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Journal articles on the topic 'Salomé (Wilde, Oscar)'

Author: Grafiati

Published: 24 February 2023

Last updated: 3 March 2023

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1

Hutcheon, Linda, and Michael Hutcheon. "O corpo perigoso." Revista Estudos Feministas 11, no. 1 (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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2

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 (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 ma

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3

Marcus, Sharon. "Salomé!! Sarah Bernhardt, Oscar Wilde, and the Drama of Celebrity." PMLA/Publications of the Modern Language Association of America 126, no. 4 (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

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4

Pun, Min. "Politics, sex, and spirit: the divided self in oscar wilde's salomé." International journal of life sciences & earth sciences 2, no. 1 (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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5

Galery, M. C. V. "A Dança Invisível: Olhar, Desejo e Transgressão em Salomé, de Oscar Wilde." Revista Scripta Uniandrade 13, no. 2 (2015): 111–24. http://dx.doi.org/10.18305/1679-5520/scripta.uniandrade.v13n2p111-124.

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6

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 (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 interpretatio

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7

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

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8

Słowik, Agata. "Nieokreśloność gatunkowa i rozbieżność interpretacji: postmodernistyczne spojrzenie na Salome Oscara Wilde’a." Ogrody Nauk i Sztuk 3, no. 3 (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

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9

Im, Yeeyon. "“A SERIOUSNESS THAT FAILS”: RECONSIDERING SYMBOLISM IN OSCAR WILDE'SSALOMÉ." Victorian Literature and Culture 45, no. 1 (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 t

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10

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

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11

Quevedo, Amalia. "René Girard y el juramento de Herodes." Tópicos, Revista de Filosofía, no. 57 (June 29, 2019): 149–75. http://dx.doi.org/10.21555/top.v0i57.1039.

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Nada mejor para interpretar y entender la enigmática muerte de Juan el Bautista, en el clímax de la celebración del cumpleaños de Herodes, que la teoría de René Girard sobre el deseo mimético y el chivo expiatorio. Antes de Girards, algunas obras literarias trataron el tema. Entre ellas destacan Salomé de Oscar Wilde y Herodías de Gustave Flaubert. Una y otra ofrecen una fascinante visión de la historia narrada por los evangelios y por el historiador Flavio Josefo. Aquí son examinados el contexto histórico y político, los personajes secundarios, los acontecimientos antes, durante y después del

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12

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,

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13

Santini, Daria. "‘That invisible dance’. Reflections on the ‘Dance of the Seven Veils’ in Richard Strauss's Salome." Dance Research 29, no. 2 (2011): 233–45. http://dx.doi.org/10.3366/drs.2011.0014.

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The Dance of the Seven Veils is one of the main reasons for the scandalous success of Richard Strauss's Salome, whose premiere in Dresden on 9 December 1905 shook the musical world and brought extraordinary fame to its author. Just as Oscar Wilde, in the play on which Strauss based his libretto, had written no instructions as to how the dance should be performed, the composer left this section of the opera to the imagination. The quotation in the title of this article is taken from Wilde's inscription to Aubrey Beardsley in his copy of ‘Salomé’ and aims to draw attention to the ambiguous natur

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14

Brown, Daniel. "Wilde and Wilder." PMLA/Publications of the Modern Language Association of America 119, no. 5 (2004): 1216–30. http://dx.doi.org/10.1632/s0030812900101701.

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The use of Oscar Wilde's Salome as the ground for the silent-screen star Norma Desmond's film script and character is central to Billy Wilder's Sunset Boulevard but oddly neglected by the film's critics. This essay reads the film through its engagement with Salome, discussing its adoption from the play of a self-consciousness about the conditions of its art, which extend beyond the film's production to cultural history and film aesthetics. Norma asserts the image and ideology of the Hollywood star through her identification with the aestheticist figure of Salome, while Joe Gillis not only writ

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15

Coulardeau, Jacques. "Salome, an Obsessive Compulsive Myth, from Oscar Wilde to Richard Strauss." Cahiers victoriens et édouardiens, no. 72 Automne (December 4, 2010): 131–46. http://dx.doi.org/10.4000/cve.2730.

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16

Touwen, Tanya. "Salome. The music and language of Oscar Wilde and Richard Strauss." Irish Studies Review 3, no. 11 (1995): 20–23. http://dx.doi.org/10.1080/09670889508455487.

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17

Shepherd-Barr, Kirsten. "Book Review: Perspectives on Oscar Wilde, Revising Wilde: Society and Subversion in the Plays of Oscar Wilde, the Trials of Oscar Wilde: Deviance, Morality, and Late-Victorian Society, Rising Star: Dandyism, Gender and Performance in the Fin de Siècle, the Cambridge Companion to Oscar Wilde, Wilde: Salome." Nineteenth Century Theatre 27, no. 1 (1999): 73–82. http://dx.doi.org/10.1177/174837279902700104.

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18

Kramer, Lawrence. "Culture and musical hermeneutics: The Salome complex." Cambridge Opera Journal 2, no. 3 (1990): 269–94. http://dx.doi.org/10.1017/s0954586700003281.

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From Flaubert to Richard Strauss, male artists in late nineteenth-century Europe were fascinated by the figure of Salome. This fascination, indeed, amounted to a genuine craze. One representation sparked another: J.-K. Huysmans fantasised about paintings by Gustave Moreau; Oscar Wilde expanded on Huysmans; Aubrey Beardsley illustrated Wilde. Fine editions of Wilde's Salome with Beardsley's illustrations remained cult objects well into the twentieth century. In general, the Salome craze, like the science and medicine of its day, sought to legitimise new forms of control by men over the bodies a

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19

Kasyanova, Olena. ""Dance щf The Seven Veils" Based щn Oscar Wilde's Drama "Salome" In The Director's Interpretation щf The Modern Era". Часопис Національної музичної академії України ім.П.І.Чайковського, № 1(50) (18 березня 2021): 117–32. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233140.

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The urgency to address to the theme of Salome in conditions of postmodern culture is considered. Some attempts are made to read anew and rethink it in the era of current information technology. Attention is paid to the peculiarities of the interpretation of the image of Salome and the "Dance of the Seven Veils" in the iconographic sources of the 12th – early 21st centuries through the prism of the aesthetics of certain era aimed to find artistic means of expression. An overview of the reflection of the event at the feast of Tetrarch Herod in the Gospel of Matthew and Mark. The content of the y

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20

Gutierrez, Jose Ismael. "Dos acercamientos a un motivo literario de fin de siglo: La Salome de Oscar Wilde y la de Enrique Gomez Carrillo." Hispanic Review 63, no. 3 (1995): 411. http://dx.doi.org/10.2307/474679.

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21

Kuznetsova, Natalya V. "The Forms of the Interaction between “Civilization” and “Nature” in the Fiction by Oscar Wilde: The Exchange and the Ritual of Sacrifice." Imagologiya i komparativistika, no. 16 (2021): 68–83. http://dx.doi.org/10.17223/24099554/16/5.

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Most of Oscar Wilde’s works focus on the high society (including the royalty), which is portrayed as artificial, imitative, and ludic. These characteristics are epitomized in the process of collecting (artificial) rarities (The Picture of Dorian Gray, Salome, The Young King), or in the passion for performance and mystification (The Birthday of the Infanta, The Sphinx Without a Secret, The Importance of Being Ernest). As opposed to the “high society”, Wilde shows the natural (or ancient) milieu, which is firmer and healthier, but devoid of aesthetic perfection. Paradoxically, the high society r

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22

Decroocq, Laurence. "Pourquoi sacrifier Salomé ? Les enjeux tragiques de la représentation." Acta Octobre 2009 10, no. 8 (2009). http://dx.doi.org/10.58282/acta.5220.

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Cet article est un compte-rendu du livre : Frank Pierobon, Salomé ou la tragédie du regard. Oscar Wilde, l’auteur, le personnage, Paris : Édition de la différence, coll. « Les essais », 2009, 285 p., EAN 9782729117733.

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23

Azevedo Neckel Jr. (UFSM), Fernando. "A COMPOSIÇÃO DO IMAGINÁRIO DE SALOMÉ POR OSCAR WILDE." Macabéa - Revista Eletrônica do Netlli 8, no. 1 (2019). http://dx.doi.org/10.47295/mren.v8i1.1794.

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24

Robson, Julie-Ann. "“That terrible, coloured little tragedy”?: Oscar Wilde, Salomé, and genre in transition." Irish Studies Review, May 10, 2022, 1–16. http://dx.doi.org/10.1080/09670882.2022.2073641.

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25

Zasiekin, Serhii. "Exploring Bohdan Lepky’s Translation Ethics Using Linguistic Inquiry and Word Count." East European Journal of Psycholinguistics 8, no. 2 (2021). http://dx.doi.org/10.29038/eejpl.2021.8.2.zas.

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The present empirical study aims to outline ethical landmarks of Bohdan Lepky, the renowned Ukrainian writer and translator, in his Ukrainian translation of Salomé by Oscar Wilde. We assess the ethics of translation data defined by Kalina (2015) in terms of accuracy, impartiality, and confidentiality. In order to address these ethical issues, the study envisaged the following steps. First, source and target texts were analyzed using the Linguistic Inquiry and Word Count (LIWC) computerized program based on its built-in French 2007 and Ukrainian 2015 dictionaries. Second, all 'style words' (Tau

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