Academic literature on the topic 'Salomé (Wilde, Oscar)'
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Journal articles on the topic "Salomé (Wilde, Oscar)"
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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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Ferraz, Maria Cristina Franco, and Louise Ferreira Carvalho. "A Salomé de Oscar Wilde: Véus, espelhos e decapitações na Belle Époque." Revista FAMECOS 24, no. 3 (August 1, 2017): 26065. http://dx.doi.org/10.15448/1980-3729.2017.3.26065.
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No final do século XIX, assistiu-se, na cultura ocidental, a uma proliferação obsessiva do tema bíblico de Salomé e da decapitação de João Batista, investigada neste artigo ensaístico a partir da peça Salomé (1893), de Oscar Wilde. A disseminação desse episódio na modernidade já laicizada pode ser lida como um dos indícios mais enfáticos da insistência da época em explorar temas pulsantes: o desejo, a sexualidade, a crise da identidade e da suposta coesão do “eu”. Na esteira de Nietzsche, a obra de Wilde realiza um interessante jogo de véus, de máscaras e de espelhos, elevando o falso a sua mais alta potência. Retomando trechos da peça, ressaltaremos os perigos do olhar e das pulsões que levaram a subjetividade moderna a “perder a cabeça”.
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Marcus, Sharon. "Salomé!! Sarah Bernhardt, Oscar Wilde, and the Drama of Celebrity." PMLA/Publications of the Modern Language Association of America 126, no. 4 (October 2011): 999–1021. http://dx.doi.org/10.1632/pmla.2011.126.4.999.
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Oscar Wilde's Salome, composed in French in 1891, represents both an episode in the history of celebrity and a dramatization of celebrity's theatrical structure. The play first entered the orbit of stardom when Sarah Bernhardt, internationally hailed as the world's greatest actress, agreed to play the title role in 1892; its author had long been a celebrity, known as much for his artfully crafted persona as for his published writings. Bernhardt, Wilde, and Salome, a play in which almost every character is both fan and idol, were all defined by the volatile conjunctions shared by theatricality and celebrity: the asymmetrical interdependence of actors and audiences, stars and acolytes, exhibition and attention, distance and proximity, absolutism and democracy, exemplarity and impudence, worship and desecration, and presence and representation.
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Pun, Min. "Politics, sex, and spirit: the divided self in oscar wilde's salomé." International journal of life sciences & earth sciences 2, no. 1 (June 18, 2019): 5–12. http://dx.doi.org/10.31295/ijle.v2n1.73.
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The paper aims to examine the self in Oscar Wilde’s one-act play Salomé. In the play, there are three characters, namely, Herod, Salomé and Jokanaan who represent the three different worlds of expression. One represents the world of politics who is always in search of power, the second represents the world of sex who is in search of love and passion, and the third one represents the world of spirit who dedicates his life for God. These characters comprise of three different selves of Wilde and his writing, making his play as a fictionalized autobiographical work.
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Galery, M. C. V. "A Dança Invisível: Olhar, Desejo e Transgressão em Salomé, de Oscar Wilde." Revista Scripta Uniandrade 13, no. 2 (December 30, 2015): 111–24. http://dx.doi.org/10.18305/1679-5520/scripta.uniandrade.v13n2p111-124.
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Medić, Igor. "Wilde about Wilde — The Translation of Oscar Wilde’s Salomé in Croatian Literature of the Early 20th Century." Przekłady Literatur Słowiańskich 11, no. 1 (September 16, 2021): 1–22. http://dx.doi.org/10.31261/pls.2021.11.01.05.
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The Irish writer Oscar Wilde was extremely popular in Croatian culture in the first decades of the 20th century. Although Croatian writers of that time generally did not read the original works of British authors but rather their translations, Wilde’s popularity in Germany and Vienna sparked interest in his works among the Croatian readership and spectatorship. This paper explores the translation of Wilde’s Salomé from German by Julije Benešić and Nikola Andrić, and the complex influence that this translation had on Croatian literature of early modernism, relying primarily on the interpretation of the same motif in the texts of young Fran Galović and Miroslav Krleža. The paper argues that the influence of Wilde’s aestheticism is visible not only in the adoption of typical motifs, characters, or atmosphere but also in the autonomous and self-reflective language play in Krleža’s texts.
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Milosavljević, Marija. "Gender role reversal, female solidarity, and fallen women in Oscar Wilde's plays." Zbornik radova Filozofskog fakulteta u Pristini 51, no. 3 (2021): 227–43. http://dx.doi.org/10.5937/zrffp51-30896.
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Wilde's plays The Importance of Being Earnest, A Woman of No Importance, Lady Windermere's Fan and Salomé all feature female characters and themes relevant to the domains of research of feminist literary theory, including relationships between men and women, marriage, the complexity of female characters, their treatment in literature, gender roles and how they are portrayed. This paper explores the themes of role reversal, female solidarity and fallen women with the aim of showing that Wilde's works were progressive for their time in terms of pointing out problematic societal expectations and norms. In The Importance of Being Earnest, Wilde satirized the gender roles of the Victorian society and how men had power over women and their choices, while in the plays A Woman of No Importance, Lady Windermere's Fan and Salomé, the main characters are fallen women, a stereotype the Victorian society invented to mark women they considered impure. A Woman of No Importance and Lady Windermere's Fan are plays about the struggles of fallen women who made mistakes in the past and formed important friendships with other female characters, while the tragedy Salomé tells the tale of a woman who falls and dies as a consequence of her fall. Additionally, the paper will examine closely related themes, such as motherhood, sexuality, and negative gender stereotypes related to the one of the fallen women.
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Słowik, Agata. "Nieokreśloność gatunkowa i rozbieżność interpretacji: postmodernistyczne spojrzenie na Salome Oscara Wilde’a." Ogrody Nauk i Sztuk 3, no. 3 (February 17, 2020): 238–44. http://dx.doi.org/10.15503/onis2013.238.244.
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Oscar Wilde. Mistrz ciętej riposty i błyskotliwego aforyzmu a jednocześnie przenikliwy obserwator wyższej klasy społeczeństwa wiktoriańskiego. W swojej twórczości wielokrotnie krytykuje społeczeństwo brytyjskiego dekadentyzmu, jednak nigdy w sposób oczywisty. Najlep-szym tego przykładem jest sztuka Salomé, przez wielu krytyków traktowana jako dramat czy też klasyczna tragedia, będąca jednak zawoalowaną drwiną a nawet metaforą zdegenerowanych wyższych sfer brytyjskiego fi n de siècle. Autor celowo defamiliaryzuje sztukę poprzez osadzenie akcji w czasach biblij nych w celu nie tylko spotęgowania jej odbioru, ale także zapobiegnięcia automatyzacji percypowania. Dzięki temu Salomé jest nie tylko głównym obrazem archetypu femme fatale czyli kobiety fatalnej, ale staje się także samoświadomym i samorefl eksyjnym satyrycznym krytycyzmem. Jednakże taka interpretacja możliwa jest tylko przy postmodernistycznym spojrzeniu na teorię parodii i autoironii reprezentowaną m.in. przez Lindę Hutcheon czy Michele Hannoosh.
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Im, Yeeyon. "“A SERIOUSNESS THAT FAILS”: RECONSIDERING SYMBOLISM IN OSCAR WILDE'SSALOMÉ." Victorian Literature and Culture 45, no. 1 (February 13, 2017): 163–75. http://dx.doi.org/10.1017/s1060150316000486.
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Writing as recently as 2011, Michael Bennett asks ifSaloméis an anomaly in the oeuvre of Oscar Wilde (viii). Read against his witty societal comedies of manners, it certainly appears to be one.Saloméhas been regarded as a fine example of symbolist drama in the history of British theatre, and few critics would dispute its “seriousness” as such. Its growing significance in recent discourses of gender and sexuality also adds seriousness to the play. Although Feminist and gender critics show little qualms about dubbing the play as symbolist, the final tableau of a young girl kissing the mouth of the severed head seems to me at odds with symbolism, whether Salomé is seen as an archetypal femme fatale, a queer man in disguise, or a New Woman as critics argue. Symbolism in Wilde'sSaloméis widely different from other specimens of the genre such as Yeats'sThe Countess Cathleen, for instance, which directly deals with a spiritual issue of the salvation of soul.Saloméalso lacks the fatalistic sense of doom that dominates Maeterlinck'sPrincess Maleine, with which it is often compared. Wilde's wayward heroine is not a victim of the invisible forces in the same way Maeterlinck's characters are. Wilde's Salomé is “monstrous,” as Herod says: she seems to commit “a crime against some unknown God” (Complete Works604). How can we reconcile her cruel passion of carnal desire with the supposed spirituality of the symbolist tradition? Also problematic in a symbolist reading of the play is the presence of the comic and the parodic, as pointed out by many critics. Is Wilde'sSaloméan authentic symbolist drama?
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Sánchez Martínez, Andrés. "Salomé. Novela-Poema de José María Vargas Vila: una relectura de un mito finisecular en la literatura hispanoamericana." Anales de Literatura Hispanoamericana 48 (December 4, 2019): 109–26. http://dx.doi.org/10.5209/alhi.66794.
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Este artículo pretende analizar la relectura del mito de Salomé que el autor colombiano José María Vargas Vila realiza en su novela de 1918 Salomé. Novela-Poema. Se estudiará primero el esquema motívico con el que se conforma este mito en el modernismo latinoamericano, heredero de lecturas europeas como la obra de Oscar Wilde. Por ello, la metodología no dejará de ser comparatista al poner en comunicación intertextual la obra del autor irlandés y la del colombiano junto con otras fuentes manejadas por ambos, para saltar en última instancia a las variantes introducidas en la novela. La revisión del discurso mítico de Salomé por parte de Vargas Vila será radical, dando lugar a una modificación de personajes y estructuras tal, que roza la desmitificación. De esta forma, la poética del autor colombiano, inmersa en el orientalismo tan afín al modernismo hispánico, no dejará de sorprender. En primer lugar, por su propuesta lúdica en lo que a reinvención de un mito y un género se refiere; y, en segundo lugar, en el retrato de unos personajes cuya perversidad atenta contra los cánones de la sociedad finisecular.
Dissertations / Theses on the topic "Salomé (Wilde, Oscar)"
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Almeida, Thais de Souza [UNESP]. "O mito bíblico de Salomé em Oscar Wilde e Stéphane Mallarmé." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151103.
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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
A retomada do mito bíblico de Salomé, retratado primeiramente nos evangelhos de S. Marcos e S. Mateus, fez escola no movimento simbolista francês. Salomé, que até então havia sido apresentada como mero apêndice de sua mãe, Herodíade, aparece, no final do século XIX, como a grande personificação da anima perversa, assumindo o papel que outrora pertencera a Cleópatra e Helena. O mito trata da história de Salomé, princesa da Judeia, que, sob a influência de sua mãe, realiza a dança dos sete véus para seu padrasto e, como prêmio pelo espetáculo voluptuoso, recebe a cabeça do profeta João Batista. Retratada pelos artistas de diversas vertentes da arte, essa Salomé remodelada vem representar a essência própria do movimento simbolista – a transgressão da linguagem, da temática e da atitude do poeta com relação à produção artística –, bem como a de seus poetas (e artistas) malditos, que se vêem marginalizados por uma sociedade opressora e utilitarista, e que, fazendo justiça à princesa, fazem justiça à própria classe. Assim, com a princesa-odalisca Salomé, o simbolismo afirma sua postura combativa, de luta pela libertação da poesia e da arte. Neste trabalho, pretende-se analisar e comparar as obras Salomé (1891), drama de Oscar Wilde (1854 – 1900), e Hérodiade (1864 – 1898), poema de Stéphane Mallarmé (1842 – 1898), com a finalidade de verificar se existem e quais seriam as confluências – e mesmo influências – entre as duas produções, visto que ambas foram idealizadas na mesma época e cenário – o simbolismo francês, no final do século XIX. A importância das duas obras para a arte moderna é incontestável: com Hérodiade – que, embora carregue em seu título o nome da mãe por questões sonoras, trata, na verdade, de Salomé –, vemos surgir em uma obra que transcende o episódio sanguinário da decapitação do profeta João Batista, para se debruçar sobre a imagem da princesa virginal submersa em ennui, que, em suas próprias palavras, “não quer nada de humano” e que almeja até o último e imaculado fio de seus cabelos a sua “desconcretização” enquanto ser desse mundo, na busca incessante pela Pureza. Já em Salomé, deparamo-nos com aquela que se tornou a versão “eleita” do mito, e que povoou o imaginário de diversos artistas do século XX, desde compositores até diretores cinematográficos. Em Wilde, à dança dos sete véus e à decapitação do profeta, segue-se uma dose fatal de loucura, que conduz a princesa a uma morte sanguinária. O fio condutor de ambas as produções parece culminar naquilo que Balakian (2000, p. 65) classificou como “narcisismo obsessivo, não-recompensador, porque não tem saída” ao tratar da obra mallarmeana: em Hérodiade, a autocontemplação leva a princesa à solidão, ao ennui e ao desejo de evasão do mundo; em Wilde, a autocontemplação conduz ao caminho da loucura e, em seguida, da morte. Em ambas, portanto, e cada uma a seu modo, o leitor se depara com a estéril (auto)contemplação. Seja por meio da Salomé wildeana - sanguinária, apaixonada, delirante - ou mallarmeana – pura, virginal, ennuyée – essas duas representações da princesa-odalisca se debruçaram fatalmente sobre a estéril contemplação – contemplação vã de sua própria beleza ou da beleza do outro – e, de maneira magnânima, unem-se ao sem-número de obras dedicadas à musa absoluta, topus do fin-de-siècle.
The resumption of the biblical myth of Salome, first portrayed in the Gospels of St. Mark and St. Matthew, became a school in the French symbolist movement. Salome, who has been presented as a mere appendage of his mother, Herodias, appears, at the end of the nineteenth century, as a great personification of perverse anima, assuming the role that once belonged to Cleopatra and Helen. The myth deals with the story of Salome, Princess of Judea, who, under the influence of her mother, performs a dance of the seven veils for her stepfather, and, as a reward for the voluptuous spectacle, receives the head of the prophet John the Baptist. Portrayed by artists of all segments of art, this remodeled Salome represents the essence of the symbolist movement itself – with the transgression of the poetic language, theme and attitude of the contemporary artistic productions – as well as his maudits poets (and artists). They are marginalized by an oppressive and utilitarian society, and that, by doing justice to the princess, they do justice to their own class. Thus, with a Princess-Odalisque Salome, symbolism affirms its combative stance, of struggle for the liberation of poetry and art. In this work, we intend to analyze and compare the works Salomé, drama in one act by Oscar Wilde, and Hérodiade, dramatic poem by Stéphane Mallarmé, in order to verify if there are and which would be the confluences – and even influences – between the two productions, whereas they were both idealized at the same period and scenario: the French symbolism, at the end of the nineteenth century. The importance of these two works for the modern art is unquestionable: with Hérodiade – who is actually Salomé, although bears his title from the mother's name on account of the sonority – we see the ontological mallarmean scheme emerging, one of the most important precursors of modern poetry, in a work that transcends the epithet of the bloody beheading of the prophet John the Baptist, to dwell on the image of the virgin princess submerged in ennui, who, in her own words, “doesn't want anything human”, and who longs until the last and unblemished thread of his hair to unconcretize herself while a human being in the pursuit of Purity. Meanwhile in Salomé, we came across the one that became the "elected" version of the myth, and that populated the imaginary of several artists of the twentieth century, from composers to cinematographic directors. In Wilde, to the dance of the seven veils and to the beheading of the prophet, follows a fatal dose of madness, leading a princess to a bloodthirsty death. The leading thread of both productions seems to culminate in that Balakian (2000, p. 65) classified as "obsessive, non-rewarding narcissism, because it has no way out", in relation to the mallarmean work: in Hérodiade, the self-contemplation leads the princess to solitude, to the boredom and the desire to evasion the world ; In Wilde, (self) contemplation leads to the way of madness and death. In both, therefore, and in each in its own way, we are faced with sterile (self) contemplation. Be it trhough Wilde's bloody, passionate, delirious Salomé, or Mallarmé's pure, virginal, ennuyée Hérodiade, these two representations of the princess fatally leaned on a barren contemplation – vain contemplation of their own beauty, or of beauty of other – and, magnanimously, join the countless works dedicated to the absolute muse, topus of the fin-de-siècle.
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Almeida, Thais de Souza. "O mito bíblico de Salomé em Oscar Wilde e Stéphane Mallarmé /." Araraquara, 2017. http://hdl.handle.net/11449/151103.
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Orientador: Andressa Cristina de OliveiraBanca: Renata Soares Junqueira
Banca: Flávia Nascimento Falleiros
Resumo: A retomada do mito bíblico de Salomé, retratado primeiramente nos evangelhos de S. Marcos e S. Mateus, fez escola no movimento simbolista francês. Salomé, que até então havia sido apresentada como mero apêndice de sua mãe, Herodíade, aparece, no final do século XIX, como a grande personificação da anima perversa, assumindo o papel que outrora pertencera a Cleópatra e Helena. O mito trata da história de Salomé, princesa da Judeia, que, sob a influência de sua mãe, realiza a dança dos sete véus para seu padrasto e, como prêmio pelo espetáculo voluptuoso, recebe a cabeça do profeta João Batista. Retratada pelos artistas de diversas vertentes da arte, essa Salomé remodelada vem representar a essência própria do movimento simbolista - a transgressão da linguagem, da temática e da atitude do poeta com relação à produção artística -, bem como a de seus poetas (e artistas) malditos, que se vêem marginalizados por uma sociedade opressora e utilitarista, e que, fazendo justiça à princesa, fazem justiça à própria classe. Assim, com a princesa-odalisca Salomé, o simbolismo afirma sua postura combativa, de luta pela libertação da poesia e da arte. Neste trabalho, pretende-se analisar e comparar as obras Salomé (1891), drama de Oscar Wilde (1854 - 1900), e Hérodiade (1864 - 1898), poema de Stéphane Mallarmé (1842 - 1898), com a finalidade de verificar se existem e quais seriam as confluências - e mesmo influências - entre as duas produções, visto que ambas foram idealizadas na mesma época ... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The resumption of the biblical myth of Salome, first portrayed in the Gospels of St. Mark and St. Matthew, became a school in the French symbolist movement. Salome, who has been presented as a mere appendage of his mother, Herodias, appears, at the end of the nineteenth century, as a great personification of perverse anima, assuming the role that once belonged to Cleopatra and Helen. The myth deals with the story of Salome, Princess of Judea, who, under the influence of her mother, performs a dance of the seven veils for her stepfather, and, as a reward for the voluptuous spectacle, receives the head of the prophet John the Baptist. Portrayed by artists of all segments of art, this remodeled Salome represents the essence of the symbolist movement itself - with the transgression of the poetic language, theme and attitude of the contemporary artistic productions - as well as his maudits poets (and artists). They are marginalized by an oppressive and utilitarian society, and that, by doing justice to the princess, they do justice to their own class. Thus, with a Princess-Odalisque Salome, symbolism affirms its combative stance, of struggle for the liberation of poetry and art. In this work, we intend to analyze and compare the works Salomé, drama in one act by Oscar Wilde, and Hérodiade, dramatic poem by Stéphane Mallarmé, in order to verify if there are and which would be the confluences - and even influences - between the two productions, whereas they were both idealized at ... (Complete abstract click electronic access below)
Mestre
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Monteiro, Júlio César dos Santos. "Salomé de Oscar Wilde na tradução brasileira de João do Rio." Florianópolis, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/96174.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Estudos da Tradução.Made available in DSpace on 2012-10-26T09:30:12Z (GMT). No. of bitstreams: 1 310575.pdf: 5738181 bytes, checksum: a27e7f277a64442815bdd48cd329d752 (MD5)
Este estudo investiga a tradução do texto dramático Salomé, de Oscar Wilde, realizada por João do Rio, na primeira década do século XX. O trabalho aponta os contatos e as repercussões na literatura brasileira desencadeadas a partir da tradução da peça de Oscar Wilde. Examinamos a função da tradução feita para a concretização cênica e a possível primazia do texto escrito dentro do sistema teatral. Iniciamos com o percurso literário de Oscar Wilde na literatura inglesa e sua recepção no Brasil. Discutimos fundamentos teóricos propostos por Antoine Berman e Itamar Even-Zohar, entre outros, e refletimos sobre a tradução do texto dramático de acordo com as teorias de Susan Bassnett, Sirkku Aaltonen e Patrice Pavis. Finalizamos com uma análise da tradução de Salomé
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Fernelius, Julia. "Hysterics and Prophets: : Gender Fluidity and Sexual Transgression in Oscar Wilde´s Salomé." Thesis, Högskolan Dalarna, Engelska, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-21126.
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Thomas, Martine. "La Salomé d'Oscar Wilde : épanouissement au XIXe siècle d'une figure des débuts de l'ère chrétienne." Université Marc Bloch (Strasbourg) (1971-2008), 1985. http://www.theses.fr/1985STR20001.
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Ollion, Martine. "Face à la critique : Salomé, Oscar Wilde, Lugné-Poe et Richard Strauss : Paris, 1891-1910." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040153.
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Au début des années 1890, Oscar Wilde choisit Paris comme terre d’élection et entreprend de s’y faire un nom. Bientôt connu comme l’auteur du Portrait de Dorian Gray et de Salomé, pièce d’inspiration symboliste écrite en français, la presse le chronique abondamment. En 1896, Aurélien-Marie Lugné-Poe, porte Salomé à la scène et lui offre les conditions d’une nouvelle réception parisienne. En 1902, Richard Strauss voit la pièce représentée à Berlin et s’en empare pour en faire le livret allemand d’un opéra auquel il donne, en parallèle, une version française. Dans un contexte socio-Culturel en mutation et dans un climat politique tendu entre la France et l’Allemagne, Salomé de Strauss arrive à Paris en 1907, accompagnée d’une réception critique exceptionnelle qui ne faiblira pas jusqu’à son entrée au Répertoire de l’Opéra en 1910.Salomé, d’Oscar Wilde à Richard Strauss, se trouve ainsi adoptée à plusieurs reprises par Paris, littéralement portée par les réceptions qu’elle y a reçues, jusqu’à devenir, en ses premières années, malgré des caractéristiques nationales étrangères plurielles et marquées, une œuvre où résonne un fort accent français. Elle peut être appréhendée comme une illustration des discours journalistiques et revuistes parisiens de la fin du XIXe siècle et du début du XXe siècle, dans une perspective verticale – sur une période d'une vingtaine d'années – et horizontale, à travers trois éclairages critiques. Telle que les écrits la montrent ou la façonnent en ses différents avatars, elle est peut-Être aussi une tentative réussie d’art total, héritière superlative du mythe de Salomé revisité en une œuvre-Tiroir, littéraire, dramatique, musicaleIn the early 1890s, Oscar Wilde chose Paris as his adopted land, aiming at becoming famous. Soon known as the author of The Portrait of Dorian Gray and Salomé, a play inspired by the Symbolist movement and written in French, he triggered much curiosity on the part of the critics. In 1896, Aurélien-Marie Lugné-Poe, brought Salomé to the stage and provided the conditions of a new Parisian reception. In 1902, Richard Strauss saw the play represented in Berlin and used it to compose the German libretto of an opera of which he also, simultaneously gave a French version. Against the backdrop of a socio-Cultural context of change and political tension between France and Germany, Strauss’s Salome was performed in Paris in 1907, accompanied by a huge critical reception that would not weaken until it entered the Repertoire of the Opera in 1910. From Oscar Wilde to Richard Strauss, Salomé was thus adopted on several occasions by the Paris, literally sustained by the receptions that it received there, becoming, in spite of its several, marked foreign national characteristics, a work resounding with a strong French accent. Salomé’s critical reception can be seen as an illustration of the journalistic speech in Paris in the late nineteenth and early twentieth centuries, in a vertical perspective - over a period of twenty years - and horizontal, through three critical perspectives. Revealed by this kind of writing or shaped by it into its different types of metamorphosis, this play may also be a successful attempt at total art, superlatively embodying the myth of Salomé in its multiple literary, dramatic and musical dimensions
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Vernadakis, Emmanuel. "Le prétexte de "Salomé" : pour une approche de l’œuvre d'Oscar Wilde." Paris 7, 1988. http://www.theses.fr/1988PA070076.
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"Salomé" sert de prétexte pour reconstituer, a partir de la thématique wildeenne, le regard critique de son auteur sur la problématique d'unité historique, sociale et individuelle de son temps. Détachée des écoles marginales fin-de-siecle et rattachée a l'ensemble de la littérature du XIXe siècle, "Salomé" sert encore de prétexte pour étudier les différences entre l'esthétisme anglais et la décadence française, ainsi que pour démontrer l'originalité de l’œuvre de Wilde qui inaugure un nouveau genre de création : la création critique. "Salomé" sert enfin de prétexte pour découvrir la création wildeenne a travers une analyse thématique de son oeuvre"Salomé" has served as a pretext to create, through the principal patterns of Oscar Wilde's work, a possible 19 th century point of view on the lack of historical, social and individual unity in the occidental culture. Making use of the victorian conflict between hellenism and hebraism, wilde's french religious tragedy has again served as a pretext to study the fundamental differences between the english aesthetism and the french decadence and to discover Oscar Wilde's "critical" creation. Finally, "Salome" has served as a pretext to establish the technique of the wildean creation through a thematical analysis of his work
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Lanier, Sydney Nicole. "The Importance of Being Oscar: A Performance Studies Inquiry of Wilde's Literary Women." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/english_theses/59/.
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Thesis (M.A.)--Georgia State University, 2009.Title from title page (Digital Archive@GSU, viewed June 17, 2010) LeeAnne Richardson, committee chair; Margaret Mills Harper, Tanya Caldwell, committee members. Includes bibliographical references (p. 48-49).
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Zocca, Lívia Maria [UNESP]. "As relações entre texto e imagem em Salomé: um estudo sobre a peça wildeana e as ilustrações de Beardsley." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/150917.
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Os estudos comparativos entre literatura e outras artes distintas têm contribuído desde a Antiguidade para maior compreensão de obras, propiciando - concomitantemente à compreensão do objeto literário - o aumento de pesquisas e discussões. O mito bíblico de Salomé foi fortemente retomado na França do fim século XIX e, adquirindo novas e diferentes roupagens do mito original, percorreu o imaginário dos artistas do período através das famosas pinturas de Gustave Moreau, tornando-se um forte símbolo feminino de uma época marcada pelo simbolismo /decadentismo, onde a arte buscava explorar as paixões e os mistérios, em meio aos grandes avanços científicos. Oscar Wilde foi um dos escritores que deu voz à dançarina, construindo em francês mais uma versão entre as muitas variações do mito ao publicar sua peça em 1893. Sua Salomé percorreu a Europa em meio a polêmicas e obteve mais sucesso que as outras obras de mesmo tema – e melhores avaliadas pela crítica do período - dando à personagem maior destaque e repercussão. Encantado com a peça de Wilde, Aubrey Beardsley, em 1894, ilustra a versão inglesa com seu estilo característico - variando da Art Noveau à influência das pinturas japonesas - em um tom erótico e grotesco peculiar. Suas ilustrações correram o mundo com a peça e trouxeram ainda mais notoriedade e significado à versão wildeana, o que permite pensar que o elemento pictórico poderia ultrapassar suas funções tradicionais de simples acompanhante do texto, acrescentando informações à trama, ao preencher lacunas e sugerir novos olhares, ampliando a leitura. Assim, entendendo que o texto verbal e visual não são linguagens incomunicáveis, e sim complementares, e que se isoladas as obras teriam seus significados e sentidos alterados, o presente trabalho busca analisar as relações texto-imagem entre a peça de Wilde e as ilustrações de Beardsley.
Comparative studies between literature and other distinct arts have contributed since the ancient times to a better understanding of art pieces, providing – simultaneously to the understanding of the literary field – an increase in researches and discussions. The biblical myth of Salomé was highly restored in France late in the 19th century and, by featuring a new and different appearance from the original one, covered the imagination of artists from that period through Gustave Moreau’s famous paintings, becoming a powerful female symbol of a time marked by the Symbolism/ Decadentism, when art aimed to explore passions and mysteries among the great scientific advances. Oscar Wilde was one of the writers who gave voice to the dancer, building another version of the myth among several ones by publishing his play in 1893. His Salomé roamed Europe in the middle of controversies and obtained more success than the other pieces about the same theme - and the ones that received the best evaluations of that time - what gave the character a greater focus and impact. Amazed by Wilde’s play, Aubrey Beardsley, in 1894, illustrates the British version with his typical style – ranging from the Art Nouveau to the influence of Japanese paintings – in a peculiar erotic and grotesque shade. His illustrations roamed the world with the play and brought even more visibility and meaning to Wilde’s version, which enables to assume that the pictorial element could overcome its traditional functions of mere text companion, adding information to the plot, by filling in gaps and suggesting fresh perspectives, enlarging the reading. Thus, understanding that spoken and visual texts are not detached, but complementary languages, and that isolated the pieces would have their meanings changed, this work aims to analyze the relations between Wilde’s play and Beardsley’s illustrations.
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Varvir, Coe Megan Elizabeth 1982. "Composing Symbolism's Musicality of Language in Fin-de-siècle France." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862749/.
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In this dissertation, I explore the musical prosody of the literary symbolists and the influence of this prosody on fin-de-siècle French music. Contrary to previous categorizations of music as symbolist based on a characteristic "sound," I argue that symbolist aesthetics demonstrably influenced musical construction and reception. My scholarship reveals that symbolist musical works across genres share an approach to composition rooted in the symbolist concept of musicality of language, a concept that shapes this music on sonic, structural, and conceptual levels. I investigate the musical responses of four different composers to a single symbolist text, Oscar Wilde's one-act play Salomé, written in French in 1891, as case studies in order to elucidate how a symbolist musicality of language informed their creation, performance, and critical reception. The musical works evaluated as case studies are Antoine Mariotte's Salomé, Richard Strauss's Salomé, Aleksandr Glazunov's Introduction et La Danse de Salomée, and Florent Schmitt's La Tragédie de Salomé. Recognition of symbolist influence on composition, and, in the case of works for the stage, on production and performance expands the repertory of music we can view critically through the lens of symbolism, developing not only our understanding of music's role in this difficult and often contradictory aesthetic philosophy but also our perception of fin-de-siècle musical culture in general.
Books on the topic "Salomé (Wilde, Oscar)"
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Thérèse, Paquin Marie, and Wilde Oscar 1854-1900, eds. Salomé: Livret de Oscar Wilde. Montréal: Presses de l'Université de Montréal, 1985.
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Salomé, ou, La tragédie du regard: Oscar Wilde, l'auteur, le personnage. Paris: Différence, 2009.
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Bennett, Michael Y., ed. Refiguring Oscar Wilde's Salome. Amsterdam, Netherlands: Rodopi, 2011.
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Salome's modernity: Oscar Wilde and the aesthetics of transgression. Ann Arbor: University of Michigan Press, 2011.
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Toepfer, Karl Eric. The voice of rapture: A symbolist system of ecstatic speech in Oscar Wilde's Salome. New York: P. Lang, 1991.
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Perverse Midrash: Oscar Wilde, André Gide, and censorship of biblical drama. New York: Continuum, 2004.
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Rouy, Kate. A selection of books and articles, 1958-1988, on Oscar Wilde and his relationship to the Decadent Movement of the 1890s: With special reference to his prose writings and Salome. [s.l.]: typescript, 1989.
Find full textBook chapters on the topic "Salomé (Wilde, Oscar)"
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Pfister, Manfred, and Rebekka Rohleder. "Wilde, Oscar: Salomé." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17388-1.
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Doody, Noreen. "“Surface and Symbol”: Wilde’s Salomé, French Symbolism and Yeats (1891–1906)." In The Influence of Oscar Wilde on W.B. Yeats, 173–201. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-89548-2_6.
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Doody, Noreen. "Yeats’s Creative Use of Wilde’s Salomé in his Revisions of The Shadowy Waters, On Baile’s Strand and Deirdre." In The Influence of Oscar Wilde on W.B. Yeats, 203–40. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-89548-2_7.
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Evangelista, Stefano. "Oscar Wilde’s World Literature." In Literary Cosmopolitanism in the English Fin de Siècle, 32–71. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198864240.003.0002.
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This chapter reads Oscar Wilde’s writings and career through the prism of world literature. The idea of world literature, originally formulated by Goethe in the 1820s, only gained wider currency in Britain at the end of the century, thanks to the influence of the English Goethe Society and its first president, Max Müller. Shortly after the establishment of the Society, in ‘The Critic as Artist’ (1891), Wilde drew on Goethe’s idea of world literature as the cornerstone for a liberal cosmopolitanism that celebrates cultural difference and sexual tolerance. Wilde’s interest in world literature found a practical outlet in Salomé (1893). The early reception of Salomé illustrates Wilde’s privileged yet precarious position between Britain and France: on both sides of the Channel his Symbolist drama was criticized from nationalist perspectives.
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"OSCAR WILDE AS A FRENCH WRITER: CONSIDERING WILDE’S FRENCH IN SALOMÉ." In Refiguring Oscar Wilde’s Salome, 1–19. Brill | Rodopi, 2011. http://dx.doi.org/10.1163/9789401207201_002.
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"THE DOUBLE LIFE OF SALOMÉ: SEXUALITY, NATIONALISM AND SELF-TRANSLATION IN OSCAR WILDE." In Refiguring Oscar Wilde’s Salome, 21–36. Brill | Rodopi, 2011. http://dx.doi.org/10.1163/9789401207201_003.
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Girdwood, Megan. "‘Harmonies of Light’: Ciné-Dances and Women’s Silent Film." In Modernism and the Choreographic Imagination, 111–52. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474481625.003.0004.
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This chapter focuses on Salome’s ‘dance of the seven veils’ in silent film. It shows how the modernist choreographic forms traced in previous chapters intersected with the development of filmic representation in both Hollywood and France, tracing the emergence of new grammars of movement through discourses surrounding performance, spectatorship, and the body in the 1920s. In the avant-garde silent film Salomé: An Historical Phantasy by Oscar Wilde (1922), the Russian actor and director Alla Nazimova paid queer homage to Wilde’s legacy by combining Beardsley’s Art Nouveau aesthetic with the modernist movement strategies of the Ballets Russes. Foregrounding the importance of this particular film, this chapter examines the reception of the various theatrical ‘vamps’ who played Salome, including Nazimova, Theda Bara and Mimi Aguglia, several of whom appeared in the interviews and neo-decadent short fiction of modernist author Djuna Barnes. Finally, it turns to the work of the French director Germaine Dulac, who was inspired by the performances of Loïe Fuller to develop a cinematographic practice devoted to the notion of the dancing line, embedding the kinaesthetics of modern dance in her experimental filmmaking.
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"Salome: Drame en un Acte." In The Complete Works of Oscar Wilde, Vol. 5: Plays, Vol. 1: The Duchess of Padua; Salomé: Drame en Un Acte; Salome: Tragedy in One Act. Oxford University Press, 2013. http://dx.doi.org/10.1093/oseo/instance.00230737.
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"Salome: A Tragedy in One Act." In The Complete Works of Oscar Wilde, Vol. 5: Plays, Vol. 1: The Duchess of Padua; Salomé: Drame en Un Acte; Salome: Tragedy in One Act. Oxford University Press, 2013. http://dx.doi.org/10.1093/oseo/instance.00230738.
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"The Duchess of Padua: A Tragedy of the XVI Century." In The Complete Works of Oscar Wilde, Vol. 5: Plays, Vol. 1: The Duchess of Padua; Salomé: Drame en Un Acte; Salome: Tragedy in One Act. Oxford University Press, 2013. http://dx.doi.org/10.1093/oseo/instance.00230736.
Full textConference papers on the topic "Salomé (Wilde, Oscar)"
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Маркосян, Дарья Сергеевна, and Мария Никитична Морозова. "LINGUISTIC VISUALIZATION OF A GRAPHIC IMAGE. SALOME OSCAR WILD AND A. BEARDSLEY." In Образование. Культура. Общество: сборник избранных статей по материалам Международной научной конференции (Санкт-Петербург, Октябрь 2021). Crossref, 2021. http://dx.doi.org/10.37539/ecs299.2021.27.65.006.
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Интерес к проблеме осмысления и интерпретации литературного произведения при помощи иллюстраций носит устойчивый характер на протяжении уже многих столетий. Уникальным явлением в истории мировой культуры становится образ Саломеи, созданный О. Уайльдом и А. Бердсли. На примере этого синтеза лингвистических и графических средств выразительности, перевода слова в зримый ряд прослеживается особая лингвистическая визуализация образа Саломеи, позволяющая исследовать уникальную сочетаемость идиостиля писателя и художника. The problem of comprehending and interpreting a fictional work of art with the help of illustrations has been being an object of intense interest for many centuries. The image of Salome created by O. Wilde and A. Beardsley is a unique phenomenon in the history of the world culture. On the example of this synthesis of linguistic and graphic means of expressiveness, translation of a word into a visual identity, a special linguistic visualization of the image of Salome is traced, which allows one to explore the unique compatibility of the idiostyle of the writer and the artist.