With his inimitable wit and sparkle, George Bernard Shaw brings us the character of Owen Jack, a salty non-conformist composer said to have been suggested by Beethoven. The relations between Jack and the other wayward bohemians of the story with the more conventional socialites around them offers shrewd insight into the nature of the artistic temperament, with its needs for a kind of commitment that overrides the everyday claims of the heart. A novel which anticipated Shaw's first plays by more than ten years, LOVE AMONG THE ARTISTS shows him already mocking the respectable morality of the Victorian society around him.

SHAW 21 offers readers an eclectic perspective on Shaw, his works, and his contemporaries. Basil Langton, actor and director, reminisces about his early development as an actor, his meeting with Shaw, and his career as director of many of Shaw's plays. He focuses upon Shaw's stagecraft, augmenting his views with those of Sybil Thorndike and Sir Lewis Casson, whom he interviewed in 1960. Galen Goodwin Longstreth analyzes the correspondence between Shaw and Ellen Terry and argues that the exchange is itself a literary genre, a dramatic performance that reveals their personal identities. The next two contributors, Stanley Weintraub and Andrea Adolph, examine the Shaw/Virginia Woolf relationship. Weintraub focuses on those occasions when their respective lives touched each other, what their feelings for each other were, and how those occasions were obliquely woven into Shaw's plays, most notably Heartbreak House. Professor Adoph argues that in Woolf's only dramatic text, Freshwater: A Comedy, she was conforming to the traditional theatrical mode of the day, dominated, of course, by Shaw, but that she subverted his traditional literary depiction of paternity as, for example, the paternity dramatized in Major Barbara. Sidney Albert and Bernard Dukore provide unique perspectives on reading Major Barbara. Albert shows how John Bunyan's The Pilgrim's Progress serves as Shaw's source for Barbara's progress toward enlightened understanding. Dukore, focusing on the perspective of the familial relationship within the play, concludes that Shaw's dialectic gives the kids the future and not the dad. It will be the next generation, not Father Undershaft, who will determine where society will go next. Julie Sparks and Martin Bucco approach Shaw from a comparative basis, juxtaposing him with two American writers, contemporaries of Shaw, Mark Twain and Sinclair Lewis, respectively. Sparks explores the commonality that exists in Shaw's and Twain's thinking about evolution, namely, their heretical visions of a post-Darwinian Eden. Both viewed conventional Christianity iconoclastically, but both arrived at different conclusions about human origin and destiny, a view Sparks describes as emanating from the deist-pessimist-evolutionary-determinist perspective versus the mystic-optimistic-creative-evolutionist perspective, or the Personal Godhead versus the Impersonal Force. Professor Bucco enumerates the many references Sinclair Lewis makes to Bernard Shaw throughout his writings, both prose and fiction, to underscore the American novelist's admiration for the Irish playwright, both recipients of the Nobel Prize for Literature. The final two contributors to SHAW 21, Rodelle Weintraub and William Doan, provide the readers with distinctive perspectives on John Bull's Other Island and The Doctor's Dilemma, respectively. Weintraub recasts the play into a dream sequence whereby Doyle's dream becomes an artifice for problem solving. Implied within Father Keegan's lines in the play, "Every dream is a prophecy: every jest is an earnest in the womb of Time," is the resolution of Doyle's problem with Nora, the girl he had left behind, and of the dream of modernizing Roscullen. Doan suggests that in The Doctor's Dilemma Shaw uses the idea of unconsummated adultery to argue for the efficacy of art over science. In the conflict between the artist and the scientist, the latter plans to have the artist's muse. In the end, not only is he deprived of the wife but also of the works of art themselves and the spirit that animates them. SHAW 21 also includes three reviews of recent additions to Shavian scholarship as well as John R. Pfeiffer's "Continuing Checklist of Shaviana."

A criticism of Max Nordau's "Degeneration."

(Applause Books). "With the single exception of Homer, there is no eminent writer, not even Sir Walter Scott, whom I can despise so entirely as I despise Shakespeare when I measure my mind against his." - From SHAW ON SHAKESPEARE Celebrated playwright, critic and essayist George Bernard Shaw was more like the Elizabethan master that he would ever admit. Both men were intristic dramatists who shared a rich and abiding respect for the stage. Shakespeare was the produce of a tempestuous and enlightening era under the reign of his patron, Queen Elizabeth I; while G.B.S. reflected the racy and risque spirt of the late 19th century as the champion of modern drama by playwrights like Ibsen, and, later, himself. Culled from Shaw's reviews, prefaces, letters to actors and critics, and other writings, SHAW ON SHAKESPEARE offers a fascinating and unforgettable portrait of the 16th century playwright by his most outspoken critic. This is a witty and provocative classic that combines Shaw's prodigious critical acumen with a superlative prose style second to none (except, perhaps, Shakespeare!).

Whether it’s in emails, documents, presentations, meetings or tweets, we’re all being bombarded by millions of words every day. So, how do you make your message stand out and stick amongst all this chatter? The answer is simple – just get visual! With a straightforward doodle or a quick illustration you’ll revolutionise how your message impacts your audience. And The Art of Business Communication will show you how to do it. Can’t draw? No Picasso? No problem! You’ll be amazed at how easy it is to add a simple yet powerful visual dimension to any message or business communication so that all your ideas, presentations, documents and meetings are brought to life and make a meaningful and memorable impact. Everything becomes easier to say, problems are explained and solved in a flash and the complex quickly becomes clear. So, to make your point and make it matter – make it visual. The full text downloaded to your computer With eBooks you can: search for key concepts, words and phrases make highlights and notes as you study share your notes with friends eBooks are downloaded to your computer and accessible either offline through the Bookshelf (available as a free download), available online and also via the iPad and Android apps. Upon purchase, you'll gain instant access to this eBook. Time limit The eBooks products do not have an expiry date. You will continue to access your digital ebook products whilst you have your Bookshelf installed.

“The double question we must always ask is,‘How does faith inform art?’ and ‘How can art animate faith?’” Imagination, appreciation of beauty, creativity: all of these qualities have been given to us by God. For the Christian artist, the drive to create something wonderful is also a means to glorify and better understand our Lord. Using excerpts from her own works as well as those of writers who have gone before her—Emily Dickinson, Annie Dillard, C.S. Lewis, and others—poet and writer Luci Shaw proves that symbolism and metaphor provide ways for humans to experience God in new and powerful ways. Shaw offers a rich and thought-provoking exploration of art, creativity, and faith. Believing that art emanates from God, she shows how imagination and spirituality “work in tandem, each feeding on and nourishing the other.” Faith informs art and art enhances faith. They both, for each other, are “breath for the bones.” Provocative, enlightening, and above all, inspiring, Breath for the Bones will help readers discover the artist within, and bring them further along the path to God Himself. Include s Discussion Questions and Writing Exercises

CHOSEN AS ONE OF THE BEST GRAPHIC NOVELS OF 2021 BY THE NEW YORK TIMES, THE GUARDIAN, AND THE GLOBE AND MAIL A teenage Quaker joins the Union Army and experiences firsthand the brutality of the Civil War in this singular graphic novel by a beloved comics artist and animator. During the Civil War, many Quakers were caught between their fervent support of abolition, a desire to preserve the Union, and their long-standing commitment to pacifism. When Charles Cox, a young Quaker from Indiana, slips out early one morning to enlist in the Union Army, he scandalizes his family and his community. Leaving behind the strict ways of Quaker life, Cox is soon confronted with the savagery of battle, the cruelty of the enemy (as well as of his fellow soldiers), and the overwhelming strangeness of the world beyond his home. He clings to his faith and family through letters with his sister, Fanny, who faces her own trials at home: betrayal, death, and a church that seems ready to fracture under the stress of the war. Discipline is told largely through the letters exchanged between the Cox siblings—incorporating material from actual Quaker and soldier journals of the era—and drawn in a style that combines modern graphic storytelling with the Civil War–era battlefield illustrations of the likes of Thomas Nast and Winslow Homer. The result is a powerful consideration of faith, justice, and violence, and an American comics masterpiece.