gordon W. This our Caesar: a study of Bernard Shaw’s Caesar and
Cleopatra. The Hague: Mouton, 1973. 183 pp (incorporates ‘Shaw, Caesar, and the
critics.’ Speech Monographs 23 1956 262-71; ‘Here was a Caesar: Shaw’s
comedy today.’ PMLA 72 1957 272-85;‘Comic catharsis in Caesar and
Cleopatra.’ Shaw Review 3 i 1960 11-14; and ‘The first playbill of Caesar:
Shaw’s list of authorities.’ Shaw Review 8 1970 79-82); for further
treatment of the comparison between Shakespeare’s play and Shaw’s see his ‘Antony
and Cleopatra and the subjective convention.’ PMLA 76 1961 420-25
Crompton,
Louis. Shaw the dramatist. Lincoln: Univ. of Nebraska Pr., 1969, 59-73
Deans,
Marjorie. Meeting at the sphinx: Gabriel Pascal’s production of Bernard
Shaw’s Caesar and Cleopatra. London: MacDonald, 1946. 114 pp
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama. Columbia:
Univ. of Missouri Pr., 1973, 177-85 (from ‘“Too much of a good thing”?
Structural features of Caesar and Cleopatra.’ Educational Theatre
Journal 25 1973 193-98)
Gainor,
J. Ellen. Shaw’s daughters: dramatic and narrative constructions of gender.
Ann Arbor: Univ. of Michigan Pr., 1991, 213-19
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, 284-96: ‘Der natural
leader als Held in The Man of Destiny und Caesar and Cleopatra’
(291-96 on the play)
Grene,
Nicholas. Bernard Shaw: a critical view. London: Macmillan, 1984, 44-52
Halawany,
Mona el- . ‘The image of Egypt in G. B. Shaw’s Caesar and Cleopatra.’ Pp
125-40 in Hoda Gindi, ed. Images of Egypt in twentieth century literature.
Cairo: Dept. of English Language and Literature, Faculty of Arts, Univ. of
Cairo, 1991
Horzyca,
Wilam. O dramacie.
Hugo,
Leon H.. Bernard Shaw, playwright and preacher.
Hummert,
Paul A. Bernard Shaw’s Marxian romance.
Larson,
Gale K. ‘Caesar and Cleopatra: the making of a history play.’ Shaw
Review 14 1971 73-89
-----.
‘Introduction.’ Pp vii-xxiv in Shaw. Caesar and Cleopatra.
Leary,
Daniel J. ‘The moral dialectic in Caesar and Cleopatra.’ Shaw Review 5
1962 42-53
Lenker,
Lagretta T., & Valerie B. Lipscomb. ‘Reflections of the aging Caesar: drama
as cultural perspective.’ Journal of Aging and Identity 7 2002 275-86
(focuses on Shakespeare’s Julius Caesar and Shaw’s character)
Loon
Seong Yun, Robin. ‘Rewriting Shakespeare and Englishness: George Bernard Shaw’s
Caesar and Cleopatra.’ Pp 227-43 in Andrew Benjamin et al., eds. Postcolonial
cultures and literatures: modernity and the (un) Commonwealth. NY: Lang,
2002
Mason,
Michael. ‘Caesar and Cleopatra: a Shavian exercise in both hero worship
and belittlement.’ Humanities Association Review 25 1974 1-10
Maurino,
Ferdinando. ‘And the ides failed.’ Arlington Quarterly 2 1969 50-56
Meisel,
Martin. ‘Cleopatra and “The flight into Egypt.”’ Shaw Review 7 1964
62-63 (Sphinx scene echoes a Merson painting)
Müller,
Wolfgang G. ‘George Bernard Shaw and Shakespeare: an intertextual analysis of Caesar
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Pagliaro,
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Reardon,
Joan. ‘Caesar and Cleopatra and the commedia dell’arte.’ Shaw Review 14
1971 120-36
Reinert,
Otto. ‘Old history and new: anachronism in Caesar and Cleopatra.’ Modern
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Relich,
Mario. ‘Shaw, Carlyle and the sphinx.’ Pp 84-97 in Bernhard Kerber, ed. Geschichte
als Paradigma: zur Reflexion des Historischen in der Kunst. Bonn: Habelt,
1982
Robson,
E. W., & M. M. Robson. Bernard Shaw among the innocents. London:
Sydneyan Society, 1946. 31 pp
Roy, R.
N. George Bernard Shaw’s historical plays. Delhi: Macmillan, 1976, 24-43
Saffron,
John. ‘Caesar and Bluntschli: Shaw’s view of heroism.’ Shavian 3 viii
1967 10-14
Saunders,
M. Sean. ‘From metropolis to “impossible edges”: Shaw’s imperial abjects.’ SHAW
22 2002 99-115 (in this play and Captain Brassbound’s
Conversion)
Studencki,
W»adys»aw. Szkice literackie: wielcy i
mali. Opole: Prace Opolskiego Towarzystwa Przyjaciól Nauk, 1967, 3-46:
‘Kleopatra VII’ (literary versions, including Shaw’s)
Tetzeli
von Rosador, Kurt. Das englische Geschichtsdrama seit Shaw. Heidelberg:
Winter, 1976, 125-60 (135-45 on the play)
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Oxford UP, 1973, 171-77
Vesonder,
Timothy G. ‘Shaw’s Caesar and the mythic hero.’ Shaw Review 21 1978
72-79 (Wagner’s Siegfried)
Vitoux,
Pierre. ‘Le César de Mommsen et le César de G.-B. Shaw.’ Pp 347-54 in R.
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-----.
‘Shaw and “the Mommsenite view of Caesar.”’ Cahiers Victoriens &
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Ward, A.
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Weintraub,
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6 vi 1988 6-8
-----. The
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Shelley & Arthur O. Lewis, eds. Anglo-German and American-German
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Whiting,
George W. ‘The Cleopatra rug scene: another source.’ Shaw Review 3 i
1960 15-17
Whitman,
Robert F. Shaw and the play of ideas. Ithaca, NY: Cornell UP, 1977,
201-10
Wisenthal,
J. L. ‘Introduction.’ Pp xiii-xxiii in Shaw. The Man of Destiny &
Caesar and Cleopatra: facsimiles of
the holograph manuscripts. NY: Garland, 1981
-----.
‘Shaw and Ra: religion and some history plays.’ SHAW 1 1981 45-56
(stresses the play)
-----. Shaw’s
sense of history. Oxford: Clarendon Pr., 1988, 58-62 and see index
Adams,
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24-30, 107-12
-----.
‘Bernard Shaw’s pre-Raphaelite drama.’ PMLA 81 1966 428-38; retorts and
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Adler,
Jacob H. ‘Ibsen, Shaw and Candida.’ Journal of English and Germanic
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Adler,
Thomas P. ‘Candida as a “Mystery.”’ SHAW 2 1982 13-15
Bergman,
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Berst,
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-----. Bernard
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-----.
‘The craft of Candida.’ College Literature 1 1974 157-73
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Dukore,
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Freedman,
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Holt,
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Hugo,
Leon H.. Bernard Shaw, playwright and preacher. London: Methuen, 1971,
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Lazenby,
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Lucas,
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Mills,
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Morgan,
Margery M. The Shavian playground: an exploration of the art of George
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29 1991 3-11
-----.
‘A clue to Candida’s secret?’ Times Literary Supplement 5163
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Nelson,
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Indianapolis: Bobbs-Merrill, 1973
-----.
‘Shaw’s pre-Raphaelite play.’ Pre-Raphaelite Review 1 i 1977 89-94
Nethercot,
Arthur. Men and supermen: the Shavian portrait gallery. Cambridge, MA:
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1949 639-47)
-----.
‘Who was Eugene Marchbanks?’ Shaw Review 15 1972 2-20
Otten,
Terry. ‘Candida and Henry Higgins: Shaw’s mentors to the human spirit.’ Discourse
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Pagliaro,
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Peart,
Barbara. ‘De Quincey and Marchbanks.’ Shaw Review 17 1974 139-40
Peters,
Sally. Bernard Shaw: the ascent of the Superman. New Haven, CT: Yale UP,
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Silver,
Arnold J. Bernard Shaw: the darker side. Stanford, CA: Stanford UP,
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Squarzina,
Luigi. De Dioniso a Brecht: pensiero teatrale e azione scenica. Bologna:
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Smith,
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1981
Stanton,
Stephen S., ed. A casebook on Candida. NY: Crowell, 1962. 292 pp (text,
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Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
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Wanquet,
Eileen. ‘Qui mène le jeu? Étude sémiotique de Candida de G. B. Shaw.’ Alizes:
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Watson,
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West,
Alick. George Bernard Shaw: ‘a good man fallen among Fabians’. NY:
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White,
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213-28
Whitman,
Robert F. Shaw and the play of ideas. Ithaca, NY: Cornell UP, 1977,
195-201
Williams,
Tennessee. ‘Candida: a college essay.’ Shaw Review 20 1977 60-62
Wittman,
Robert. Candida; or, what Shaw really meant. Hicksville, NY: Exposition
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Woodfield,
James. ‘Shaw’s Candida: a comedy.’ English Studies in Canada 16
1990 433-52
Yarrison,
Betsy C. ‘Marchbanks as “albatros”: an interpretation of Candida.’
Shaw Review 20 1977 71-82 (Baudelaire’s artist and Shaw’s)
Alexander,
Doris. ‘Captain Brant and Captain Brassbound: the origin of an O’Neill
character.’ Modern Language Notes 74 1959 306-10
Carpenter,
Charles A. Bernard Shaw & the art of destroying ideals: the early plays.
Madison: Univ. of Wisconsin Pr., 1969, 191-206
Davis,
Tracy C. George Bernard Shaw and the socialist theatre. Westport, CT:
Greenwood Pr., 1994, 15-20
Duerksen,
Roland A. ‘Shelleyan witchcraft: the unbinding of Brassbound.’ Shaw Review 15
1972 21-25
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, 259-70: ‘Captain
Brassbound’s Conversion: die Wiederaufnahme wesentlicher Strukturschemata
des dramatischen Frühwerks’
Hark,
Ina R. ‘Lady Cicely, I presume: converting the heathen, Shavian style.’ SHAW
1 1981 57-73
Mason,
Michael. ‘Captain Brassbound and Governor Eyre.’ Shavian 2 vii 1963
20-22 (historical background)
-----. ‘Captain
Brassbound’s Conversion: a coat of many colours.’ Signum 1 May 1974
23-29
Mills,
John A. Language and laughter: comic diction in the plays of Bernard Shaw.
Tucson: Univ. of Arizona Pr., 1969, 37-42, 80-82
Nelson,
Raymond S. ‘The quest for justice in Captain Brassbound’s Conversion.’ Iowa
English Bulletin Yearbook 21 1971 3-9
Pagliaro,
Harold E. Relations between the sexes in the plays of George Bernard Shaw.
Lewiston, NY: Edwin Mellen Pr., 2004, 117-22, 172-75
Saunders,
M. Sean. ‘From metropolis to “impossible edges”: Shaw’s imperial abjects.’ SHAW
22 2002 99-115 (in this play and Caesar and Cleopatra)
Teytaud,
Jean-P. ‘Shaw et le Maroc de Cunninghame Graham.’ Études Anglaises 47
1994 284-94 (the play and Graham’s Mogreb-el-Acksa)
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Oxford UP, 1973, 181-96
Watson,
Barbara B. A Shavian guide to the intelligent woman. London: Chatto
& Windus, 1964, 68-74
Weintraub,
Rodelle. ‘Captain Brassbound’s roots: the ancestry of a play.’ Pp 117-25
in Heinz Kosok, ed. Studies in Anglo-Irish literature. Bonn: Bouvier,
1982
-----.
‘Introduction.’ Pp xiii-xxv in Shaw. Captain Brassbound’s Conversion: a
facsimile of the holograph manuscript. NY: Garland, 1981
Weintraub,
Stanley. The unexpected Shaw: biographical approaches to G.B.S. and his work.
NY: Ungar, 1982, 105-10: ‘Shaw’s Lady Cicely and Mary Kingsley’ (first publ. on
pp 185-92 in Weintraub, R)
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, 163-68: ‘The Cassone:
ein Fragment von 1890’
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama. Columbia:
Univ. of Missouri Pr., 1973, 211-15
Leary,
Daniel J. ‘Shaw versus Shakespeare: the refinishing of Cymbeline.’ Educational
Theatre Journal 30 1978 5-25
Peters,
Sally. ‘Shaw’s double dethroned: The Dark Lady of the Sonnets, Cymbeline
Refinished, and Shakes Versus Shav.’ SHAW 7 1987 301-16
Rozett,
Martha T. Talking back to Shakespeare. Newark: Univ. of Delaware Pr.,
1994, 141-44
Scharine,
Richard G. ‘Blaming the bard: Shaw’s fifty years of refinishing Cymbeline.’
Journal of the Wooden O Symposium 2 2002 150-60
Stamm,
Rudolf. The shaping powers at work: fifteen essays on poetic transmutation.
Heidelberg: Winter, 1967, 130-45: ‘George Bernard Shaw and Shakespeare’s Cymbeline’;
previously publ. on pp 254-66 of Don C. Allen, ed. Studies in honor of T. W.
Baldwin. Urbana: Univ. of Illinois Pr., 1958
West, E.
J. ‘Shaw, Shakespeare, and Cymbeline.’ Theatre Annual 8 1950 7-24
Bertolini,
John A. The playwrighting self of Bernard Shaw. Carbondale: Southern
Illinois UP, 1991, 148-51
Peters,
Sally. ‘Shaw’s double dethroned: The Dark Lady of the Sonnets, Cymbeline
Refinished, and Shakes Versus Shav.’ SHAW 7 1987 301-16
Riehle,
Wolfgang. ‘Shaws Interlude: The Dark Lady of the Sonnets.’ Pp 607-16 in
Riehle & Hugo Keiper, eds. Anglistentag 1994 Graz: proceedings.
Tübingen: Niemeyer, 1995
Zbierski,
Henryk. ‘Shakespearean criticism and the influence of Bernard Shaw’s Dark
Lady of the Sonnets.’ Pp 192-201 in Stanislaw Helsztynski, ed. Poland’s
homage to Shakespeare, commemorating the fourth centenary of his birth
1564-1964. Warsaw: Polish Scientific Publications, 1965
Abbott,
Anthony S. Shaw and Christianity. NY: Seabury Pr., 1965, 93-107: ‘The
Devil’s Disciple’
Boynton,
Catherine, & Maynard Mack. Introduction to the play. Rev. ed. NY:
Hayden, 1976, 9-10, 30-42, 59-70, 93-96 (act-by-act exegesis)
Broich,
Ulrich. ‘Wandlungen des Melodramas: Boucicaults Arrah-na-Pogue, Shaws The
Devil’s Disciple und Ardens / D’Arcys Vandeleur’s Folly.’ Pp 108-24
in Raimund Borgmeier, ed. Gattungsprobleme in der anglo-amerikanischen
Literatur. Tübingen: Niemeyer, 1986
Carpenter,
Charles A. Bernard Shaw & the art of destroying ideals: the early plays.
Madison: Univ. of Wisconsin Pr., 1969, 157-68
Crompton,
Louis. Shaw the dramatist. Lincoln: Univ. of Nebraska Pr., 1969, 45-58
Cubeta,
Paul M. ‘The Devil’s Disciple.’ Pp 73-81 in Cubeta, ed. Modern drama
for analysis. 3rd ed. NY: Holt, Rinehart & Winston, 1963
Denninghaus,
Friedhelm. Die dramatische Konzeption George Bernard Shaws: Untersuchungen
zur Struktur der Bühnengesellschaft und zum Aufbau der Figuren in den Stücken
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gegen die ökonomisch-soziale Zwangswelt’
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama. Columbia:
Univ. of Missouri Pr., 1973, 143-48
Gordon,
David J. Bernard Shaw and the comic sublime. NY: St. Martin’s Pr., 1990,
97-104
Gray,
Candor. [pseud. of R. S. Graggs] A treatment of Bernard Shaw’s ‘The Minister
and the Atheist’. Ontario, CA: Graggs, Nelson, 1957. 16 pp (vanity-press
product)
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, 236-55: ‘The Devil’s
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Grene,
Nicholas. Bernard Shaw: a critical view. London: Macmillan, 1984, 38-44
Hubert,
Judd. ‘Upstaging in The Devil’s Disciple.’ Theatre Journal 35
1983 51-57
Nelson,
Raymond S. ‘Shaw and Buchanan.’ English Literature in Transition 12 1969
99-103 (the play and Robert Buchanan’s poem ‘The Devil’s Case’)
Newton,
K. M. In defence of literary interpretation: theory and practice.
London: Macmillan, 1986, 83-114: ‘Shaw and tragedy’ (97-102 on the play)
Pagliaro,
Harold E. Relations between the sexes in the plays of George Bernard Shaw.
Lewiston, NY: Edwin Mellen Pr., 2004, 189-94
Riddle,
Carol L. ‘Mrs. Dudgeon: more sinned against than sinning?’ SHAW 12 1992
271-80
Royall,
Walter L. ‘De Fonblanque and Shaw’s Burgoyne.’ Shaw Review 10 1967 42-49
Sterner,
Mark H. ‘Shaw’s Devil’s Disciple: the subversion of melodrama / the
melodrama of subversion.’ Modern Drama 42 1999 338-45
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Oxford UP, 1973, 156-68
Ward, A.
C. ‘Introduction’ and ‘Notes.’ Pp 105-42 in Shaw. The Devil’s Disciple.
London: Longmans, Green, 1958
Weintraub,
Rodelle. ‘“Only the man . . . draws clear of it”: a new look at Anthony
Anderson.’ Shaw Review 23 1980 130-32
Whitman,
Robert F. ‘Introduction.’ Pp xiii-xxii in Shaw. The Devil’s Disciple: a
facsimile of the holograph manuscript. NY: Garland, 1981
-----.
‘The passion of Dick Dudgeon.’ Shaw Review 21 1978 60-71
-----.
‘Shaw listens to the actors: the completion of The Devil’s Disciple.’ SHAW
3 1983 67-78
Wiedner,
Elsie M. ‘Shaw’s transformation of Ibsen in The Devil’s Disciple.’ Shaw
Review 22 1979 23-28
Adams,
Elsie B. Bernard Shaw and the aesthetes. Columbus: Ohio State UP, 1971,
121-30
Allett,
John. ‘Bernard Shaw, The Doctor’s Dilemma: scarcity, socialism, and the
sanctity of life.’ Journal of Value Inquiry 35 2001 227-45
Bertolini,
John A. The playwrighting self of Bernard Shaw. Carbondale: Southern
Illinois UP, 1991, 77-96: ‘The Doctor’s Dilemma: the art of
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Boxill,
Roger. Shaw and the doctors. NY: Basic Books, 1969, 134-43
Crompton,
Louis. Shaw the dramatist. Lincoln: Univ. of Nebraska Pr., 1969, 123-40
Doan,
William J. ‘The Doctor’s Dilemma: adulterating a muse.’ SHAW 21
2001 152-61
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama. Columbia:
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-----. Money
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1980, 54-63
Fordyce,
William D. T. ‘The quasi-agon in The Doctor’s Dilemma.’ SHAW 12
1992 181-98
Gillie,
Christopher. Movements in English literature, 1900-1940. London:
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Hill,
James. ‘Bernard Shaw and the doctors: the art and science of medicine in The
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Hugo,
Leon H. ‘The Doctor’s Dilemma at the Court Theatre.’ Unisa English
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Löwy,
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Mary. ‘Shaw at the Phoenix.’ Partisan Review 22 1955 252-59; repr. in
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Morgan,
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-----. The
Shavian playground: an exploration of the art of George Bernard Shaw.
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Norbert F. ‘Doctor Ridgeon’s deceptive dilemma.’ Shaw Review 2 vii 1959
1-5
Peters,
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Martin. ‘William Archer and The Doctor’s Dilemma.’ SHAW 4 1984
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Smith,
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Trilling,
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literature: a reader with commentaries. Garden City, NY: Doubleday, 1967
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Oxford UP, 1973, 265-79
Weintraub,
Stanley. Shaw’s people: Victoria to Churchill. Univ. Park: Penn State
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Doctor’s Dilemma’ (from SHAW 6 1986 77-80)
Wisenthal,
J. L. The marriage of contraries: Bernard Shaw’s middle plays.
Cambridge, MA: Harvard UP, 1974, 109-18
Carpenter,
Charles A. ‘Shaw’s cross-section of anti-Shavian opinion.’ Shaw Review 7
1964 78-86
Fisher,
Barbara M. ‘Fanny’s First Play: a critical potboiler?’ SHAW 7
1987 187-205
Gahan,
Peter. Shaw shadows: rereading the texts of Bernard Shaw. Gainesville:
UP of Florida, 2004, 166-88 (incorporates ‘Ruskin and form in Fanny’s First
Play.’ SHAW 15 1995 85-103)
Horzyca,
Wilam. O dramacie. Warsaw: Wydawnictwa Artystyczne i Filmowe, 1969,
226-32: ‘Rodowód Ma»gorzaty Knox’ (1956 essay on the play)
Hugo,
Leon H. Edwardian Shaw: the writer and his age. NY: St. Martin's Pr.,
1999, 266-75: ‘Postscript 1911: Fanny’s First Play’ (incorporates ‘Shaw
and his critics: Fanny’s First Play.’ Pp 61-80 in Conolly)
Lorichs,
Sonja. The unwomanly woman in Bernard Shaw’s drama and her social and
political background. Stockholm: Almqvist & Wiksell, 1973, 113-31:
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Nelson,
Raymond S. ‘Fanny’s First Play and The Mill on the Floss.’ Shaw
Review 12 1969 59-65
Carpenter,
Charles A. Dramatists and the bomb: American and British playwrights
confront the Nuclear Age, 1945-1964. Westport, CT: Greenwood Pr., 1999,
55-60: ‘Shaw’s reactions to the birth of the Atomic Age’ (from SHAW 18
1998 173-79)
Hummert,
Paul A. Bernard Shaw’s Marxian romance. Lincoln: Univ. of Nebraska Pr.,
1973, 208-16
‘Symposium:
Farfetched Fables.’ SHAW 14 1994 83-92
The
Gadfly (adaptation of novel by Ethel Voynich)
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, 255-58: ‘The Gadfly:
ein revolutionäres Melodrama’
Coleman,
D. C. ‘Shaw, Hitler, and the satiric fiction.’ Dalhousie Review 46
1966-67 443-56
Fyrth,
H. J. ‘In the devil’s decade: Geneva and international politics.’ SHAW
11 1991 239-55
Geduld,
Harry M. ‘Bernard Shaw and Adolph Hitler.’ Shaw Review 4 i 1961 11-20
Goldfarb,
Alvin. ‘Adolf Hitler as portrayed in drama and film during his lifetime.’
Journal of Popular Culture 13 1979 55-66
Harrison,
William. ‘Geneva: a post-war approach.’ Journal of Irish Literature 19
ii 1990 52-57
Isser,
Edward R. Stages of annihilation: theatrical representations of the
Holocaust. Madison, NJ: Fairleigh Dickinson UP, 1997, 44-61: ‘Bernard Shaw
and British Holocaust drama’
Kamer,
Hansruedi. Künstlerische und politische Extravaganz im Spätwerk Shaws.
Bern: Francke, 1973, 139-50: ‘Nationalismus versus Supranationalismus: Geneva
(1938/39)’
Langner,
Lawrence. The magic curtain: the story of a life in two fields, theatre and
invention. NY: Dutton, 1951, 454-58: appendix documenting the Langner-Shaw
discussion of the pre-publication version of the play, which led to rewriting
parts
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw. London: Methuen, 1972, 316-25
Pilecki,
Gerard A. Shaw’s Geneva: a critical study of the evolution of the
text in relation to Shaw’s political thought and dramatic practice. The
Hague: Mouton, 1965. 189 pp; pp 101-03, 105-38, & 140-51 repr. on pp 145-84
in Otten
Sharp,
Sister M. Corona. ‘The theme of masks in Geneva.’ Shaw Review 5
1962 82-91
Smith,
Warren S. Bishop of everywhere: Bernard Shaw and the Life Force. Univ.
Park: Penn State UP, 1982, 138-49: ‘The failure of governments: The Apple
Cart, On the Rocks, and Geneva’ (from Shaw Review 21
1978 20-30)
Stone,
Susan C. ‘Geneva: paean to the dictators?’ Shaw Review 16 1973
21-29
Bentley,
Eric. Bernard Shaw: a reconsideration. 2nd ed. NY: Norton,
1976, 127-31, 133-35
Davis,
Jill. ‘The New Woman and the new life.’ Pp 17-36 in Viv Gardner & Susan
Rutherford, eds. The New Woman and her sisters: feminism and theatre
1850-1914. London: Harvester Wheatsheaf, 1992
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, 106-25: ‘Der Determinismus und der
Verlust der moralischen Integrität’
Downer,
Alan S. ‘Shaw’s first play.’ Pp 3-24 in Rosenblood 2 (on Getting
Married as well as Widowers’ Houses)
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama. Columbia:
Univ. of Missouri Pr., 1973, 90-96
Gahan,
Peter. Shaw shadows: rereading the texts of Bernard Shaw. Gainesville:
UP of Florida, 2004, 213-27
Innes,
Christopher. ‘“Nothing but talk, talk, talk—Shaw talk”: discussion plays and
the making of modern drama.’ Pp 162-79 in Innes (stresses this play and Misalliance)
Kohl,
Norbert H. Bernard Shaws viktorianisches Erbe. Heidelberg: Winter, 1992,
206-16: ‘Getting Married’
Lorichs,
Sonja. The unwomanly woman in Bernard Shaw’s drama and her social and
political background. Stockholm: Almqvist & Wiksell, 1973, 89-111:
‘Edith and Lesbia in Getting Married, a Disquisitory Play: marriage and
divorce’
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw. London: Methuen, 1972, 176-86: ‘The Greek form again: Getting
Married’
Sharp,
William L. ‘Getting Married: new dramaturgy in comedy.’ Educational
Theatre Journal 11 1959 103-09
Solomon,
Stanley J. ‘Theme and structure in Getting Married.’ Shaw Review 5
1962 92-96
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Oxford UP, 1973, 279-86
Bertolini,
John A. The playwrighting self of Bernard Shaw. Carbondale: Southern
Illinois UP, 1991, 151-55
Appel,
Sybille. Die Funktion der Gesellschaftskomödie von 1910-33 im europäischen
Vergleich: dargestellt an Beispielen aus Deutschland, England, Frankreich und
Österreich-Ungarn bzw. Österreich und Ungarn. Frankfurt: Lang, 1985,
202-36: ‘George Bernard Shaw und seine Gesellschaftskomödien Pygmalion
(1913) und Heartbreak House (1920)’
Bennett,
Benjamin. Modern drama and German classicism: renaissance from Lessing to
Brecht. Ithaca, NY: Cornell UP, 1979, 265-73
Berst,
Charles A. Bernard Shaw and the art of drama. Urbana: Univ. of Illinois
Pr., 1973, 221-58: ‘Heartbreak House: Shavian expressionism’
Brown,
G. E. George Bernard Shaw. NY: Arco, 1971, 109-19
Brustein,
Robert. The theatre of revolt. London: Methuen, 1965, 220-27
Bryden,
Ronald. ‘The roads to Heartbreak House.’ Pp 180-94 in Innes
Clurman,
Harold. ‘Notes for a production of Heartbreak House.’ Tulane Drama
Review 5 iii 1961 58-67; repr. on pp 407-16 in Smith, and on pp
445-51 in Marjorie Loggia & Glenn Young, eds. Collected works of Harold
Clurman. NY: Applause Theatre Book Publishers, 1994
Cole,
David W. ‘Shaw’s Heartbreak House.’ Explicator 62 2003 22-23
Coleman,
D. C. ‘Fun and games: two pictures of Heartbreak House.’ Drama Survey
5 1966-67 223-36 (the play compared to Albee’s Who’s Afraid of Virginia
Woolf?)
Corrigan,
Robert W. The theatre in search of a fix. NY: Delacorte Pr., 1973,
161-74: ‘The collapse of the Shavian cosmos’ (stresses the play)
-----. ‘Heartbreak
House: Shaw’s elegy for Europe.’ Shaw Review 2 ix 1959 2-6
Crompton,
Louis. Shaw the dramatist. Lincoln: Univ. of Nebraska Pr., 1969, 153-68;
repr. on pp 416-30 in Smith
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama. Columbia:
Univ. of Missouri Pr., 1973, 99-107, 227-31
-----. Money
& politics in Ibsen, Shaw, and Brecht. Columbia: Univ. of Missouri Pr.,
1980, 82-92
Frank,
Joseph. ‘Exile and the kingdom: the incipient absurdity of Milton and Shaw.’ Mosaic
9 i 1975 111-21
-----.
‘Internal vs. external combustion: Dickens’ Bleak House and Shaw’s Major
Barbara and Heartbreak House.’ Shaw Review 20 1977 126-34
Freeborn,
Richard. ‘A Shavian fantasia in the Russian manner and Chekhov’s last play.’ Shavian
8 vii 1999-2000 6-9
Ganz,
Arthur. George Bernard Shaw. London: Macmillan, 1983, 187-94
Garner,
Stanton B. The absent voice: narrative comprehension in the theater.
Urbana: Univ. of Illinois Pr., 1989, 125-47: ‘Shaw’s comedy of disillusionment:
Major Barbara and Heartbreak House’ (from Modern Drama 28
1985 638-58)
Gibbs,
A. M. The art and mind of Shaw: essays in criticism. NY: St. Martin’s
Pr., 1983, 177-90: ‘The tragi-comic vision of Heartbreak House’
-----. ‘Heartbreak
House: chamber of echoes.’ SHAW 13 1993 113-32 (King Lear and
The Cherry Orchard are the main literary echoes)
-----.
Heartbreak House: preludes of apocalypse. NY: Twayne, 1994. 149 pp
Gill,
Richard. Happy rural seat: the English country house and the literary
imagination. New Haven, CT: Yale UP, 1972, 135-40
Glicksberg,
Charles. ‘The modern playwright and the absolute: the decline of tragedy.’ Queen’s
Quarterly 65 1958 459-71 (part on the play)
Gordon,
David J. Bernard Shaw and the comic sublime. NY: St. Martin’s Pr., 1990,
155-63
Grene,
Nicholas. Bernard Shaw: a critical view. London: Macmillan, 1984, 114-31
Guy,
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Handley,
Miriam. ‘Chekhov translated: Shaw's use of sound effects in Heartbreak House.’
Modern Drama 42 1999 565-78
Hark,
Ina R. ‘Anti-Shavian satire in Heartbreak House.’ Dalhousie Review 58
1979 661-73
Hornby,
Richard. ‘The symbolic action of Heartbreak House.’ Drama Survey
7 1968-69 5-24
Hoy,
Cyrus. ‘Shaw’s tragicomic irony: from Man and Superman to Heartbreak
House.’ Virginia Quarterly Review 47 1971 56-78
Hynes,
Joseph. ‘Heartbreak House: between modernism and postmodernism.’ Independent
Shavian 26 1988 51-56
Innes,
Christopher. Modern british drama: the twentieth century.
-----,
ed. A sourcebook on naturalist theatre. London: Routledge, 2000,
189-248: ‘Bernard Shaw 1856-1950’ (writings by Shaw and other contemporaries on
Mrs Warren’s Profession, Heartbreak House, and their social and
economic contexts, edited and discussed by Innes)
Jordan,
John. ‘Shaw’s Heartbreak House.’ Threshold 1 1957 50-56
Kaufmann,
Michael W. ‘The dissonance of dialectic: Shaw’s Heartbreak House.’ Shaw
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Kruse,
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37 1999 3-13
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‘Shaw’s Blakean vision: a dialectic approach to Heartbreak House.’ Modern
Drama 15 1972 89-103
Lewis,
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(stresses the play)
Li, Kay.
‘Heartbreak House and the Trojan War.’ Pp 83-92 in Rusinko
McDowell,
Frederick P. W. ‘Apocalypse and after: recent interpretations of Heartbreak
House.’ Independent Shavian 25 1987 3-15
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‘Technique, symbol, and theme in Heartbreak House.’ PMLA 68 1953
335-56; repr. on pp 85-104 in
Meisel,
Martin. Shaw and the nineteenth-century theater.
Mendelsohn,
Michael J. ‘The heartbreak houses of Shaw and Chekhov.’ Shaw Review 6
1963 89-95; repr. on pp 399-407 in Smith
Mizener,
Arthur. ‘Poetic drama and the well-made play.’ English Institute Essays
1949 33-54; 45-54 treat the play and Saint Joan
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw.
Murrenus,
Valerie. ‘Hostages of heartbreak: the women of Heartbreak House.’ SHAW
23 2003 17-25
Nathan,
Rhoda B. ‘The “daimons” of Heartbreak House.’ Modern Drama 21
1978 253-65
-----.
‘The House with no exit: the existential Shaw.’ Independent Shavian
25 1987 35-42
Nethercot,
Arthur. ‘Zeppelins over heartbreak house.’ Shaw Review 9 1966 46-51;
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Nickson,
Richard. ‘Heartbreak House: play and earnest.’ Independent Shavian
41 2003 13-15
Pagliaro,
Harold E. Relations between the sexes in the plays of George Bernard Shaw.
Perkins,
Richard. ‘[Michael Cook’s] Jacob’s Wake and the European tradition.’ Canadian
Drama 15 1989 159-68 (compared to Heartbreak House)
Potter,
Rosanne G. ‘Changes in Shaw’s dramatic rhetoric: Mrs Warren’s Profession,
Major Barbara, and Heartbreak House.’ Pp 225-58 in Potter, ed. Literary
computing and literary criticism: theoretical and practical essays on theme and
rhetoric.
Quinn,
Martin. ‘The Dickensian presence in Heartbreak House.’ Shaw Review 20
1977 119-25
Raben, Estelle
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Rabey,
David I. ‘Power, culture, and the politics of absolute play: Heartbreak
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12 1992 199-212
Radford,
Frederick L. ‘The conspicuously elusive Mr. Shaw: some remarks on recent
Shaviana.’ Nineteenth Century Theatre Research 3 1975 37-45
Reed,
Robert R. ‘Boss Mangan, Peer Gynt, and Heartbreak House.’ Shaw Review
2 vii 1959 6-12
Smith,
Warren S. Bishop of everywhere: Bernard Shaw and the Life Force.
Stewart,
J. I. M. Eight modern writers.
Stockholder,
Fred E. ‘A Schopenhauerian reading of Heartbreak House.’ Shaw Review 11
1968 42-51
Thaler,
Estelle M. ‘Apocalyptic vision in Heartbreak House and Endgame:
the metaphor of change.’ Zeitschrift für Anglistik und Amerikanistik 34
1986 343-51
Throne,
Marilyn. ‘Madness, mysticism, and black cultures: G. B. Shaw’s Peter Keegan and
Captain Shotover.’ Colby Library Quarterly 23 1987 123-34
-----.
‘The social value of the privileged class: a comparison of Shaw’s Heartbreak
House and Friel’s Aristocrats.’ Colby Library Quarterly 24
1988 162-72
Turco,
Alfred. Shaw’s moral vision: the self and salvation.
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Vidal,
Gore. Rocking the boat.
Vogt,
Sally P. ‘Heartbreak House: Shaw’s ship of fools.’ Modern Drama
21 1978 267-86
Waterman,
David. ‘The human body as a text of resistance: madness as a social /
individual wound in Wilfred Owen, George Bernard Shaw and Virginia Woolf.’ Sprachkunst
30 1999 67-96 (77-83 on the play)
Webster,
Grant. ‘Smollett and Shaw: a note on a source for Heartbreak House.’ Shaw
Review 4 iii 1961 16-17 (Peregrine Pickle)
Weightman,
John. ‘The mystery of Heartbreak House.’ Encounter 44 v 1975
39-41
Weintraub,
Stanley. ‘Curtains speech: a new source for Heartbreak House.’ English
Literature in Transition 38 1994 497-500
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‘Introduction.’ Pp xiii-xxviii in Shaw. Heartbreak House: a facsimile of the
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& Talley, 1971, 162-83: ‘Heartbreak House’; 333-43: ‘Appendix:
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House: Shaw’s Lear.’ Modern Drama 15 1972 255-65; revised on
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Whitaker,
Thomas R. Fields of play in modern drama.
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‘Playing in earnest.’ Pp 407-23 in Susan Dick, ed. Omnium gatherum: essays
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Whitman,
Robert F. Shaw and the play of ideas.
Wilkenfeld,
Roger B. ‘Perpetual motion in Heartbreak House.’
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J. L. The marriage of contraries: Bernard Shaw’s middle plays.
-----. Shaw’s
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Woodfield,
James. ‘Ellie in wonderland: dream and madness in Heartbreak House.’ English
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Wright,
Anne. Literature of crisis, 1910-22: Howards End, Heartbreak
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‘Shaw’s burglars: Heartbreak House and Too True to be Good.’ Shaw
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Household
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Play
Dukore,
Bernard F. ‘Shaw improves Shaw.’ Modern Drama 6 1963 26-31 (emendations
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Gahan,
Peter. Shaw shadows: rereading the texts of Bernard Shaw.
Smith,
J. Percy. ‘Introduction.’ Pp xiii-xxii in Shaw. Candida and How He Lied
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Coward,
Barry. ‘An historian looks at Good King Charles.’ Shavian 6 ii
1984-85 9-10
Evans,
T. F. ‘‘In Good King Charles’s Golden Days’: the dramatist as
historian.’ SHAW 7 1987 259-77
Keynes,
John Maynard. ‘G.B.S. and Isaac Newton.’ Pp 106-09 in Winsten
Larson,
Gale K. ‘‘In Good King Charles’s Golden Days’: an imaginative and
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Meisel,
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O’Donnell,
Norbert F. ‘Harmony and discord in Good King Charles.’ Shaw Bulletin 2
iv 1958 5-8
Tetzeli
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1994 219-30
Bertolini,
John A. The playwrighting self of Bernard Shaw.
Matlaw,
Myron. ‘Bernard Shaw and The Interlude at the Playhouse.’ Shaw Review
3 ii 1960 9-17 (includes text)
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama.
Gahan,
Peter. ‘Jitta’s Atonement: the birth of psychoanalysis and “the fetters
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Matlaw,
Myron. ‘Shaw’s adaptation of Frau Gittas Sühne.’ Pp vii-xvii in Shaw.
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Woodsworth,
Judith. ‘In the looking glass: Bernard Shaw on and in translation.’ Pp 531-51
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Denninghaus,
Friedhelm. Die dramatische Konzeption George Bernard Shaws: Untersuchungen
zur Struktur der Bühnengesellschaft und zum Aufbau der Figuren in den Stücken
Shaws.
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama.
-----.
‘Shaw’s “big three.”’ SHAW 4 1984 33-67 (Man and Superman, John
Bull’s Other Island, and Major Barbara as a kind of trilogy)
Ferrar,
Harold. ‘The caterpillar and the gracehoper: Bernard Shaw’s John Bull’s
Other Island.’ Éire-Ireland 15 i 1980 25-45
Gahan,
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Gibbs,
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‘Bernard Shaw’s other island.’ Pp 122-36 in Oliver MacDonagh et al., eds. Irish
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‘Yeats, Shaw and unity of culture.’ Southern Review (
Gillin,
Edward. ‘Letters for man, a postscript for God: Shaw’s comedy and O’Casey’s
farce.’ O’Casey Annual 4 1985 63-72 (the play compared to Purple Dust)
Gordon,
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Grene,
Nicholas. Bernard Shaw: a critical view.
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Joseph M. ‘Climate and character in John Bull’s Other Island.’ SHAW
2 1982 17-25
Jenckes,
Norma. ‘The political function of Shaw’s destruction of stage Irish conventions
in John Bull’s Other Island.’ Essays in Theatre 5 1987 115-26
-----.
‘The rejection [by Yeats] of Shaw’s Irish play: John Bull’s Other Island.’
Éire-Ireland 10 i 1975 38-53
Kiberd,
Declan. Inventing
Kosok,
Heinz. ‘John Bull’s other ego: reactions to the stage Irishman in Anglo-Irish
drama.’ Pp 19-33 in Richard Wall, ed. Medieval and modern
Krause,
David. The profane book of Irish comedy.
Larik,
K. M. ‘John Bull’s Other Island (1904): salvaged and damned state of
mind.’ Ariel: A Research Journal of English Language and Literature (Jamshoro)
15 1989-90 1-9
Leary,
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35 1997 27-48 (Doyle’s soliloquy as a reflection of Shaw at the time)
-----.
‘A deleted passage from Shaw’s John Bull’s Other Island.’ Bulletin of
the New York Public Library 74 1970 598-606 (a crucial passage cut for
production)
McDowell,
Frederick P. W. ‘Politics, comedy, character, and dialectic: the Shavian world
of John Bull’s Other Island.’ PMLA 82 1967 542-53
Meisel,
Martin. ‘John Bull’s Other Island and other working partnerships.’ SHAW
7 1987 119-36
-----. Shaw
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Mercier,
Vivian. ‘Irish religion and Irish politics: a tour of John Bull’s Other
Island (1904).’ Threshold 37 1986-87 30-40
Miller,
C. Brook. ‘Exporting the Garden City: imperial development and the English
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Mills,
John A. Language and laughter: comic diction in the plays of Bernard Shaw.
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw.
Müllenbrock,
Heinz J. Literatur und Zeitgeschichte in
Nadler,
Paul. ‘Pastoral elements in John Bull’s Other Island.’ Modern Drama
38 1995 520-24
Parker,
William. ‘Broadbent and Doyle: two Shavian archetypes.’ Pp 39-49 in Patrick
Rafroidi et al., eds. Aspects of the Irish theatre.
Poulain,
Alexandra. ‘Une saison en enfer: L’Autre Ile de John Bull ou la
dramaturgie du malentendu.’ Pp 77-97 in Brennan
Ritschel,
Nelson O. Synge and Irish nationalism: the precursor to revolution.
Rodstein,
Susan de S. ‘John Bull and Paddy’s pig: Shaw and the stage Irishman.’ Pp
295-312 in C. C. Barfoot, ed. Beyond Pug’s tour: national and ethnic
stereotypes in theory and literary practice.
Rollins,
Ronald G. ‘Shaw and O’Casey: John Bull and his other island.’ Shaw Review 10
1967 60-69 (the play and Purple Dust)
Saddlemeyer,
Ann. ‘John Bull's Other Island: “seething in the brain.”’ Canadian
Journal of Irish Studies 25 1999 219-41
Schrank,
Bernice. ‘Staging John Bull: British identity and Irish drama.’ Pp 128-60 in
Andrew Benjamin et al., eds. Postcolonial cultures and literatures:
modernity and the (un) Commonwealth. NY: Lang, 2002
Sidnell,
Michael J. ‘John Bull’s Other Island—Yeats and Shaw.’ Pp 156-78 in
Robert O’Driscoll, ed. Theatre and nationalism in twentieth-century
Smith,
Warren S. Bishop of everywhere: Bernard Shaw and the Life Force.
Swartzlander,
Susan. ‘“To learn to respect reality”: Bernard Shaw’s John Bull’s Other
Island.’ SHAW 8 1988 85-95
Throne,
Marilyn. ‘Madness, mysticism, and black cultures: G. B. Shaw’s Peter Keegan and
Captain Shotover.’ Colby Library Quarterly 23 1987 123-34
Turner,
Tramble T. ‘Bernard Shaw’s “eternal” Irish concerns.’ Éire / Ireland 21
ii 1986 57-69
Turco,
Alfred. Shaw’s moral vision: the self and salvation.
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Weintraub,
Rodelle. ‘Doyle’s dream: John Bull’s Other Island.’ SHAW 21 2001
143-50
West,
Alick. George Bernard Shaw: ‘a good man fallen among Fabians’. NY:
International, 1950, 114-20
Wisenthal,
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‘Macbeth
Skit’
Dukore,
Bernard F. ‘Macbeth Skit.’ Educational Theatre Journal 19 1967 343-48
(prints the text with a brief note)
Byrne, Sandie, ed. George Bernard
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Superman, Major Barbara: contexts and criticism. NY: Norton,
2002. 545 pp
Zimbardo, Rose A., ed. Twentieth century
interpretations of Major Barbara: a collection of critical essays.
Abbott,
Anthony S. Shaw and Christianity. NY: Seabury Pr., 1965, 141-56:
‘Assault on idealism: Major Barbara’
Adolph,
Andrea. ‘Virginia Woolf’s revision of a Shavian tradition.’ SHAW 21 2001
63-79 (her play Freshwater seems based on Major Barbara)
Albert,
Sidney P. ‘Ballycorus and the folly: in search of Perivale St. Andrews.’ SHAW
19 1999 158-74
-----.
‘Barbara’s progress.’ SHAW 21 2001 81-93
-----.
‘Evangelizing the garden city?’ SHAW 19 1999 41-77
-----.
‘From Murray’s Mother-in-Law to Major Barbara: the outside
story.’ SHAW 22 2002 19-65
-----.‘“In
more ways than one”: Major Barbara’s debt to Gilbert Murray.’ Educational
Theatre Journal 20 1968 123-40; repr. on pp 375-97 in Smith
-----.
‘“Letters of fire against the sky”: Bodger’s soul and Shaw’s pub.’ Shaw
Review 11 1968 82-98
-----.
‘The Lord’s Prayer and Major Barbara.’ SHAW 1 1981 107-28
-----.
‘The mood of Barbara.’ Independent Shavian 32 1994 27-28 (from Regional
[NY] 2 i 1958 8); ‘The mood of Barbara revisited: Shaw, Jevons, and
the syllogism.’ Independent Shavian 32 1994 29-36
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‘The price of salvation: moral economics in Major Barbara.’ Modern
Drama 14 1971 307-23
-----.
‘Shaw’s advice to the players of Major Barbara.’ Theatre Survey
10 1969 1-17; ‘More Shaw advice . . . .’ Theatre Survey 11 1970 66-85
Albrecht,
Michael von. ‘Fate or hate? A textual problem in Shaw’s Major Barbara.’ Notes
& Queries 36 1989 196-97 (‘To hold a hand uplifted over fate’ in Act
III is absurd or wrong)
Allett,
John. ‘Bernard Shaw and dirty-hands politics: a comparison of Mrs. Warren’s
Profession and Major Barbara.’ Journal of Social Philosophy
28 ii 1995 32-45; repr. on pp 51-65 in Paul Rynard & David P. Shugarman,
eds. Cruelty and deception: the controversy over dirty hands in politics.
Baker,
Stuart E. Bernard Shaw’s remarkable religion: a faith that fits the facts.
-----.
‘Logic and religion in Major Barbara: the syllogism of St. Andrew
Undershaft.’ Modern Drama 21 1978 241-52
Baskin,
Ken A. ‘Undershaft’s challenge and the future of the race.’ Shaw Review 21
1978 136-51
Bentley,
Eric. Thinking about the playwright: comments from four decades.
Berg,
Fredric. ‘Structure and philosophy in Man and Superman and Major
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Berst,
Charles A. Bernard Shaw and the art of drama.
Bertolini,
John A. The playwrighting self of Bernard Shaw.
Bloom,
Harold, ed. George Bernard Shaw’s Major Barbara: modern critical
interpretations. NY:
Bowman,
David H. ‘Shaw, Stead and the Undershaft tradition.’ Shaw Review 14 1971
29-32
Brooks,
Harold F. ‘Shaw and Shelley.’ Notes & Queries 36 1989 196 (possible
source of ‘Dare you make war on war?’)
Brown,
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Chen,
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-----. ‘Wagner
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Louis. Shaw the dramatist.
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Bernard F. Bernard Shaw, playwright: aspects of Shavian drama.
-----.
‘Dolly finds a father: Shaw’s dramatic development.’ Papers on Language and
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-----.
‘“Father Undershaft” and the kids.’ SHAW 21 2001 95-105
-----.
‘Introduction.’ Pp xiii-xxii in Shaw. Major Barbara: a facsimile of the
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-----.
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-----.
‘Toward an interpretation of Major Barbara.’ Shaw Review 6 1963
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‘The Undershaft maxims.’ Modern Drama 9 1966 90-100; repr. on pp 58-67
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Fergusson,
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-----.‘Internal
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Ozy
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-----. The
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Whitman,
Robert F. Shaw and the play of ideas.
Whittock,
Trevor. ‘Major Barbara: comic masterpiece.’ Theoria 51 1978 1-14
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See
also ‘Shaw and
Nietzsche’
Byrne, Sandie, ed. George Bernard
Shaw’s plays: Mrs. Warren’s Profession, Pygmalion, Man and
Superman, Major Barbara: contexts and criticism. NY: Norton,
2002. 545 pp
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Victoriens & Édouardiennes 24 1986 153-60 (meager)
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-----.
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‘Mendoza and Sir Arthur Conan Doyle.’ Shaw Review 10 1967 2-5
Anniah
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Don. ‘The structural meaning of Man and Superman.’ Shavian 4 1971
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Gene A. ‘Don Juan’s Hell.’ Ball State University Forum 11 ii 1970 47-52
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Bermel,
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Charles A. Bernard Shaw and the art of drama.
-----.
‘Superman theater: gusts, galumphs, and grumps.’ SHAW 16 1996 195-202
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-----. The
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Ciarletta,
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Crompton,
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Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama.
-----.
‘Shaw’s “big three.”’ SHAW 4 1984 33-67 (Man and Superman, John
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Emmett,
V. J. ‘Roebuck Ramsden’s study: Shaw as philosophical conservative.’ Journal
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England,
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T. F. ‘Man and Superman: notes for a stage history.’ SHAW 3 1983
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Foster,
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& Queries 8 1961 232-33
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Gainor,
J. Ellen. Shaw’s daughters: dramatic and narrative constructions of gender.
Ann Arbor: Univ. of Michigan Pr., 1991, 202-12
Ganz,
Arthur. ‘Don Giovanni Shavianized: Man and Superman as Mozartean
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-----. George
Bernard Shaw. London: Macmillan, 1983, 135-47
Ganz,
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devaluations in a modern idiom: the Don Juan plays of Shaw, Frisch, and
Montherlant’ (expanded from New York Literary Forum 1 1979 87-94)
Gassner,
John. The theatre in our times: a survey of the men, materials and movements
in the modern theatre. NY: Crown, 1954, 156-62: ‘The Puritan in Hell’
Gauthier,
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Geist,
Edward V. ‘Ann Whitefield and Hedda Gabler: two versions of Everywoman.’ Independent
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Gibbs,
A. M. The art and mind of Shaw: essays in criticism. NY: St. Martin’s
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Glicksberg,
Charles. The ironic vision in modern literature. The Hague: Nijhoff,
1969, 178-81: ‘The Shavian devil’
Gordon,
David J. Bernard Shaw and the comic sublime. NY: St. Martin’s Pr., 1990,
110-18
Grau,
Jacinto. Don Juan en el tiempo y en el espacio. Buenos Aires: Raigal,
1953, 205-08
Grene,
Nicholas. Bernard Shaw: a critical view. London: Macmillan, 1984, 53-66
Grimm,
Reinhold. Echo and disguise: studies in German and comparative literature.
Frankfurt: Lang, 1989, 79-120: ‘Shaw and Supershaw: Shavian Nietzscheanism
reconsidered’; also on pp 81-124 in Volker Dürr et al. Nietzsche: Literature
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Grunwald,
Henry A. ‘The disappearance of Don Juan.’ Horizon 4 i 1962 56-65
Hermann,
István. A személyiség nyomában: drámai kalauz. Budapest: MagvetÅ, 1972, 418-28: ‘A szocialista
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Holt,
Charles L. ‘Mozart, Shaw and Man and Superman.’ Shaw Review 9
1966 102-16
Hoy,
Cyrus. ‘Shaw’s tragicomic irony: from Man and Superman to Heartbreak
House.’ Virginia Quarterly Review 47 1971 56-78
Hugo,
Leon H. Bernard Shaw, playwright and preacher. London: Methuen, 1971,
120-45
Innes,
Christopher. Modern british drama: the twentieth century. Cambridge:
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(1856-1950)’ (33-39 on the play)
Irvine,
William. The universe of G.B.S. NY: McGraw-Hill, 1949, 235-48: ‘Man
and Superman: a step in Shavian disillusionment’ (from Huntington
Library Quarterly 10 1947 209-24)
Jacobs,
Hans J. Don Juan—heute: die ‘Don Juan-Figur’ im Drama des zwanzigsten
Jahrhunderts: Mythos und Konfiguration. Rheinbach-Merzbach: CMZ, 1989,
49-101
Johnson,
James L. ‘Tiffany diamonds and classical music as influences on Paul Gregory’s
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Communication 46 1982 266-75
Klaiƒ, Dragan. The plot of the future:
Utopia and Dystopia in modern drama. Ann Arbor: Univ. of Michigan Pr.,
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drami. Zagreb:
Cekade, 1989, 73-77
Kuhnelt,
Harro. ‘Don Juan in der englischen Literatur: “Don Juan—wie Mozarts susse
Weisen” (Lord Byron).’ Pp 163-70 in Wege zu Mozart: ‘Don Giovanni’.
Vienna: Holder-Pichler-Tempsky, 1987 (discusses Byron’s and Shaw’s Don Juans)
Larik,
K. M. ‘Man and Superman: a classic creation.’ Ariel: A Research
Journal of English Language and Literature (Jamshoro) 14 1988-89 1-11
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 of the Unexpected Isles as thesis dramas)
Leary,
Daniel J. ‘Shaw’s use of stylized characters and speech in Man and Superman.’
Modern Drama 5 1963 477-90; repr. in California Shavian 4 iii
1963 unpaged
Londraville,
Janis. ‘Lady Griselda’s Dream: May Morris’s Man and Superman.’ Independent
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Mafud
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Mandel,
Oscar. The theatre of Don Juan. Lincoln: Univ. of Nebraska Pr., 1963,
547-51
McCauley,
Janie C. ‘Kipling on women: a new source for Shaw.’ Pp 23-29 in Weintraub, R;
revised from Shaw Review 17 1974 40-44 (on links more central than
‘Rikki-Tikki-Tavi’)
McDowell,
Frederick P. W. ‘Heaven, Hell, and turn-of-the-century London: reflections upon
Shaw’s Man and Superman.’ Drama Survey 2 1963 245-68; repr. (with
excisions) on pp 45-55 in Gibbs
McFarland,
Carlyle A. ‘Man and Superman, Shaw’s statement on creative evolution: a
modern analysis.’ Panjab University Research Bul: Arts 18 ii 1987 75-80
Meisel,
Martin. Shaw and the nineteenth-century theater. Princeton, NJ:
Princeton UP, 1963, 177-83: ‘Man and Superman and the duel of sex’; see
also index
Menascé,
Esther. ‘Don Giovanni in Gran Bretagna dopo l’impasse Shaviana.’ Ragioni
Critiche 67-70 1989 25-40 (plays by Flecker, Bennett, etc.)
Metwally,
Abdalla A. Studies in modern drama, I. Beirut: Beirut Arab Univ., 1971,
18-37: ‘Don Juan in Hell: a Shavian tour de force’
Mills,
Carl H. ‘Man and Superman and the Don Juan legend.’ Comparative
Literature 19 1967 216-25
-----.
‘Shaw’s debt to Lester Ward in Man and Superman.’ Shaw Review 14
1971 2-13 (the controversial ‘gynaeocentric theory’ of the sexes)
-----.
‘Shaw’s superman: a re-examination.’ Shaw Review 13 1970 48-58; repr. on
pp 133-43 in Adams
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw. London: Methuen, 1972, 101-18: ‘Man and Superman:
verbal heroics’
Morrow,
Laurie P. ‘The playwright in spite of himself: George Bernard Shaw, Man and
Superman.’ World & I 18 2003 242-54
Nelson,
Raymond S. ‘Shaw’s Heaven, Hell, and redemption.’ Costerus 6 1972
99-108; ‘Shaw’s Heaven and Hell.’ Contemporary Review 226 1975 132-36
Nethercot,
Arthur. Men and supermen: the Shavian portrait gallery. Cambridge, MA:
Harvard UP, 1954, 90-94, 278-82
Otten,
Kurt. ‘Man and Superman.’ Pp 186-201 in Dieter Mehl, ed. Das
englische Drama: vom Mittelalter bis zur Gegenwart, II. Düsseldorf: Bagel,
1970 (in German)
Pagliaro,
Harold E. Relations between the sexes in the plays of George Bernard Shaw.
Lewiston, NY: Edwin Mellen Pr., 2004, 64-71, 175-81
Peters,
Sally. Bernard Shaw: the ascent of the Superman. New Haven, CT: Yale UP,
1996, see index
Pharand,
Michel W. Bernard Shaw and the French. Gainesville: UP of Florida, 2000,
262-73: ‘Shaw’s protoexistentialism: in Hell with Jean-Paul Sartre’
Poks, Ma»gorzata. ‘Life Force in action: a
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mechanisms of power. Katowice: Uniwersytet Ðlski, 1993
Pollak,
Paulina S. ‘Master to the masters: Mozart’s influence on Bernard Shaw’s Don
Juan in Hell.’ SHAW 8 1988 39-68 (structural parallels)
Potter,
Robert. The English morality play: origins, history and influence of a
dramatic tradition. London: Routledge & Kegan Paul, 1975, 225-28 (Ann
as Everywoman)
Reynolds,
Jean. Pygmalion’s wordplay: the postmodern Shaw. Gainesville: UP of
Florida, 1999, 55-63
Saint-Paulien
[pseud. of Maurice I. Sicard]. Don Juan: mythe et réalité. Paris: Plon,
1967, 241-52: ‘Le séducteur de Kierkegaard, et le Don Juan misogyne et socialisé
de George Bernard Shaw’
Salmon,
Eric. Is the theatre still dying?. Westport, CT: Greenwood Pr., 1985,
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Drama 16 1973 239-50)
Seeber,
Hans U. ‘The “hero” speaks: energy and verbal power in dramas of the turn of
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and action in drama: studies in honour of Hans-Jürgen Diller on the occasion of
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Shershow,
Scott C. Laughing matters: the paradox of comedy. Amherst: Univ. of
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play)
Silver,
Arnold J. Bernard Shaw: the darker side. Stanford, CA: Stanford UP,
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Singh,
Devendra K. The idea of the superman in the plays of G. B. Shaw. New
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Smith,
Warren S. Bishop of everywhere: Bernard Shaw and the Life Force. Univ.
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Solomonson,
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Stamm,
Julian L. ‘Shaw’s Man and Superman: his struggle for sublimation.’ American
Imago 22 1965 250-54
Sterner,
Mark H. ‘Man and Superman: drama as clash between social and spiritual
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-----.
‘Shaw’s superwoman and the borders of feminism: one step over the line?’ SHAW
18 1998 147-60
Stewart,
J. I. M. Eight modern writers. Oxford: Clarendon Pr., 1963, 143-53
Stockholder,
Fred E. ‘Shaw’s drawing-room Hell: a reading of Man and Superman.’ Shaw
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Tave,
Stuart M. Lovers, clowns, and fairies: an essay on comedies. Chicago:
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Turco,
Alfred. Shaw’s moral vision: the self and salvation. Ithaca, NY: Cornell
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Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
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Vogt,
Sally P. ‘Ann and Superman: type and archetype.’ Pp 46-65 in Weintraub, R
Watson,
Barbara B. A Shavian guide to the intelligent woman. London: Chatto
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Weinreb,
Ruth P. ‘In defense of Don Juan: deceit and hypocrisy in Tirso de Molina,
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Weintraub,
Rodelle. ‘What makes Johnny run? Shaw’s Man and Superman as a
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Weintraub,
Stanley. ‘Genesis of a play: two early approaches to Man and Superman.’
Pp 25-35 in Rosenblood 2 (roots in his fiction)
Wexelblatt,
Robert. ‘Epicurus and Aristotle—and Satan and Juan.’ SHAW 2 1982 47-55
Whitman,
Robert F. Shaw and the play of ideas. Ithaca, NY: Cornell UP, 1977,
210-22 and see index
Wisenthal,
J. L. The marriage of contraries: Bernard Shaw’s middle plays.
Cambridge, MA: Harvard UP, 1974, 22-56 (incorporates ‘The cosmology of Man
and Superman.’ Modern Drama 14 1971 298-306)
Woodbridge,
Homer. George Bernard Shaw: creative artist. Carbondale: Southern
Illinois UP, 1963, 56-62
Yorks,
Samuel. The evolution of Bernard Shaw. Washington: UP of America, 1981,
100-107, 110-17, 120-23
Berst,
Charles A. ‘The Man of Destiny: Shaw, Napoleon, and the theater of
life.’ SHAW 7 1987 85-118
Carpenter,
Charles A. Bernard Shaw & the art of destroying ideals: the early plays.
Madison: Univ. of Wisconsin Pr., 1969, 148-53: ‘The Man of Destiny and
wilful versus theatrical motivation’
Gahan,
Peter. Shaw shadows: rereading the texts of Bernard Shaw. Gainesville:
UP of Florida, 2004, 139-47
Gainor,
J. Ellen. Shaw’s daughters: dramatic and narrative constructions of gender.
Ann Arbor: Univ. of Michigan Pr., 1991, 114-19
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, 284-96: ‘Der natural
leader als Held in The Man of Destiny und Caesar and Cleopatra’
(287-91 on the play)
Horsley,
Lee. Fictions of power in English literature: 1900-1950. London:
Longman, 1995, 49-63: ‘Jesters and heroes: Chesterton, Shaw and Napoleon’
Keunen,
J. ‘Napoleon in Shaviaanse stijl.’ Dietsche Warande en Belfort 115 1970
35-45
Peters,
Suzanne. Briefe im Theater: Erscheinungsformen und Funktionswandel
schriftlicher Kommunikation im englischen Drama von der Shakespeare-Zeit bis
zur Gegenwart. Heidelberg: Winter, 2003, 268-72: ‘George Bernard Shaw:
Private Niederlage und öffentlicher Skandal’ (268-70 on the play)
Pharand,
Michel W. Bernard Shaw and the French. Gainesville: UP of Florida, 2000,
197-208: ‘Shaw’s man of destiny: the decline and fall of Napoleon Bonaparte’
(revision of ‘Bernard Shaw’s Bonaparte: Life Force or death wish?’ pp 41-52 in Rusinko)
Roy, R.
N. George Bernard Shaw’s historical plays. Delhi: Macmillan, 1976, 11-23
‘Symposium:
The Shewing-up of Blanco Posnet and The Man of Destiny.’ SHAW
14 1994 57-65
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Oxford UP, 1973, 141-46
Wisenthal,
J. L. ‘Introduction.’ Pp xiii-xxiii in Shaw. The Man of Destiny &
Caesar and Cleopatra: facsimiles of
the holograph manuscripts. NY: Garland, 1981
Bosch,
Marianne. ‘Mother, sister, and wife in The Millionairess.’ SHAW 4
1984 113-27
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama. Columbia:
Univ. of Missouri Pr., 1973, 295-99
Gainor,
J. Ellen. Shaw’s daughters: dramatic and narrative constructions of gender.
Ann Arbor: Univ. of Michigan Pr., 1991, 187-93
Hummert,
Paul A. Bernard Shaw’s Marxian romance. Lincoln: Univ. of Nebraska Pr.,
1973, 182-89
Mazhar,
Amal A. ‘The Egyptian doctor in G. B. Shaw’s The Millionairess: a
metaphor of civilization.’ Pp 141-58 in Hoda Gindi, ed. Images of Egypt in
twentieth century literature. Cairo: Dept. of English Language and
Literature, Faculty of Arts, Univ. of Cairo, 1991
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw. London: Methuen, 1972, 326-33
Bosworth,
R. F. ‘What’s in the name Szczepanowska?’ Shaw Review 8 1965 112
Crane,
Gladys M. ‘Shaw’s Misalliance: the comic journey from rebellious daughter
to conventional womanhood.’ Educational Theatre Journal 25 1973 480-89
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)
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama. Columbia:
Univ. of Missouri Pr., 1973, 94-101
Everding,
Robert G. ‘Bernard Shaw, Misalliance, and the birth of British
aviation.’ SHAW 8 1988 69-76
-----.
‘Bernard Shaw, Miss Alliance and Miss Cotterill.’ English Language Notes
25 1988 73-81
Gainor,
J. Ellen. Shaw’s daughters: dramatic and narrative constructions of gender.
Ann Arbor: Univ. of Michigan Pr., 1991, 131-35, 193-98
Innes,
Christopher. ‘“Nothing but talk, talk, talk—Shaw talk”: discussion plays and
the making of modern drama.’ Pp 162-79 in Innes (stresses Getting
Married and Misalliance)
McDowell,
Frederick P. W. ‘Shaw’s abrasive view of Edwardian civilization in Misalliance.’
Cahiers Victoriens & Édouardiennes 9-10 1979 107-23; also in Shaw
Review 23 1980 63-76
Meisel,
Martin. Shaw and the nineteenth-century theater. Princeton, NJ:
Princeton UP, 1963, 307-14
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw. London: Methuen, 1972, 187-99: ‘Bernard Shaw on the
tightrope: Misalliance’ (the play’s relation to Granville Barker’s The
Madras House; from Modern Drama 4 1962 343-54)
Pagliaro,
Harold E. Relations between the sexes in the plays of George Bernard Shaw.
Lewiston, NY: Edwin Mellen Pr., 2004, 82-90, 152-56
Quinn,
Martin. ‘Dickens and Misalliance.’ Shaw Review 17 1974 141-43
Sharp,
William L. ‘Misalliance: an evaluation.’ Educational Theatre Journal 8
1956 9-16
Sidnell,
Michael J. ‘Misalliance: sex, socialism and the collectivist poet.’ Modern
Drama 17 1974 125-39
Weintraub,
Rodelle. ‘Johnny’s dream: Misalliance.’ SHAW 7 1987 171-86
-----.
‘A parachute prototype for Lina.’ SHAW 8 1988 77-84
Wisenthal,
J. L. The marriage of contraries: Bernard Shaw’s middle plays.
Cambridge, MA: Harvard UP, 1974, 127-35
Woodbridge,
Homer. George Bernard Shaw: creative artist. Carbondale: Southern
Illinois UP, 1963, 72-79
Byrne, Sandie, ed. George Bernard
Shaw’s plays: Mrs. Warren’s Profession, Pygmalion, Man and
Superman, Major Barbara: contexts and criticism. NY: Norton,
2002. 545 pp
Allett,
John. ‘Bernard Shaw and dirty-hands politics: a comparison of Mrs. Warren’s
Profession and Major Barbara.’ Journal of Social Philosophy
28 ii 1995 32-45; repr. on pp 51-65 in Paul Rynard & David P. Shugarman,
eds. Cruelty and deception: the controversy over dirty hands in politics.
Toronto: Broadview Pr., 2000
-----. ‘Mrs
Warren’s Profession and the politics of prostitution.’ SHAW 19 1999
23-39
Amalric,
Jean C. ‘Satire et comique plaisants et déplaisants: Mrs. Warren’s
Profession et Arms and the Man.’ Pp 28-47 in Aspects du comique
dans la littérature anglaise. Paris: Didier, 1965 (Études Anglaises
25 1966 supplement); translated as ‘Satire and comedy, pleasant and unpleasant:
Mrs. Warren’s Profession and Arms and the Man’ on pp 59-78 in his
Studies in Bernard Shaw. Montpellier: Université Paul Valéry, 1992
Bermel,
Albert. ‘A Shavian whodunit: the mysterious Mr. Warren.’ Independent Shavian
38 2000 6-15
Berst,
Charles A. Bernard Shaw and the art of drama. Urbana: Univ. of Illinois
Pr., 1973, 3-19: ‘Mrs Warren’s Profession: art over didacticism’ (from ‘Propaganda
and art in Mrs Warren’s Profession.’ ELH: A Journal of English
Literary History 33 1966 390-404)
Bullough,
Geoffrey. ‘Literary relations of Shaw’s Mrs. Warren.’ Philological Quarterly
41 1962 339-58; also in California Shavian 3 iv 1962 unpaged
Carpenter,
Charles A. Bernard Shaw & the art of destroying ideals: the early plays.
Madison: Univ. of Wisconsin Pr., 1969, 46-69
Chen,
Wendy. ‘The first Shaw play on the Chinese stage: the production of Mrs
Warren’s Profession in 1921.’ SHAW 19 1999 99-118
Connolly,
L. W. ‘Mrs Warren’s Profession and the Lord Chamberlain.’ SHAW 24
2004 46-95 (a chronological documentary)
Crane,
Gladys M. ‘Directing early Shaw: acting and meaning in Mrs. Warren’s
Profession.’ SHAW 3 1983 29-39
Davis,
Jill. ‘The New Woman and the new life.’ Pp 17-36 in Viv Gardner & Susan
Rutherford, eds. The New Woman and her sisters: feminism and theatre
1850-1914. London: Harvester Wheatsheaf, 1992
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, 41-50: ‘Das erste Auftreten eines
positiven Helden im determinischen Drama Shaws’
Dolid,
William A. ‘Vivie Warren and the tripos.’ Shaw Review 23 1980 52-56
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama. Columbia:
Univ. of Missouri Pr., 1973, 70-79, 262-64
-----.
‘The Fabian and the Freudian.’ Shavian 2 iv 1961 8-11 (on causes of
prostitution)
-----. Money
& politics in Ibsen, Shaw, and Brecht. Columbia: Univ. of Missouri Pr.,
1980, 34-41
Fisher,
James. ‘Edy Craig and the Pioneer Players’ production of Mrs. Warren’s
Profession.’ SHAW 15 1995 37-56
Gainor,
J. Ellen. Shaw’s daughters: dramatic and narrative constructions of gender.
Ann Arbor: Univ. of Michigan Pr., 1991, 32-40
Ganz,
Arthur. George Bernard Shaw. London: Macmillan, 1983, 91-99
Gibbs,
A. M. The art and mind of Shaw: essays in criticism. NY: St. Martin’s
Pr., 1983, 49-56
Grecco,
Stephen. ‘Vivie Warren’s profession: a new look at Mrs. Warren’s Profession.’
Shaw Review 10 1967 93-99
Greer,
Germaine. ‘A whore in every home.’ Pp 163-66 in Weintraub, R (program
note for a 1970 production of the play)
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, 186-208: ‘Mrs Warren’s
Profession: die Entwicklung zu einer Realistin durch verschiedene Stadien
idealistischen Bewusstseins und konventioneller gesellschaftlicher
Herausforderung’
Innes,
Christopher, ed. A sourcebook on naturalist theatre. London: Routledge,
2000, 189-248: ‘Bernard Shaw 1856-1950’ (writings by Shaw and other
contemporaries on Mrs Warren’s Profession, Heartbreak House, and
their social and economic contexts, edited and discussed by Innes)
Johnson,
Betty F. ‘Shelley’s Cenci and Mrs Warren’s Profession.’ Shaw
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Kapelke,
Randy. ‘Preventing censorship: the audience’s role in [Clyde Fitch’s] Sappho
and Mrs. Warren’s Profession.’ Theatre History Studies 18 1998
117-33
Knepper,
B. G. ‘Shaw rewriting Shaw: a fragment.’ Shaw Review 12 1969 104-10
(holograph versions of Act III compared)
Kornbluth,
Martin L. ‘Two fallen women: Paula Tanqueray and Kitty Warren.’ Shavian
no. 14 1959 14-15
Laurence,
Dan H. ‘Victorians unveiled: some thoughts on Mrs Warren’s Profession.’ SHAW
24 2004 38-45
Lorichs,
Sonja. The unwomanly woman in Bernard Shaw’s drama and her social and
political background. Stockholm: Almqvist & Wiksell, 1973, 35-59:
‘Vivie and Mrs Warren’s Profession: prostitution and career’
-----.
‘Two mother characters in Bernard Shaw’s drama.’ Shavian 5 1975 5-8
Marker, Frederick
J. ‘Shaw’s early plays.’ Pp 103-23 in Innes (115-22 on the play)
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw. London: Methuen, 1972, 36-45
Mudford,
Peter. ‘Mrs. Warren’s Profession.’ Shavian 6 v 1987 4-10
Nassaar,
Christopher S. ‘Wilde's Lady Windermere’s Fan and Shaw's Mrs.
Warren’s Profession.’ Explicator 56 1998 137-39
Nelson,
Raymond S. ‘Mrs. Warren’s Profession and English prostitution.’
Journal of Modern Literature 2 1971-72 357-66
Nethercot,
Arthur. ‘Mrs. Warren’s Profession and The Second Mrs. Tanqueray.’
Shaw Review 13 1970 26-28
-----.
‘The Vivie-Frank relationship in Mrs. Warren’s Profession.’ Shavian
no. 15 1959 7-9
Oppel,
Horst. ‘George Bernard Shaw: Mrs. Warren’s Profession.’ Pp 15-27 in
Oppel, ed. Das moderne englische Drama: Interpretationen. 3rd
ed. Berlin: Erich Schmidt, 1976
Pagliaro,
Harold E. Relations between the sexes in the plays of George Bernard Shaw.
Lewiston, NY: Edwin Mellen Pr., 2004, 123-27
Potter,
Rosanne G. ‘Changes in Shaw’s dramatic rhetoric: Mrs Warren’s Profession,
Major Barbara, and Heartbreak House.’ Pp 225-58 in Potter, ed. Literary
computing and literary criticism: theoretical and practical essays on theme and
rhetoric. Philadelphia: Univ. of Pennsylvania Pr., 1989
Raby,
Peter. ‘Theatre of the 1890s: breaking down the barriers.’ Pp 183-206 in Kerry
Powell, ed. The Cambridge companion to Victorian and Edwardian theatre.
Cambridge: Cambridge UP, 2004; on 222-36 in the same volume, see Sos Eltis. ‘The
fallen woman on stage: maidens, magdalens, and the emancipated female’ (both
essays treat the play briefly)
Radford,
F. L. ‘The educative sequel: Lady Chatterley’s second husband and Mrs Warren’s
daughter.’ Shaw Review 23 1980 57-62
Rao,
Valli. ‘Vivie Warren in the Blakean world of experience.’ Shaw Review 22
1979 123-34
Salih,
Sabah A. ‘The New York Times and Arnold Daly’s production of Mrs.
Warren’s Profession.’ Independent Shavian 26 1988 57-60
Schrank,
Bernice. ‘Mrs Erlynne, Mrs Warren and the nineteenth-century stage stereotype
of the fallen woman.’ Pp 134-45 in Joseph McMinn, ed. The internationalism
of Irish literature and drama. Gerrards Cross: Smythe, 1992
Stafford,
Tony J. ‘Mrs. Warren’s Profession: in the garden of respectability.’ SHAW
2 1982 3-11
Sterner,
Mark H. ‘The changing status of women in late Victorian drama.’ Pp 199-212 in
Karelisa V. Hartigan, ed. Within the dramatic spectrum. Lanham, MD: UP
of America, 1986
Strozier,
Robert. ‘The undramatic dramatist: Mrs. Warren’s Shaw.’ Shavian 3 ii
1965 11-14
Styan,
J. L. Modern drama in theory and practice, I: Realism and naturalism.
London: Cambridge UP, 1981, 57-70: ‘Shaw’s contribution to realism’
Thies,
Henning. Namen im Kontext von Dramen: Studien zur Funktion von Personennamen
im englischen, amerikanischen und deutschen Drama. Frankfurt: Lang, 1978,
207-23: ‘Tarnung der Vergangenheit durch Pseudonyme: “Gefallene Frauen” bei
Wilde, Pinero und Shaw’ (217-23 on the play)
Turco,
Alfred. Shaw’s moral vision: the self and salvation. Ithaca, NY: Cornell
UP, 1976, 68-75
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Oxford UP, 1973, 92-103
Wasserman,
Marlie P. ‘VivieWarren: a psychological study.’ Pp 168-73 in Weintraub, R
(revised from Shaw Review 15 1972 71-75)
Wellwarth,
George E. ‘Mrs. Warren comes to America, or the blue-noses, the politicians,
and the procurers.’ Shaw Review 2 viii 1959 8-16
Wendell,
S. Johnson. ‘Fallen women, lost children: Wilde and the theatre of the
nineties.’ Pp 196-211 in Don R. Cox, ed. Sexuality and Victorian literature.
Knoxville: Univ. of Tennessee Pr., 1984
West,
Alick. George Bernard Shaw: ‘a good man fallen among Fabians’. NY:
International, 1950, 55-66
Wiley,
Catherine. ‘The matter with manners: the New Woman and the problem play.’ Pp
109-27 in James Redmond, ed. Women in theatre. Themes in drama, 11.
Cambridge: Cambridge UP, 1989 (part on the play)
Yae,
Young-Soo. ‘Individual will and social environment in G. B. Shaw’s Mrs.
Warren’s Profession.’ Journal of English Language and Literature 37
1991 213-32
O’Flaherty,
V. C.
Gunby,
David. ‘The first night of O’Flaherty, V.C.’ SHAW 19 1999 85-97
Kosok,
Heinz. ‘“No war is right”: Shaw’s O’Flaherty, V.C.’ Shavian 9 vi
2003-04 3-8
Schrank,
Bernice. ‘World War I in the plays of Shaw, O’Casey and McGuiness.’ Études
Irlandaises 17 1992 29-36 (30-32 on the play)
Weintraub,
Stanley. ‘Bernard Shaw’s other Irelands: 1915-1919.’ English Literature in
Transition 42 1999 433-42 (on the play and ‘The Tragedy of an Elderly
Gentleman’)
-----.
Journey to heartbreak: the crucible years of Bernard Shaw 1914-1918. NY:
Weybright & Talley, 1971, 126-30
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama. Columbia:
Univ. of Missouri Pr., 1973, 290-95
-----. Money
& politics in Ibsen, Shaw, and Brecht. Columbia: Univ. of Missouri Pr.,
1980, 142-53
Hummert,
Paul A. Bernard Shaw’s Marxian romance. Lincoln: Univ. of Nebraska Pr.,
1973, 168-75 (from ‘Bernard Shaw’s On the Rocks.’ Drama Critique
2 i 1959 34-41)
Kamer,
Hansruedi. Künstlerische und politische Extravaganz im Spätwerk Shaws.
Bern: Francke, 1973, 112-27: ‘Reform, Revolution und Reaktion: On the Rocks
(1933)’
McDowell,
Frederick P. W. ‘Crisis and unreason: Shaw’s On the Rocks.’ Educational
Theatre Journal 13 1961 192-200
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw. London: Methuen, 1972, 272-86
Nickson,
Richard. ‘On the Rocks: messages given and received.’ Independent
Shavian 23 1985 27-36
O’Hara,
Michael M. ‘On the Rocks and the Federal Theatre Project.’ SHAW
12 1992 79-88
Smith,
Warren S. Bishop of everywhere: Bernard Shaw and the Life Force. Univ.
Park: Penn State UP, 1982, 138-49: ‘The failure of governments: The Apple
Cart, On the Rocks, and Geneva’ (from Shaw Review 21
1978 20-30)
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Oxford UP, 1973, 300-302
Passion
Play (or Household
of Joseph)
Berst,
Charles A. ‘In the beginning: the poetic genesis of Shaw’s God.’ SHAW 1
1981 5-41 (12-21 on the play)
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, 108-40: ‘Passion Play:
der Einfluss der Shelley-Lektüre auf Shaws ersten dramatischen Versuch’
Lindblad,
Ishrat. ‘Household of Joseph: an early perspective on Shaw’s dramaturgy.’
Shaw Review 17 1974 124-38
Smith,
Warren S. Bishop of everywhere: Bernard Shaw and the Life Force. Univ.
Park: Penn State UP, 1982, 16-18
Hark,
Ina R. ‘Tomfooling with melodrama in Passion, Poison, and Petrifaction.’
SHAW 7 1987 137-50
Silverstein,
Paul. ‘Barns, booths, and Shaw.’ Shaw Review 12 1969 111-16
Weintraub,
Stanley. ‘Un petit drame: Bernard Shaw’s first and hitherto unpublished
play.’ Esquire 52 1959 172-74 (includes the French text and an English
translation)
Boxill,
Roger. Shaw and the doctors. NY: Basic Books, 1969, 126-33 (Paramore)
Carlson,
Susan. Women and comedy: rewriting the British theatrical tradition. Ann
Arbor: Univ. of Michigan Pr., 1991, 93-112: ‘Shaw’s The Philanderer: the
reformer’s women and the contradictions of comic freedom’
Carpenter,
Charles A. Bernard Shaw & the art of destroying ideals: the early plays.
Madison: Univ. of Wisconsin Pr., 1969, 41-49
Dukore,
Bernard F. ‘Evidence and inference in The Philanderer.’ SHAW 18
1998 131-36
Gainor,
J. Ellen. Shaw’s daughters: dramatic and narrative constructions of gender.
Ann Arbor: Univ. of Michigan Pr., 1991, 47-62
Gibbs,
A. M. The art and mind of Shaw: essays in criticism. NY: St. Martin’s
Pr., 1983, 58-68: ‘Old Adam and new Eve: The Philanderer’
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, 169-86: ‘The
Philanderer: Emanzipation und konventionelles Rollendenken’
Kohl,
Norbert H. Bernard Shaws viktorianisches Erbe. Heidelberg: Winter, 1992,
172-97: ‘The Philanderer—Shaw in Nöten’; 219-37 prints the unpublished
third act (in English)
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw. London: Methuen, 1972, 30-35
Novack,
Julius. ‘Introduction.’ Pp xiii-xxvii in Shaw. The Philanderer: a facsimile
of the holograph manuscript. NY: Garland, 1981
Pagliaro,
Harold E. Relations between the sexes in the plays of George Bernard Shaw.
Lewiston, NY: Edwin Mellen Pr., 2004, 111-17
Rix,
Walter T. ‘The Philanderer as an entry into the Shavian playhouse: from
a reading of the play to an understanding of Shaw’s dramatic work.’ Literatur
in Wissenschaft und Unterricht 20 1987 68-84
Turco,
Alfred. ‘The Philanderer: Shaw’s poignant romp.’ SHAW 7 1987
47-62
Tyson,
Brian F. ‘One man and his dog: a study of a deleted draft of Bernard Shaw’s The
Philanderer.’ Modern Drama 10 1967 69-78
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Oxford UP, 1973, 86-92
Weimer,
Michael. ‘Press Cuttings: G.B.S. and women’s suffrage.’ Pp 84-89 in Weintraub,
R
Byrne, Sandie, ed. George Bernard
Shaw’s plays: Mrs. Warren’s Profession, Pygmalion, Man and
Superman, Major Barbara: contexts and criticism. NY: Norton,
2002. 545 pp
Adams,
Elsie B. Bernard Shaw and the aesthetes. Columbus: Ohio State UP, 1971,
133-37
Alexander,
Nigel. A critical commentary on Bernard Shaw’s Arms and the Man and Pygmalion.
London: Macmillan, 1968. 85 pp
Amkpa,
Awam. ‘Drama and the languages of postcolonial desire: Bernard Shaw’s Pygmalion.’
Irish University Review 29 1999 294-304; rejoinder by Vic Merriman on
305-17: ‘Decolonisation postponed: the theater of Tiger Trash’
Anderlini-D’Onofrio,
Serena. The ‘weak’ subject: on modernity, eros, and women’s playwriting.
Madison, NJ: Fairleigh Dickinson UP, 1998, 110-18: ‘Canonic dramatic realism’
(illustrated by this play and two of Ibsen’s)
Andrecht,
Ernst H. Sprachsoziologische Aspekte in der dramatischen Sprachgestaltung
Bernard Shaws. Frankfurt: Lang, 1976, 49-58: ‘Sprachvarianten und
Kulturbetrieb: zur Rezeption von Shaws Pygmalion’
-----.
‘Das sprachsoziologische Interesse an kritisch-realistischen Dramendialogen:
George Bernard Shaws Pygmalion.’ Pp 341-58 in Ernest W. B. Hess-Lüttich,
ed. Literatur und Konversation: Sprachsoziologie und Pragmatik in der
Literaturwissenschaft. Wiesbaden: Athenaion, 1980
Appia,
Henri. ‘À propos de Pygmalion, George Bernard Shaw phonétician.’ Études
Anglaises 27 1974 45-63
Baetens
Beardsmore, Hugo. ‘A sociolinguistic interpretation of Pygmalion.’ English
Studies 60 1979 712-19
Bauschatz,
Paul. ‘The uneasy evolution of My Fair Lady from Pygmalion.’ SHAW
18 1998 181-98
Bentley,
Eric. Bernard Shaw: a reconsideration. 2nd ed. NY: Norton,
1976, 119-26
Berst,
Charles A. Bernard Shaw and the art of drama. Urbana: Univ. of Illinois
Pr., 1973, 196-220: ‘Pygmalion: a potboiler as art’
-----.
Pygmalion: Shaw’s spin on myth and Cinderella. NY: Twayne, 1995. 158 pp
Bertolini,
John A. The playwrighting self of Bernard Shaw. Carbondale: Southern
Illinois UP, 1991, 97-122: ‘Pygmalion: the self and the mother tongue’
Bingham,
Madeleine. ‘The great lover’: the life and art of Herbert Beerbohm Tree.
NY: Atheneum, 1979, 215-31: ‘Not getting on with Shaw’ (performing the play)
Bloom,
Harold, ed. George Bernard Shaw’s Pygmalion: modern critical
interpretations. NY: Chelsea, 1988. 144 pp (repr. essays except for
introduction by editor)
Briden,
E. F. ‘[Henry] James’s Miss Churm: another of Eliza’s prototypes?’ Shaw
Review 19 1976 17-21 (in ‘The Real Thing’)
Brooks,
Harold F. ‘Pygmalion and [Ibsen’s] When We Dead Awaken.’ Notes
& Queries 1960 469-71
Bühler,
Renate. ‘Drei Lustspiele im Unterricht: Aristophanes Die Frösche,
Plautus Amphitryon, Shaw Pygmalion.’ Deutschunterricht 18
1966 88-106
Cassirer,
Peter. ‘Hur gick det sedan för Eliza Doolittle? En studie i dramats semiotik.’ Tidskrift
för Litteraturvetenskap 4 i 1975 33-51; ‘The hero in drama: an
investigation of a semiotic principle.’ Pp 853-57 in Seymour Chapman et al.,
eds. A semiotic landscape / Panorama sémiotique. The Hague: Mouton,
1979; ‘What became of Eliza Doolittle? A case study of the sign in fiction.’ Semiotica
44 1983 75-93
Cavell,
Stanley. Cities of words: pedagogical letters on a register of the moral
life. Cambridge, MA: Harvard UP, 2004, 409-20: ‘G. B. Shaw: Pygmalion
and Pygmalion’ (‘defiance of the remarriage genre’ in the play and film)
Cloud,
Random [pseud. of Randall McLeod]. ‘The psychopathology of everyday art.’ Pp
100-168 in G. R. Hibbard, ed. The Elizabethan theatre IX. Ontario, CA:
P. D. Meany, 1981 (125-31 on the play)
Crane,
Milton. ‘Pygmalion: Bernard Shaw’s dramatic theory and practice.’ PMLA
66 1951 879-85
Crompton,
Louis. Shaw the dramatist. Lincoln: Univ. of Nebraska Pr., 1969, 141-51;
‘Improving Pygmalion.’ Prairie Schooner 41 1967 73-83
De
Kuehne, Alyce. ‘El mito Pygmalion en Shaw, Pirandello y Solana.’ Latin
American Theatre Review 2 1969 31-40
DeMoss,
Virginia E. ‘The probably source of Eliza Doolittle’s plumed hat in Shaw’s Pygmalion.’
Notes & Queries 22 1975 203
Denninghaus,
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-----.
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