Academic literature on the topic 'Wilde, Oscar, Salome (Wilde)'
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Journal articles on the topic "Wilde, Oscar, Salome (Wilde)"
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.
Full textMarcus, 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.
Full textCoulardeau, 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.
Full textTouwen, Tanya. "Salome. The music and language of Oscar Wilde and Richard Strauss." Irish Studies Review 3, no. 11 (June 1995): 20–23. http://dx.doi.org/10.1080/09670889508455487.
Full textShepherd-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 (June 1999): 73–82. http://dx.doi.org/10.1177/174837279902700104.
Full textKramer, 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.
Full textKasyanova, 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.
Full textFerraz, 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.
Full textSłowik, 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.
Full textHutcheon, 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.
Full textDissertations / Theses on the topic "Wilde, Oscar, Salome (Wilde)"
Chapple, Norma. "Re-(en)visioning Salome: The Salomes of Hedwig Lachmann, Marcus Behmer, and Richard Strauss." Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/2823.
Full textHowever, there is a German mediator whose translation of Wilde's play is less problematic than the original. Hedwig Lachmann produced a translation of Salome in 1900 that found success despite having to compete with other German translations. Lachmann's translation alters, expands, and improves on Wilde's French original. In contrast to Wilde's underlexicalised original, Lachmann's translation displays an impressive lexical diversity.
In 1903 Insel Verlag published her translation accompanied by ten illustrations by Marcus Behmer. Behmer's illustrations have been dismissed as being derivative of the works of Aubrey Beardsley, but they speak to Lachmann's version of Salome rather than to Beardsley's or Wilde's. Indeed, the illustrations create their own vision of Salome, recasting the story of a femme fatale into a redemption narrative.
In Germany the play proved quite successful, and Lachmann's translation was staged at Max Reinhardt's Kleines Theater in Berlin. It was here that Richard Strauss saw Lachmann's version of the play performed and adapted it for use as a libretto for his music drama Salome. Despite being adapted from Lachmann's translation, Strauss' music drama is often cited as being based directly on Wilde's play, without mentioning the important role of Lachmann's mediation. Moreover, the libretto is often praised as an exact replica of the play put to music. Neither of these assertions is, indeed, the case. Strauss excised forty percent of the text, altered lines, and changed the gender of one of the characters.
I employ Gérard Genette's theory of transtextuality as it is delineated in Palimpsests (1982) to discuss the interrelatedness of texts and the substantial shift that can occur from subtle changes, or transpositions, of a text. Translation, shift in media, excision, the inclusion of extra-textual features including illustrations, and regendering of characters are all means by which a text can be transformed as Lachmann, Behmer, and Strauss transform Salome. Additionally, I will be using Lorraine Janzen Kooistra's term bitextuality, as described in The Artist as Critic: Bitextuality in Fin de Siècle Illustrated Books (1995) to reinforce Genette's notion that extra-textual elements are also significant to a text as a whole. Finally, I employ Jacques Lacan's theory of gaze as outlined in "Seminar on 'The Purloined Letter'" (1956) and "The Mirror Stage as Formative of the I Function as Revealed in Psychoanalytic Experience" (1949) to discuss the function of gaze within the three texts.
In this thesis, I will be addressing these three German intermedial re-envisionings of Salome and arguing for their uniqueness as three distinct representations of Salome. In this thesis, I will argue that Wilde's text is a problematic precursor and that Hedwig Lachmann's text not only alters, but also improves on the original. Additionally, I will argue that Marcus Behmer's images, while influenced by Beardsley, focus more closely on the text they are illustrating and thus provide a less problematic visual rendering of the play. Finally, I will argue that Strauss' libretto for Salome is mediated through Lachmann's translation and that it is further substantially altered.
In order to show the ways in which the texts differ from one another, I have chosen to focus predominantly on the motifs of the moon and gaze. By analysing the way in which each text represents these motifs it is possible to track changes in characterisation, motivation, and various other salient features of the text.
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/.
Full textTitle 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).
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.
Almeida, Thais de Souza. "O mito bíblico de Salomé em Oscar Wilde e Stéphane Mallarmé /." Araraquara, 2017. http://hdl.handle.net/11449/151103.
Full textBanca: 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
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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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
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.
Full textOllion, 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.
Full textIn 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
Krumrey, Annett. "The notion of aestheticism in the works of Oscar Wilde and Hugo von Hofmannsthal with special reference to Salome and Elektra." Thesis, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415898.
Full textVernadakis, Emmanuel. "Le prétexte de "Salomé" : pour une approche de l’œuvre d'Oscar Wilde." Paris 7, 1988. http://www.theses.fr/1988PA070076.
Full text"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
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.
Full textBooks on the topic "Wilde, Oscar, Salome (Wilde)"
Thérèse, Paquin Marie, and Wilde Oscar 1854-1900, eds. Salomé: Livret de Oscar Wilde. Montréal: Presses de l'Université de Montréal, 1985.
Find full textFonseca, Delfina P. Rodríguez. Salomé: La influencia de Oscar Wilde en las literaturas hispánicas. Oviedo: Universidad de Oviedo, 1997.
Find full textFalzon, Alex R. Le nozze alchemiche di Salomè: Oscar Wilde e la tradizione ermetica. Ospedaletto (Pisa): Pacini, 2007.
Find full textLe nozze alchemiche di Salomè: Oscar Wilde e la tradizione ermetica. Ospedaletto (Pisa): Pacini, 2007.
Find full textSalomé, ou, La tragédie du regard: Oscar Wilde, l'auteur, le personnage. Paris: Différence, 2009.
Find full textNelson, Walter W. Oscar Wilde from Ravenna to Salomé: A survey of contemporary English criticism. [Dublin: W.W. Nelson], 1987.
Find full textToepfer, Karl Eric. The voice of rapture: A symbolist system of ecstatic speech in Oscar Wilde's Salome. New York: P. Lang, 1991.
Find full textBook chapters on the topic "Wilde, Oscar, Salome (Wilde)"
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.
Full textDoody, 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.
Full textDoody, 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.
Full textBrosch, Renate. "Oscar Wilde." In Kindler Kompakt: Englische Literatur, 19. Jahrhundert, 157–62. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05527-9_35.
Full textHöfele, Andreas. "Wilde, Oscar." In Englischsprachige Autoren, 292–94. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02951-5_108.
Full textBrosch, Renate. "Wilde, Oscar." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17382-1.
Full textSmith, Dennis. "Oscar Wilde." In Civilized Rebels, 33–60. Abingdon, Oxon ; NewYork, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351189316-2.
Full textKlotz, Volker. "Oscar Wilde." In Das europäische Kunstmärchen, 311–23. Stuttgart: J.B. Metzler, 1985. http://dx.doi.org/10.1007/978-3-476-03204-1_24.
Full textBrosch, Renate. "Oscar Wilde." In Kindler Kompakt: Horrorliteratur, 128–29. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04502-7_24.
Full textTönnies, Merle. "Oscar Wilde." In Kindler Kompakt: Drama des 20. Jahrhunderts, 39–41. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04526-3_5.
Full textConference papers on the topic "Wilde, Oscar, Salome (Wilde)"
Kacane, Ilze. "THE RECEPTION OF OSCAR WILDE IN LATVIA." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb61/s11.31.
Full textIFTIMIE, Nicoleta-Mariana. "The Fallen Woman Motif in Two Plays by Oscar Wilde." In 8th LUMEN International Scientific Conference Rethinking Social Action. Core Values in Practice | RSACVP 2017 | 6-9 April 2017 | Suceava – Romania. LUMEN Publishing House, 2017. http://dx.doi.org/10.18662/lumproc.rsacvp2017.31.
Full textBanionis, John, Nadia Lalla, and Don West. "Do Libraries’ Needs Still Match Publisher Offerings? “The Truth Is Rarely Pure and Never Simple” (Oscar Wilde)." In Charleston Conference. Against the Grain, 2015. http://dx.doi.org/10.5703/1288284315565.
Full textWedepohl, Eric. "The importance of being honest:‐ What can we really do with high resolution geophysics? (With apologies to Oscar Wilde)." In SEG Technical Program Expanded Abstracts 1996. Society of Exploration Geophysicists, 1996. http://dx.doi.org/10.1190/1.1826590.
Full textANJOS, Maria Elizete Pereira dos, and Ariovaldo Lopes PEREIRA. "CONCEPÇÕES SOBRE ESTRATÉGIAS TRADUTÓRIAS: QUESTÕES LÉXICO-SEMÂNTICAS, MORFOSSINTÁTICAS E INTERCULTURAIS NO POEMA A BALADA DO CÁRCERE DE READING, DE OSCAR WILDE." In VI Congresso Latino-americano de Formação de Professores de Línguas. São Paulo: Editora Blucher, 2017. http://dx.doi.org/10.5151/edupro-clafpl2016-041.
Full text