论萧伯纳的创造进化论
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摘要
乔治·萧伯纳不仅是一位英国杰出的现实主义戏剧家、文学评论家和社会主义活动家,更是一位伟大的哲学家和思想家。他在近60年的创作生涯中完成了51个优秀的剧作,每部创作、介在不同的层面上反应了历史上当时的社会现象和萧伯纳独特的世界观和哲学观。诚然,在其一生的创作生涯中,他在创作中的思想体现随着社会历史背景的变迁而改变,也随着哲学脉承的理念而体现。因此,萧伯纳被公认为英国、欧洲乃至全世界具有不朽声誉的大家。同时,由于萧伯纳在其剧作中运用成熟的技巧牢牢把握各种历史社会问题,揭露了当时社会的各种腐败和不合理现象,使创作具有强烈的现实主义成分,既给人以思想的警觉,又给人们以高度的文化享受。他庞大的评论文、政论文、剧作等作品和丰富而深刻的思想内涵是人类宝贵的精神财富。本文将针对萧伯纳独特的哲学观点——“创造进化论”以丰富的创作作品为依据,在不同的历史进程中解读“创造进化论”的体现。全文分为导论、正文、结语三个部分。
第一部分,导论。首先对萧伯纳进行概括性介绍,陈述自己选题的价值和理由；然后介绍了历史上国内外对萧伯纳的研究成果,重点分析在国内近期对他的研究状况,进而确定了本文论题的意义和研究的切入点；最后则介绍了本文的创新和不足之处。
第二部份,正文。正文分为四章,分别从萧伯纳所经历的历史背景,萧伯纳“创造进化论”的特征,萧伯纳“创造进化论”的哲学脉承和其“创造进化论”的思想体现四个方面来阐述本文的主题。
第一章,萧伯纳所经历的历史背景介绍。由于萧伯纳生活在一个社会动荡,思想复杂的时代,亲历了英国革命的几个重要时期,其生活、学习、工作经历都使他充分了解当时社会的黑暗以及资本主义的弊端。通过本章的论述可知,萧伯纳生活的时代背景、生平、创作历程等与其哲学思想的产生发展有密切联系。
第二章,萧伯纳“创造进化论”的特征。本章从以下几个角度来分析其特征。1、萧伯纳不信奉任何宗教,他在独特的历史背景下创造了属于他自己的真理：“创造进化论”。2、宇宙创造的四要素。由于萧伯纳不信奉当时盛行的宗教,因此,萧伯纳并不苟同当时宗教和所谓科学认为的“地、水、火、风”为宇宙和世界创造的四要素。他从思想深处认为,宇宙应该是“意志、生命、生命力和物质”构成的。3、与达尔文理论的不同。提起进化论,在当代科学广为认可的是达尔文提出的“生物进化论”也就是——“优胜劣汰、物竞天择”,但萧伯纳并不认为那是科学。他的理论更从主观能动的角度来分析生命和宇宙,并在许多的创作中凸显了他所认为的进化流程和进化终极目标。4、女性主义的凸显。由于萧伯纳在特定的历史环境中和其独特的世界观,在他的“创造进化论”中认为：在人类进化的过程中,女性起着至关重要的作用,并且比男性更加的重要。综观萧伯纳的剧作,将不难发现其作品中所塑造的女性形象,显示了他对广大女性所受屈辱和痛苦的无限同情,同时也寄托了他希望女性解放,获得与男性平等社会权利的愿望,这些潜在的观点充分体现了他的女性主义思想。5、终极进化形式——超人。在这一节中,将主要介绍萧伯纳对进化结论的认知,并最终阐述萧在进化节点和归属上与其他理论的不同。
第三章,萧伯纳创造进化论的哲学脉承。从对萧伯纳思想产生重大影响的历史人物和哲学思想观中,更好地了解和分析萧伯纳“创造进化论”的形成缘由,主要分析亨利·柏格森、尼采、拉马克、萨缪尔·巴特勒等人的哲学观点对萧伯纳创造进化论思想形成的影响。
第四章,萧伯纳创造进化论的思想体现。萧伯纳极力推崇创造进化论思想,并奉之为他的宗教。创造进化论是萧伯纳在唯意志哲学和进化论思想的基础之上提出的观点,通常被认为是一种哲学思想,但创造进化论思想不可否认是萧伯纳对于社会和人类命运的深切关怀与思索下产生的思想,并且他希望创造进化论思想能够解决其费边主义思想的局限性,因此创造进化论思想也可谓是独属于他的政治思想。本章的第一节从创造进化论的根源——“生命力”来谈起,在萧的《易卜生主义精华》这一政论文中,在《人与超人》、《康蒂妲》等创作作品中可以看出萧对此哲学思想的起源认知。第二节从“知识与智能”方面来看“生命力”选择的载体特征。第三节则重点分析萧“创造进化论”的“超人”观点,并以其创作的原句来分析与探讨。
第三部份,结语。重申了本文的写作方向,强调研究萧伯纳“创造进化论”的意义,在客观指出萧伯纳的思想与观念中的局限与妥协性的同时,充分肯定了萧伯纳在哲学、历史和文化几方面不可磨灭的伟大贡献。
George Bernard Shaw was more a profound philosopher and thinker than just a great British realist playwright, literary critic and socialist activist. In his literary career for nearly 60 years, he wrote 51 outstanding dramas each mirroring a certain social phenomenon of his time as well as his distinctive world outlook and philosophical view. Indeed his thoughts in writing may alter accordingly along with the changes in the historical and social settings of the particular times, and is manifested through philosophical visions handed down traditionally. Therefore, he is recognized among the most famous authors in UK, Europe and all over the world. Meanwhile, thanks to his deployment of skilled techniques for reflection of various historical and social problems, the writer unveiled various corrupt and unfair phenomena of the respective times, thus including in his literary works prominently realistic components and offering the readers both ideological awareness and in-depth cultural feast. His commentaries, political essays, playwrights and other genres of literary works, large in quantity and profound in ideological connotation remain an invaluable spiritual wealth of mankind. Aimed at George Bernard Shaw's unique philosophical views arising from his "creative evolution", on the basis of his prolific literary works, this thesis interprets the representation of "creative evolution" in different historical periods. The whole text comprises three parts:introduction, the body, and conclusion.
Part 1:Introduction. First of all the thesis gives a summarized introduction to George Bernard Shaw and states the values to select the title and the reasons, reviews research findings of the great man in history at home and abroad with focused analysis of Chinese researchers'recent studies of him, and goes on to highlight and determine the significance of the research title and the proper access to the research. In the end of this part, the thesis admits the existence of its creativity and insufficiency.
Part 2:The body of text. Divided into four chapters, this part expatiates on the gist of the thesis through discussion over the historical background of George Bernard Shaw, the characteristic of his "creative evolution", philosophical link of the theory and its ideological representation.
Chapter One:The Historical Background of George Bernard Shaw. In a time of social upheaval and complex ideology, he experienced several marked periods of the British revolution in his living, study and work, and thus was well aware of the social darkness and capitalist drawback. From the discussion in this chapter, it can be seen that his living time, his life and his literary creation are closely related to the emergence and growth of this philosophical ideology.
Chapter 2:The Characteristics of George Bernard Shaw's Creative Evolution Theory. This chapter intends to analyze the characteristics from the following perspectives:
1. An atheist. He did not believe in any religion but created his own truth-"creative evolution", in the unique historical context.
2. Four Elements for the Univeres Genesis. As he did not believe in any of the religions prevailing in his time, he disagreed on such a religious or so-called "scientific" belief that the four elements contributing to the world genesis comprise "earth, water, fire, and wind". Deep in his mind, he held that the universe was composed of "will, life, vitality, and substance".
3. Difference from the Darwinian Theory. As far as the term "evolution" is concerned, the modern science might maintain that the Darwin's theory of evolution in biology means "survival of the fittest" and "natural selection". However, George Bernard Shaw did not think that was a scientific interpretation. He applied his own theory to analysis of life and the universe from the perspective on his subjective initiative and in quite a few of his literary works he indicated his viewpoints of the evolutional process and the utmost evolutionary goal.
4. Shaping of Feminism. Due to his striking world outlook in the particular historical context, in line with his theory of "creative evolution", he insisted that females played a very crucial role in the evolution of humankind, even more important than males. Through an overview of his dramas, it would be easy to notice his feminist thought fully shown in the female characters of his works as well as his potential insights, from his sincere sympathy for the humiliation and distress most women suffered then and his expectation for female emancipation and their gain of the equal social rights.
5. "Superman"-the Form to Terminate Evolution. This chapter informs the readers of George Bernard Shaw's cognition of the conclusion on evolution and of the difference between his evolutionary theory and other theories in evolutionary points and attribution.
Chapter 3:The Philosophical Links of George Bernard Shaw's Creative Evolution. Here the researcher gives an introduction to some historical characters who had greatly influenced George Bernard Shaw's shaping of his thought and their philosophical views, such as those of Henri Bergson, Nietzsche, Jean-Baptiste Lamarck, and Samuel Butler, for better understanding, analysis and exposition of the causes for establishment of his theory of "creative evolution".
Chapter 4:George Bernard Shaw's Representation of the Creative Evolution Theory. He advocated his theory of creation evolution to a lofty position, as his faith. Formulated the theory on the basis of the Volitionist philosophy and the theory of evolution, his theory of creative evolution was deemed as a philosophical thought. However, it was undoubtedly a thought arising from his kind concern about and deep consideration of the destiny of the society and the humankind. Moreover, it was his hope that the theory of creative evolution, as his exclusive political thought, would make up the limitations of the thought of his Fabianism. Section 1. This chapter starts with the origin of the theory-"vitality". His cognition of the origin of the philosophical thought can be reflected in his political essays such as Quintessence of Ibsenism and his dramas including Candida and Man and Superman; Section 2.Views the characteristics of the carrier for "vitality" selection from the perspective of "knowledge and intelligence"; Section 3. On analysis of the opinions of "superman" in the theory of creative evolution, which is analyzed and discussed using some remarks of the superman in the original literary works.
Part Three:Conclusion. The thesis restates the orientation to write up this thesis, emphasizes the significance of the research of George Bernard Shaw's theory of creative evolution, and affirms fully his great, indelible contribution to philosophy, history and culture while pointing out objectively the limitations and comprises of his thoughts and concepts.
第一部分,导论。首先对萧伯纳进行概括性介绍,陈述自己选题的价值和理由；然后介绍了历史上国内外对萧伯纳的研究成果,重点分析在国内近期对他的研究状况,进而确定了本文论题的意义和研究的切入点；最后则介绍了本文的创新和不足之处。
第二部份,正文。正文分为四章,分别从萧伯纳所经历的历史背景,萧伯纳“创造进化论”的特征,萧伯纳“创造进化论”的哲学脉承和其“创造进化论”的思想体现四个方面来阐述本文的主题。
第一章,萧伯纳所经历的历史背景介绍。由于萧伯纳生活在一个社会动荡,思想复杂的时代,亲历了英国革命的几个重要时期,其生活、学习、工作经历都使他充分了解当时社会的黑暗以及资本主义的弊端。通过本章的论述可知,萧伯纳生活的时代背景、生平、创作历程等与其哲学思想的产生发展有密切联系。
第二章,萧伯纳“创造进化论”的特征。本章从以下几个角度来分析其特征。1、萧伯纳不信奉任何宗教,他在独特的历史背景下创造了属于他自己的真理：“创造进化论”。2、宇宙创造的四要素。由于萧伯纳不信奉当时盛行的宗教,因此,萧伯纳并不苟同当时宗教和所谓科学认为的“地、水、火、风”为宇宙和世界创造的四要素。他从思想深处认为,宇宙应该是“意志、生命、生命力和物质”构成的。3、与达尔文理论的不同。提起进化论,在当代科学广为认可的是达尔文提出的“生物进化论”也就是——“优胜劣汰、物竞天择”,但萧伯纳并不认为那是科学。他的理论更从主观能动的角度来分析生命和宇宙,并在许多的创作中凸显了他所认为的进化流程和进化终极目标。4、女性主义的凸显。由于萧伯纳在特定的历史环境中和其独特的世界观,在他的“创造进化论”中认为：在人类进化的过程中,女性起着至关重要的作用,并且比男性更加的重要。综观萧伯纳的剧作,将不难发现其作品中所塑造的女性形象,显示了他对广大女性所受屈辱和痛苦的无限同情,同时也寄托了他希望女性解放,获得与男性平等社会权利的愿望,这些潜在的观点充分体现了他的女性主义思想。5、终极进化形式——超人。在这一节中,将主要介绍萧伯纳对进化结论的认知,并最终阐述萧在进化节点和归属上与其他理论的不同。
第三章,萧伯纳创造进化论的哲学脉承。从对萧伯纳思想产生重大影响的历史人物和哲学思想观中,更好地了解和分析萧伯纳“创造进化论”的形成缘由,主要分析亨利·柏格森、尼采、拉马克、萨缪尔·巴特勒等人的哲学观点对萧伯纳创造进化论思想形成的影响。
第四章,萧伯纳创造进化论的思想体现。萧伯纳极力推崇创造进化论思想,并奉之为他的宗教。创造进化论是萧伯纳在唯意志哲学和进化论思想的基础之上提出的观点,通常被认为是一种哲学思想,但创造进化论思想不可否认是萧伯纳对于社会和人类命运的深切关怀与思索下产生的思想,并且他希望创造进化论思想能够解决其费边主义思想的局限性,因此创造进化论思想也可谓是独属于他的政治思想。本章的第一节从创造进化论的根源——“生命力”来谈起,在萧的《易卜生主义精华》这一政论文中,在《人与超人》、《康蒂妲》等创作作品中可以看出萧对此哲学思想的起源认知。第二节从“知识与智能”方面来看“生命力”选择的载体特征。第三节则重点分析萧“创造进化论”的“超人”观点,并以其创作的原句来分析与探讨。
第三部份,结语。重申了本文的写作方向,强调研究萧伯纳“创造进化论”的意义,在客观指出萧伯纳的思想与观念中的局限与妥协性的同时,充分肯定了萧伯纳在哲学、历史和文化几方面不可磨灭的伟大贡献。
George Bernard Shaw was more a profound philosopher and thinker than just a great British realist playwright, literary critic and socialist activist. In his literary career for nearly 60 years, he wrote 51 outstanding dramas each mirroring a certain social phenomenon of his time as well as his distinctive world outlook and philosophical view. Indeed his thoughts in writing may alter accordingly along with the changes in the historical and social settings of the particular times, and is manifested through philosophical visions handed down traditionally. Therefore, he is recognized among the most famous authors in UK, Europe and all over the world. Meanwhile, thanks to his deployment of skilled techniques for reflection of various historical and social problems, the writer unveiled various corrupt and unfair phenomena of the respective times, thus including in his literary works prominently realistic components and offering the readers both ideological awareness and in-depth cultural feast. His commentaries, political essays, playwrights and other genres of literary works, large in quantity and profound in ideological connotation remain an invaluable spiritual wealth of mankind. Aimed at George Bernard Shaw's unique philosophical views arising from his "creative evolution", on the basis of his prolific literary works, this thesis interprets the representation of "creative evolution" in different historical periods. The whole text comprises three parts:introduction, the body, and conclusion.
Part 1:Introduction. First of all the thesis gives a summarized introduction to George Bernard Shaw and states the values to select the title and the reasons, reviews research findings of the great man in history at home and abroad with focused analysis of Chinese researchers'recent studies of him, and goes on to highlight and determine the significance of the research title and the proper access to the research. In the end of this part, the thesis admits the existence of its creativity and insufficiency.
Part 2:The body of text. Divided into four chapters, this part expatiates on the gist of the thesis through discussion over the historical background of George Bernard Shaw, the characteristic of his "creative evolution", philosophical link of the theory and its ideological representation.
Chapter One:The Historical Background of George Bernard Shaw. In a time of social upheaval and complex ideology, he experienced several marked periods of the British revolution in his living, study and work, and thus was well aware of the social darkness and capitalist drawback. From the discussion in this chapter, it can be seen that his living time, his life and his literary creation are closely related to the emergence and growth of this philosophical ideology.
Chapter 2:The Characteristics of George Bernard Shaw's Creative Evolution Theory. This chapter intends to analyze the characteristics from the following perspectives:
1. An atheist. He did not believe in any religion but created his own truth-"creative evolution", in the unique historical context.
2. Four Elements for the Univeres Genesis. As he did not believe in any of the religions prevailing in his time, he disagreed on such a religious or so-called "scientific" belief that the four elements contributing to the world genesis comprise "earth, water, fire, and wind". Deep in his mind, he held that the universe was composed of "will, life, vitality, and substance".
3. Difference from the Darwinian Theory. As far as the term "evolution" is concerned, the modern science might maintain that the Darwin's theory of evolution in biology means "survival of the fittest" and "natural selection". However, George Bernard Shaw did not think that was a scientific interpretation. He applied his own theory to analysis of life and the universe from the perspective on his subjective initiative and in quite a few of his literary works he indicated his viewpoints of the evolutional process and the utmost evolutionary goal.
4. Shaping of Feminism. Due to his striking world outlook in the particular historical context, in line with his theory of "creative evolution", he insisted that females played a very crucial role in the evolution of humankind, even more important than males. Through an overview of his dramas, it would be easy to notice his feminist thought fully shown in the female characters of his works as well as his potential insights, from his sincere sympathy for the humiliation and distress most women suffered then and his expectation for female emancipation and their gain of the equal social rights.
5. "Superman"-the Form to Terminate Evolution. This chapter informs the readers of George Bernard Shaw's cognition of the conclusion on evolution and of the difference between his evolutionary theory and other theories in evolutionary points and attribution.
Chapter 3:The Philosophical Links of George Bernard Shaw's Creative Evolution. Here the researcher gives an introduction to some historical characters who had greatly influenced George Bernard Shaw's shaping of his thought and their philosophical views, such as those of Henri Bergson, Nietzsche, Jean-Baptiste Lamarck, and Samuel Butler, for better understanding, analysis and exposition of the causes for establishment of his theory of "creative evolution".
Chapter 4:George Bernard Shaw's Representation of the Creative Evolution Theory. He advocated his theory of creation evolution to a lofty position, as his faith. Formulated the theory on the basis of the Volitionist philosophy and the theory of evolution, his theory of creative evolution was deemed as a philosophical thought. However, it was undoubtedly a thought arising from his kind concern about and deep consideration of the destiny of the society and the humankind. Moreover, it was his hope that the theory of creative evolution, as his exclusive political thought, would make up the limitations of the thought of his Fabianism. Section 1. This chapter starts with the origin of the theory-"vitality". His cognition of the origin of the philosophical thought can be reflected in his political essays such as Quintessence of Ibsenism and his dramas including Candida and Man and Superman; Section 2.Views the characteristics of the carrier for "vitality" selection from the perspective of "knowledge and intelligence"; Section 3. On analysis of the opinions of "superman" in the theory of creative evolution, which is analyzed and discussed using some remarks of the superman in the original literary works.
Part Three:Conclusion. The thesis restates the orientation to write up this thesis, emphasizes the significance of the research of George Bernard Shaw's theory of creative evolution, and affirms fully his great, indelible contribution to philosophy, history and culture while pointing out objectively the limitations and comprises of his thoughts and concepts.
引文
①《诺贝尔文学奖授奖词》,转引自萧伯纳： 《圣女贞德》,杨宪益、申慧辉译,桂林：漓江出版社,2001年,第717页。
②[英1萧伯纳： 《人与超人》,陈惠华译,长春：远景出版事业公司,1982年版,第2页。
③亨利克·易卜生(Henrik Ibsen,1818-1906),挪威著名剧作家,是现实主义戏剧大师,以社会问题剧而闻名于世,被誉为“欧洲现代戏剧之父”,代表作《玩偶之家》。
①[英]佛兰克·赫里斯《萧伯纳传》,黄嘉德译,北京：外国文学出版社,1983年,第254页。
① Glenn R. Cuomo, "Saint Joan before the Cannibals:George Bernard Shaw in the Third Reich", German Studies Review, Vol.16, Berlin:German Studies Association,1993, pp.435-461.
②何成洲《萧伯纳：西方女权运动的倡导者——评萧伯纳剧中“生命力”思想下的女性形象》,解放军外语学院学报,1997年第2期,第76页。
③[英]萧伯纳：《圣女贞德》,杨宪益、申辉等译,漓江出版社,1987年,第16页。
①易晓明： 《从社会问题剧看萧伯纳的思想倾向》, 《外国文学评论》,1999年第2期,第37页。
②秦文： 《创造进化论——萧伯纳戏剧创作的普遍主题》, 《外国文学研究》,1998年第3期,第67页。
③谢江南： 《肖伯纳戏剧创作主题的嬗变》, 《上海戏剧学院学报戏剧艺术》,2001年第5期,第69页。
④明爱： 《萧伯纳的创造进化论》, 《南京工程学院学报(社会科学版)》,第4卷第3期(2004年9月)http://d. wanfangdata. com. cn/Periodical_njgcxyxb200403006. aspx
①张明爱： 《萧伯纳的社会心理辨析》, 《学海》,2006年第3期。http://d.wanfangdata.com.cn/Periodical xuehai200603031.aspx
②李婧怡： 《论萧伯纳的女性观》, 《科技信息(学术版)》,2008年第28期。http://d.wanfangdata.com.cn/Periodical_kjxx-xsb200828089.aspx
③王文静： 《宗教对萧伯纳戏剧创作思想的影响》, 《内蒙古民族大学学报》,第15卷第1期(2009年),第24-25页。
④ Randy H. Hamilton, "Bernard Shaw's Reflections on Being a City Councilman", Public Administration Review,Vol.40, New York:American Society for Pubic Administration,1980. pp.317-320.
①张梦麟： 《萧伯纳的研究》,上海：中华学艺社,1933年版。
②黄嘉德译： 《萧伯纳传》,团结出版社,2006年版。
③刘涛： 《对20世纪中国萧伯纳研究的反思与批判》,武汉大学硕士学位论文,2005年5月,第4页。
④高音：社会问题应该在戏剧中自由讨论吗?——谈谈萧伯纳和他的舞台现实主义》, 《戏剧-中央戏剧学院学报》,2009年第1期,第3页。
①王振槐：《西方政治思想史》,南京大学出版社,1993年版,第298-301页。
①参阅http://etext.lib.virginia.edu/modeng/modengP.browse.html
① Christopher Innes, The Cambridge Companion to George Bernard Shaw, Cambridge:CambridgeUniversity Press,1998.p.26.
①Archibald Henderson, George Bernard Shaw:His Life and Works, London:Hurstand Blackett Limited,1911. D.103
②Donald C. Harberman, George Bernard Shaw, Dekalb, Illinois:Northern Illinois University Press,1974. p.245
③Warren Sylvester Smith, The Religious Speech of Bernard Shaw, University Park:Pennsylvania State University Press,1963. p.74
①Donald C. Harberman, George Bernard Shaw, Dekalb, Illinois:Northern Illinois University Press,1974. p. 247.
②Warren Sylvester Smith, The Religious Speech of Bernard Shaw, University Park:Pennsylvania State UniversityPress,1963. p.155.
③Mitch Abidor, "Bernard Shaw, The Lysenko Muddle", Labour Monthly, New York:New York Labour Press,1949. p.83.
①Sally Peters, Bernard Shaw-The Ascent of Superman, New Haven:Yale University Press,1996. p.21.
②Stanley Pierson, British Socialists, Cambridge:Harvard University Press,1979. p.67.
③George Bernard Shaw, The Preface to Misalliance, London:Constable & Co.,1914. p.135.
①Henri, Bergson, The Creative Mind, New York:Kensington Publishing Corp.,1946, p.185.
②[德]尼采：《瞧,这个人》,中国和平出版社,1986年,第11—12页。
③ 赵敦华：《现代西方哲学新编》,北京大学出版社。2001年,第23页。
①Warren Sylvester Smith, The Religious Speech of Bernard Shaw, University Park:Pennsylvania State University Press,1963. p59.
①黄嘉德：《萧伯纳研究》,山东大学出版社,1989年版,第45页。
②同上。
③Donald C. Harberman, George Bernard Shaw, Dekalb, Illinois:Northern Illinois University Press,1974, p.62.
①George Benard Shaw, The Complete Plays of Bernard Shaw, Edinburgh:R. & R.Clark Ltd.,2006, p.379.
①[英]萧伯纳： 《圣女贞德》,向洪全译,中国书籍出版社,2008年6月第1版,第13-15页。
①Rodelle, Weintraud, Bernard Shaw and Woman, University Park:Pennsylvania State University,1977. p.174.
②同上。
①[英]萧伯纳：前引书,第373页。
② [英]萧伯纳：《芭芭拉少校》,英若诚译,中国对外翻译出版公司,1999年版,第319页。
①[英]萧伯纳： 《芭芭拉少校》,英若诚译,中国对外翻译出版公司,第367页。
②同上,第375-377页。
③李斯等译：《诺贝尔文学奖文集》,时代文艺出版社,2006年10月第1版,第72页。
④同上,第66页。
①[英]萧伯纳： 《人与超人》,李斯译,时代文艺出版社,2006年版,第83、84页。
②[德]尼采《超善恶》,张念东、凌素心译,中央编译出版社,2000年版,第56页。
③[法]都鲁兹： 《解读尼采》,张唤民译,百花文艺出版社,2000年版,第173页。
④Friedrich Wilhelm Nietzsche, Nietzsches Werke, Vol.2, Berlin:Nabu Press,1955, p.527.
① [英]萧伯纳： 《圣女贞德》(中英对照),向洪全译,北京：中国书籍出版社,2008年版,第209页。
②[英]萧伯纳：前引书,第263页。
①李斯等译： 《诺贝尔文学奖文集》,时代文艺出版社,2006年10月第1版,第73页。
②同上,第117页。
③ [德]尼采： 《苏鲁支语录》,徐梵澄译,商务印书馆,1997年版,第6页。
④李斯等译： 《诺贝尔文学奖文集》,时代文艺出版社,2006年版,第347页。
①赵敦华著： 《现代西方哲学新编》,北京大学出版社,2009年版,第17页。
Rihard F. Dietrich, British Drama 1890-1950, Boston:Twayne Publishers,1989, p14.
①[英]萧伯纳： 《人与超人》,李斯译,时代文艺出版社,2006年版,第3、4页。
②黄嘉德《萧伯纳研究》,济南：山东大学出版社,1989年,第11页。
[1]Abidor, Mitch, "Bernard Shaw, the Lysenko Muddle", Labour Monthly, New York: New York Labour Press,1949.
[2]Adam, Ruth, What Shaw Really Said, New York:Schocken books Inc.,1966.
[3]Bentley, Eric, "The Playwright as Thinker, a Study of Drama in Modern Times", Robert Books, New York:Reynal &Hitchcock,1946.
[4]Bergson,Henri, The Creative Mind, New York:Kensington Publishing Corp.,1946.
[5]Bertolini, John A., The Play Wrighting Self of Bernard Shaw, Carbondale: Southern Illinois University Press,1991.
[6]Cuddon,John Anthony, A Dictionary of Literary Term, London:Andre Deutsch Limited,1979.
[7]Cuomo, Glenn R., "Saint Joan before the Cannibals:George Bernard Shaw in the Third Reich", German Studies Review, Berlin:German Studies Association,1993.
[8]Dietrich, Rihard F., British Drama 1890-1950, Boston:Twayne Publishers,1989.
[9]Evans, T. F., George Bernard Shaw——the Critical Heritage, London:Routledge, 1980.
[10]Grene, Nicholas, "Bernard Shaw", a Critical View, London:The Macmillan Press, 1984.
[11]Hamilton, Randy H., "Bernard Shaw's Reflections on Being a City Councilman", Public Administration Review, Vol.40, New York:American Society for Pubic Administration,1980.
[12]Harberman, Donald C., George Bernard Shaw, Dekalb, Illinois:Northern Illinois University Press,1974.
[13]Hayek, Friedrich A., The Constitution of Liberty, Chicago:University of Chicago Press,1978.
[14]Henderson, Archibald, George Bernard Shaw:His Life and Works, London: Hurstand Blackett Limited,1911.
[15]Innes, Christopher, The Cambridge Companion to George Bernard Shaw, Cambridge:CambridgeUniversity Press,1998.
[16]John, Ervine, St., Bernard Shaw:His Life, Work and Friends, Constable & Company Ltd.,1956.
[17]Peters, Sally, Bernard Shaw-The Ascent of Superman, New Haven:Yale University Press,1996.
[18]Pierson, Stanley, British Socialists, Cambridge:Harvard University Press,1979.
[19]Shaw, George Benard, The Complete Plays of Bernard Shaw, Edinburgh:R.& R.Clark Ltd.,2006.
[20]Shaw, George Bernard, the Preface to Misalliance, London:Constable & Co., 1914.
[21]Smith, Warren Sylvester, The Religious Speech of Bernard Shaw, University Park:Pennsylvania State University Press,1963.
[22]Weintraud, Rodelle, Bernard Shaw and Woman, University Park:Pennsylvania State University,1977.
[1]高音：《社会问题应该在戏剧中自由讨论吗?——谈谈萧伯纳和他的舞台现实主义》, 《中央戏剧学院学报》2009年第1期。
[2]何其莘： 《萧伯纳和他的社会问题剧》, 《外国文学》2000年第3期。
[3]何汝璧、伊承哲主编：《西方政治思想史》,甘肃人民出版社,1989年版。
[4]胡爱华、李玉先、朱莉：《从二十世纪早期戏剧作品看英国女性的主体意识以及地位的变化》, 《电影评介》2009年第16期。
[5]黄嘉德：《萧伯纳研究》,山东大学出版社,1989年版。
[6]李婧怡：《论萧伯纳的女性观》,《科技信息(学术研究)》2008年第28期。
[7]李玉花：《从娜拉到圣女贞德——试论现代欧洲戏剧中的新女性形象》,《南京师大学报(社会科学版)》1996年第3期。
[8]鲁效阳： 《杰出的英国戏剧家萧伯纳》,商务印书馆,1986年版。
[9]秦文：《创造进化论——萧伯纳戏剧创作的普遍主题》,《外国文学研究》,1998年第3期。
[10]秦文： 《理智与情感的失衡——萧伯纳女性形象创作得失谈》, 《戏剧-中央戏剧学院学报》2004年第3期。
[11]孙畅： 《从<芭芭拉少校>看萧伯纳的现代戏剧》, 《戏剧文学》2006年第8期。
[12]唐红梅： 《试论萧伯纳后期戏剧创作中的幻灭感》, 《四川戏剧》2007年第4期。
[13]王岚主编： 《当代英国戏剧史》,北京大学出版社,2007年版。
[14]王文静： 《宗教对萧伯纳的戏剧创作思想的影响》, 《内蒙古民族大学学报》2009年第1期。
[15]王珍莉、余习广：《“创造进化论”与近代科学、哲学的转向》,《求索》1989年第2期。
[16]王振槐： 《西方政治思想史》,南京大学出版社,1993年版。
[17]谢江南：《肖伯纳戏剧创作主题的嬗变》,《上海戏剧学院学报戏剧艺术》,2001年第5期。
[18]杨宪益、申辉等译：《诺贝尔文学奖授奖词》,桂林漓江出版社,2001年版。
[19]叶立煊主编： 《西方政治思想史》,福建人民出版社,1992年版。
[20]易晓明： 《从问题剧看萧伯纳的思想倾向》, 《外国文学评论》1999年第2期。
[21]张弘： 《肖伯纳哲理喜剧<人与超人>探析》, 《外国文学评论》1996年第4期。
[22]张明爱：《从<芭芭拉少校>与<华伦夫人的职业>看萧伯纳的社会观》,《昆明理工大学学报(社会科学版)》第8卷第10期(2008年8月)。
[23]张明爱： 《从<孤僻的社会主义者>等看萧伯纳作品的主题》, 《长春工业大学学报(社会科学版)》,第20卷第5期(2008年7月)
[24]张明爱： 《萧伯纳的创造进化论》, 《南京工程学院学报(社会科学版)》第4卷第3期(2004年9月)。
[25]赵敦华：《现代西方哲学新编》,北京大学出版社。2001年版。
[26][德]尼采：《尼采文集》,楚图南等译,改革出版社,1995年版。
[27][德]尼采：《瞧,这个人》,中国和平出版社,1986年。
[28][德]尼采《超善恶》,张念东、凌素心译,中央编译出版社,2000年版。
[29][法]柏格森：《创造进化论》,商务印书馆,2004年版。
[30][法]都鲁兹：《解读尼采》,张唤民译,百花文艺出版社,2000年版。
[31][美]爱.麦.伯恩斯著： 《当代世界政治理论》,商务印书馆,1983年版。
[32][苏联]巴拉萧夫： 《萧伯纳评传》,杨彦劬译,作家出版社,1956年版。
[33][英]佛兰克·赫里斯： 《萧伯纳传》,黄嘉德译,外国文学出版社,1983年版。
[34][英]萧伯纳：《诺贝尔文学奖文集》,李斯等译,时代文艺出版社,2006年10月第1版。
[35][英]萧伯纳：《芭芭拉少校》,英若诚译,中国对外翻译出版公司,1999年版。
[36][英]萧伯纳：《人与超人》,陈惠华译,长春：远景出版事业公司,1982年版。
[37][英]萧伯纳：《人与超人》,李斯译,时代文艺出版社,2006年版。
[38][英]萧伯纳：《圣女贞德》,向洪全译,中国书籍出版社,2008年6月第1版。
[39][英]萧伯纳：《圣女贞德》,杨宪益、申辉等译,漓江出版社,1987年版。
[40][英]萧伯纳：《萧伯纳戏剧集.一》,林浩庄等译,人民文学出版社,1956年版。
[41][英]萧伯纳：《萧伯纳戏剧集.二》,老舍等译,人民文学出版社,1956年版。
[42][英]萧伯纳：《萧伯纳戏剧集.三》,潘家洵等译,人民文学出版社,1956年版。
②[英1萧伯纳： 《人与超人》,陈惠华译,长春：远景出版事业公司,1982年版,第2页。
③亨利克·易卜生(Henrik Ibsen,1818-1906),挪威著名剧作家,是现实主义戏剧大师,以社会问题剧而闻名于世,被誉为“欧洲现代戏剧之父”,代表作《玩偶之家》。
①[英]佛兰克·赫里斯《萧伯纳传》,黄嘉德译,北京：外国文学出版社,1983年,第254页。
① Glenn R. Cuomo, "Saint Joan before the Cannibals:George Bernard Shaw in the Third Reich", German Studies Review, Vol.16, Berlin:German Studies Association,1993, pp.435-461.
②何成洲《萧伯纳：西方女权运动的倡导者——评萧伯纳剧中“生命力”思想下的女性形象》,解放军外语学院学报,1997年第2期,第76页。
③[英]萧伯纳：《圣女贞德》,杨宪益、申辉等译,漓江出版社,1987年,第16页。
①易晓明： 《从社会问题剧看萧伯纳的思想倾向》, 《外国文学评论》,1999年第2期,第37页。
②秦文： 《创造进化论——萧伯纳戏剧创作的普遍主题》, 《外国文学研究》,1998年第3期,第67页。
③谢江南： 《肖伯纳戏剧创作主题的嬗变》, 《上海戏剧学院学报戏剧艺术》,2001年第5期,第69页。
④明爱： 《萧伯纳的创造进化论》, 《南京工程学院学报(社会科学版)》,第4卷第3期(2004年9月)http://d. wanfangdata. com. cn/Periodical_njgcxyxb200403006. aspx
①张明爱： 《萧伯纳的社会心理辨析》, 《学海》,2006年第3期。http://d.wanfangdata.com.cn/Periodical xuehai200603031.aspx
②李婧怡： 《论萧伯纳的女性观》, 《科技信息(学术版)》,2008年第28期。http://d.wanfangdata.com.cn/Periodical_kjxx-xsb200828089.aspx
③王文静： 《宗教对萧伯纳戏剧创作思想的影响》, 《内蒙古民族大学学报》,第15卷第1期(2009年),第24-25页。
④ Randy H. Hamilton, "Bernard Shaw's Reflections on Being a City Councilman", Public Administration Review,Vol.40, New York:American Society for Pubic Administration,1980. pp.317-320.
①张梦麟： 《萧伯纳的研究》,上海：中华学艺社,1933年版。
②黄嘉德译： 《萧伯纳传》,团结出版社,2006年版。
③刘涛： 《对20世纪中国萧伯纳研究的反思与批判》,武汉大学硕士学位论文,2005年5月,第4页。
④高音：社会问题应该在戏剧中自由讨论吗?——谈谈萧伯纳和他的舞台现实主义》, 《戏剧-中央戏剧学院学报》,2009年第1期,第3页。
①王振槐：《西方政治思想史》,南京大学出版社,1993年版,第298-301页。
①参阅http://etext.lib.virginia.edu/modeng/modengP.browse.html
① Christopher Innes, The Cambridge Companion to George Bernard Shaw, Cambridge:CambridgeUniversity Press,1998.p.26.
①Archibald Henderson, George Bernard Shaw:His Life and Works, London:Hurstand Blackett Limited,1911. D.103
②Donald C. Harberman, George Bernard Shaw, Dekalb, Illinois:Northern Illinois University Press,1974. p.245
③Warren Sylvester Smith, The Religious Speech of Bernard Shaw, University Park:Pennsylvania State University Press,1963. p.74
①Donald C. Harberman, George Bernard Shaw, Dekalb, Illinois:Northern Illinois University Press,1974. p. 247.
②Warren Sylvester Smith, The Religious Speech of Bernard Shaw, University Park:Pennsylvania State UniversityPress,1963. p.155.
③Mitch Abidor, "Bernard Shaw, The Lysenko Muddle", Labour Monthly, New York:New York Labour Press,1949. p.83.
①Sally Peters, Bernard Shaw-The Ascent of Superman, New Haven:Yale University Press,1996. p.21.
②Stanley Pierson, British Socialists, Cambridge:Harvard University Press,1979. p.67.
③George Bernard Shaw, The Preface to Misalliance, London:Constable & Co.,1914. p.135.
①Henri, Bergson, The Creative Mind, New York:Kensington Publishing Corp.,1946, p.185.
②[德]尼采：《瞧,这个人》,中国和平出版社,1986年,第11—12页。
③ 赵敦华：《现代西方哲学新编》,北京大学出版社。2001年,第23页。
①Warren Sylvester Smith, The Religious Speech of Bernard Shaw, University Park:Pennsylvania State University Press,1963. p59.
①黄嘉德：《萧伯纳研究》,山东大学出版社,1989年版,第45页。
②同上。
③Donald C. Harberman, George Bernard Shaw, Dekalb, Illinois:Northern Illinois University Press,1974, p.62.
①George Benard Shaw, The Complete Plays of Bernard Shaw, Edinburgh:R. & R.Clark Ltd.,2006, p.379.
①[英]萧伯纳： 《圣女贞德》,向洪全译,中国书籍出版社,2008年6月第1版,第13-15页。
①Rodelle, Weintraud, Bernard Shaw and Woman, University Park:Pennsylvania State University,1977. p.174.
②同上。
①[英]萧伯纳：前引书,第373页。
② [英]萧伯纳：《芭芭拉少校》,英若诚译,中国对外翻译出版公司,1999年版,第319页。
①[英]萧伯纳： 《芭芭拉少校》,英若诚译,中国对外翻译出版公司,第367页。
②同上,第375-377页。
③李斯等译：《诺贝尔文学奖文集》,时代文艺出版社,2006年10月第1版,第72页。
④同上,第66页。
①[英]萧伯纳： 《人与超人》,李斯译,时代文艺出版社,2006年版,第83、84页。
②[德]尼采《超善恶》,张念东、凌素心译,中央编译出版社,2000年版,第56页。
③[法]都鲁兹： 《解读尼采》,张唤民译,百花文艺出版社,2000年版,第173页。
④Friedrich Wilhelm Nietzsche, Nietzsches Werke, Vol.2, Berlin:Nabu Press,1955, p.527.
① [英]萧伯纳： 《圣女贞德》(中英对照),向洪全译,北京：中国书籍出版社,2008年版,第209页。
②[英]萧伯纳：前引书,第263页。
①李斯等译： 《诺贝尔文学奖文集》,时代文艺出版社,2006年10月第1版,第73页。
②同上,第117页。
③ [德]尼采： 《苏鲁支语录》,徐梵澄译,商务印书馆,1997年版,第6页。
④李斯等译： 《诺贝尔文学奖文集》,时代文艺出版社,2006年版,第347页。
①赵敦华著： 《现代西方哲学新编》,北京大学出版社,2009年版,第17页。
Rihard F. Dietrich, British Drama 1890-1950, Boston:Twayne Publishers,1989, p14.
①[英]萧伯纳： 《人与超人》,李斯译,时代文艺出版社,2006年版,第3、4页。
②黄嘉德《萧伯纳研究》,济南：山东大学出版社,1989年,第11页。
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[1]高音：《社会问题应该在戏剧中自由讨论吗?——谈谈萧伯纳和他的舞台现实主义》, 《中央戏剧学院学报》2009年第1期。
[2]何其莘： 《萧伯纳和他的社会问题剧》, 《外国文学》2000年第3期。
[3]何汝璧、伊承哲主编：《西方政治思想史》,甘肃人民出版社,1989年版。
[4]胡爱华、李玉先、朱莉：《从二十世纪早期戏剧作品看英国女性的主体意识以及地位的变化》, 《电影评介》2009年第16期。
[5]黄嘉德：《萧伯纳研究》,山东大学出版社,1989年版。
[6]李婧怡：《论萧伯纳的女性观》,《科技信息(学术研究)》2008年第28期。
[7]李玉花：《从娜拉到圣女贞德——试论现代欧洲戏剧中的新女性形象》,《南京师大学报(社会科学版)》1996年第3期。
[8]鲁效阳： 《杰出的英国戏剧家萧伯纳》,商务印书馆,1986年版。
[9]秦文：《创造进化论——萧伯纳戏剧创作的普遍主题》,《外国文学研究》,1998年第3期。
[10]秦文： 《理智与情感的失衡——萧伯纳女性形象创作得失谈》, 《戏剧-中央戏剧学院学报》2004年第3期。
[11]孙畅： 《从<芭芭拉少校>看萧伯纳的现代戏剧》, 《戏剧文学》2006年第8期。
[12]唐红梅： 《试论萧伯纳后期戏剧创作中的幻灭感》, 《四川戏剧》2007年第4期。
[13]王岚主编： 《当代英国戏剧史》,北京大学出版社,2007年版。
[14]王文静： 《宗教对萧伯纳的戏剧创作思想的影响》, 《内蒙古民族大学学报》2009年第1期。
[15]王珍莉、余习广：《“创造进化论”与近代科学、哲学的转向》,《求索》1989年第2期。
[16]王振槐： 《西方政治思想史》,南京大学出版社,1993年版。
[17]谢江南：《肖伯纳戏剧创作主题的嬗变》,《上海戏剧学院学报戏剧艺术》,2001年第5期。
[18]杨宪益、申辉等译：《诺贝尔文学奖授奖词》,桂林漓江出版社,2001年版。
[19]叶立煊主编： 《西方政治思想史》,福建人民出版社,1992年版。
[20]易晓明： 《从问题剧看萧伯纳的思想倾向》, 《外国文学评论》1999年第2期。
[21]张弘： 《肖伯纳哲理喜剧<人与超人>探析》, 《外国文学评论》1996年第4期。
[22]张明爱：《从<芭芭拉少校>与<华伦夫人的职业>看萧伯纳的社会观》,《昆明理工大学学报(社会科学版)》第8卷第10期(2008年8月)。
[23]张明爱： 《从<孤僻的社会主义者>等看萧伯纳作品的主题》, 《长春工业大学学报(社会科学版)》,第20卷第5期(2008年7月)
[24]张明爱： 《萧伯纳的创造进化论》, 《南京工程学院学报(社会科学版)》第4卷第3期(2004年9月)。
[25]赵敦华：《现代西方哲学新编》,北京大学出版社。2001年版。
[26][德]尼采：《尼采文集》,楚图南等译,改革出版社,1995年版。
[27][德]尼采：《瞧,这个人》,中国和平出版社,1986年。
[28][德]尼采《超善恶》,张念东、凌素心译,中央编译出版社,2000年版。
[29][法]柏格森：《创造进化论》,商务印书馆,2004年版。
[30][法]都鲁兹：《解读尼采》,张唤民译,百花文艺出版社,2000年版。
[31][美]爱.麦.伯恩斯著： 《当代世界政治理论》,商务印书馆,1983年版。
[32][苏联]巴拉萧夫： 《萧伯纳评传》,杨彦劬译,作家出版社,1956年版。
[33][英]佛兰克·赫里斯： 《萧伯纳传》,黄嘉德译,外国文学出版社,1983年版。
[34][英]萧伯纳：《诺贝尔文学奖文集》,李斯等译,时代文艺出版社,2006年10月第1版。
[35][英]萧伯纳：《芭芭拉少校》,英若诚译,中国对外翻译出版公司,1999年版。
[36][英]萧伯纳：《人与超人》,陈惠华译,长春：远景出版事业公司,1982年版。
[37][英]萧伯纳：《人与超人》,李斯译,时代文艺出版社,2006年版。
[38][英]萧伯纳：《圣女贞德》,向洪全译,中国书籍出版社,2008年6月第1版。
[39][英]萧伯纳：《圣女贞德》,杨宪益、申辉等译,漓江出版社,1987年版。
[40][英]萧伯纳：《萧伯纳戏剧集.一》,林浩庄等译,人民文学出版社,1956年版。
[41][英]萧伯纳：《萧伯纳戏剧集.二》,老舍等译,人民文学出版社,1956年版。
[42][英]萧伯纳：《萧伯纳戏剧集.三》,潘家洵等译,人民文学出版社,1956年版。