By Kay Li
This publication explores the cultural bridges connecting George Bernard Shaw and his contemporaries, comparable to Charles Dickens and Arthur Miller, to China. examining readings, diversifications, and connections of Shaw in China throughout the lens of chinese language tradition, Li information the negotiations among the targeted and culturally particular standpoints of japanese and western tradition whereas additionally investigating the at the same time subtle, multi-focal, and entire views that create strategic moments that want cross-cultural readings.
With assets starting from Shaw's connections along with his contemporaries in China to modern chinese language motion pictures and interpretations of Shaw within the electronic area, Li relates the worldwide effect of not just what chinese language lenses can show approximately Shaw's global, yet how intercultural and interdisciplinary readings can shed new mild on frequent and vague works alike.
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Additional info for Bernard Shaw’s Bridges to Chinese Culture (Bernard Shaw and His Contemporaries)
His name could not be mentioned, and his relatives were his subjects. Given this innate superiority, why did Johnston not succeed in transforming Pu-yi into a Shavian Superman? The parallels are arresting: both Joan and Johnston are kingmakers; both the Dauphin and Pu-yi are neglected by their courtiers; both Joan and Johnston open up a new world for their young royals and help them overcome a legitimacy crisis. In Saint Joan, Poulengey tells Robert: “The Dauphin is in Chinon, like a rat in a corner, except that he wont fight.
Messina! The plague in China! The floods in France! What was happening in China was part of the world’s misfortunes, and Shaw’s reference to China is analogous to events in his own country. In Heartbreak House (1916–1917), for instance, Captain Shotover has a boatswain named Mazzini Dunn, who was originally a pirate in China and who has set up as a ship’s chandler with stores that the captain believes he has stolen from him (CPP V 63). And in Fabian Essays in Socialism (1891), edited by Shaw, capitalists are considered thieves11 and are responsible for driving England into World War I, Shaw writing in the Preface to Heartbreak House: When men are heroically dying for their country, it is not the time to shew their lovers and wives and fathers and mothers how they are being sacrificed to the blunders of boobies, the cupidity of capitalists, the ambition of conquerors, the electioneering of demagogues, the Pharisaism of patriots, the lusts and lies and rancors and bloodthirsts that love war because it opens their prison doors, and sets them in the thrones of power and popularity.
149 cc1356–62. 6. ” 7. Fabian Tract no. 131, London School of Economics archives. 8. ” 9. Bernard Shaw and the Webbs, ed. Poff (Toronto: U of Toronto P, 2002), 113. 38 K. LI 10. Beatrice Webb, The Diary of Beatrice Webb, Volume Three: 1905–1924. The Power to Alter Things, ed. Norman Ian MacKenzie (Great Britain: Virago, 1982), 167. 11. , Fabian Essays in Socialism, ed. H. G. , 1891). 12. Lowes Dickinson, Letters from John Chinaman and other essays (London: Allen & Unwin, 1946), 12. 13. Dickinson Papers.