Journal articles: 'In the Name of Salomé'

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Valerio-Holguín, Fernando, and Julia Alvarez. "In the Name of Salomé." World Literature Today 75, no. 1 (2001): 113. http://dx.doi.org/10.2307/40156368.

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Fitriana, Lusi, and Adriani Adriani. "PERBEDAAN HASIL PENCELUPAN BAHAN LINEN DAN KATUN PADA ZAT WARNA ALAM EKSTRAK KULIT BUAH KAKAO (Theobroma Cacao L.) DENGAN MORDAN AIR KELAPA." Gorga : Jurnal Seni Rupa 8, no. 1 (July 2, 2019): 155. http://dx.doi.org/10.24114/gr.v8i1.12981.

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AbstrakPenelitian ini bertujuan untuk mengungkapkan nama warna, gelap terang warna dan kerataan warna pada bahan linen dan katun menggunakan ekstrak kulit buah kakao dengan mordan air kelapa. Penelitian ini penelitian eksperimen. Hasil nama warna pada pencelupan bahan linen tanpa mordan menghasilkan nama warna Amaranth Pink , warna sangat terang dan kerataaan kategori rata, nama warna pada pencelupan bahan katun tanpa mordan menghasilkan nama warna Salmon Pink Darke, warna cukup terang dan kerataaan kategori cukup rata, nama warna pada pencelupan bahan linen menggunakan mordan air kelapa menghasilkan nama Clam Shell Pink, warna kategori terang dan kerataaan kategori rata, nama warna pada pencelupan bahan katun menggunakan mordan air kelapa menghasilkan nama Warm Brown warna kategori cukup terang dan kerataaan warna kategori cukup rata. Kata Kunci: kulit buah kakao, air kelapa.AbstractThis study aim of this research is to reveal the color, dark color of the color and color of the linen and cotton materials using cocoa fruit extract with coconut water mordan. This research is experimental research. The name of the color name on dyeing of mordant linen makes the color name of Amaranth Pink , a very bright color and a flat category, the color name of dyeing cotton without mordant yields the color name of Salmon Pink Darke, fairly bright colors and fairly flat category, the color name of the dyeing of linen material using mordan coconut water produces the name Clam Shell Pink, the category of bright category and flat category, the name of the color on the dyeing of cotton using mordan coconut water categories are quite bright and the color category is fairly flat. Keywords: cocoa fruit skin, coconut water.

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Alvarez, Julia. "from In the Name of Salome." Callaloo 23, no. 3 (2000): 828–38. http://dx.doi.org/10.1353/cal.2000.0120.

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Pomiès-Maréchal, Sylvie. "The Enduring Influence of Female Special Operations Executive Agent Biopics on Cultural Memory and Representations in France and Great Britain." European Journal of Life Writing 10 (September 8, 2021): WLS144—WLS168. http://dx.doi.org/10.21827/ejlw.10.37917.

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Seventy-five years have elapsed since the end of World War Two. Yet, the memory of the conflict still occupies a central place in British and French collective consciousness. Fiction and film representations of the war act as powerful ‘vectors of memory’, to borrow an expression from French historian Henry Rousso, and as such, they have deeply contributed to shaping popular and cultural memories of the war. This article investigates a specific aspect of World War Two representations, namely the cinematic representations of the female agents from the SOE F section, focusing on the ‘generic’ or archetypal figure of the female SOE agent as generated by the post-war cultural industry. After a brief contextualisation focusing on Churchill’s clandestine organisation, the article will analyse the contribution of Odette (Herbert Wilcox, 1950) and Carve Her Name with Pride (Lewis Gilbert, 1958) to the construction of a World War Two ‘mythology’. It will then address more recent films, concentrating on Charlotte Gray (Gillian Armstrong, 2001) and Female Agents (Jean-Paul Salomé, 2008). How did the fictional construction of the female spy come to influence the social and cultural perception of the SOE agent? Are the tropes developed in such post-war films as Odette or Carve Her Name with Pride still current or have they evolved with time? The analysis of these fictional representations will reveal the permanence or evolution of certain representational patterns and also allow us to approach different perspectives on the cultural representation of World War Two on both sides of the Channel.

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Silvela Calvo, Alejandro. "De la escena a la viñeta:." Neuróptica, no. 2 (May 17, 2021): 227–40. http://dx.doi.org/10.26754/ojs_neuroptica/neuroptica.202025428.

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Resumen: P. Craig Russell ha destacado, entre otras aportaciones, por su labor a la hora de realizar una larga serie de adaptaciones del mundo de la ópera a la viñeta. El estilo de Russell se caracteriza por partir de la idea de adaptar una obra musical a un medio plástico y visual haciendo que no solo se convierta en la simple narración de una ópera musical, sino que crea una obra en sí misma en la que intenta recoger diferentes sensaciones estilísticas, estructurales y estéticas de la obra y generar una representación de las mismas. En este artículo nos valdremos de su adaptación de Salomé, ópera de Richard Strauss de 1905 basada en la obra teatral homónima de Oscar Wilde. Se tratará la idea de musicalización del cómic y la forma en la que Russell plasma diferentes ideas musicales referentes no solo a timbres, leitmotiv u orquestación, sino atendiendo a diferentes parámetros que engloba la obra de Strauss, en torno a la idea de maximalización y decadencia del arte de finales del siglo XIX y principios del siglo XX. Abstract: P. Craig Russell has stood out, among other contributions, for his work in making a long series of adaptations from the world of opera to comic. Russell's style is characterized by starting from the idea of adapting a musical work to a plastic and visual medium, making it not only become the simple narration of a musical opera, but also creates a work in itself in which he tries to collect different stylistic, structural and aesthetic sensations of the work and generate a representation of them. In this article we will use his adaptation of Salomé, an opera by Richard Strauss from 1905 based on the play of the same name by Oscar Wilde. The idea of musicalization of the comic will be discussed and the way in which Russell expresses different musical ideas referring not only to timbres, leitmotivs or orchestration, but also taking into account different parameters that encompass Strauss's work around the idea of maximalization and decadence of art from the end of the 19th century and the beginning of the 20th century.

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Whipps, Christopher M., W. Ray Butler, Fazel Pourahmad, Virginia G. Watral, and Michael L. Kent. "Molecular systematics support the revival of Mycobacterium salmoniphilum (ex Ross 1960) sp. nov., nom. rev., a species closely related to Mycobacterium chelonae." International Journal of Systematic and Evolutionary Microbiology 57, no. 11 (November 1, 2007): 2525–31. http://dx.doi.org/10.1099/ijs.0.64841-0.

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Mycobacterial infections in fish are usually attributed to strains of Mycobacterium marinum, Mycobacterium chelonae and Mycobacterium fortuitum. Bacteria identified as M. chelonae have been isolated numerous times from salmonid fishes. Recently, this bacterium has been associated with salmon mortalities in the aquaculture industry. An M. chelonae-like species from salmon, ‘Mycobacterium salmoniphilum’, was described in 1960. However, the species name lost standing in nomenclature when it was omitted from the 1980 Approved Lists of Bacterial Names because the species could not be distinguished with confidence from M. fortuitum. In the 1980s, mycobacteria isolated from salmon were characterized as a distinct subspecies, ‘Mycobacterium chelonae subsp. piscarium’. Again, the uncertainty of the validity of the species resulted in the subsequent withdrawal of the name. Since then, most studies have considered isolates from salmon to be M. chelonae. Nucleotide sequence analysis of the small-subunit rRNA, hsp65 and rpoB genes was used to examine the taxonomic relatedness of type cultures and authentic isolates in our culture collection available from earlier studies. The M. chelonae-like strains from salmon were phylogenetically distinct from other Mycobacterium strains and members of the M. chelonae complex. Moreover, the cell-wall-bound mycolic acids were not representative of known mycolate patterns for M. chelonae-complex organisms. These results supported the status of the species as a separate taxon and effect the valid publication of the name ‘M. salmoniphilum’ as Mycobacterium salmoniphilum (ex Ross 1960) sp. nov., nom. rev., with the type strain SCT (=ATCC 13578T =DSM 43276T).

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Komunyakaa, Yusef. "Salomé." Callaloo 13, no. 2 (1990): 251. http://dx.doi.org/10.2307/2931690.

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Cernois, Sylviane. "Salomé." L'en-je lacanien 11, no. 2 (2008): 217. http://dx.doi.org/10.3917/enje.011.0217.

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Gonzalez Salvador, Ana. "SALOMÉ/ S.A.L.O.M.E." Équivalences 26, no. 1 (1996): 7–20. http://dx.doi.org/10.3406/equiv.1996.1197.

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Lalande, Françoise. "Salomé dévoilée." Équivalences 26, no. 1 (1996): 67–76. http://dx.doi.org/10.3406/equiv.1996.1200.

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Searcaigh, Cathal Ó. "Amhrán Salomé." Comhar 63, no. 5 (2003): 3. http://dx.doi.org/10.2307/25574584.

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Di Francesco, Gabriele. "Food and wine tourism and urban local development." Transnational Marketing Journal 4, no. 2 (October 31, 2016): 133–42. http://dx.doi.org/10.33182/tmj.v4i2.396.

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Food and wine tourism in Italy is characterized by the reference to natural foods and to the history of the cities. For most of the foods the bond with the territories and especially with the cities was and is crucial. Always food, typically produced in a family business, have the same name of the cities, as if the city was the real corporate brand of taste. This city brand is often copied in many countries of the world to product industrial supplies that have a wide commercial distribution. These products are impossible to reproduce. They are the result of the combination of local products, craft skills, bonds with legendary or real historical events. The reflection on the food and wine tourism and urban development, comes from these assumptions. With a socio-anthropological approach, some methods and qualitative techniques were used, as the historical comparative method, document analysis and participant observation. These methods were applied to investigate three different Italian towns that gave the name to three foods: Marino, with the wine festival, Fabriano with its production of salami and Ascoli Piceno with the production of the Ascoli olive. The Marino Grape Festival is based on legendary events, on the presence of ancient vineyards, on the representation in the style of 1500s square machines. In Fabriano is produced a famous salami dates back to medieval times, reproduced in paintings and frescoes and handed down to us with a disciplinary unchanged. Ascoli Piceno has given its name to a prized food preparation called Oliva Ascolana. Marino has thousands of visitors every year to drink and buy wine and to participate in the grape and wine festivals. Fabriano has a tourism that seeks the history, architecture, art and the taste of his salami. The Ascoli olive stuffed with meat and spices is great tourist vehicle to Ascoli Piceno.

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Saxton, Annick, and Arnold Saxton. "Présentation de Salomé." Équivalences 26, no. 1 (1996): 21–30. http://dx.doi.org/10.3406/equiv.1996.1198.

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Eells, Emily. "Wilde’s French Salomé." Cahiers victoriens et édouardiens, no. 72 Automne (December 4, 2010): 115–30. http://dx.doi.org/10.4000/cve.2729.

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Grésillon, Almuth. "Genèse de Salomé." Genesis 17, no. 1 (2001): 73–94. http://dx.doi.org/10.3406/item.2001.1198.

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Hickman, T. "Hagiographic Commememorafiction in Julia Alvarez's In the Time of the Butterflies and In the Name of Salome." MELUS: Multi-Ethnic Literature of the United States 31, no. 1 (March 1, 2006): 99–121. http://dx.doi.org/10.1093/melus/31.1.99.

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Richardson, LeeAnne. "Michael Field’s “A Dance of Death”." Nordlit 15, no. 2 (March 26, 2012): 71. http://dx.doi.org/10.7557/13.2050.

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The 1912 poem "A Dance of Death" by Michael Field (pen name of Katherine Bradley and her niece Edith Cooper) depicts Salome in an alternate version of the biblical story: this Salome dances on a frozen river, falls through the ice, and is decapitated on a jagged edge. Nonetheless, her beautiful head continues dancing over the frozen river. This poem is highly unusual, especially in the context of the other poems in the postconversion volume Poems of Adoration, because it questions, rather than submits to, authority. In re-writing a familiar Christian tale, as well as a familiar decadent theme, Field uses the poem to assert the supremacy of their artistic vision, which (despite their ardent Catholicism) cannot be subject to any law outside themselves. Like the continually dancing head of Salome, which continues to create beauty even after nature (and perhaps God) has struck it down, the poet is subjugate only to her own law and creates without boundaries or restrictions on her art. Bradley and Cooper were acutely aware of their authorial persona (actively taking not only a masculine but also a singular poetic identity), and their mode of reconciling the apparent contradictions of this identity are mirrored in their presentation of Salome in a "Dance of Death."

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Kovtun, Natalia. "The Intertextual Game in Ulitskaya’s Novel Medea and Her Children." Respectus Philologicus 22, no. 27 (October 25, 2012): 70–86. http://dx.doi.org/10.15388/respectus.2012.27.15338.

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This article attempts to present a reading of Ulitskaya’s novel as a metatext of world culture, as an encrypted message through which the author inveigles “a shrewd reader” into the guessing of discourses (from ancient mythology to works of social realism and postmodernism) in order to detect traces of the initial scenarios proposed to humanity by the Creator. The conceptual basis of the work was the myth of Sophia Wisdom Divine, an artist painting the primary blueprint of the universe and inviting other artists to co-create (the muse and the artist). Ulitskaya’s Sophiology is based on the ideas of the Russian modernists, e.g., Soloviev and Block.The Greek story of Medea—the daughter of King Aeëtes of Colchis and wife of Jason, who headed the expedition of the Argonauts—provides the basic structure of the novel. This myth is one of the most popular in the world among artists. Its interpretive options (from Euripides and Ovid to Anouilh, Pasolini and Petrushevskaya) are evidence for the unity of the text of culture. The novel, then—the ironical statement of the author to enter into the circle of the elect, the family of Medea, whose image is highlighted by signs of Sofia—is the embodiment of style. Medea’s manor is “the navel of the earth” in which the outlines of the Masons are traced; here, time and space, living and dead, sinners and saints converge. The earth itself is read like a book.All the characters are divided into puppets—unable to understand the hidden meaning of the text—and directors/demiurges—artists, musicians, and doctors who write the history of dolls. The typology of female images is constructed on the gender stereotypes of the fin de siècle era: the woman as a sexual object (Gypsy, wanton); femme fatale/vamp (Amazonian, Salomé); and the romantic lover and muse (Madonna, the eternal feminine). The functions of the male characters are associated with Orpheus, Perseus, Pygmalion, and Ulysses, who perform their feats in the name of Beauty. The mission of the reader is to pass the initiation of the plot and guess all its variations with the power of letters resembling dragon’s teeth, to detect in these traces of meaning the “Golden Fleece,” much as Medea who led Jason to such a purpose.

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Aurora Pimentel, Luz. "Los avatares de Salomé." Anuario de Letras Modernas 6 (May 31, 1996): 37–67. http://dx.doi.org/10.22201/ffyl.01860526p.1994.6.911.

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Chrétien, Anne. "La séance de Salomé." Cahiers de Gestalt-thérapie 28, no. 2 (2011): 71. http://dx.doi.org/10.3917/cges.028.0071.

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Karasick. "Salomé: Woman of Valor." Nashim: A Journal of Jewish Women's Studies & Gender Issues, no. 26 (2014): 147. http://dx.doi.org/10.2979/nashim.26.147.

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Dottin, Mireille. "Laforgue fumiste : Salomé Floupené." Romantisme 19, no. 64 (1989): 17–28. http://dx.doi.org/10.3406/roman.1989.5582.

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Klapisch-Zuber, Christiane. "La danse de Salomé." Clio, no. 46 (December 1, 2017): 189–98. http://dx.doi.org/10.4000/clio.13754.

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Ramírez, Dixa. "Salomé Ureña's Blurred Edges." Black Scholar 45, no. 2 (April 3, 2015): 45–56. http://dx.doi.org/10.1080/00064246.2015.1012998.

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Kozljanic, Robert Josef. "Lou Andreas-Salomé: Der Gott." Philosophischer Literaturanzeiger 73, no. 2 (June 15, 2020): 138–44. http://dx.doi.org/10.3196/219458451973271.

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Grobler, J. "Stuur my groete aan Salomé." Tydskrif vir letterkunde 51, no. 1 (March 28, 2014): 189. http://dx.doi.org/10.4314/tvl.v51i1.23.

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Bennett, Karen. "The Seven Veils of Salomé." Translator 9, no. 1 (April 2003): 1–38. http://dx.doi.org/10.1080/13556509.2003.10799144.

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Michaud, Stéphane. "Lou Andreas-Salomé et Ferenczi." Neohelicon 25, no. 1 (March 1998): 49–74. http://dx.doi.org/10.1007/bf02572854.

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Pop, Christine. "Lou Andreas-Salomé – Rebellin oder Femme fatale?" »Alter/n« | »Islam« 30, no. 2 (December 2018): 119–28. http://dx.doi.org/10.30820/8241.09.

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Der Film hat die Biographie von Lou Andreas-Salomé, Psychoanalytikerin und Philosophin, wie sie in deren Memoiren mit Hilfe des Germanisten Ernst Pfeiffer verschriftet wurden, zum Inhalt. Cordula Kablitz-Post inszeniert dieses Biopic aus der Perspektive der 72-jährigen Lou Andreas-Salomé im Jahr 1933. Schwerpunkt ist hierbei die persönliche Entwicklung von Andreas-Salomé und deren Beziehungen zu und Einfluß auf (v.a.) Friedrich Nietzsche, Paul Rée, Carl Andreas, Rainer Maria Rilke und Ernst Pfeiffer. Die Filminterpretation zentriert auf die Emanzipationsbemühungen Lou Andreas-Salomés angesichts der Einschränkungen der intellektuellen Entwicklung von Frauen und deren Schwierigkeiten, als selbstbestimmte und eigenständige Individuen in der damaligen bürgerlichen, patriarchalen Gesellschaftsstruktur ihr Leben zu gestalten.

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ISAKSEN, TROND E., EGIL KARLSBAKK, KUNINORI WATANABE, and ARE NYLUND. "Ichthyobodo salmonis sp. n. (Ichthyobodonidae, Kinetoplastida), an euryhaline ectoparasite infecting Atlantic salmon (Salmo salar L.)." Parasitology 138, no. 9 (July 15, 2011): 1164–75. http://dx.doi.org/10.1017/s0031182011000916.

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SUMMARYPhylogenetic analyses of SSU rDNA sequences have previously revealed the existence of 2 Ichthyobodo species able to infect Atlantic salmon (Salmo salar L.). Ichthyobodo necator sensu stricto (s.s.) is assumed to be a freshwater parasite, while a genetically distinct but undescribed species, Ichthyobodo sp. II sensu Todal et al. (2004) have been detected on Atlantic salmon in both fresh- and seawater. In the present study a morphological description of Ichthyobodo sp. II from the gills of salmon reared in fresh-, brackish- and seawater is presented, using both light- and electron microscopy. Comparative morphometry show that Ichthyobodo sp. II from both freshwater and seawater displays a different cell shape, and is significantly smaller than I. necator s.s. Also, ultrastructural characteristics distinguish these two species, notably differences in the attachment region and the presence of spine-like surface projections in Ichthyobodo sp. II. Based on both unique SSU rDNA sequences and morphological characteristics, we conclude that Ichthyobodo sp. II. represents a novel species for which we propose the name Ichthyobodo salmonis sp. n.

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Hutcheon, Linda, and Michael Hutcheon. "O corpo perigoso." Revista Estudos Feministas 11, no. 1 (June 2003): 21–60. http://dx.doi.org/10.1590/s0104-026x2003000100003.

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A adaptação operística de Richard Strauss de Salomé de Oscar Wilde transgride todas as regras de representação do corpo feminino: este corpo não é apenas contemplado pelo 'olhar masculino' mas também contempla, com resultados poderosos e mortais. Na versão de Strauss, Salomé oferece um desafio às teorias canônicas tanto do 'olhar' quanto do feminino enquanto objeto.

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Papaioannou, Virginia E. "Salome Gluecksohn-Waelsch. 6 October 1907—7 November 2007." Biographical Memoirs of Fellows of the Royal Society 67 (August 14, 2019): 153–71. http://dx.doi.org/10.1098/rsbm.2019.0024.

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Salome Gluecksohn-Waelsch was a pioneer in establishing the field of mammalian developmental genetics, bringing together experimental embryology and genetics at a time when the role of genes in development was far from accepted. She studied in Germany in the 1930s with the renowned experimental embryologist Hans Spemann and then moved to New York City where she spent her entire professional career at Columbia University and the Albert Einstein College of Medicine of Yeshiva University. Her career was remarkable not only for its longevity—she continued experiments well into her 90s—but also for ushering in new ways of approaching developmental biology in mammals. In her studies of the T -complex in mice, she made use of naturally occurring mutations as nature's own experiments that allowed the investigation of the normal role of the genes in the events of morphogenesis. In her later work with the albino chromosomal deletions, she extended her studies to the genetics of physiological traits. Throughout the decades that saw a blossoming of the entire field of genetics, Salome Gluecksohn-Waelsch's work tackling some of the most perplexing problems in mammalian genetics firmly established the mouse as model organism, not only for studying development, but also for the eventual application of molecular biology techniques to development. Her published work is a beautifully coherent and rigorous opus, for which she received many honours. Her influence on a generation of geneticists, developmental biologists and the field of developmental genetics was profound. The life of Salome Gluecksohn–Waelsch spanned a century that suffered the destructive upheaval of two world wars but also saw phenomenal progress in the sciences, including embryology and genetics. At the start of Salome's career, these two fields were far apart and developmental genetics was barely a concept. Along with a few other pioneers, Salome was instrumental in establishing that genes actually had roles in development and in founding the field of mammalian developmental genetics. Her career laid the ground work for the eventual integration of genetic and developmental studies through molecular biology. Salome Gluecksohn–Waelsch published under four different names at different stages of her life and career: Salome Glücksohn, Salome Gluecksohn–Schoenheimer, Salome Gluecksohn–Waelsch, and Salome G. Waelsch. Among her colleagues and friends, she was almost universally known as Salome and so for the purpose of this biographical memoir, I have chosen to refer to her by her first name, out of friendship and respect.

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Hoyos Mazuera, María Ximena. "El síndrome de Efraín: el deseo sexual masculino, entre la blanca y la mulata." La Manzana de la Discordia 3, no. 2 (March 15, 2016): 51. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v3i2.1462.

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Resumen: El presente artículo hace una reinterpretaciónde la díada virgen-prostituta, María ySalomé, mostrada a través de la voz masculina de Efraín,en la novela romántica americana María del escritorvallecaucano Jorge Isaacs. La relación que tiene Efraíncon María, quien pertenece a la clase pudiente, ademáses su prima y vista como posible madre de sus hijos, estotalmente distinta a la relación que tiene él con Salomé,una mulata pobre, hija de uno de los arrendatarios desu hacienda, Custodio. Las libertades que Efraín sepermite con Salomé conducen a una reflexión sobre larelación entre clase social, raza y género.Palabras clave: María, Jorge Isaacs, género, clase,razaAbstract: This paper re-interprets the virginprostitutedyad, shown through the male voice of Efraín,in María, the romantic South-American novel by JorgeIsaacs. The relationship Efraín has with María, memberof the upper class and his cousin, and seen as possiblemother to his children, is totally different from the one hehas with Salomé, a poor mulatto girl, daughter toCustodio, one of the tenants in the hacienda. The freedomwith which Efraín deals with Salomé leads to a reflectionon the relations among social class, race, and gender.Key words: María, Jorge Isaacs, gender, class, race

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Schniewind, Alexandrine. "Lou Andreas-Salomé et Anna Freud." Libres cahiers pour la psychanalyse 19, no. 1 (2009): 151. http://dx.doi.org/10.3917/lcpp.019.0151.

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Ogane, Atsuko. "Danse de Nana, danse de Salomé ?" Romantisme 174, no. 4 (2016): 111. http://dx.doi.org/10.3917/rom.174.0111.

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DEL CARO, ADRIAN. "Andreas-Salomé and Nietzsche: New Perspectives." Seminar: A Journal of Germanic Studies 36, no. 1 (February 2000): 79–96. http://dx.doi.org/10.3138/sem.v36.1.79.

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Gonçalves, M. A. G. "Sob o Olhar Distópico de Salomé." Revista Scripta Uniandrade 11, no. 1 (June 30, 2013): 154–67. http://dx.doi.org/10.18305/1679-5520/scripta.uniandrade.v11n1p154-167.

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Fernbach, Amanda. "WILDE’S SALOMÉ AND THE AMBIGUOUS FETISH." Victorian Literature and Culture 29, no. 1 (March 2001): 195–218. http://dx.doi.org/10.1017/s1060150301291128.

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Castration . . . is the seminal fantasy of the decadent imagination.— Charles Bernheimer, “Fetishism and Decadence: Salomé’s Severed Heads”When now I announce that the fetish is a substitute for the penis, I shall certainly create disappointment; so I hasten to add that it is not a substitute for any chance penis, but for a particular and quite special penis that had been extremely important in early childhood but had later been lost. That is to say, it should normally have been given up, but the fetish is precisely designed to preserve it from extinction. To put it more plainly: the fetish is a substitute for the woman’s (the mother’s) penis that the little boy once believed in and — for reasons familiar to us — does not want to give up.— Sigmund Freud, “Fetishism”DESPITE FREUD’S AUTHORITATIVE DECLARATION, contemporary critical theory deploys a conceptual plasticity of the fetish, which refutes the notion of any single narrative of origin.1 Many recent discussions of the fetish have pointed to the limits of the explanatory powers of classical psychoanalysis2 and have been critical of the theoretical importance invested in a narrative of causation which figures women’s bodies as “lacking” or mutilated, according to “the fact” of their “castration.” Focusing on Oscar Wilde’s Salomé, this essay will argue that despite Bernheimer’s claim,3 the Freudian fable of castration need not be taken as the singular, phallic, “seminal fantasy of the decadent imagination.” To do so merely reiterates the gender and sexual hierarchies of classical psychoanalysis and denies the ambiguity of some fetishistic imagery produced in the fin de siècle.

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39

Traversa, Oscar. "Salomé: un caso de recurrencia discursiva." Proceedings of the 14th World Congress of the International Association for Semiotic Studies (IASS/AIS) 3 (2021): 145–53. http://dx.doi.org/10.24308/iass-2019-3-014.

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40

Libkind, Diego, José Paulo Sampaio, and Maria van Broock. "Cystobasidiomycetes yeasts from Patagonia (Argentina): description of Rhodotorula meli sp. nov. from glacial meltwater." International Journal of Systematic and Evolutionary Microbiology 60, no. 9 (September 1, 2010): 2251–56. http://dx.doi.org/10.1099/ijs.0.018499-0.

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A basidiomycetous yeast, strain CRUB 1032T, which formed salmon-pink colonies, was isolated from glacial meltwater in Patagonia, Argentina. Morphological, physiological and biochemical characterization indicated that this strain belonged to the genus Rhodotorula. Molecular taxonomic analysis based on the 26S rDNA D1/D2 domain and internal transcribed spacer region sequences showed that strain CRUB 1032T represents an undescribed yeast species, for which the name Rhodotorula meli sp. nov. is proposed (type strain is CRUB 1032T=CBS 10797T=JCM 15319T). Phylogenetic analysis showed that Rhodotorula lamellibrachii was the closest known species, which, together with R. meli, formed a separate cluster related to the Sakaguchia clade within the Cystobasidiomycetes. Additional Patagonian yeast isolates of the class Cystobasidiomycetes are also investigated in the present work.

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Grünberg, Tristan. "Salomé, reine d’Angleterre : destins esthétiques de la Salomé d’Oscar Wilde (Aubrey Beardsley, Charles Bryant, Ken Russell)." Cahiers victoriens et édouardiens, no. 73 Printemps (March 30, 2011): 165–78. http://dx.doi.org/10.4000/cve.2193.

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Ortiz Olivares, Angélica Nathalie. "Salomé, el nacimiento de un ídolo de perversidad: Stéphane Mallarmé y Gustave Moreau." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 1 (February 11, 2020): 79–100. http://dx.doi.org/10.22201/ffyl.nuevaspoligrafias.2020.1.1109.

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La primera alusión a la historia del banquete de Herodes, donde Juan el Bautista fue decapitado y su cabeza entregada a la princesa Salomé a modo de recompensa por la interpretación de un magnífico baile, la encontramos en los Evangelios de Mateo, Marcos y Lucas. A través de los siglos, el breve relato fue objeto de múltiples y variadas reelaboraciones, desde el siglo I d. C. hasta nuestros días. La historia de la joven princesa Salomé comenzó su formación como mito literario a partir de 1841 con la publicación de la obra Atta Troll de Heinrich Heine; posteriormente siguió su expansión en los círculos literarios franceses con la inconclusa Hérodiade de Stéphane Mallarmé, la cual se convirtió en una fuente marcada de inspiración para los célebres cuadros Salomé danzante (1874-1876) y La aparición (1876) de Gustave Moreau, en donde la reescritura de la vieja historia bíblica se reviste de una nueva y compleja simbología. El presente artículo se centra específicamente en el análisis de la construcción simbolista del tema-personaje de Salomé en las obras mencionadas, una literaria y una secuencia pictórica, en las cuales se pueden identificar vínculos intertextuales y cuyo objetivo en común es la construcción de un personaje que, más allá de representar la típica imagen de la mujer fatal, se transforma en una encarnación del arte mismo.

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Durnerin, James. "Un Programme Interuniversitaire de Coopération nommé Salomé." Équivalences 26, no. 1 (1996): 5–6. http://dx.doi.org/10.3406/equiv.1996.1196.

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Benkhodja, Ammar. "Mélina Cariz, Alice Delmotte-Halter, Salomé Ro." Questions de communication, no. 26 (December 31, 2014): 322–23. http://dx.doi.org/10.4000/questionsdecommunication.9348.

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Faye, Jean-Pierre, and Rebecca Behar. "Autour de Nietzsche, Heidegger et Lou Salomé." L'Homme et la société 140-141, no. 2 (2001): 121. http://dx.doi.org/10.3917/lhs.140.0121.

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VAN LOON, Gertrud J. M. "The Virgin Mary and the Midwife Salomé." Eastern Christian Art 3 (December 1, 2006): 81–102. http://dx.doi.org/10.2143/eca.3.0.2018705.

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Abensour, Liliane. "“ Lou Andréas-Salomé, l’alliée de la vie ”." Revue française de psychanalyse 66, no. 3 (2002): 955. http://dx.doi.org/10.3917/rfp.663.0955.

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Franzese, Rosa. "Pensieri sul narcisismo da Lou Andreas Salomé." PSICOTERAPIA PSICOANALITICA, no. 1 (June 2019): 153–60. http://dx.doi.org/10.3280/psp2019-001011.

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Cardin, Bertrand. "Salomé ou la représentation fin-de-siècle." Études irlandaises 21, no. 2 (1996): 85–95. http://dx.doi.org/10.3406/irlan.1996.1317.

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Mabilon-Bonfils, Béatrice. "Vivre (pour) penser les concerts engagés « Salomé »." Le sujet dans la cité N° 4, no. 2 (2013): 266. http://dx.doi.org/10.3917/lsdlc.004.0266.

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Journal articles on the topic 'In the Name of Salomé'

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