<?xml version="1.0" encoding="UTF-8"?><rss xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title><![CDATA[author results for George Bernard Shaw]]></title><description><![CDATA[author results for George Bernard Shaw]]></description><link>https://gateway.bibliocommons.com/v2/libraries/christchurch/rss/search?query=George%20Bernard%20Shaw&amp;searchType=author&amp;view=grouped</link><generator>RSS for Node</generator><lastBuildDate>Sat, 10 Oct 2026 01:43:41 GMT</lastBuildDate><item><title><![CDATA[George Bernard Shaw]]></title><description><![CDATA[15 of the finest works by the world-renowned playwright, as heard on BBC radio, George Bernard Shaw - or Bernard Shaw, as he preferred to be known - was one of Ireland's foremost dramatists and thinkers. His plays range from contemporary satires to historical allegories, and are infused with ideas, insight, wit and wisdom. Included here are some of his best works, adapted for radio and brought together in reverse chronological order in one statement collection.We begin with his prophetic political comedy The Apple Cart, set in the future and pitting the fictional King Magnus against his Prime Minister. Next is his masterpiece Saint Joan, dramatising the trials of Joan of Arc, for which he won the Nobel Prize for Literature in 1925. Heartbreak House lampoons England's ruling elite before World War I, as they sail heedlessly towards catastrophe; Pygmalion explores feminism and the class system through Cockney flowergirl Eliza Doolittle and irascible phonetics professor Henry Higgins; and in Androcles and the Lion, Shaw transforms Aesop's fable to impart his thoughts on human frailty, religion and martyrdom.The Dark Lady of the Sonnets imagines a meeting between William Shakespeare and Queen Elizabeth I, while alternate history Press Cuttings sets the suffragettes against crotchety war veteran General Mitchener. Here, too, are the controversial The Shewing-Up of Blanco Posnet, banned in England for contravening blasphemy laws; the classic comedy Major Barbara, a tale of romance, rich privilege and a battle of wills; and the humorous philosophical drama based on the Don Juan theme, Man and Superman, directed for Radio 3 by theatrical icon Sir Peter Hall. Also featured are early works Caesar and Cleopatra, a dramatised account of the relationship between the Roman dictator and the Egyptian queen; The Devil's Disciple, set against the backdrop of the American War of Independence; The Man of Destiny, in which Napoleon enters into a battle of wits with a beautiful stranger; and Candida, about a vicar's wife whose life is turned upside down by a young poet. Finally, Shaw's acclaimed 'problem play', Mrs Warren's Profession, probes issues of Victorian prostitution and double standards. And in a bonus documentary, devotees of the great author discuss his life, work and legacy. Among the array of stars in these coruscating dramas are Ralph Fiennes, Judi Dench, Prunella Scales, Anton Lesser, Juliet Stevenson, Paul Merton, Ron Cook, Victoria Hamilton, Nicholas Le Prevost, David Suchet, Eleanor Bron, David Troughton, Julian Rhind-Tutt, Alistair McGowan, Al Murray, Morgana Robinson, Robert Bathurst, Leslie French, Marius Goring, Arthur Lowe, Denys Hawthorne, Rebecca Front, Alan Badel, Gregory Peck, Paul Ritter, Hannah Gordon, Edward Petherbridge and Maggie Steed.NB: This collection contains language that reflects the attitudes of the era in which the plays were written. Production credits; written by George Bernard Shaw; first published 1893 (Mrs Warren's Profession), 1894 (Candida), 1895 (The Man of Destiny), 1896 (The Devil's Disciple), 1898 (Caesar and Cleopatra), 1902 (Man and Superman), 1905 (Major Barbara), 1909 (The Shewing-Up of Blanco Posnet, Press Cuttings), 1910 (The Dark Lady of the Sonnets), 1912 (Androcles and the Lion, Pygmalion), 1919 (Heartbreak House), 1923 (Saint Joan), 1928 (The Apple Cart), 2007 (Great Lives)]]></description><link>https://christchurch.bibliocommons.com/v2/record/S37C1416114</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1416114</guid><category><![CDATA[AB]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Mon, 31 Jan 2022 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1416114037</comments><format>AB</format><subtitle>A BBC Radio Drama Collection</subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Mrs Warren's Profession]]></title><description><![CDATA[Mrs Warren's Profession, Candida, and You Never Can Tell are plays which give a clear sense of the range of Shaw's first forays into playwriting. Together they showcase his early negotiations between his political and social concerns and the constraints and possibilities of the British stage at the fin de siècle. These plays are bound together by shared concerns with gender roles, sexuality, concepts of familial and social duty, and how all these are shaped by wider financial, political, literary, philosophical and theatrical influences. Mrs Warren's Profession is the best known of Shaw's 'Plays Unpleasant', his first exercises in using the theatre as a means to awaken the consciences of morally complacent audiences. Written in 1893 in angry response to the success of A. W. Pinero's sensational hit The Second Mrs Tanqueray and a revival of Dumas's La dame aux camélias, Mrs Warren's Profession did not receive a public performance in Britain until 1925. Shaw's provocative response to the sentimental 'fallen woman' plays that dominated the fin-de-siècle stage was a play in which prostitution was presented not as a question of female sexual morality, but as a direct result of the systematic economic exploitation of women. Candida (1894), by contrast, was categorised by Shaw as one of his 'Plays Pleasant', but the label was characteristically deceptive. The play appeared at first sight to offer audiences a reassuringly familiar drama of a marriage threatened by an interloper but ultimately reaffirmed when the wife recognises her true place and her dangerous admirer is sent out into the cold. But, as critics have noted, the play was a re-working by Shaw of Ibsen's A Doll's House in which the husband played the part of the over-protected doll, unaware of the real power dynamics of his marriage. You Never Can Tell (1897) was Shaw's seaside comedy of manners, complete with an all-knowing waiter, exuberant twins, a lovelorn dentist, a long-lost father, lashings of food, and a comic catchphrase to provide the title. Shaw took all these familiar elements of Victorian farce and reworked them into a modern play of ideas, in which etiquette and ideologies collide. Just as in Wilde's The Importance of Being Earnest (a comparison which Shaw always stubbornly rejected), questions of class, marriage, manners, money, sex and identity underpin the plot of love-at-first-sight, mislaid parents and reunited families.]]></description><link>https://christchurch.bibliocommons.com/v2/record/S37C1278114</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1278114</guid><category><![CDATA[EBOOK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Sun, 31 Jan 2021 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1278114037</comments><format>EBOOK</format><subtitle>Candida, and You Never Can Tell</subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Pygmalion]]></title><link>https://christchurch.bibliocommons.com/v2/record/S37C1279063</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1279063</guid><category><![CDATA[EBOOK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Sun, 31 Jan 2021 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1279063037</comments><format>EBOOK</format><subtitle>Heartbreak House, and Saint Joan</subtitle><language>eng</language><image_url/></item><item><title><![CDATA[The Philanderer]]></title><description><![CDATA[A lady and gentleman are making love to one another in the drawing room of a flat in Ashley Gardens in the Victoria district of London. The lady is a young widow, Grace Tranfield, in love with the man, Leonard Charteris, who is the 'philanderer' of the title. Grace is shocked and disconcerted to find that Charteris, on his own light-hearted admission, has been in a similar position with Julia Craven and others. The affair with Julia, in fact, has never been broken off. He maintains that it is not his fault that half the women he speaks to fall in love with him; and he is in full flight of cajolery when Julia Craven herself erupts on to the scene, attacks Grace, and announces her intention of staying until Charteris has given her up.]]></description><link>https://christchurch.bibliocommons.com/v2/record/S37C1271882</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1271882</guid><category><![CDATA[EBOOK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Wed, 31 Jan 2018 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1271882037</comments><format>EBOOK</format><subtitle></subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Pygmalion]]></title><description><![CDATA[Irascible phonetics professor Henry Higgins makes a bet with his friend Colonel Pickering that he can train Cockney flower girl Eliza Doolittle to talk 'like a lady' and pass as a duchess at the Ambassador's Ball. As the day of reckoning approaches, can Eliza convince the assembled aristocrats that she's one of them? And what will become of her afterwards?]]></description><link>https://christchurch.bibliocommons.com/v2/record/S37C1066162</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1066162</guid><category><![CDATA[AB]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Wed, 31 Jan 2018 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1066162037</comments><format>AB</format><subtitle>A BBC Radio 4 Full-cast Production</subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Androcles and the Lion]]></title><link>https://christchurch.bibliocommons.com/v2/record/S37C1700740</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1700740</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Wed, 31 Jan 1962 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1700740037</comments><format>BK</format><subtitle>An Old Fable Renovated</subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Arms and the Man]]></title><description><![CDATA[Arms and the man starts with gunfire on a dark street in a small provincial town. The romantic and wilful Raina is about to begin her true-life adventure by sheltering the handsome fugitive Bluntschli, enemy of her equally handsome fiancé Sergius. The men may all be heroes - or fools, since this is Shaw's comic view of Balkan chivalry, but the women are definitely more than their match.]]></description><link>https://christchurch.bibliocommons.com/v2/record/S37C1731630</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1731630</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Thu, 31 Jan 1901 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1731630037</comments><format>BK</format><subtitle>An Anti-romantic Comedy in Three Acts</subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Man and Superman]]></title><description><![CDATA[Nobel Laureate George Bernard Shaw remains one of the world's most important and popular writers. His plays are regularly performed around the world, from the boards of Broadway and the West End to regional, community, and college stages. The three plays selected here are widely considered to be three of the most important in the canon of modern British theatre: Man and Superman: a four-act comedy for serious people, staged in part at Royal court in 1905, it is one of the early works of Modernism to take an ancient myth and restage it in contemporary mode (and its influence extends across world literature, palpable in writings from Mann to Joyce). Its story of how a sensitive woman compels a superman-figure to adjust to her needs and those of the real world provides an updated commentary on Nietzsche's still-fashionable notions of ubermensch; and its famous third act introduces a persistent Shavian theme, which goes back as far as earliest religious literature-that the truly damned are those who are happy in hell. John Bull's Other Island takes up that idea: to the visionary, hell may be the ultimate modern dream of efficiency and rational administration, as manifested in a colonial Ireland run by liberal exploiters. Commissioned by WB Yeats to mark the opening of Ireland's National Theatre, the Abbey, the play was promptly refused by its Directors (who disliked its mechanical mockeries of mechanism but may have missed its visionary qualities). It was performed to huge acclaim in London in November 1904 and it made Shaw famous, the supreme example of the Playwright as Thinker and, ever afterwards, one of the most valued commentators on Anglo-Irish relations. Major Barbara: a three-act drama which in classic Shavian style unmasks the motivation of puritan idealists and dedicated industrialists, this work (like the previous two) pits a strong woman against a sardonic, practical man. Having exposed the mendacity of apostles of efficiency, Shaw seems then to submit to their doctrine, arguing that a pure private charity towards the destitute is no adequate substitute. Like the previous two works, this is a problem play, in the course of which the audience sympathy is aroused and then repelled in all directions. The suggestion that it may be acceptable to take money from tainted sources, such as arms manufacturers, caused much debate in 1905—-and even more after the carnage wrought by mechanized guns in World War One.]]></description><link>https://christchurch.bibliocommons.com/v2/record/S37C1274012</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1274012</guid><category><![CDATA[EBOOK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Sun, 31 Jan 2021 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1274012037</comments><format>EBOOK</format><subtitle>John Bull&apos;s Other Island, and Major Barbara</subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Major Cultural Essays]]></title><description><![CDATA[George Bernard Shaw's public career began in arts journalism-as an art critic, a music critic, and, most famously, a drama critic-and he continued writing on cultural and artistic matters throughout his life. His total output of essays and reviews numbers in the hundreds, dwarfing even his prolific playwriting career. This volume of Shaw's Major Cultural Essays introduces readers to the wealth and diversity of Shaw's cultural writings from across the breadth of his professional life, beginning around 1890 and ending in 1950. Topics covered include the theatre, of course, but also music, opera, poetry, the novel, the visual arts, philosophy, censorship, and education. Major figures discussed at length in these works include Ibsen, Wagner, Nietzsche, Shakespeare, Wilde, Mozart, Beethoven, Keats, Rodin, Zola, Ruskin, Dickens, Tolstoy, and Poe, among many others. Coursing with Shavian flair and vigor, these essays showcase the author's broad aesthetic sensibilities, trace the intersection of culture and politics in Shaw's worldview, and provide a fascinating window into the vibrant cultural moment of the late nineteenth and early twentieth centuries.]]></description><link>https://christchurch.bibliocommons.com/v2/record/S37C1264219</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1264219</guid><category><![CDATA[EBOOK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Sun, 31 Jan 2021 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1264219037</comments><format>EBOOK</format><subtitle></subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Saint Joan]]></title><description><![CDATA[Charting the meteoric rise and fall of Joan of Arc and her mission to drive the English from France, Shaw's Saint Joan draws directly on the medieval records to cut through the sentiment that characterized previous literary treatments of her story. A powerful example of a new kind of history play, its staging of dissent and social constraint, personal responsibility and female assertion, as well as fervent adherence to a cause, gave it a powerful modernity in its own day and continuing resonance in ours.]]></description><link>https://christchurch.bibliocommons.com/v2/record/S37C1018890</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1018890</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Wed, 31 Jan 2018 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1018890037</comments><format>BK</format><subtitle>A Chronicle Play in Six Scenes and An Epilogue : Definitive Text</subtitle><language>eng</language><image_url/></item><item><title><![CDATA[The George Bernard Shaw Collection]]></title><description><![CDATA[A full cast of top L.A. talent brings to life the plays of George Bernard Shaw in this eight-part collection.]]></description><link>https://christchurch.bibliocommons.com/v2/record/S37C1716513</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1716513</guid><category><![CDATA[AB]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Thu, 31 Jan 2008 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1716513037</comments><format>AB</format><subtitle></subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Arms and the Man]]></title><description><![CDATA[Arms and the man starts with gunfire on a dark street in a small provincial town. The romantic and wilful Raina is about to begin her true-life adventure by sheltering the handsome fugitive Bluntschli, enemy of her equally handsome fiancé Sergius. The men may all be heroes - or fools, since this is Shaw's comic view of Balkan chivalry, but the women are definitely more than their match.]]></description><link>https://christchurch.bibliocommons.com/v2/record/S37C763080</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C763080</guid><category><![CDATA[AB]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Tue, 31 Jan 2006 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/763080037</comments><format>AB</format><subtitle></subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Pygmalion]]></title><description><![CDATA[One of Shaw's most enduring works, Pygmalion is a insightful comedy of class relations and perceptions, as played out between a Cockney flower girl and the irascible speech professor who has taken her on as a pet project.]]></description><link>https://christchurch.bibliocommons.com/v2/record/S37C775241</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C775241</guid><category><![CDATA[AB]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Tue, 31 Jan 1995 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/775241037</comments><format>AB</format><subtitle></subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Lady, Wilt Thou Love Me?]]></title><link>https://christchurch.bibliocommons.com/v2/record/S37C1664591</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1664591</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Thu, 31 Jan 1980 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1664591037</comments><format>BK</format><subtitle>Eighteen Love Poems for Ellen Terry Attributed to George Bernard Shaw</subtitle><language>eng</language><image_url/></item><item><title><![CDATA[An Unsocial Socialist]]></title><link>https://christchurch.bibliocommons.com/v2/record/S37C1673808</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1673808</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Thu, 31 Jan 1980 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1673808037</comments><format>BK</format><subtitle>A Novel</subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Cashel Byron's Profession]]></title><link>https://christchurch.bibliocommons.com/v2/record/S37C1621690</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1621690</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Wed, 31 Jan 1979 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1621690037</comments><format>BK</format><subtitle></subtitle><language>eng</language><image_url/></item><item><title><![CDATA[The Bodley Head Bernard Shaw]]></title><link>https://christchurch.bibliocommons.com/v2/record/S37C1613268</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1613268</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Mon, 31 Jan 1972 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1613268037</comments><format>BK</format><subtitle>Collected Plays With Their Prefaces. Vol. V</subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Shaw]]></title><link>https://christchurch.bibliocommons.com/v2/record/S37C1731632</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1731632</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Sun, 31 Jan 1971 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1731632037</comments><format>BK</format><subtitle>An Autobiography, 1856-1950 : the Playright Years</subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Shaw]]></title><link>https://christchurch.bibliocommons.com/v2/record/S37C1731631</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1731631</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Sat, 31 Jan 1970 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1731631037</comments><format>BK</format><subtitle>An Autobiography, 1856-1898</subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Saint Joan]]></title><link>https://christchurch.bibliocommons.com/v2/record/S37C1677333</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1677333</guid><category><![CDATA[LP]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Mon, 31 Jan 1966 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1677333037</comments><format>LP</format><subtitle></subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Ready-reckoner]]></title><link>https://christchurch.bibliocommons.com/v2/record/S37C1731786</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1731786</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Mon, 31 Jan 1966 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1731786037</comments><format>BK</format><subtitle>A Guide to His Ideas</subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Collected Letters, 1874-1897]]></title><link>https://christchurch.bibliocommons.com/v2/record/S37C1731633</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1731633</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Sun, 31 Jan 1965 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1731633037</comments><format>BK</format><subtitle></subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Too True to Be Good]]></title><link>https://christchurch.bibliocommons.com/v2/record/S37C1700742</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1700742</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Thu, 31 Jan 1963 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1700742037</comments><format>BK</format><subtitle>Village Wooing ; &amp;, On the Rocks</subtitle><language>eng</language><image_url/></item><item><title><![CDATA[The Matter With Ireland]]></title><link>https://christchurch.bibliocommons.com/v2/record/S37C1733986</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1733986</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Wed, 31 Jan 1962 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1733986037</comments><format>BK</format><subtitle></subtitle><language>eng</language><image_url/></item><item><title><![CDATA[Shaw on Theatre]]></title><link>https://christchurch.bibliocommons.com/v2/record/S37C1731276</link><guid isPermaLink="true">https://christchurch.bibliocommons.com/v2/record/S37C1731276</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Shaw, Bernard, 1856-1950]]></dc:creator><pubDate>Fri, 31 Jan 1958 00:00:00 GMT</pubDate><comments>https://christchurch.bibliocommons.com/item/comment/1731276037</comments><format>BK</format><subtitle></subtitle><language>eng</language><image_url/></item></channel></rss>