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George Bernard Shaw

Fellows find: Letters of St. John Ervine, playwright for a tumultuous Ireland

November 1, 2016 - Connal Parr

Connal Parr in the Reading and Viewing Room at the Harry Ransom Center

I visited the Harry Ransom Center for two weeks to access the collection of St. John Ervine (1883–1971), an enigmatic, occasionally-forgotten figure who nonetheless casts a spell over a select band of Irish scholars and historians. His personal story fuses both the culture and politics of his Ireland. [Read more…] about Fellows find: Letters of St. John Ervine, playwright for a tumultuous Ireland

Filed Under: Research + Teaching, Theatre + Performing Arts Tagged With: Abbey Theatre, Dublin, Fellows Find, Fellowships, George Bernard Shaw, St. John Ervine

Fellows Find: Audio interviews with British actors and actresses reveal rare insight into George Bernard Shaw productions

June 25, 2015 - Jennifer Buckley

Postcard portrait of Lillah McCarthy.

Jennifer Buckley, an assistant professor of rhetoric at the University of Iowa, visited the Ransom Center to work in the George Bernard Shaw collection. Her research was funded by the Limited Editions Club Endowment, and she shares some of her findings below. The Ransom Center is celebrating the 25th anniversary of its fellowship program in 2014–2015.

I came to the Ransom Center expecting to read hundreds of pages of “Shaw talk”—the lengthy, loquacious, overtly rhetorical stage speech the Irish playwright wrote for actors and readers over the course of his six-decade theatrical career.

[Read more…] about Fellows Find: Audio interviews with British actors and actresses reveal rare insight into George Bernard Shaw productions

Filed Under: Research + Teaching, Theatre + Performing Arts Tagged With: Actresses’ Franchise League, Adeline Bourne, Ann Whitefield, Basil Langton, Ellen O’Malley, Ellen Terry, Ellie Dunn, Fellows Find, Fellowships, George Bernard Shaw, Harley Granville-Barker, Jennifer Buckley, Jennifer Dubedat, Lady Keeble, Lillah McCarthy, Limited Editions Club, Mrs. Patrick Campbell, Nora Reilly, Royal Court Theatre

Contemporary debates on vaccination policies have historical parallels in Ransom Center’s collections

October 16, 2014 - Jennifer Yang

Page 32 from “An Inquiry into the Causes and Effects of the Variolae Vaccine” by Edward Jenner, 1798. In Jenner’s 17th case study, he inoculates for the first time a healthy patient who has no previous exposure to cowpox or smallpox. “I selected a healthy boy, about eight years old, for the purpose of inoculation for the Cow Pox. The matter was taken from the sore on the hand of a dairymaid, who was infected by her master’s cows…”

Recently, The New York Times published an article on vaccination that has highlighted a resurging controversy. In late June 2014, a federal judge upheld a New York City policy barring unimmunized children from public schools, and objectors have decried the policy as an infringement upon their rights. In the United States, incomplete vaccination rates were highest among the poor until 1994, when the Vaccines for Children Program made it more affordable. Now, these rates are highest among the middle- and upper-classes, due to increasing philosophical and religious objections. However, such controversy is hardly new in the centuries-old history of vaccination. Documents in the Ransom Center’s collections cast historical light upon the modern vaccination debate.

In 1721 Boston, a smallpox epidemic generated an atmosphere of fear and suspicion when prominent physician Zabdiel Boylston began to counter the illness with vaccination methods. Cotton Mather, a prominent Boston clergyman, publicly declared his support of Boylston’s practices and encouraged other physicians to do the same. Outraged mobs believed vaccinators to be no better than murderers, and Boylston and Mather became subject to popular attacks, culminating in Boylston going into hiding with his family and practicing medicine in disguise. An assassination attempt made on Mather expressed the furious sentiments of the Bostonian public, as a bomb was thrown through his window with the affixed message “COTTON MATHER, You Dog, Dam you: I’ll inoculate you with this, with a Pox to you.”

Vaccination came into more prominence and credulity with the publication of English physician Edward Jenner’s An Inquiry into the Causes and Effects of the Variolae Vaccinae in 1798. Jenner made the observation that farmhands and dairy maids, exposed to cowpox disease through their daily work, seemed to possess immunity against the more severe disease of smallpox. Jenner conducted an extensive series of cowpox inoculation case studies, often following patients for several years and even inoculating his own 11-month-old son, to see if his hypothesis about the effects of vaccination were true. Jenner’s findings increased general confidence in vaccination, as he proved that cowpox inoculations from human to human could guard against smallpox, while previously patients were more dangerously inoculated directly with the smallpox virus or from diseased animal matter.

Jenner’s work contributed to the passing of the UK Vaccination Acts, key vaccination laws ranging from 1840 to 1907. The 1840 Act made vaccination free, while from 1853 to 1874 a series of more stringent acts made vaccination compulsory and even penalized objectors with fines and imprisonment. Anti-vaccination groups and protestors became more common in this period, as citizens were gripped by fears of the rumored spread of diseases such as syphilis through negligent vaccinators. Vaccination Brought Home to the People, an 1876 pamphlet by Miss Chandos Leigh Hunt, exclaims “If the devil delights in torturing, as it is represented, then indeed must he revel in Vaccination!” Pamphlets and lectures expressing such sentiments abounded as membership in anti-vaccination leagues and groups increased. A famous supporter against the UK Vaccination Acts was playwright George Bernard Shaw, who in 1906 wrote a fervent letter of support to the National Anti-Vaccination League, equating official methods of vaccination with “rubbing the contents of the dustpan into the wound.” Dissent was somewhat appeased by the Vaccination Acts of 1889–1907, which enforced regulation and safety measures for vaccination, as well as allowing for conscientious objection.

The Ransom Center also possesses many manuscripts on French scientist Louis Pasteur and his work on vaccination.  Pasteur worked on a rabies vaccine from 1881 to 1885, experimenting on dogs, rabbits, apes, and eventually humans. A catalyst to his professional reputation came about in 1885, when Joseph Meister, a 9-year-old shepherd, was mauled by a rabid dog. Though Pasteur did not hold a license to practice medicine, he conferred with his colleagues about the possibility of treating the boy. His longtime friend and collaborator, physician Émile Roux, refused to work with him on the case. Finally, Pasteur found two eminent physicians who agreed to supervise the treatment. The boy recovered successfully, and Pasteur was lauded as a hero—he became nationally famous, with poets even writing odes to his genius, and went on to co-found the Pasteur Institute with Émile Roux on the laurels of his acclaimed scientific achievement.

Religious and philosophical objections have risen over the past decade, with religious exemptions for vaccinations nearly doubling in New York, and tripling in Ohio, where a measles outbreak spread throughout the Amish population. The nation has also seen a resurgence in measles and mumps, with the highest rate of measles since 1994. Debate over vaccination laws and compulsory policies in schools continues to rage, as fervent supporters arise to counter objectors in equal measure. Contemporary battles over vaccination controversy may find parallels in the past, as the centuries-old arguments and ideas resound in the modern voices of vaccination’s supporters and detractors.

Please click on the thumbnails below to view larger images.

Page 32 from “An Inquiry into the Causes and Effects of the Variolae Vaccine” by Edward Jenner, 1798. In Jenner’s 17th case study, he inoculates for the first time a healthy patient who has no previous exposure to cowpox or smallpox. “I selected a healthy boy, about eight years old, for the purpose of inoculation for the Cow Pox. The matter was taken from the sore on the hand of a dairymaid, who was infected by her master’s cows…”
Page 32 from “An Inquiry into the Causes and Effects of the Variolae Vaccine” by Edward Jenner, 1798. In Jenner’s 17th case study, he inoculates for the first time a healthy patient who has no previous exposure to cowpox or smallpox. “I selected a healthy boy, about eight years old, for the purpose of inoculation for the Cow Pox. The matter was taken from the sore on the hand of a dairymaid, who was infected by her master’s cows…”
Page 40 from “An Inquiry into the Causes and Effects of the Variolae Vaccine” by Edward Jenner, 1798. In the 22nd case study, Jenner’s 11-month-old son Robert was inoculated along with two other young children.
Page 40 from “An Inquiry into the Causes and Effects of the Variolae Vaccine” by Edward Jenner, 1798. In the 22nd case study, Jenner’s 11-month-old son Robert was inoculated along with two other young children.
Page 36 from “An Inquiry into the Causes and Effects of the Variolae Vaccine” by Edward Jenner, 1798. Jenner’s book was supplemented by detailed, color engraving prints by artist William Skelton. These illustrations, corresponding to adjacent case studies in the book, show the characteristic sores and pustules of cowpox patients.
Page 36 from “An Inquiry into the Causes and Effects of the Variolae Vaccine” by Edward Jenner, 1798. Jenner’s book was supplemented by detailed, color engraving prints by artist William Skelton. These illustrations, corresponding to adjacent case studies in the book, show the characteristic sores and pustules of cowpox patients.
Cover of “Vaccination Brought Home to the People” by Chandos Leigh Hunt, 1876. Prolific anti-vaccination advocates produced an abundance of pamphlets, essays, and lectures in the late 1800s. “Vaccination Brought Home to the People” is an example of the common content of such pamphlets.
Cover of “Vaccination Brought Home to the People” by Chandos Leigh Hunt, 1876. Prolific anti-vaccination advocates produced an abundance of pamphlets, essays, and lectures in the late 1800s. “Vaccination Brought Home to the People” is an example of the common content of such pamphlets.
Page 29 of “Vaccination Brought Home to the People” by Chandos Leigh Hunt, 1876. Attacks on Jenner’s and other physicians’ characters and intentions were frequent in anti-vaccination arguments: “Jenner-ous Suggestion for the Benefit of the Jennerites: A little improvement would be to subject the doctors themselves to an annual or monthly vaccination as practiced and guaranteed by Jenner, and then we would have such a decimating of anti-Christ as would effectually rid us of this sulphurous host of Abaddon in one very short Jenneration.”
Page 29 of “Vaccination Brought Home to the People” by Chandos Leigh Hunt, 1876. Attacks on Jenner’s and other physicians’ characters and intentions were frequent in anti-vaccination arguments: “Jenner-ous Suggestion for the Benefit of the Jennerites: A little improvement would be to subject the doctors themselves to an annual or monthly vaccination as practiced and guaranteed by Jenner, and then we would have such a decimating of anti-Christ as would effectually rid us of this sulphurous host of Abaddon in one very short Jenneration.”
Page 35 of “Vaccination Brought Home to the People” by Chandos Leigh Hunt, 1876. Many saw vaccination as unsafe, dangerous, and deadly. In her conclusion, Chandos Leigh Hunt declares “If the devil delights in torturing, as it is represented, then indeed must he revel in Vaccination!”
Page 35 of “Vaccination Brought Home to the People” by Chandos Leigh Hunt, 1876. Many saw vaccination as unsafe, dangerous, and deadly. In her conclusion, Chandos Leigh Hunt declares “If the devil delights in torturing, as it is represented, then indeed must he revel in Vaccination!”
Letter from George Bernard Shaw to Charles Gane, 1906. In this letter from Shaw to the secretary of the National Anti-Vaccination League, the famed writer vehemently and wittily presents his protests against contemporary vaccination methods in Britain.
Letter from George Bernard Shaw to Charles Gane, 1906. In this letter from Shaw to the secretary of the National Anti-Vaccination League, the famed writer vehemently and wittily presents his protests against contemporary vaccination methods in Britain.
“Le Glaneur, Mars 1889.” This issue of Le Glaneur, a French literary magazine, was formerly owned by Louis Pasteur and was likely sent to him as a gift. The issue opens with four poems written in homage to Pasteur, praising his successful rabies vaccine. The first poem, which was judged as the winner, ends with the phrase “Comme l’étoile dans l’orage/Tu planes plus haut que l’outrage/Et la Paix couronne ton front! (Like the star in the storm/You glide higher than outrage/And peace crowns your forehead!)”
“Le Glaneur, Mars 1889.” This issue of Le Glaneur, a French literary magazine, was formerly owned by Louis Pasteur and was likely sent to him as a gift. The issue opens with four poems written in homage to Pasteur, praising his successful rabies vaccine. The first poem, which was judged as the winner, ends with the phrase “Comme l’étoile dans l’orage/Tu planes plus haut que l’outrage/Et la Paix couronne ton front! (Like the star in the storm/You glide higher than outrage/And peace crowns your forehead!)”
“Dr. Roux” by Robert Kastor. Émile Roux worked with Pasteur for 17 years, beginning as Pasteur’s laboratory research assistant at age 25 and eventually becoming a co-founder of the Pasteur Institute. His signature may be seen to the bottom right of this portrait.
“Dr. Roux” by Robert Kastor. Émile Roux worked with Pasteur for 17 years, beginning as Pasteur’s laboratory research assistant at age 25 and eventually becoming a co-founder of the Pasteur Institute. His signature may be seen to the bottom right of this portrait.

Filed Under: Research + Teaching Tagged With: An Inquiry into the Causes and Effects of the Variolae Vaccinae, anti-vaccination movement, Chandos Leigh Hunt, Cotton Mather, Edward Jenner, Émile Roux, exhibition, George Bernard Shaw, Joseph Meister, Louis Pasteur, measles, National Anti-Vaccination League, rabies, Research, Science, UK Vaccination Acts, Vaccination Brought Home to the People, vaccinations, vaccines, Vaccines for Children Program, Zabdiel Boylston

Fellows Find: Scholar explores eleventh-hour additions to George Bernard Shaw’s corrected proof of play “Saint Joan”

August 13, 2014 - Alex Feldman

Alex Feldman in the Ransom Center's reading room. Photo by Alicia Dietrich.

Alex Feldman, an Assistant Professor in the English Department at MacEwan University, Alberta, visited the Ransom Center to consult the papers of George Bernard Shaw, Lillian Hellman, and Arthur Miller, among others. His research, supported by the Dorot Foundation Postdoctoral Research Fellowship in Jewish Studies, focused on the dramatization of historical trials specifically those of Joan of Arc and the witches of Salem, in twentieth-century drama. The Ransom Center is celebrating the 25th anniversary of its fellowship program in 2014–2015.

The Ransom Center’s cataloging card describes the volume on my desk as a “Rough Proof” of George Bernard Shaw’s play Saint Joan (1923). On the title page—the book is missing a cover—a faint pencil inscription in Shaw’s hand reads, “the old copy showing where the corrections come.” According to Brian Tyson’s account of the play’s development (The Story of Saint Joan), the revisions that appear in this copy date from Shaw’s holiday in Parknasilla, County Kerry, in September 1923, three months before the play’s New York premiere and six months prior to its first performance in London. The ink annotation below, made almost eight years later, reads, “This is an authentic ‘revise’ for the printer, or possible [sic] a copy of one made by me as a precaution against the loss of the other…”

What this copy and its corrections reveal is that a collective voice of great prominence in Shaw’s trial scene was added at a very late stage in the play’s composition. Here, in Shaw’s hand, “The Assessors” make their first appearance.

Sixty or so French and English clerics of assorted order and rank, the assessors fulfilled a quasi-juridical function at Joan’s trial, acting in a consultative capacity under Pierre Cauchon, Bishop of Beauvais, who presided over the proceedings, and Jean Lemaitre, vicar of the Inquisition at Rouen and Joan’s second judge. The likelihood is that, whether intimidated, coerced, or otherwise incentivized, many of the assessors could be counted on to lean, as Cauchon directed, in favor of Joan’s excommunication (and subsequent execution.) But their presence in Rouen and their substantial role in the trial did indicate a serious regard for procedural fairness. According to the trial transcripts, Cauchon, eager to present them as incorruptible, described the assessors as “ecclesiastical and learned men, experienced in canon and civil law, who wished and intended to proceed with [Joan] in all piety and meekness.” Shaw, by contrast, though he deviates from the melodramatic tradition that portrays the assessors as “malignant scoundrels,” presents them as a shrill chorus of righteously indignant imbeciles.

Here’s a representative interjection, which affords some insight into the rationale behind Shaw’s eleventh-hour additions to the text. Under Cauchon’s interrogation, refusing to disavow the heavenly provenance of her “visions and revelations,” Joan declares that she will continue to be guided by God’s will. “In case the Church should bid me do anything contrary to the command I have from God,” Joan declares, “I will not consent to it, no matter what it may be.” Here, in the proof copy, the following insertion appears (see below image):

THE ASSESSORS [shocked and indignant] Oh! The Church contrary to

God! What do you say now? Flat heresy. This is beyond everything.

The playwright isolates the objectionable detail—“The Church contrary to God!”—in case the audience has missed it, and offers it up to the spectator’s scrutiny once again, via the medium of the assessors’ protest. Here and throughout, the assessors perform a mediating function, clarifying, for Shaw’s audience, the nature of Joan’s heresy, as contemporary clerics perceived it. (See images below for further examples.)

The development of this choric voice, identifying and decrying Joan’s seminal transgressions, adds weight to the anti-Joan sentiment building throughout the trial among the clergy. The assessors’ interjections are crucial to Shaw’s establishment of his protagonist’s perceived theological-legal guilt (in the identification of her heresy), but they are also instrumental in advancing Shaw’s argument that the world is always unprepared for the saints in its midst. A rabble of censorious mediocrities, these men are not evil—“there are no villains in the piece,” Shaw insisted—but they do contribute to the sense that middlebrow opinion (ever the object of Shaw’s critique) and unthinking conformity to the conventional canons of belief create insuperable obstacles to the recognition of genius.

I am grateful to Jean Cannon and all of the staff at the Ransom Center for their expert guidance, to Willow White for her timely assistance, and to Sos Eltis and Peter Raby for their support of my fellowship application.

Please click on thumbnails below to view larger versions.

The pencil note reads “the old copy showing where the corrections come.” In ink below it: “This is an authentic ‘revise’ for the printer, or possible [sic] a copy of one made by me as a precaution against the loss of the other. I cannot account for its passing out of my hands. G. Bernard Shaw. 23/5/31”
The pencil note reads “the old copy showing where the corrections come.” In ink below it: “This is an authentic ‘revise’ for the printer, or possible [sic] a copy of one made by me as a precaution against the loss of the other. I cannot account for its passing out of my hands. G. Bernard Shaw. 23/5/31”
Though Shaw made these revisions in September 1923, since he had not yet begun work on the Preface, and Constable & Co. were aware that this was to be a substantial undertaking, 1924 is printed here as the prospective date of publication.
Though Shaw made these revisions in September 1923, since he had not yet begun work on the Preface, and Constable & Co. were aware that this was to be a substantial undertaking, 1924 is printed here as the prospective date of publication.
"THE ASSESSORS: [whispering] Protestantism! What was that? What does the Bishop mean? Is it a new heresy? The English commander, he said. Did you ever hear of Protestantism? &c. &c." Joan’s trial pre-dates the Reformation by almost a century, but in Shaw’s version of events, as he explains in the Preface, Joan was the first Protestant martyr, as indeed she was also the first French nationalist. Though the Earl of Warwick has used the word “Protestant” in conversation with Cauchon in the previous scene, the expression obviously means nothing to the priests.
“THE ASSESSORS: [whispering] Protestantism! What was that? What does the Bishop mean? Is it a new heresy? The English commander, he said. Did you ever hear of Protestantism? &c. &c.” Joan’s trial pre-dates the Reformation by almost a century, but in Shaw’s version of events, as he explains in the Preface, Joan was the first Protestant martyr, as indeed she was also the first French nationalist. Though the Earl of Warwick has used the word “Protestant” in conversation with Cauchon in the previous scene, the expression obviously means nothing to the priests.
THE ASSESSORS: [shocked and indignant] Oh! The Church contrary to God! What do you say now? Flat heresy. This is beyond anything. &c. &c. This page is the subject of the above discussion.
“THE ASSESSORS: [shocked and indignant] Oh! The Church contrary to God! What do you say now? Flat heresy. This is beyond anything. &c. &c.” This page is the subject of the above discussion.
"THE ASSESSORS: [scandalized] Oh! [They cannot find words.]" It is Joan’s determination to trust in her own judgment that appalls the assessors here. Throughout the play, Shaw treats Joan’s reliance upon her personal relationship with the divine, and her rejection of clerical intercession, as precursors to Protestantism.
“THE ASSESSORS: [scandalized] Oh! [They cannot find words.]” It is Joan’s determination to trust in her own judgment that appalls the assessors here. Throughout the play, Shaw treats Joan’s reliance upon her personal relationship with the divine, and her rejection of clerical intercession, as precursors to Protestantism.
"[The assessors cannot help smiling, especially as the joke is against Courcelles.]" Thomas de Courcelles, Rector of the University of Paris and Canon of the Cathedral Chapters at Amiens, Laon, and Thérouanne, was one of Joan’s most blood-thirsty assessors (one of only three who voted in favor of torture) and is ridiculed by Shaw for his inability to disguise his obsession with sexual transgression.
“[The assessors cannot help smiling, especially as the joke is against Courcelles.]” Thomas de Courcelles, Rector of the University of Paris and Canon of the Cathedral Chapters at Amiens, Laon, and Thérouanne, was one of Joan’s most blood-thirsty assessors (one of only three who voted in favor of torture) and is ridiculed by Shaw for his inability to disguise his obsession with sexual transgression.
"THE ASSESSORS: [in great commotion] Blasphemy! blasphemy. She is possessed. She said our counsel was of the devil. And hers of God. Monstrous! The devil is in our midst. &c. &c." At this point, in Shaw’s version of events, Joan has damned herself past all salvation and will burn.
“THE ASSESSORS: [in great commotion] Blasphemy! blasphemy. She is possessed. She said our counsel was of the devil. And hers of God. Monstrous! The devil is in our midst. &c. &c.” At this point, in Shaw’s version of events, Joan has damned herself past all salvation and will burn.
Alex Feldman in the Ransom Center's reading room. Photo by Alicia Dietrich.
Alex Feldman in the Ransom Center’s reading room. Photo by Alicia Dietrich.

Filed Under: Books + Manuscripts, Research + Teaching, Theatre + Performing Arts Tagged With: Fellows Find, Fellowships, George Bernard Shaw

Penguin and the Paperback Revolution

August 9, 2012 - Jean Cannon

Click on the four-way arrow in the bottom right-hand corner of the slideshow to convert into full-screen mode.

According to popular mythology, the publisher Allen Lane, founder of Penguin Books, formulated his idea for a press dedicated exclusively to paperbacks while visiting a railway station. Having spent the weekend visiting his friend Agatha Christie, the famed author of Murder on the Orient Express, Lane arrived at the Exeter railway station and realized he had forgotten his book. Frustrated and facing the boredom of a long train trip, Lane tried to buy a novel at the station but found that there was nothing available that he felt worth reading. Bookless for the next few hours, he sat on the train and planned a new line of cheap, pocket-sized, and travel-worthy books, which could be sold at railway stations, grocers, and department stores. Penguin Books—and the paperback revolution—were born.

While this version of Allen Lane’s epiphany may be slightly romanticized, there is no doubt that Penguin Books, launched in 1935, sparked a new phase of publishing that would change the printing industry irrevocably. Mass marketing of paperbacks not only brought classics to a wider audience but also brought pulp fiction—previously published in magazines—to the forefront of the book trade.

The Ransom Center’s book collection is known for first editions, many of them lush volumes with elaborate bindings. Perhaps lesser known is the fact that the Ransom Center also houses multiple volumes that illuminate the development of the paperback book trade in both America and Britain. Alongside important editions of Lane’s Penguins, the Center also houses Tauchnitz editions of paperbacks that pre-date Penguin, as well as the “penny dreadfuls” and dime novels that slowly developed into modern pulp fiction. This slideshow exhibits numerous items from the library’s collections that represent landmarks in the history of the paperback book trade.

"What Maisie Knew" by Henry James. Book cover design by Edward Gorey. 1954.
"What Maisie Knew" by Henry James. Book cover design by Edward Gorey. 1954.

Filed Under: Books + Manuscripts Tagged With: A Farewell to Arms, Agatha Christie, Albatross Verlag, Aldine Press, Aldus Manutius, Allen Ginsberg, Allen Lane, Anchor Books, Armed Services Editions Collection, Charles Dickens, City Lights Pocket Bookshop, D. H. Lawrence, Dante Alighieri, dime novels, E.O. Lorimer, Edith Sitwell, Edward Gorey, Erle Stanley Gardner, Ernest Hemingway, George Bernard Shaw, George Sala, Gold Medal Books, Golden Cockerell Press, Have Gat—Will Travel, Henry David Thoreau, Henry James, Howl and Other Poems, J. Dicks, Lady Chatterley’s Lover, Le terze rime di Dante, Malaeska the Indian Wife of the White Hunter, Mrs. Ann Stephens, Murder on the Orient Express, Oliver Twist, paperbacks, Penguin Books, Penguin Illustrated Classics, penny dreadfuls, Pocket Books, Publishing, pulp fiction, Richard S. Pranther, Robert Gibbings, Tauchnitz, Terrible Tales, The Case of the Velvet Claws, The Intelligent Woman’s Guide to Socialism Capitalism Sovietism & Fascism, The Pickwick Club, Walden, What Hitler Wants, What Maisie Knew

Research at the Ransom Center: “Modernism and Christianity”

July 17, 2012 - Io Paulo Montecillo

George Bernard Shaw's responses to a questionnaire about God. 1931. George Bernard Shaw collection.
George Bernard Shaw's responses to a questionnaire about God. 1931. George Bernard Shaw collection.

Dr. Erik Tonning is Research Director of the “Modernism and Christianity” project at the University of Bergen, Norway. He visited the Ransom Center in June 2011 to view a range of its modernism holdings and to gather information on behalf of his research team from several of the Ransom Center’s rich collections.

Tonning writes about his research and his findings, including manuscripts that highlight George Bernard Shaw and D. H. Lawrence’s approaches to a new theology, as well as a letter from T. S. Eliot, one of the most famous modernist converts to Christianity.

Filed Under: Research + Teaching Tagged With: Christianity, D. H. Lawrence, Erik Tonning, George Bernard Shaw, modernism, Research, T. S. Eliot, theology

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