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Ladataan... Plays by George Bernard ShawTekijä: George Bernard Shaw
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Kuuluu näihin kustantajien sarjoihinSisältää nämä:Candida (tekijä: George Bernard Shaw) Arms and the Man (tekijä: George Bernard Shaw) Mrs. Warren's Profession (tekijä: George Bernard Shaw) Don Juan in Hell (tekijä: George Bernard Shaw) (epäsuora) The revolutionist's handbook & pocket companion (tekijä: George Bernard Shaw) (epäsuora) Maxims for Revolutionists (tekijä: George Bernard Shaw) (epäsuora)
These four classic plays by the great playwright satirize society, military heroism, marriage, and the pursuit of man by woman. Includes "Mrs. Warren's Profession, Arms and the Man, Candida," and "Man and Superman," along with a new Introduction. Reissue. Kirjastojen kuvailuja ei löytynyt. |
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Google Books — Ladataan... LajityypitMelvil Decimal System (DDC)822.912Literature English & Old English literatures English drama 1900- 1900-1999 20th Century 1900-1945Kongressin kirjaston luokitusArvio (tähdet)Keskiarvo:
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GBS' women, I feel are quite particular: In Man and Superman, Ann is the conniving, intelligent and yet pretentious woman with an independent mind while in Mrs Warren's Profession, Vivie is a businesslike, no nonsense type, who rejects marriage and social conventions to turn into a cold-hearted Margaret Thatcher like figure (although with certain anti-capitalist beliefs). Despite these nuances, what's common to GBS' women is that they are all strong and independent, and what I found remarkable was that I could relate to many of the motives that GBS attributed to their actions and objectives in the plays.
Man and Superman was a lot about Nietzsche and I must say that I was reminded once again of the truth that most of what has been produced after Nietzsche, and inspired by him, has merely been an interpretation or extension of his own thoughts or philosophies on various subjects. With GBS, it feels that way -- there is nothing new. All that GBS does is apply Nietzschean thoughts to his characters. What is perhaps beyond that, is when GBS comments on Nietzsche's legacy and warns the reader through the mouthpiece of one of his characters, that one should not take the concept of the Superman to heart, because if one does so, he might be embittered with man... And of course in the same play, GBS seems to ridicule what Nietzsche really was, by sending him not to hell, where one would think he ought to be, but "to heaven". In this we find the need or yearning on the part of GBS to detach himself from Nietzsche, although he would have been clearly enamored by his works. True to Nietzschean preachings, GBS understood that to really understand Nietzsche, one should not be his follower or disciple, but to be oneself.
A final note on characterization: I notice how GBS succeeds in conveying how boot licking, or brown nosing, or in simpler terms, trying to commend oneself to another, is a trait that Nietzsche despised. (quite rightly so). I found it really amusing that GBS managed to convey this through his characters -- especially when pompous men come across his really bold and no nonsense type of women in the plays (e.g.. Vivie meeting Praed).
Women writers are often criticized for not daring to venture out of the house in their storytelling. GBS restores that confidence to women (and men) by showing that you can very well be Nietzschean and apply those concepts to what goes on in society, or inside the house. ( )