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Journal articles on the topic 'Salomé'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2025

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1

Fernández Jiménez, Mónica. "The Hemispheric Approach of Julia Alvarez’s Novels." REDEN. Revista Española de Estudios Norteamericanos 2, no. 1 (November 30, 2020): 39–48. http://dx.doi.org/10.37536/reden.2020.2.1381.

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This article analyses three novels by Julia Alvarez–How the García Girls Lost their Accents (1991), In the Time of the Butterflies (1994), and In the Name of Salomé (2000)– through the lenses of Hemispheric American Studies. Inspired by the teachings of Antonio Benítez-Rojo’s theoretical work The Repeating Island: The Caribbean and the Postmodern Perspective (1992), I contend that the categorisation of these novels as Latino literature is not enough to describe all of their richness. These novels portray throughout their pages social, political, and artistic relations that tie all of the Americas together, and their analysis benefits from the essays written by Caribbean post-essentialist critics who developed, during the 1990s, a discourse based on the cultural supersyncretism of the islands that helps us to understand the postmodern globalised worlds as it stands. The novels by Alvarez reflect these theories, as they portray the realities of a New World constricted by the workings of race and racism, capitalism, and postcolonialism.

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2

Jędrzejewska, Patrycja. "Zapomniana księżna halicka? Rola Salomei w kreowaniu relacji polsko-węgierskich i polsko-ruskich." Resovia Sacra 28 (December 31, 2021): 205–30. http://dx.doi.org/10.52097/rs.2021.205-230.

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Postać Salomei, żony królewicza węgierskiego Kolomana, jest kolejną interesującą postacią kobiecą związaną z księstwem krakowsko-sandomierskim, przejawiającą aktywność w relacjach z Królestwem Węgier oraz księstwami ruskimi. Księżniczka krakowska, potem księżna Halicza, a na koniec klaryska była znaczącą postacią XIII-wieczną na ziemiach polskich, obok m. in. księżnej Kingi, Jolenty-Heleny czy Gryfiny. Jednakże Salomea, w przeciwieństwie do wspomnianych księżnych, była księżniczką wywodzącą się z piastowskiej dynastii. Celem artykułu jest przedstawienie roli Salomei, córki Leszka Białego i żony królewicza Kolomana, w kreowaniu relacji księstwa krakowsko-sandomierskiego z Rusią i Węgrami w 1. połowie XIII wieku.

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3

HAMBERLIN, LARRY. "Visions of Salome: The Femme Fatale in American Popular Songs before 1920." Journal of the American Musicological Society 59, no. 3 (2006): 631–96. http://dx.doi.org/10.1525/jams.2006.59.3.631.

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Abstract This article documents representations of Salome, an archetypal exotic femme fatale, in American popular songs of the early twentieth century. The production of Salome songs began shortly after the sensational 1907 U.S. premiere of Richard Strauss's Salome at New York's Metropolitan Opera. Vaudeville performers, beginning with the Met's own prima ballerina, capitalized on the ensuing fad for Salome dances, which the New York Times called “Salomania.” Relevant songs and dances figured in musical comedies and revues until some time after the return of Strauss's opera to the New York stage, in the 1909 Manhattan Opera Company production with Mary Garden in the title role. Through the next decade, musical, lyrical, and illustrative tropes that originated in the Salome songs became disassociated from the figure of Salome, gradually merging into “oriental fox-trots” and exotic romance songs. The topical humor of the Salome songs suggests that American audiences were skeptical of the allure of orientalist fantasy, then at its height in Europe, and that an unwillingness to grant artistic legitimacy to Salome's religious-themed eroticism is an important marker of the American reception of works such as Strauss's.

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4

Gorbovskaya, S. G. "Associative analysis of the painting by G. Moro “Salome, dancing before Herod” in the novel by J.-K. Huysmans “Against Nature”." Nauchnyi dialog 13, no. 2 (March 22, 2024): 269–85. http://dx.doi.org/10.24224/2227-1295-2024-13-2-269-285.

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The phenomenon of the “symbolic image” is examined using the example of the flower in Salome’s hand in Gustave Moreau’s painting “Salome Dancing before Herod” and the lotus in Salome’s hand in J.-K. Huysmans’ novel “Against the Grain.” The history of the terms ‘imago’, ‘archetype’, and ‘symbolic image’ in psychoanalysis is traced, as well as the influence of these psychoanalytic concepts on the perception of imagery in literature and painting. The relevance of the study lies in the enduring interest of literary scholars in issues related to the interplay between psychoanalysis and literature, as well as the theme of ekphrasis in literature. It is demonstrated that one of Moreau’s receptions of the “flower in Salome’s hand” became the lotus in Salome’s hand in Huysmans’ novel “Against the Grain.” It is established that Huysmans perceives Moreau’s famous phytomorph primarily as an unconscious concept of evil, anxiety, pain, illustrating his reasoning with vivid associations related to the perception of the flower in Moreau’s work. In conclusion, the author of the article points out that the imago-images of the “flower in Salome’s hand” and “lotus in Salome’s hand” become the starting impulse for creating an archetype that generates various new versions of “Salome’s flowers,” comparing lotuses and lilies in the works of H. del Casal, Elisa, and O. Wilde.

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5

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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6

Pinto Rodríguez, Roberto Antonio. "Comunicación y saloma como valor del léxico del fenómeno cultural en Panamá." Revista Contacto 4, no. 2 (January 10, 2025): 249–60. https://doi.org/10.48204/contacto.v4n2.6690.

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Comunicación y saloma como valor del léxico del fenómeno cultural en Panamá', así se titula este artículo de revisión bibliográfica cuyo objetivo trata de explorar la relación entre la saloma, una expresión folclórica panameña, y la comunicación. La metodología adoptada incluyó una revisión exhaustiva de fuentes bibliográficas que analizan el fenómeno de la saloma desde una perspectiva comunicativa. Los hallazgos revelaron una profunda conexión entre la saloma y la comunicación lo que evidencia que la saloma no solo fue una forma de arte, sino también un medio de comunicación social y cultural. Se descubrió que la saloma tenía raíces en Europa, específicamente en el yodel, con influencias africanas anteriores. Además, se observó un renacimiento contemporáneo de formas similares de saloma, como las salomas marineras, impulsadas por las redes sociales. A nivel local, se estableció una posible conexión entre la saloma panameña y los cantos indígenas Ngöbe-Buglé. Estos descubrimientos reforzaron el valor de la saloma como un elemento clave en la construcción de la identidad y cultura panameña. La investigación concluyó que la saloma, más allá de su función musical, actuó como un vehículo para la expresión cultural, reflejando y moldeando la vida social y las experiencias del pueblo panameño.

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7

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, no. 1(50) (March 18, 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 young princess's fateful dance, which led to irreparable tragic consequences — the beheading of John the Baptist. The necessity of using the concept of different branches of knowledge in order to establish a holistic picture of the development of events in this scene is proved. The sources that inspired O. Wilde to create the drama "Salome" are identified. The peculiarities of artistic interpretations of the image of the princess by the writer S. Mallarme and the artist G. Moreau are reflected in the article, in addition, the author showed the difference in the interpretation in the author's concept by O. Wilde. The stage version of "Salome" of 1902, directed by M. Reinhardt, is analyzed, the master's innovative approaches to the embodiment of dance are singled out against the background of the original scenography solution of M. Krause and L. Corinth, which became an aesthetic discovery in theatrical art of the modern era. Peculiarities of interpretation of Salome's dance based on O. Wilde's drama to O. Glazunov's music, with L. Bakst's decoration, M. Fokin's choreography, which continued modern experiments on the stage embodiment of the said work, are revealed. Priorities are set by dance director M. Fokin to work with iconographic sources, artistic design of the issue over the analysis of his musical drama. The results of the choreographer's search for new, relevant to the modern era, means of stage expression, their non-standard, bold combination to create an original version of the artistic and holistic spectacle are outlined. The influence of innovative discoveries of M. Reinhardt, V. Meyerhold and M. Fokin on further dance interpretations in R. Strauss's opera "Salome"

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8

Piech, Stanisław Ludwik. "Rola franciszkanów konwentualnych w życiu religijnym Krakowa od XIII do XX wieku." Analecta Cracoviensia 40 (January 4, 2023): 373–84. http://dx.doi.org/10.15633/acr.4024.

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Die Franziskaner haben sich in Krakau im Jahre 1237 angesiedelt und sind schnell unter den Stadtbewohnern sehr populär geworden, hauptsächlich dank Predigten und sakramentellen Dienst. Im Krakauer Kloster hat sich die Institution der ständigen Beichtväter entwickelt, die zugleich auch Spirituale vieler Gläubiger waren. Bruder Adalbert war der Beichtvater der sel. Salomea, Bruder Boguchwał war der Beichtvater der hl. Kinga und ihres Ehemannes Bole- sław. Das Krakauer Kloster der Minoriten war ein in Kleinpolen wichtiges Zentrum des Geschichtsschreibens, und auch der Hagiogaphie. In Krakau ist um die Wende des 13. und 14. Jh. Żywot bł. Salomei (Das Leben der sel. Salomea) entstanden. Eine wichtige Form der seelsorgerischen Tätigkeit war die spirituale Obhut über die kirchlichen Bruderschaften, unter denen die Bruderschaft der Passion des Herrn eine besondere Rolle gespielt hatte.Das evangelische Programm der Nachahmung Christi lockte die Gläubigen an. Die Franziskaner-Spiritualität, in der Christus nahe war – sowohl in der freudigen Stimmung der Geburt Gottes als auch im Leiden des Kreuzweges und Golgatha, hatte starke Einwirkung auf die Gläubigen und wurde mit der Zeit zum festen Erbe polnischer Kultur. Seit Jahrhunderten werden die Gläubigen in die Kirche der Franziskaner-Konventualen durch das spätgotische, im Jahre 1908 mit päpstlichen Kronen geschmückte Bild der Leidenden Mutter Gottes gelockt, die Traurige Wohltäterin von Krakau genannt wird, sowie auch durch den Kultus des Leiden des Herrn. Mit der Krakauer Kirche der Franziskaner-Konventualen ist auch der Kult der sel. Aniela Salawa (1881–1922), der Mystikerin verbunden, die in reichen Krakauer Familien den Dienst geleistet hat und die in dieser Kirche viele Jahre lang gebetet hat.

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9

CADDY, DAVINIA. "Variations on the Dance of the Seven Veils." Cambridge Opera Journal 17, no. 1 (March 2005): 37–58. http://dx.doi.org/10.1017/s095458670500193x.

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Early twentieth-century Paris saw an embarrassment of half-naked women dancing with seven veils and papier-mâché heads: ‘Salomania’ had gripped the capital. By 1913 Salome was a regular feature on music hall show-bills, besides the balletic and operatic stage. This study focuses on three variations on Salome's notorious Dance of the Seven Veils, performed by Loie Fuller (1907), Ida Rubinstein (1909) and Maud Allan (from 1906) on music by Florent Schmitt, Nikolay Rimsky-Korsakov and Richard Strauss respectively. Such an investigation provides a peculiar line through the cultural and aesthetic determinants of early twentieth-century theatrical dance. In this context music takes on new narrative significance, offering ways of configuring the Dance above and beyond its mere visual surface.

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10

Colón Domènech, Germà. "Fonètica històrica versus història lèxica. El cas de "saloma" < kéleusma `cant dels mariners." Anuario de Estudios Medievales 24, no. 1 (April 2, 2020): 625. http://dx.doi.org/10.3989/aem.1994.v24.994.

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Le mot grec kéleusma "chant des mariniers" est passé en ltalie sous plusieurs formes: celoma, scialoma etc. Elles sont attestées depuis le XIVe siècle, et toutes ont une consonne initiale palatale. Le catalan saloma et le verbe correspondant salomar (1436) ne sont vraisemblablement pas autochtones, mais pris de l'italien. La question se pose surtout pour l'espagnol çaloma (fin du XVIe siècle; plus tard zaloma): du point de vue phonetique il ne peut pas s'agir pour ce dernier d'un emprunt direct de l'italien, ni même du catalan. Cependant, l'histoire lexicale des termes hispaniques (cat. saloma, esp. et portg. zaloma) contredirait ce que les "lois phonetiques" exigent: pour ces mots nautiques, soumis aux avatars de la "lingua franca", on ne devrait pas faire jouer une stricte rigueur linguistique. A en juger par les attestations recueillies, le point de départ vers l'espagnol serait la Catalogne. Néanmoins l’exposition des données philologiques objectives tirées d'une abondante documentation écrite et dialectale permet d'étaler la complexité du problème.

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11

Iglesias, Angel. "De l'acronyme SALOME aux avatars du nom de Salomé et de sa représentation archétypique." Équivalences 26, no. 1 (1996): 31–66. http://dx.doi.org/10.3406/equiv.1996.1199.

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12

Ilan, Tal. "On a Newly Published Divorce Bill from the Judaean Desert." Harvard Theological Review 89, no. 2 (April 1996): 195–202. http://dx.doi.org/10.1017/s0017816000031989.

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A wife's right to divorce her husband does not exist in Jewish law, or so claims virtually every textbook on Jewish law. Over the years scholars have, of course, noted exceptions to this absolute assertion. In Jewish marriage contracts from Elephantine, for example, women have a right to divorce equal to that of men. Another example is the Gospel of Mark's logion on divorce, which apparently implies that either a woman or a man can initiate divorce procedures. Josephus, moreover, relates that Salome, King Herod's sister, sent her husband a bill of divorce. Mainstream scholarship has too often brushed aside these pieces of evidence as nonrepresentative actions or misunderstandings on the part of a transmitter. The Elephantine community was thus remote and had lost contact with the center of Jewish life many years earlier, living a pagan existence and following the legal practices of its neighbors. Mark was a non-Jewish author describing the actions of Palestinian Jews in light of more familiar Roman legal practices. Salome's actions contradicted Jewish law and succeeded only because of her Roman citizenship.

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13

Junaedi, Wahyu, Chairun Nisa, Indah Nurfazlillah, Silviana Gunarsih, and Titik Rodiyah. "Makna Keuntungan Penjual Salome (Studi Fenomenologi Hermeneutik)." Journal of Economic, Bussines and Accounting (COSTING) 3, no. 2 (May 10, 2020): 426–47. http://dx.doi.org/10.31539/costing.v3i2.1133.

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Salome seller profession is an alternative entrepreneurship for the community because the business is quite easy to do. This study aims to find the meaning of profit perceived by Salome sellers. Salome sellers who are able to survive long enough in pursuing their profession certainly have their own awareness in interpreting the benefits they get during selling Salome. This research was conducted on salome sellers who have pursued their profession for more than 10 years using a hermeneutic phenomenology approach. The results showed that salome sellers interpreted its advantages in terms of broad market segments, light business capital, and business management flexibility. The findings of the research's significance can also be taken into consideration in terms of measuring the risk of salome business performance from strategic, financial, and operational aspects. Keywords: The Meaning of Profit, Hermeneutic Phenomenology, Risk of Business Performance

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14

Creamer, Elizabeth. "Salome." Theology Today 51, no. 3 (October 1994): 436. http://dx.doi.org/10.1177/004057369405100312.

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15

Adelia Dwi Cahyani. "From Desire to Destruction: Dinamika Psikologis Salome Karya Oscar Wilde." JISOSEPOL: Jurnal Ilmu Sosial Ekonomi dan Politik 2, no. 2 (December 6, 2024): 450–57. https://doi.org/10.61787/sr9epz97.

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Artikel ini mengkaji dinamika psikologis kepribadian Salome dalam karya Salome karya Oscar Wilde, yang berujung pada perilaku destruktif dan agresif. Penelitian ini bertujuan untuk memahami perubahan dalam kepribadian Salome, yang dipicu oleh konflik internal dan hasrat yang tak terkendali, serta bagaimana perubahan tersebut mempengaruhi munculnya agresi. Menggunakan pendekatan kualitatif, artikel ini menganalisis teks-teks yang menggambarkan tokoh Salome dari perspektif psikologis, dengan fokus pada peran keinginan yang tidak terpuaskan dan trauma emosional sebagai pemicu perubahan perilaku. Temuan utama menunjukkan bahwa agresi yang ditunjukkan oleh Salome bukan hanya akibat dari keinginan seksual yang tak terpenuhi, tetapi juga dari ketegangan batin yang mendalam dan ketidakmampuan untuk mengatasi konflik internalnya. Kesimpulannya, artikel ini mengungkapkan bagaimana dinamika psikologis yang kompleks dalam diri Salome berkontribusi pada perilaku agresif yang mengarah pada kehancuran, baik bagi dirinya sendiri maupun orang lain di sekitarnya.

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Kasyanova, Olena. "Architectonics of the "Dance of The Seven Veils "From Richard Strauss's Opera "Salome" Through the Prism of Historical Reconstruction." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 160–80. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251819.

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The phenomenon of the popularity of R. Strauss's opera "Salome" is explained through the prism of a new paradigm of performing arts, which is due to the rethinking of works of the modern era in the context of postmodern aesthetics. A comprehensive intersectional integrated analysis of musicological, iconographic, culturological, theological, social, psychological and physiological components of the work has been carried out. The methodology of key aspects of the research is determined: features of musical drama — genre-stylistic; content of ancient entertainments —historical and stylistic reconstruction; creation of psychological portraits of characters — system analysis; the concept of dance in opera is an interpretive method. The libretto of the opera is compared with O. Wilde's drama highlighting differences in the image of the main character: in the drama — two "Salome lines", in the libretto — three with the addition of "Dance of the Seven Veils" as an important scene in the conflict, personifying the story of the tragic love of a young princess. The peculiarities of the musical drama of the dance scene in the opera are studied, two opposing points of view on its role and place in the score of the work, the thoughts of the composer R. Strauss on this subject are outlined. The nature of dance entertainment at the courts of ancient rulers, the specifics of the performance of dances "Almeh" and "Ghawazi", which could serve as a prototype of the "Dance of the Seven Veils" performed by princess Salome is described in the article. The stylistics of the "Almeh" dances included a demonstration of highly artistic eroticism, and the "Ghawazi" dances a Bacchic seduction. In the dance scene, it is possible to combine these opposite patterns in the context to solve the musical drama of the work. The psychological and physiological features of Salome's age are analyzed, her characteristic features are explained, which could elucidate the logic of the young princess's actions. Psychological portraits of Salome, Jochanaan, Herodes and Herodias have been made, which directly or indirectly influence the specifics of the interpretation of the dance scene. The key aspects of the architectonics of the specified scene, the content of its parts, the correspondence of the nature of the dance performance to their content are determined, which determines the scientific novelty of the research. The results of the research are compared with modern incarnations of the dance scene in the opera, their partial correspondence is revealed in four out of five parts of dance drama, except for the development of the action. In the latter, there is a loss of tempo due to the mismatch between the gradual growth and decline of the musical drama of the dance scene with its choreographic embodiment. The necessity of using the concept of different branches of knowledge to establish a holistic picture of events in this scene is proved. Prospects for research of the chosen issues through the prism of the latest achievements in the field of musical theater, the attraction of modern interpretations to neo-syncretism are predicted.

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Sri Yanti, Mardian Andriani, and Mirham Nurul Hairunis. "Inovasi Pangan Lokal Khas Dou Mbojo (Chanos Chanos) Sebagai Complementer Food Pencegah Stunting." JUSTER : Jurnal Sains dan Terapan 3, no. 3 (December 26, 2024): 1–10. https://doi.org/10.57218/juster.v3i3.1193.

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The 2025 global nutrition target aims to reduce stunting, focusing on accelerating efforts in implementing local food innovation. In the Bima area, milkfish (Chanos Chanos) has emerged as a strategic commodity due to its potential to meet children's nutritional needs affordably. However, the fish's many spines pose a choking hazard, especially for children. To address this, an innovative solution has been proposed: processing milkfish into complementary food into milkfish salome. This research sought to determine the acceptability of Salome among children aged 2-5 years. Using a Completely Randomized Design (CRD) with three serving types (soup, grilled, and fried Salome) and purposive sampling, the study employed questionnaires and data analysis through the Anova Analysis and the Games-Howell advanced test. The organoleptic test results indicated that fried Salome was the preferred variant, with subsequent tests revealing significant differences in aroma, texture, taste, and colour among original, fried, and grilled salome. Notably, milkfish Salome offers 6.4 grams of protein, 1.2 grams of fat, and 10.5 grams of carbohydrates per 100-gram serving.

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Kutrzeba, Kacper. "Sen srebrny Salomei, czyli fantazmat kolonializmu." Konteksty Kultury 20, no. 3 (2023): 239–55. http://dx.doi.org/10.4467/23531991kk.23.023.18826.

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Sen srebrny Salomei, or a Phantasm of Colonialism The goal of this paper is to offer an interpretation of Sen srebrny Salomei from perspective of the colonial problems embodied in the text. In my reading, Słowacki’s drama is an example of “phantasmatic colonialism”. My explanation for this phenomena is tied with my reading of Stanisław Brzozowski’s late works. In my opinion, Sen srebrny Salomei should be understood as a drama about an impossible dream of Poland undertaking the colonial endeavour.

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19

Glass, Erlis. "Salomea Genin: Scheindl und Salomea: von Lemberg nach Berlin." GDR Bulletin 19, no. 2 (October 17, 1993): 21–22. http://dx.doi.org/10.4148/gdrb.v19i2.1103.

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20

Faulkner, Peter, William Tydeman, and Steven Price. "Wilde: 'Salome'." Modern Language Review 93, no. 2 (April 1998): 485. http://dx.doi.org/10.2307/3735384.

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21

Lane, Harry. "Salome (review)." Theatre Journal 54, no. 4 (2002): 651–53. http://dx.doi.org/10.1353/tj.2002.0128.

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22

Ashbrook, W., and R. Graeme. "Salome (1905)." Opera Quarterly 15, no. 3 (January 1, 1999): 465–78. http://dx.doi.org/10.1093/oq/15.3.465.

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23

Rishoi, N., R. Graeme, and S. A. Willier. "Salome (1905)." Opera Quarterly 15, no. 3 (January 1, 1999): 587–95. http://dx.doi.org/10.1093/oq/15.3.587.

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24

Nassaar, Christopher S., and Nataly Shaheen. "Wilde's Salome." Explicator 59, no. 3 (January 2001): 132–34. http://dx.doi.org/10.1080/00144940109597111.

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Nassaar, Christopher S. "Wilde's Salome." Explicator 57, no. 2 (January 1999): 89–90. http://dx.doi.org/10.1080/00144949909596827.

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Hofstee, Claudia. "Salome ontrafeld." Madoc 33, no. 3 (January 1, 2019): 162–73. http://dx.doi.org/10.5117/madoc2019.3.004.hofs.

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Novokreshchennykh, Irina A. "Interpretation of the Image of Salome by Ronald Firbank." World Literature in the Context of Culture, no. 15 (21) (2022): 118–26. http://dx.doi.org/10.17072/2304-909x-2022-15-118-126.

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As a result of the analysis of the image of Princess in a short novel by Ronald Firbenka, it was concluded that the writer imitates the image of Salome, creates a pastiche. Firbank interprets the plot of Salome in the aspect of everyday life, unlike, in particular, Wilde and Beardsley, who transferred the plot to another era, preserving its sublime pathos. The princess assigns herself the role of Salome, dances for herself, and the Saint is replaced by a dandy.

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Blackmer, Corinne E. "Daughter of Eve, "Femme Fatale", and Persecuted Artist: The Mythic Transgressive Woman in Oscar Wilde's and Richard Strauss's "Salome"." Amaltea. Revista de mitocrítica 8 (September 13, 2016): 1–15. http://dx.doi.org/10.5209/amal.51851.

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Historically, Salome was an unexceptional figure who never catalyzed John the Baptist's death. However, in Christian Scripture, she becomes the dancing seductress as fallen daughter of Eve. Her stepfather Herod promises Salome his kingdom if she dances for him, but she follows her mother’s wish to have John beheaded. In Strauss’s opera, after Wilde's Symbolist-Decadent play, Salome becomes independent of Herodias’ will, and the mythic avatar of the femme fatale and persecuted artist who Herod has killed after she kisses John's severed head. Her signature key of C# major, resolving to the C major sung by Herod and Jokanaan at her death, represent her tragic fate musically.

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Kramer, Lawrence. "Culture and musical hermeneutics: The Salome complex." Cambridge Opera Journal 2, no. 3 (November 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 and behaviour of women. The present paper revisits this well-known episode in cultural history with two distinct aims in mind, one interpretative, the other methodological. The interpretative aim is to offer a feminist approach to the fin-de-sièclecompulsion to retell the Salome story with lavish attention to misogynist imagery - those quivering female bodies and gory male heads. The methodological aim is to find a meeting ground for literary criticism and musicology as both disciplines aspire to become vehicles of a more comprehensive criticism of culture.

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Archibald, Linda. "Salome and Socrates." Équivalences 26, no. 1 (1996): 77–92. http://dx.doi.org/10.3406/equiv.1996.1201.

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Smith, Richard Langham, Les Musiciens du Louvre, and Minkowski. "A New Salome." Musical Times 133, no. 1796 (October 1992): 530. http://dx.doi.org/10.2307/1002728.

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Albright, William. "Salome. Richard Strauss." Opera Quarterly 11, no. 3 (1995): 190–92. http://dx.doi.org/10.1093/oq/11.3.190.

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McKee, D. "Salome. Richard Strauss." Opera Quarterly 12, no. 3 (January 1, 1996): 121–23. http://dx.doi.org/10.1093/oq/12.3.121.

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Gerald Parker, C. P. "Salome. Richard Strauss." Opera Quarterly 6, no. 1 (1988): 128–30. http://dx.doi.org/10.1093/oq/6.1.128.

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Baranello, M. K. "Richard Strauss: Salome." Opera Quarterly 27, no. 2-3 (August 29, 2011): 331–37. http://dx.doi.org/10.1093/oq/kbr018.

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Biamnasi, Maria Yunovi. "Efek Takaran Biochar dan Jenis Kacang terhadap Pertumbuhan dan Hasil Kacang dalam Sistem Tumpangsari Salome pada Lahan Kering." Savana Cendana 6, no. 02 (April 30, 2021): 19–22. http://dx.doi.org/10.32938/sc.v6i02.698.

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Tanam jagung dan beberapa jenis kacang adalah dua jenis tanaman yang cocok diterapkan dalam sistem pola tumpangsari salome pada lahan kering. Penelitian ini bertujuan Untuk mengetahui pengaruh biochar terhadap pertumbuhan dan hasil beberapa jenis kacang yang ditumpasarikan salome dengan jagung pada lahan kering. Untuk mengetahui interaksi biochar terhadap pertumbuhan dan hasil beberapa jenis kacang yang ditumpangsarikan salome dengan jagung pada lahan kering. Penelitian ini dilaksanakan di kebun percobaan Fakultas Pertanian Unimor, pada bulan juni sampai bulan November 2018 dengan menggunakan Rancangan Acak Kelompok. Faktorial yang diulang tiga kali. Faktor pertama adalah penggunaan biochar yang terdiri dari 2 aras yaitu tanpa biochar dan penggunaan Biochar. Faktor kedua adalah jenis kacang lokal tipe tegak yaitu Kacang hijau, Kacang Nasi dan kacang Merah. Tidak terjadi interaksi antara perlakuan biochar dan jenis kacang yang ditumpangsarikan dengan tanaman jagung pada semua parameter yang diamati. Penambahanbiochar kedalam tanah menyebabkan beberapa parameter pertumbuhan dan hasil tanaman lebih rendah dari kontrol seperti tinggi tanaman, jumlah daun, berat 100 biji, berat biji per petak, dan indeks panen. Jenis kacang yang ditumpangsarikan dengan jagung dengan metode salome paling baik dihasilkan oleh jenis kacang Phaseolus vulgaris

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Caetano, Ana Carolina Vilalta. "“A Woman Who is Dead”: The Tragedy, Transgression, and Religiousness of Oscar Wilde’s Salome." ABEI Journal 24, no. 2 (April 15, 2022): 13–30. http://dx.doi.org/10.11606/issn.2595-8127.v24i2p13-30.

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This article aims at analysing Oscar Wilde’s play Salome (1891) under the lens of Georges Bataille’s theory of transgression and eroticism, and the notion of eros present in archaic Greek lyric poetry. Salome takes place in Herod Antipas’ palace during the night of a banquet and follows the court and the royal family as the event unfolds into tragedy. The Tetrarch has Jokanaan, a prophet announcing the return of the Messiah, imprisoned in a cistern. His step-daughter, Salome, fascinated by the prophet’s voice and by his loud sermons, convinces the guards to allow her to see him. She immediately falls in love, but Jokanaan is unresponsive to her advances, which ultimately causes her to manipulate the Tetrarch and commit a heinous crime in order to be united with her beloved. In order to fully explain Wilde’s use of religion as a background to make a case for the physical, then, the fin de siècle Romantic femme fatale is briefly introduced alongside the Symbolist transcendental ideal. Thus, Salome is analysed as a character that surpasses her tragic role and becomes associated with concepts such as abject femininity, coined by psychoanalyst Julia Kristeva.

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Isengard, Laura. "Katastrophe und Rettung bei Stifter und Raabe." Literatur für Leser 44, no. 3 (January 1, 2021): 235–50. http://dx.doi.org/10.3726/lfl.2021.03.03.

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Abstract Die folgenden Überlegungen befragen die beiden Branderzählungen Kazensilber von Adalbert Stifter und Frau Salome von Wilhelm Raabe auf spezifisch Poetiken der Katastrophe. Stifters Kazensilber fängt zwei katastrophale Ereignisse in Rettung auf. Dies gelingt über die Figur des braunen Mädchens, das innerhalb der realistischen Erzählung ebenso rätselhaft wie stumm bleibt. Die an keine transzendentale Instanz mehr gebundene Rettung markiert eine Leerstelle im Text, die zunächst durch die Zunahme des Erzähltempos kaschiert wird, schlussendlich jedoch aus der (Text-)Ordnung exkludiert werden muss. Demgegenüber verschiebt sich in Raabes Frau Salome die Katastrophe auf das erzählte Bildwerk und kann selbst nicht mehr in der Rettung aufgefangen werden. In Frau Salome kommt es nicht zu einer Auflösung des Kontingenten in der Zeit. Raabe etabliert eine Poetik des Katastrophischen, die Lücken und Brüche offen ausstellt.

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Martins, Denise Andrade de Freitas. "Conversas com Salomea Gandelman." OPUS 25, no. 1 (April 26, 2019): 217. http://dx.doi.org/10.20504/opus2019a2511.

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Conhecendo a professora e pianista Salomea Gandelman desde o ano de 2000, ocasião na qual foi jurada no Concurso de Piano “Prof. Abrão Calil Neto”, de Ituiutaba, Minas Gerais, pensamos ser de grande importância para professores(as), estudantes e profissionais em música e áreas afins compartilhar os entendimentos e memória da professora, no que se refere à sua vida, à educação musical e ao concurso de piano de Ituiutaba. Tais narrativas decorreram de conversas espontâneas com Salomea Gandelman, por ocasião de visitas de trabalho, compreendidas como tempos e lugares de muitos aprendizados e orientações naquilo que já realizávamos e ainda por realizar.

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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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Weidringer, Walter. "MERKWÜRDIG ANÄMISCH." Opernwelt 64, no. 4 (2023): 50–51. http://dx.doi.org/10.5771/0030-3690-2023-4-050.

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Lücker, Arno. "SCHÜSSELERLEBNIS." Opernwelt 63, no. 8 (2022): 42–43. http://dx.doi.org/10.5771/0030-3690-2022-8-042-1.

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Otten, Jürgen. "DAS GLÜCK SO FERN." Opernwelt 65, no. 2 (2024): 46–47. http://dx.doi.org/10.5771/0030-3690-2024-2-046.

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Boulay, Jean-Michel. "Richard Strauss à l’oeuvre : les premières esquisses pour Salome." Canadian University Music Review 17, no. 2 (March 12, 2013): 49–70. http://dx.doi.org/10.7202/1014786ar.

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L’auteur, après avoir tenté d’établir à quel moment Richard Strauss commence son travail sur Salome, fait un inventaire des sources manuscrites de l’opéra. Puis il se concentre sur un exemplaire de la première édition de la traduction allemande de la pièce d’Oscar Wilde ayant appartenu au compositeur et qui contient de nombreuses annotations musicales. Une classification et une description de celles-ci sont suivies de l’analyse détaillée du premier stade de conception de deux passages clés de Salome.

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45

Brown, Daniel. "Wilde and Wilder." PMLA/Publications of the Modern Language Association of America 119, no. 5 (October 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 writes film scripts but, with his peers Betty Schaefer and Artie Green, also foregrounds narrative conventions in his efforts to organize and control his own life and experience in the film. Through its main characters, Sunset Boulevard presents an allegory of Hollywood cinema in which the complementary filmic principles of image and narrative culminate respectively in madness and death.

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Amaral, Ana Luísa, and Margaret Jull Costa. "Salome after the Crime." World Literature Today 94, no. 3 (2020): 53. http://dx.doi.org/10.1353/wlt.2020.0174.

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Amaral and Costa. "Salome after the Crime." World Literature Today 94, no. 3 (2020): 53. http://dx.doi.org/10.7588/worllitetoda.94.3.0053.

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Bennett, Michael Y. "Salome: The Reading (review)." Theatre Journal 56, no. 2 (2004): 305–6. http://dx.doi.org/10.1353/tj.2004.0046.

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Desmond, Jane. "Sisters of Salome (review)." Journal of the History of Sexuality 17, no. 1 (2007): 138–40. http://dx.doi.org/10.1353/sex.2008.0010.

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Jones, Christopher P. "Salome also called Grapte." Scripta Classica Israelica 21 (May 16, 2020): 165–68. https://doi.org/10.71043/sci.v21i.3825.

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