SHAW

The author of more than sixty plays, George Bernard Shaw remains one of the best-known and most prolific Irish playwrights of the twentieth century. Known for his ability to blend social issues into his dramas, Shaw won both a Nobel Prize for Literature and an Oscar (for Pygmalion).

SHAW: The Journal of Bernard Shaw Studies is the official publication of the International Shaw Society, which seeks to “provide a means for those interested in the life, times, works, and career of Irish playwright George Bernard Shaw and his circle to organize their activities and interests, exchange information and ideas, and promote an interest in Shaw worldwide.”

Editor
Christopher Wixson, Eastern Illinois University, US

Associate Editor
Brigitte Bogar, York University, US

Bibliographer
Gustavo A. Rodríguez Martín, Universidad de Extremadura

Editorial Board
Jennifer Buckley, University of Iowa, US
Leonard Conolly, Trent University, US
Richard F. Dietrich, University of South Florida, US
Ellen Dolgin, Dominican College, US
Bernard Dukore, Virginia Tech, US
Peter Gahan, Film Editor, Los Angeles, US
Bob A. Gaines, Auburn University at Montgomery, US
Anthony Matthews Gibbs, Macquarie University, AU
Nicholas Grene, Trinity College, Dublin, IR
Dorothy A. Hadfield, University of Waterloo, CA
Brad Kent, Université Laval, CA
Lagretta Tallent Lenker, University of South Florida, US
Audrey McNamara, University College, Dublin, IR
Michael O'Hara, Ball State University, US
Sally Peters, Wesleyan University, US
John R. Pfeiffer, Central Michigan University, US
Michel W. Pharand, Queen's University, CA
Jean Reynolds, Polk State College, US
Nelson O'Ceallaigh Ritschel, Massachusetts Maritime Academy, US
E. Ann Saddlemyer, University of Toronto, CA
Julie Sparks, San Jose State University, US
Tony Stafford, University of Texas, El Paso, US
Lawrence Switzky, University of Toronto, CA
J. P. Wearing, University of Arizona, US

To submit an article to SHAW, please visit http://www.editorialmanager.com/shaw and create an author profile. The online system will guide you through the steps to upload your article for submission to the editorial office.

SHAW is currently accepting submissions for the following issues:

SHAW 44.2 (December 2024) and SHAW 45.2 (December 2025) will include articles on general topics. For inquiries about those issues or other information about SHAW, contact Christopher Wixson at .

SHAW 44.1 (June 2024): VICTORIAN SHAW
The Victorian era, usually defined as the period between 1837 and 1901, has been variously characterized as a time of breakneck scientific progress and rigid tradition, of widening democracy and insular hierarchy, of imperial expansion and the cult of domesticity. Bernard Shaw’s relationship with the era has been similarly argued over. Born twenty years into Queen Victoria’s reign and remaining active and prolific nearly half a century beyond its end, he has been described both as a product of Victorianism and as a rebel against it, an irrepressible herald of the Modern period. Howard Mumford Jones, a few years after Shaw’s death, called him an exemplar of “the energy, the fecundity, the curiosity of the great Victorians”; yet Stanley Kauffmann, a few decades later, would declare of Shaw’s nineteenth-century contemporaries that “their energy seems concentric, whirling in a closed circle around their lives and era,” while with Shaw, “the energy seems to whirl forward, to burst continually into a succession of futures.” Taking these varying judgments as a point of departure, SHAW 44.1 will focus on the theme of “Victorian Shaw.” This special issue welcomes articles that analyze Shaw’s connections or responses to particular people, events, texts, artistic works, or movements of the Victorian period, as well as articles that more broadly assess Shaw’s role in the field of Victorian Studies. Please submit essays by 1 May 2023. Inquiries and proposals should be directed to guest editor Mary Christian at .

SHAW 45.1 (June 2025): SHAW AND THE NEW MODERNIST STUDIES
In the now well-established terrain of the “new modernist studies,” we have become accustomed to revisionist and expansionist projects that open the field both theoretically and empirically to challenge earlier assumptions regarding the teleology of Modernism’s inner integrity, established practitioners, aesthetic practices, period boundaries, and principal geographical and social locations. Moreover, the study of modernism’s multiple and shifting locations beyond a traditional European-American axis is part of an ongoing process of revisionism that takes its cue from an analysis of the uneven experience of modernity viewed in both globalizing and transnational terms. The aim of SHAW 45.1 (June 2025) is to take the measure of Shaw’s place in relation to contested notions of literary modernism as the substantial expansion of its temporal and geographical scope reforms our understanding of the limits and limitations of Modernism, including its very meaning. Dismissed at times by peers and critics alike as a belated Victorian whose “drama of ideas” lingers on the borders of formal experimentation and style, a more nuanced account of Shaw’s voluminous writings—the plays, novels, prefaces, postscripts, proposals, reviews, pamphlets, broadsides, tracts, editorials, treatises, manifestoes, reports, and letters (private and public)—confirm his multifaceted importance as a modernist author whose work constitutes a series of unfolding relations with society and culture in both national and transnational settings. Inquiries and manuscript submissions are welcomed and should be sent to guest editor Dr. Desmond Harding at either or Department of English Language and Literature, Central Michigan University, Anspach 301F, Mount Pleasant, MI 48859.

SHAW 46.1 (June 2026): SHAW AND IRELAND
In an “interview” in The Evening Sun, 9 December 1911, Bernard Shaw remarked that Ireland “ . . . is producing serious men — not merely Irishmen, you understand, for an Irishman is only a parochial man after all, but men in the fullest international as well as the national sense — the wide human sense.” Bernard Shaw considered himself one of those same “international Irishmen,” though his native identity and strong connection to his homeland was often overshadowed by his international outlook. Moreover, Shaw’s opposition to violence and abhorrence of nationalism often put him at odds with those fighting for Irish Independence. While Shaw frequently used the world stage to comment on Ireland and the Irish, many of his peers and critics have misinterpreted Shaw’s global views and tongue-in-cheek satiric mode as an indication that he was anti-Ireland or at least, indifferent to his homeland and his birthright. Thankfully, Bernard Shaw’s Irish identity has been firmly re-established in the last fifteen years both in the field of Shaw Studies and Irish Revivalist Studies. Peter Gahan’s Bernard Shaw and the Irish Literary Tradition (2010) and Audrey McNamara’s Bernard Shaw: Reimagining Women and Ireland 1892–1914 (2023) bookend more than a decade’s long campaign to restore Shaw to his rightful place within the Irish Dramatic Canon. As is the case with Shaw, though, there is always more to say on the subject. This special issue will celebrate Shaw’s relationship to Ireland and his Irish identity through his marked international perspective. We welcome articles on any aspect of Shaw’s international perspective, especially those which speak to his interest in identity, gender, feminism, socialism, nationalism, and internationalism. Please submit essays by 1 March 2025. Inquiries and proposals should be directed to guest co-editors Audrey McNamara and Justine Zapin .

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