Titlebook: Bernard Shaw and the Censors; Fights and Failures, Bernard F. Dukore Book 2020 The Editor(s) (if applicable) and The Author(s) 2020 Bernard

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https://doi.org/10.1007/978-88-470-1359-9heatres sprang up to circumvent the Lord Chamberlain’s ban on serious drama by the same means that productions of . and . had circumvented it: private performances for members of a society or club who did not purchase tickets at the box office but received them as part of their membership dues. In 1

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Book 2020ports of defeats are so buoyant, they seem to describe triumphs. We think of him as a celebrity, not an outsider; as a classic, not one of the avant-garde, of which Victorians and Edwardians were intolerant; as ahead of his time, not of it, when he was called “disgusting,” “immoral", and "degenerate

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,Shaw’s Campaign Against the Censors: Press, Public Opinion, and Parliament,ously with social issues. What stood in their way was the threat of the Lord Chamberlain’s refusal of a license. Unsurprisingly, as James Woodfield states, a chief argument of those who supported the abolition of stage censorship was discrimination against serious dramatists. Like authors of music h

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Shaw and Movie Censorship in Britain and the United States,s, or, slangily, movies, which signaled the new medium’s difference from still photographs. The goal of these inventors was commercial: inexpensive entertainment for a mass audience. In May 1893 in Brooklyn, Thomas Edison unveiled his Kinetoscope, a peephole with a slot into which one might drop a c

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Selecting Sketches for Similarity Searchaps only Osip Mandelstam was as great a reader of Dante. By the time he was writing the work included in ., Duncan appears to have absorbed Baudelaire so completely that he begins channeling the poet in his native language. (And, as Clément Oudart has demonstrated, in “Et: [Passages]” he begins to channel Pound’s “Canto I” into French.)