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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.
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Oscar Wilde overshadows the German reception of Salome (1891), yet his text is a problematic one. Wilde's one-act drama is a mosaic text, influenced by the abundance of literary and artistic treatments of the Salome figure during the fin de siècle. Moreover, Wilde did not write Salome in his native tongue, but rather in French, and allowed it to be edited by a number of French poets. Furthermore, the translation of the text proved problematic, resulting in a flawed English rendering dubiously ascribed to Lord Alfred Douglas. However, 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.
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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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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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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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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.
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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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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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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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Merle, Robert. "Oscar Wilde /." Paris : de Fallois, 1995. http://catalogue.bnf.fr/ark:/12148/cb357876039.
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Parveen, Nazia. "Oscar Wilde and Victorian psychology." Thesis, University of Leicester, 2012. http://hdl.handle.net/2381/10387.
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This thesis examines Oscar Wilde’s theories of art in connection with specific debates ongoing in Victorian psychology as it emerged in the periodical press. By cross examining Wilde’s periodical contributions with psychological theories, concepts and discussions disseminated through periodicals this thesis offers a contextual account of Wilde’s creativity. Scholars generally look to Wilde’s Oxford Notebooks to gain an insight into his interaction with scientific culture. While the notebooks are an invaluable source to scholars they only cover Wilde’s learning in the 1870s and therefore exclude the influential context of the 1880s when he was engaged as a journalist for numerous periodicals and newspapers. Chapter one will demonstrate how reading Wilde’s The Picture of Dorian Gray alongside neighbouring articles in the Lippincott’s Monthly Magazine reveals the hidden context of psychology in which the editors of the issue attempted to establish the text. The second chapter explores Wilde’s engagement in the disputes over psychological nomenclature alongside the psychology of George Henry Lewes, James Sully and other contributors. The third chapter will investigate the network in which Wilde’s reviewing for the Pall Mall Gazette established him. Wilde’s exchanges with aesthetic theorists and fellow reviewers Sully and Grant Allen will also be documented. The fourth chapter will demonstrate how Wilde creatively engaged with theories of atomism, emotionalist psychology and physiological aesthetics. The final chapter will examine the ethical questions posed by Wildean aesthetics in relation to scientific naturalism. Wilde originally communicated his theories through periodicals but also delivered lectures (which were reported in magazines), as well as eventually transforming his periodical articles into book publications. While this thesis places the onus on the periodical formats of Wilde’s texts, his lectures and revised editions of his writings will also be examined where relevant.
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Howell, Rebecca Alyce. "Becoming earnest Oscar Wilde refracted /." Connect to this title online, 2008. http://etd.lib.clemson.edu/documents/1219851531/.
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Amaral, Stephania Ribeiro do [UNESP]. "Oscar Wilde: teoria e prática." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/99100.
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Este trabalho tem por objetivo a análise da peça A importância de ser Prudente (2007), escrita por Oscar Wilde (1854 – 1900), de acordo com a perspectiva teórica de base estética, da qual Wilde foi um dos expoentes maiores. O método analógico foi utilizado para estruturar a comparação entre a teoria estética de Wilde e o texto de sua peça A importância de ser Prudente, representante de sua prática dramatúrgica. Os textos teórico-críticos de Wilde foram escolhidos com base nos objetivos da proposta, os mais relevantes sendo: O crítico como artista, A decadência da mentira, A verdade das máscaras e Pena, lápis e veneno, todos eles compilados no livro Intenções, publicado no volume único da Obra Completa de Oscar Wilde (2007). A pesquisa partiu, ainda, dos conceitos teóricos do Movimento Estético (geral) para os conceitos estéticos encontrados nos ensaios críticos de Wilde (específico), e os ensaios em questão se prestaram à abordagem teórica estética utilizada na pesquisa. Considerando que o principal teórico do Movimento Estético foi Walter Pater (1839 – 1894), suas obras Appreciations, with an Essay on Style (1889) e The Renaissance: Studies in Art and Poetry (1873) foram analisadas a fim de clarificar quais são os pressupostos teóricos do Movimento Estético e quais desses são compartilhados com Oscar Wilde. Tomando como base tais conjecturas, verificaram-se como esses conceitos teóricos incidem na prática de Wilde
This study has as its aim the analysis of the play The Importance of Being Earnest (2007), written by Oscar Wilde (1854-1900), in accordance with the aesthetic theoretical perspective, of which Wilde was a major exponent. A method of analogical comparison was utilised, contrasting Oscar Wilde’s theory, taken from some of his critical essays, with the text of the play The Importance of Being Earnest, as a representation of his dramaturgy in practice. The theoretical and critical texts by Wilde were chosen according to the aims of this proposal, the most relevant being: “The Critic as Artist”, “The Decay of Lying”, “The Truth of Masks” and “Pen, Pencil and Poison”, all of which were published together in the book Intentions, republished in Oscar Wilde’s Complete Works (2007). The research moved from the theoretical conceptions of the Aesthetic Movement (general) to the aesthetic conceptions found in Wilde’s articles (specific), therefore the aforementioned essays are used as the aesthetic theoretical approach which was chosen to lead the research. Considering that the main theorist of the Aesthetic Movement was Walter Pater (1839 – 1894), his works, Appreciations, with an Essay on Style (1889) and The Renaissance: Studies in Art and Poetry (1873), were analysed in order to clarify the theoretical premises of the Aesthetic Movement and which of these are shared with Oscar Wilde. Taking these conjectures as a starting point, the impact of these theoretical concepts on Wilde’s practice was then analysed
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Corrêa, Stephania Ribeiro do Amaral. "Oscar Wilde : teoria e prática /." São José do Rio Preto, 2011. http://hdl.handle.net/11449/99100.
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Orientador: Peter James HarrisBanca: Munira Hamud Mutran
Banca: Norma Wimmer
Resumo: Este trabalho tem por objetivo a análise da peça A importância de ser Prudente (2007), escrita por Oscar Wilde (1854 - 1900), de acordo com a perspectiva teórica de base estética, da qual Wilde foi um dos expoentes maiores. O método analógico foi utilizado para estruturar a comparação entre a teoria estética de Wilde e o texto de sua peça A importância de ser Prudente, representante de sua prática dramatúrgica. Os textos teórico-críticos de Wilde foram escolhidos com base nos objetivos da proposta, os mais relevantes sendo: O crítico como artista, A decadência da mentira, A verdade das máscaras e Pena, lápis e veneno, todos eles compilados no livro Intenções, publicado no volume único da Obra Completa de Oscar Wilde (2007). A pesquisa partiu, ainda, dos conceitos teóricos do Movimento Estético (geral) para os conceitos estéticos encontrados nos ensaios críticos de Wilde (específico), e os ensaios em questão se prestaram à abordagem teórica estética utilizada na pesquisa. Considerando que o principal teórico do Movimento Estético foi Walter Pater (1839 - 1894), suas obras Appreciations, with an Essay on Style (1889) e The Renaissance: Studies in Art and Poetry (1873) foram analisadas a fim de clarificar quais são os pressupostos teóricos do Movimento Estético e quais desses são compartilhados com Oscar Wilde. Tomando como base tais conjecturas, verificaram-se como esses conceitos teóricos incidem na prática de Wilde
Abstract: This study has as its aim the analysis of the play The Importance of Being Earnest (2007), written by Oscar Wilde (1854-1900), in accordance with the aesthetic theoretical perspective, of which Wilde was a major exponent. A method of analogical comparison was utilised, contrasting Oscar Wilde's theory, taken from some of his critical essays, with the text of the play The Importance of Being Earnest, as a representation of his dramaturgy in practice. The theoretical and critical texts by Wilde were chosen according to the aims of this proposal, the most relevant being: "The Critic as Artist", "The Decay of Lying", "The Truth of Masks" and "Pen, Pencil and Poison", all of which were published together in the book Intentions, republished in Oscar Wilde's Complete Works (2007). The research moved from the theoretical conceptions of the Aesthetic Movement (general) to the aesthetic conceptions found in Wilde's articles (specific), therefore the aforementioned essays are used as the aesthetic theoretical approach which was chosen to lead the research. Considering that the main theorist of the Aesthetic Movement was Walter Pater (1839 - 1894), his works, Appreciations, with an Essay on Style (1889) and The Renaissance: Studies in Art and Poetry (1873), were analysed in order to clarify the theoretical premises of the Aesthetic Movement and which of these are shared with Oscar Wilde. Taking these conjectures as a starting point, the impact of these theoretical concepts on Wilde's practice was then analysed
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de, Vries Kees. "Oscar Wilde and postmodern thought." Thesis, Bangor University, 2013. https://research.bangor.ac.uk/portal/en/theses/oscar-wilde-and-postmodern-thought(7e7e1241-5610-45a3-b4b5-e17e18747cd7).html.
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Velasco, Schuyler. "Wilde women gender and performance in the social comedies of Oscar Wilde /." Tallahassee, Fla. : Florida State University, 2008. http://purl.fcla.edu/fsu/lib/digcoll/undergraduate/honors-theses/341819.
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Kelly, Gregory P. "The Christian aesthetic of Oscar Wilde." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293690.
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Zhou, Xiaoyi. "Beyond aestheticism : Oscar Wilde and consumer society." Thesis, Lancaster University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335351.
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Kassem, Rania. "Transgression and unity : language of Oscar Wilde." Thesis, University of Strathclyde, 1991. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21277.
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This study in general examines aspects of transgression and unity in Oscar Wilde's particular use of language. Chapter One examines the art of Decadence as an art of difference and explores, in relation to literary style, Oscar Wilde's and the Decadents' attempts to step beyond material, intellectual and spiritual boundaries. Chapter Two examines verbal and non-verbal expressions in Salomé which reflect various kinds of constraints, the individuals' desire to transgress these constraints into selfunity and the implications of such acts of transgression. The chapter also explores, under the light of the same stylistic analysis of Salomé , verbal and non-verbal expressions in The Duchess Of Padua, A Woman Of No Importance and Lady Windermere's Fan which all present elements of boundaries, transgression and self-preservation. Chapter Three celebrates characters in The Importance Of Being Earnest and An Ideal Husband as triumphant over their world and explores the role of form in their perversity of social standards. It examines aspects of familiarisation, defamiliarisation, inclusion and exclusion, and the use of plural style in the language of the main characters. Chapter Four explores concepts of transgression and unity in De Profundis which are expressed at the level of both content - principle of dialectic - and form - use of rhetoric - and exemplified by the characters of Christ and children. The chapter then explores models of transgression and unity and the use of language in Wilde's short stories: The Happy Prince, The Nightingale And The Rose, The Fisherman And His Soul and The Birthday Of The Infanta. Chapter Five concludes the study by exploring the relation between Wilde's style and his views of the world. It advances the idea that Wilde's style in general is dependent on his view of the world: continuous movement and change till the world progresses towards a utopia.
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Bartle, Christopher James. "Oscar Wilde and the gay/queer impasse." Thesis, University of Leeds, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.578611.
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This thesis examines Oscar Wilde's relationship to three aspects of the freighted and divisive critical debate about sexual history and sexual identity, which I describe as the gay/queer impasse. Chapter One examines the operation of this debate and the reasons for the abiding stalemate between its two sides, and it contextualises the three main subjects that I will be discussing in the succeeding chapters. The second chapter analyses Wilde's relationship to the two sets of concepts that cluster around the 'gay' and 'queer' sides of the divide, and the third explores the ways in which Wilde's conception of these concepts informs his view of how we read the history of male-male passion, desire, and relationships. The fourth and fifth chapters examine Wilde's engagement with the 'modem' and 'premodern' sexual models that were available in his lifetime: the fourth considers his perception of the emergence of the modem model and its impact on the premodern one; end the fifth explores the imposition, limitations, and possibilities of the modern model: The words 'gay' and 'queer' serve as umbrella terms to capture (1.) two different fields of concepts, (2.) two different historiographical lenses and the two forms of history that they produce, and (3.) two different types of sexual model: 'gay' refers to something more familiar, stable, modern, and locatable, and 'queer' refers to something more unfamiliar, unruly, premodern, and elusive. The thesis argues that 'gayness' and 'queerness' are equally present in Wilde's oeuvre in the three aforementioned contexts, and this argument goes against the recent critical trend of underplaying, problematising, or even effacing the' gay' components of Wilde and his texts. A key part of my argument is that the 'gay' and 'queer' elements in Wilde's oeuvre are best understood in relation to a complex dynamic of interplay and interchange between them.
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Wilson, Grant F. "Oscar Wilde and the function of criticism." Thesis, University of Newcastle Upon Tyne, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.235699.
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Asselot, Emmanuel. "Oscar Wilde, lecteur de l'Antiquité gréco-latine." Saint-Etienne, 1999. http://www.theses.fr/1999STET2063.
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Ce travail est une étude des relations entre l'oeuvre d'Oscar Wilde et l'Antiquité gréco-latine. Brillant helléniste, Wilde nourrit tant son imaginaire que ses théories esthétiques de l'héritage des oeuvres littéraires grecques. A partir d'une réflexion sur l'oralité et l'écriture, nous définissons les grands principes de l'esthétique wildienne ou l'imitation, la description et la prose poétique sont mises en avant. Wilde exprime à travers sa relecture des mythes antiques des thèmes personnels, notamment ceux qui concernent les relations entre Eros et Thanatos. La figure de l'éphèbe où, à partir du motif de la chevelure, s'unissent trois niveaux de réalité (floral, artistique, et humain), est le moyen pour Wilde d'exprimer la duplicité du désir et de la beauté humaine. La lecture des oeuvres d'Homère, des tragiques et des poètes hellénistiques nourrit aussi cette réflexion sur l'amour. Platon, le poète philosophe, devient la clef d'une lecture mystique de la relation pédérastique calquée sur le modèle antique. Les relations d'amour et d'amitié sont l'objet d'une réévaluation à l'aune de la société victorienne. Nous concluons notre travail par une esquisse des grands principes de lamythopoietique wildienne
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Lee, Kwok-kan Gloria. "Chinese translations of Wilde's plays and fairy tales : a reappraisal /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21510246.
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MacLeod, Kirsten. "Walter Pater, Oscar Wilde, and audiences of aestheticism." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20442.
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By examining the process of production and reception of the works of Walter Pater and Oscar Wilde, this thesis explores the ways in which both conceptions of audience and actual audiences shaped these works. As proponents of "aestheticism," a philosophy which required the development of a highly specialised mode of perception and critical awareness, Pater and Wilde wrote with a fairly select audience in mind. Confronted, however, with actual readers who did not always meet the "aesthetic" criteria (even if they were supporters), they were forced to rethink their conceptions of audience. Pater's and Wilde's developing understandings of audience can be traced in their works, as they experiment with style and genre in an attempt to communicate effectively with their readers. Although at base Pater and Wilde advocated a similar "aesthetic" philosophy, their distinct conceptions of audience played a significant role in determining the nature of their particular versions of aestheticism.
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MacLeod, Kirsten. "Walter Pater, Oscar Wilde, and audiences of aestheticism." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0002/MQ43909.pdf.
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Ross, Iain Alexander. "The New Hellenism : Oscar Wilde and ancient Greece." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:574a4841-5fb9-4b1f-bd09-6965c9ecef1c.
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I examine Wilde’s Hellenism in terms of the specific texts, editions and institutions through which he encountered ancient Greece. The late-nineteenth-century professionalisation of classical scholarship and the rise of the new science of archaeology from the 1870s onwards endangered the status of antiquity as a textual source of ideal fictions rather than a material object of positivist study. The major theme of my thesis is Wilde’s relationship with archaeology and his efforts to preserve Greece as an imaginative resource and a model for right conduct. From his childhood Wilde had accompanied his father Sir William Wilde on digs around Ireland. Sir William’s ethnological interests led him to posit a common racial origin for Celts and Greeks; thus, for Wilde, to read a Greek text was to intuit native affinity. Chapters 1–3 trace his education, his travels in Greece, his involvement with the founding of the Hellenic Society, and his defence of the archaeologically accurate stage spectaculars of the 1880s, arguing that in his close association with supporters of archaeology such as J.P. Mahaffy and George Macmillan Wilde exemplifies the new kind of Hellenist opposed by Benjamin Jowett and R.C. Jebb. Chapter 4 makes a case for Wilde’s final repudiation of archaeology and his return to the textual remains of Greek antiquity, present as an intertexual resource in his mature works. Thus I examine the role of Aristotle’s Ethics in ‘The Soul of Man Under Socialism’ and of Platonism in the critical dialogues, The Picture of Dorian Gray and ‘The Portrait of Mr W.H.’ I present The Importance of Being Earnest as a self-conscious exercise in the New Comedy of Menander, concluding that Wilde ultimately returned to the anachronistic eclecticism of the Renaissance attitude to ancient texts.
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Ferreira, Liliane. "Oscar Wilde : Esthétique et philosophie de la provocation." Paris 10, 2011. http://www.theses.fr/2011PA100007.
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Les sur-déterminations éthiques et esthétiques d’Oscar Wilde qui masquaient l’invisible de son œuvre et de son être, nous ont contraints à nous installer dans le visible de sa photographie pour descendre peu à peu dans les cercles voilés de ses décisions provocatrices. Ces décisions vont se positionner en premier lieu dans un pressenti : les enjeux philosophiques, esthétiques et politiques structurés dans tous ses écrits, annoncent une détermination aux accents libertaires et tragiques. Porté par une mélancolie lancinante, Wilde va tisser une œuvre que la Philosophie doit désormais aborder, non seulement pour la qualité de ses suggestions esthétiques, mais tout autant pour avoir, à lui seul, dit et fait ce que tout être peut désormais imaginer et réaliser : la transformation de soi par soi à force de provocations abouties. Quand l’être-même se bouscule pour interroger la violence d’un système social dans toutes les contradictions et les limites de ses instances, quand il s’y livre corps et âme jusqu’à ce que sa mort porte son sens de la beauté, de l’exigence d’être-au monde individuel et altruiste dans le même mouvement, alors il fallait dérouler le fil d’Ariane. Celui qui nous amènera à révéler le tragédien Wilde, le libre-penseur qui a intuitionné son devenir, c’est-à-dire qui a souterrainement posé les conditions de sa vie d’artiste, de ses exigences esthétiques pour les vivre en adéquation totale avec ses théories et son imaginaire prodigieux. Il était tragédien, il est mort tragiquement, mais c’était son projet. Oscar Wilde est né une seconde fois le 30 novembre 1900, en saluant Nietzsche au passageThe ethical and aesthetic overdeterminations about Oscar Wilde, that blocked off the invisible of his work and being, compelled us to settle in the visible of his photograph in order to move gradually down the veiled circles of his troublemaking decisions. These decisions first take position in a feeling: the philosophical, esthetical and political propositions at stake in all his writings announce a determination of the will with libertarian and tragical mood. Led by a haunting melancholy, Wilde weaves a work that philosophy has yet to tackle, not only because of the quality of his esthetical suggestions, but also because he, by himself, said and made what every being may yet imagine and realize: the selftransformation of the self by the means of accomplished provocations. When the very being turns himself upside down in order to question the violence of a social system in all the contradictions and boundaries of the same system, when he abandons himself to it until his death wears his meaning of beauty, so then had we to unwind the Ariane's thread. The thread that brings us to reveal Wilde the tragedian, the freethinker who intuitioned his becoming, i. E. Who laid underground the conditions of his life as an artist and his esthetical demands in order to live them appropriately to his theories and extraordinary imagination. He who was a tragedian died tragically, but he did it on purpose. Oscar Wilde was born again on November the 30th 1900, waving to Nietzsche by the way
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Gendre-Dusuzeau, Sylvette. "Oscar fingal o'flahertie wills wilde : homopatronymie et portrait." Paris 7, 1990. http://www.theses.fr/1990PA070072.
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Cette etude de l'oeuvre de wilde, en particulier de ses romans contes et essais est fondee sur une ecoute psychanalytiqu e de son ecriture; c'est en effet a partir de l'insistance des figures du double et du secret reliees aux initiales enig matiques d'un nom qu'il est possible de rencontrer l'intime de la psyche wildienne. Cette rencontre se fait au lieu meme ou s'exercent continument les effets d'une effraction traumatique sur le nom propre en relation avec la transmission in consciente d'un secret trangenerationnel. Il est alors possible d'etablir les liaisons psychiques entre cette effraction traumatique et le symptome qui causa la mort physique de wilde et d'evaluer de meme l'incidence de cette effraction sur l'avancee ineluctable de l'ecrivain vers sa propre destruction psychique a laquelle firent desastreusement echo les loi s sociales et morales de l'epoque. Cette etude repose, sous un jour nouveau, les questions concernant l'ecriture et la creation et son apprehendees ici en relation avec l'intime de la psyche d'un auteur donneThis study of o. Wilde's works in particular of his novel, his stories and essays, is based on a psychoanalytical way of listening to the recurrences of his writing. It is therefore out of the insistence of both figures of the secret and the double closely related as they are to the mysterious initials of a name that it is made possible to meet the intimatene ss of the wildian psyche precisely where the effects of a traumatic effraction on his name are at work, intertwined with the unconscious transmission of a secret passing unawares from one generation to the other. It is then possible to make links between this traumatic effraction and the specific symptom that led o. Wilde to his physical death on the one hand and with his ineluctable move towards his own psychical destruction on the other and to which the social and moral laws of the time largely responded. Concerning the questions of writing and creation this study offers new outlooks in relation to the specificity of the in timateness of an author's psyche
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Degroisse, Elodie. "Présences paradoxales chez Oscar Wilde et Samuel Beckett." Thesis, Lille 3, 2013. http://www.theses.fr/2013LIL30019.
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Cette thèse s'attache à mettre en lumière une véritable continuité littéraire de Wilde à Beckett, tissée par une poétique de la présence qui maintient leurs oeuvres dans une permanente instabilité, aux frontières de l'ininterprétable, tout en soulignant les particularités des voies poétiques qu'ils empruntent. L'absence est une présence étrangement dense chez ces auteurs qui captent des persistances fantomatiques, interrogeant la possibilité de la représentation, de la perception et de l'altérité. Entre présence et absence, la mort est au coeur d'oeuvres qui réinventent l'héritage gothique pour exprimer l'horreur de la dégradation du moi, l'angoisse du devenir-Objet, processus de hantise qui conduit à deux esthétiques croisées de la décomposiiton. Le texte wildien est un jalon menant à la représentation beckettienne de la disparition des frontières entre vie et mort. la présence structure aussi sur le mode métatextuel : par la mise en abyme et la métathéâtralité, la représentation se fait fragmentaire pour montrer les failles d'une présence paradoxale au coeur d'un théâtre de la revenance. la suprématie de l'art sur le réel et du style sur la substance apparaissent : entre épuisement et emballement, leurs écritures sont caractérisées par la précision et la cohérence tout en décrivant le vacillement des certitudes et des conventions. De leur rapport ambivalent à l'Irlande naît un texte se déployant dans un "entre-Trois" linguistique (anglais, français, et gaélique). Les oeuvres permettent de faire l'expérience de la présence à la limite de la disparition, menant à une écriture de l'entre-Deux pour défaire les frontières, trouver des passages, inventer de nouvelles voiesThis thesis aims at highlighting a deep literary continuity from Wilde to Beckett, through a poetic of the presence which keeps their works in a permanent instability, verging on the impossibility of interpreting, while underlining the specificities of the poetic ways they undertake. The absence is a strangely dense presence in the works of those two writers who get ghostly remainings, questioning the possibility of representation, of perception and otherness. Between presence and absence, death is at the core of works which reinvent the gothic legacy to express which leads to two crossed aesthetics of decomposition. The Wildean text is a hinge leading to the Beckettian representation of the disappearance of the frontiers between life and death. The presence also structures on a metatextual mode : through mise en abyme and metatheatricality, the representation becomes fragmentary in order to show the weaknesses of a paradoxical presence at the heart of a spectral theatre. The supremacy of art over reality and of style over substance appear : between exhaustion and profusion, their writings are characterized by precision and consistency while describing the wavering of certainties and conventions. Their ambivalent relationship to Ireland brings forth a text existing in the intermediary space between English, French and Gaelic. Their works foster the experience of presence verging on disapppearence, leading to an in-Between writing to dismiss frontiers, to find new passages and invent new ways
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Ruthnum, Naben. "Haunted artworks: Oscar Wilde and the British ghost story." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104856.
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This thesis explores Oscar Wilde's influence on the British ghost story at the fin-de-siècle and the early years of the twentieth century. Arguing that Wilde's influence is reflected in the frequently occuring topos of haunted artworks in supernatural fiction, the thesis begins by establishing the significance of the Wildean haunted artwork in relation to Wilde-as-cultural-figure, The Picture of Dorian Gray, Decadence, and the public conception of the male homosexual that would emerge in the wake of the Wilde trials. The succeeding chapters of the thesis examine the manner in which haunted artworks featured in ghost stories by Henry James, M.R. James, E.F. Benson, Robert Hichens, and E.M. Forster respond to Wilde, and the manner in which these stories address anxieties over male same-sex desire.Cette thèse explore l'influence d'Oscar Wilde sur les récits surnaturels britanniques durant la période de "fin de siècle" et au début du vingtième siècle. Soutenant que l'influence de Wilde est évidente dans le topos de l'oeuvre d'art hanté dans les récits surnaturels, la thèse établit d'abord l'importance et la signification de l'œuvre art hanté en relation avec la représentation sociale de Wilde en tant que personnalité culturelle, le roman Le portrait de Dorian Gray, le mouvement du décadentisme ainsi que la conception publique de l'homosexualité masculine qui émerge dans le sillage des procès de Wilde. Les chapitres suivants de la thèse examinent la façon dont certaines représentations de l'oeuvre d'art hanté retrouvées dans les récits surnaturels de Henry James, M.R. James, E.F. Benson, Robert Hichens et E.M. Forster relèvent de l'influence d'Oscar Wilde – et également la façon dont ces récits abordent les angoisses et inquiétudes liées au désir homosexuel masculin.
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Takada, Kazuki. "A comparative study of Mishima Yukio and Oscar Wilde:." Thesis, University of Edinburgh, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489339.
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Goeres, Sharon Tobin. "Costume designs for An ideal husband by Oscar Wilde." Morgantown, W. Va. : [West Virginia University Libraries], 2002. http://etd.wvu.edu/templates/showETD.cfm?recnum=2395.
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Thesis (M.F.A.)--West Virginia University, 2002.Title from document title page. Document formatted into pages; contains iv, 152 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 130).
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Gravem, Bruna Cardoso. "A game of appearances : the mask of Oscar Wilde." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/81374.
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Esta dissertação examina as formas como três instâncias se embaraçam na arte de Oscar Wilde: a pessoa, o autor e a obra. O objetivo da pesquisa é compreender como se dá o processo criativo desse escritor, cujas peças levitam entre o irreverente e o polêmico. O humor refinado e a sagacidade na análise do trato social, traços marcantes no estilo de Wilde, são aqui aproximados à habilidade demonstrada tanto pelo autor quanto por seus personagens de se adaptarem a diferentes circunstâncias através do uso de máscaras, ou personas, que lhes possibilitam contornar situações intrincadas. Apoio-me no pensamento de Carl Gustav Jung para as teorizações sobre o conceito de máscara. O trabalho se constrói em três capítulos, nos quais são analisados aspectos e circunstâncias da vida do autor que contribuem para forjar seu estilo único, e que se refletem nas obras por ele criadas. O primeiro capítulo trata sobre a pessoa de Oscar Fingal O’Flahertie Wills Wilde, e os movimentos que empreendeu para que sua personalidade forte e o rígido ambiente vitoriano em que vivia pudessem aos poucos se harmonizar. Abordo as formas como a sociedade em que cresceu o afetou, apontando aspectos em que ele também a influenciou em retrospecto. Ao longo desse processo, Wilde criou as máscaras que utilizaria, durante a vida, para transitar da maneira desejada entre os diversos grupos com que se relacionou. O segundo e o terceiro capítulos apresentam o autor Oscar Wilde e a sequência de diferentes tipos de obras por ele criadas, avaliando de que formas as circunstâncias da vida da pessoa se consolidaram formando o estilo do autor. Além da estética de Wilde, também é considerada a recepção de sua obra pelo público contemporâneo a ele. No segundo capítulo apresento os conceitos de máscara e de sombra, e como se refletem em sua obra e em sua vida pessoal. Ali são examinadas as primeiras tragédias e, a seguir, as obras que o tornaram um autor polêmico na Inglaterra Vitoriana: “The Portrait of Mr. W. H” e The Picture of Dorian Gray. No terceiro capítulo comento seu momento mais prestigiado, o da produção das comédias sociais, bem como o momento mais sombrio, o das obras escritas durante os anos de prisão, nos últimos anos de sua vida. Ainda discuto, no terceiro capítulo, o legado deixado por Wilde, comentando como as mudanças sociais levaram a uma nova recepção de suas obras, e como essas obras continuam relevantes tendo-se passado um século de sua criação. Nas considerações finais, reitero o propósito da pesquisa, que é contribuir com uma leitura sobre o estilo do grande escritor, com base na análise das relações que se deram entre esse irlandês excêntrico e a inclemente sociedade Vitoriana em que viveu.This dissertation examines how three strings tangle together in Oscar Wilde’s art: the person, the author and his literary works. The goal of this research is to understand the creative process of this author, whose plays go from irreverent to polemic. The polished humor and wit applied in his analysis of social behavior, trademarks in Wilde’s writing style, approximate the ability shown by the author, as well as by his characters, to adapt to different circumstances through the use of masks, or personas, that enable them to escape intricate situations. The concept of mask is supported on Carl Gustav Jung’s theory. This paper is constructed in three chapters, in which it is analyzed aspects and circumstances of the author’s life that contributed to his unique writing style and is reflected on his literary works. The first chapter deals with the person Oscar Fingal O’Flahertie Wills Wilde, and the movements that he partook in so that his strong personality and the strict Victorian environment could harmonize themselves in his life. This paper approaches the ways the society he was brought up into affected him, pointing out aspects in which he affected this society in return. Throughout this process Wilde created many masks that he would use his whole life to be able to navigate through different groups he was related to however he wished. The second and third chapters present the author Oscar Wilde and the sequence of different literary works written by him, evaluating how the circumstances in his personal life shaped him, creating the author’s writing style. Not only this paper considers the Aesthete in Wilde, but also the reception of his works by the public that was contemporary to him. In the second chapter it is presented the concepts of mask and shadow, and how they reflect on Wilde’s work and personal life. It is also examined his first tragedies and the literary works that made him become a polemic author in Victorian England: “The Portrait of Mr. W. H.” and The Picture of Dorian Gray. In the third chapter it is mentioned the brightest moments in his career, his comedies of society, as well as his soberest, with the work he wrote in prison and in the last few years of his life. Still in the third chapter, it is discussed the legacy left by Wilde, commenting on the social changes that led to a new reception of his works, as they continue to be relevant even a century after their creation. On my final considerations, I reiterate the goal of this research, which is to contribute with a reading on the style of this great writer, based on the analysis of the relation between this eccentric Irish man and the unmerciful Victorian society that he lived in.
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Teng, Yi-Ching. "Oscar Wilde et la peinture : l'homme, l'image, la représentation." Nice, 2003. http://www.theses.fr/2003NICE2015.
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Etudier le rapport de Wilde à la peinture permet d'aborder sous un autre angle les notions capitales de l'esthétique wildienne et de voir surtout les interactions entre les différents effets de cadre et de cadrage, qu'ils soient pictural, théâtral ou textuel. Cette étude vise à mettre en lumière ce qui est essentiel dans son écriture, mais qui a curieusement été négligé dans les études wildiennes. L'"art" de Wilde (avec sans un grand A) est si souvent lié à sa personnalité et à sa conversation paradoxale que l'on oublie que son esthétique s'inspire en fait dès le départ des beaux arts, en particulier de la peinture. En nous focalisant sur le rapport entre l'écriture et la peinture, nous nous efforcerons de repérer et d'analyser les tableaux évoqués ou inventés et les images façonnées dans les oeuvres de Wilde, afin d'éclairer l'intertextualité complexe qui entre au sein des différents réseaux de représentation et, partant, de toute représentation.
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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.
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Tucker, Amanda. "Godot in Earnest: Beckettian Readings of Wilde." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4248/.
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Critics and audiences alike have neglected the idea of Wilde as a precursor to Beckett. But I contend that a closer look at each writer's aesthetic and philosophic tendencies-for instance, their interest in the fluid nature of self, their understanding of identity as a performance, and their belief in language as both a way in and a way out of stagnancy -will connect them in surprising and highly significant ways. This thesis will focus on the ways in which Wilde prefigures Beckett as a dramatist. Indeed, many of the themes that Beckett, free from the constraints of a censor and from the societal restrictions of Victorian England, unabashedly details in his drama are to be found residing obscurely in Wilde. Understanding Beckett's major dramatic themes and motifs therefore yields new strategies for reading Wilde.
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Eltis, Sarah. "Anarchism, feminism and socialism in the plays of Oscar Wilde." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241287.
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Strebel, Heidi. "Anticipation and dissipation : Oscar Wilde, Luigi Pirandello and reception theory." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423339.
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Landerouin, Yves. "La possession du beau chez Marcel Proust et Oscar Wilde." Tours, 1997. http://www.theses.fr/1997TOUR2016.
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Plutôt que de s'appuyer sur les allusions trop rares de l'œuvre de Proust à celle de Wilde, ce travail fait partir la réflexion d'une question existentielle qui leur est presque toujours sous-jacente : comment posséder le beau? Faire de sa vie un art ou faire de l'art sa vie, tout est là, oscillant entre deux opérations alchimiques dédiées au beau et qui cachent, au-delà d'une subtile dialectique, une même aspiration, théorisée certes dans Le Banquet de Platon, mais aussi folle qu'universellement partagée. En envisageant successivement les œuvres comme mises en scène (par leurs situations, les discours de leurs personnages) et comme enjeux (par leurs formes, leur esthétique, leur existence même) d'un tel débat et après s'être assure que Proust et Wilde ont bien une conception similaire de l'objet à posséder, on peut s'employer à définir leurs positions respectives concernant les moyens d'y parvenir (les modalités de possession). L'étude se porte alors des modalités disponibles dans la sphère au réel, que Wilde organise en un tout ("la vie comme un art"), à la sphère de la création, hors de laquelle Proust ne voit point de salut, et envisage à mi-chemin la pratique de la critique, telle qu'ils la conçoivent l'un et l'autre, c'est-à-dire comme une forme complémentaire d'appropriation. Apparait ainsi nettement l'opposition entre deux grands systèmes, opposition originale qui informe les œuvres et contribue à expliquer leurs différences esthétiques. En même temps, on vérifie la cohérence globale des positions de chacun et ce, quelle que soit la richesse de l'œuvre et son évolution -réputée spectaculaire chez Wilde- au fil du temps. L’Irlandais s'affirme alors comme le contradicteur le plus digne de disputer avec l'auteur de La Recherche sur le terrain de la possession du beauRather than sticking to the rare allusions to Wilde's works in Proust, this thesis proceeds from an existential question: how to possess beauty? To make one's life a work of an or to make one's art a mode of life? That is the question. These two transmutations, dedicated to beauty, express the same insane (although theorized by Plato in his Symposium) and universal desire. After making sure than Proust and Wilde share the same conception of the object to be possessed, we try to describe their views on the ways to make it, regarding their works successivly as expressions and implications -or products- of this issue. Thus we move from the sphere of reality, which Wilde takes and organizes as a whole ("life as an art"), to the sphere of creation, so essential to Proust. Halfway there, we look at criticism as they both regard it, i. E. A complementary form of appropriation. So it appears that they oppose two great systems to each other, which gives form to their works and allows us to explain their aesthetic differences. And whatever their evolution can be, we conclude that their views are equally consistent on the matter. There, Wilde proves to be the true counterpart, the worthiest opponent of the author of A la recherche au temps perdu
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Willoughby, Guy. "The figure of Christ in the works of Oscar Wilde." Doctoral thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/21882.
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Bibliography: pages 309-317.In this study I consider, by a process of close textual analysis, attention to larger symbolic registers, and comparative reference to other works of the author and his contemporaries, the thematic and structural function of the figure of Christ in the mature writings of Oscar Wilde. I have avoided references to the life of the author as far as possible in my text, partly because biographical critism, in the specific case of Oscar Wilde, has often interfered with a judicious assessment of his writings--writings that inscribe, as I hope my text demonstrates, a valuable response to certain pressing ethical and aesthetic issues in a complex fin-de-siecle climate of blurred and shifting values.
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Hidaka, Maho. "A Study of Oscar Wilde and Adaptations of His Works." Kyoto University, 2015. http://hdl.handle.net/2433/198956.
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Kyoto University (京都大学)0048
新制・論文博士
博士(人間・環境学)
乙第12939号
論人博第41号
新制||人||177(附属図書館)
27||論人博||41(吉田南総合図書館)
32149
京都大学大学院人間・環境学研究科環境相関研究専攻
(主査)教授 丸橋 良雄, 教授 前川 玲子, 教授 水野 眞理, 教授 廣野 由美子, 教授 松田 英男
学位規則第4条第2項該当
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Williams, Derek Leslie. "Portfolio of compositions : Wilde - an opera in two acts." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7873.
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Cambray, Carole. "Crise de la representation dans la salome d'oscar wilde et chez ses illustrateurs." Université Marc Bloch (Strasbourg) (1971-2008), 2000. http://www.theses.fr/2000STR20005.
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Centrale a nombre des textes d'oscar wilde (the picture of dorian gray et ses essais sur l'art), la notion de crise de la representation est egalement au coeur de salome, meme si elle y est traitee a un niveau plus metaphorique. En effet, la figure de salome a fait l'objet de tres nombreuses representations a la renaissance et a la fin du xixe siecle. Or, dans le domaine de la philosophie comme dans celui des arts visuels, des principes enonces a la renaissance et au xviie siecle ont ete remis en question a partir de la fin du siecle dernier. Ainsi, la renaissance a vu se mettre en place une fiction de l'espace qui a commence a etre remise en question vers le milieu du xixe. De meme, vers la fin du siecle, la naissance de la psychanlayse vient remettre en cause certaines certitudes que lesujet, au sens philosophique, avait sur lui-meme. Ces deux types de questionnement s'incarnent parfaitement dans la piece de wilde et les seize versions illustrees couvrant un siecle entier d'histoire du livre, notamment a travers les deux themes structurants de la piece, le regard et le corps, qui sont egalement ceux autour desquels s'articule toute representation picturale, laquelle met en jeu le regard de l'artiste et te corps comme objet de la representation. De plus, a une periode au cours de laquelle de nouvelles pratiques artistiques se font jour, l'illustration semble elle aussi remettre en question le lien de subordination qui unissait le texte a l'image, en affichant une plus grande independance a l'egard du texte. Etudier le rapport entre salome et ses versions illustrees a travers la notion de crise de la representation, consiste a la fois a envisager la maniere dont, par certains aspects, les illustrateurs s'ecartent du texte, soucieux d'afficher leur autonomie, et a montrer, autour des themes envisages, comment il s'etablit de veritables correspondances entre procedes linguistes et codes picturaux, en vue de l'elaboration d'une theorie du rapport texteimage.
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Bseiso, Layla. "Oscar Wilde’s “The Happy Prince” : The Hidden Messages and the Debate on the Target Audience." Thesis, Högskolan Dalarna, Engelska, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:du-3034.
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Oscar Wilde’s fairytales have been read to children for more than a century. Nevertheless, since the time of their publication in 1888 and 1891, the target audience of The Happy Prince and Other Tales and A House of Pomegranates have been the concern of critics. Delving into the context behind the rich and colourful imagery, one can find implications of homosexuality, the Paterian aesthetic and religious connotations. According to Carol Tattersall, The Happy Prince and Other Tales successfully mislead the public that it is innocent of any intention to undermine established standards of living or writing. Tattersall’s argument is based on comparing the first collection to Wilde’s second, A House of Pomegranates, which was perceived as “offensive and immoral” (136). On the other hand, William Butler Yeats states in his introduction to The Complete Works of Oscar Wilde that overall the reviewers of The Happy Prince and Other Tales were hostile because of Wilde’s aesthetic views (ixxvi). But Yeats overlooks the fact that Wilde was very pleased and proud, dashing notes to friends and reviewers and signing copies to many people (Tattersall 129). In general, the reception of Wilde’s first collection was more positive than that of the second because it was milder and more subtle in its controversial themes.
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Mendelssohn, Michèle. "Henry James and Oscar Wilde : a study of their literary relationship." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615898.
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Guan, Beibei, and 关贝贝. "Rebellion as aestheticism: the dandyism of Charles Baudelaire and Oscar Wilde." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45706037.
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Yip, Wai-shan, and 葉慧珊. "Oscar Wilde in the mirror of the work of Katherine Mansfield." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46701527.
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Burrow, Merrick. "Bordering the aesthetic : Oscar Wilde and the discourses of literary modernity." Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360578.
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My thesis is that the determinate categories and identities with which existing scholarship has framed interpretations of Oscar Wilde are themselves rendered uncertain by Wilde's emphasis upon figures of paradox and artifice. Drawing on the work of Jacques Deirida, the thesis examines the manner in which conceptual borders and frames of reference become increasingly complex in literary modernity, arguing that Wilde's corpus embodies a philosophy of modernity that is actually more powerful than the critical discourses which seek to master it. My focus on Wilde is twofold, looking at both his image as a privileged site of cultural memorialisation and his thought as a problematisation of institutional and subjective limits. The thesis is divided into two main sections, each containing two chapters. Broadly speaking, the first section deals with issues raised by historicist interpretations of Wilde, whereas the second concentrates upon the way in which readings of Wilde's literary corpus have been inextricably tangled up with physiological metaphors of biography, medicine, psychoanalysis and sexology. It is my contention that this entanglement is no mere accident, but rather is a manifestation of an underlying complicity between aesthetic, erotic and physiological figures. Chapter One looks at Wilde's and Nietzsche's attitudes toward history, relating this to general questions about modernity and postmodemity which are inextricable from (particularly Kantian) aesthetics. Chapter Two examines the concept of transgression and the complex manner in which it is thematised both in Wilde's corpus and in various critical approaches to his life and works. Chapter Three deals with the biographical overflow into interpretations of Wilde, considered in reference to his own writings on biography, portraiture and criticism. Chapter Four explores the passage between life and art to argue that the protean history of Wilde's corpus presents a challenge to materialist critical theories, and that the most powerful reading is one in which the essentially textual resources of Wilde's life, as well as his works, are brought to bear on the interpretative strategy itself.