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

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Published: 4 June 2021

Last updated: 13 February 2022

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1

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

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The use of Oscar Wilde's Salome as the ground for the silent-screen star Norma Desmond's film script and character is central to Billy Wilder's Sunset Boulevard but oddly neglected by the film's critics. This essay reads the film through its engagement with Salome, discussing its adoption from the play of a self-consciousness about the conditions of its art, which extend beyond the film's production to cultural history and film aesthetics. Norma asserts the image and ideology of the Hollywood star through her identification with the aestheticist figure of Salome, while Joe Gillis not only writes film scripts but, with his peers Betty Schaefer and Artie Green, also foregrounds narrative conventions in his efforts to organize and control his own life and experience in the film. Through its main characters, Sunset Boulevard presents an allegory of Hollywood cinema in which the complementary filmic principles of image and narrative culminate respectively in madness and death.

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2

Marcus, Sharon. "Salomé!! Sarah Bernhardt, Oscar Wilde, and the Drama of Celebrity." PMLA/Publications of the Modern Language Association of America 126, no. 4 (October 2011): 999–1021. http://dx.doi.org/10.1632/pmla.2011.126.4.999.

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Oscar Wilde's Salome, composed in French in 1891, represents both an episode in the history of celebrity and a dramatization of celebrity's theatrical structure. The play first entered the orbit of stardom when Sarah Bernhardt, internationally hailed as the world's greatest actress, agreed to play the title role in 1892; its author had long been a celebrity, known as much for his artfully crafted persona as for his published writings. Bernhardt, Wilde, and Salome, a play in which almost every character is both fan and idol, were all defined by the volatile conjunctions shared by theatricality and celebrity: the asymmetrical interdependence of actors and audiences, stars and acolytes, exhibition and attention, distance and proximity, absolutism and democracy, exemplarity and impudence, worship and desecration, and presence and representation.

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3

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

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4

Touwen, 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.

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5

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

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6

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

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From Flaubert to Richard Strauss, male artists in late nineteenth-century Europe were fascinated by the figure of Salome. This fascination, indeed, amounted to a genuine craze. One representation sparked another: J.-K. Huysmans fantasised about paintings by Gustave Moreau; Oscar Wilde expanded on Huysmans; Aubrey Beardsley illustrated Wilde. Fine editions of Wilde's Salome with Beardsley's illustrations remained cult objects well into the twentieth century. In general, the Salome craze, like the science and medicine of its day, sought to legitimise new forms of control by men over the bodies and behaviour of women. The present paper revisits this well-known episode in cultural history with two distinct aims in mind, one interpretative, the other methodological. The interpretative aim is to offer a feminist approach to the fin-de-sièclecompulsion to retell the Salome story with lavish attention to misogynist imagery - those quivering female bodies and gory male heads. The methodological aim is to find a meeting ground for literary criticism and musicology as both disciplines aspire to become vehicles of a more comprehensive criticism of culture.

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7

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

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The urgency to address to the theme of Salome in conditions of postmodern culture is considered. Some attempts are made to read anew and rethink it in the era of current information technology. Attention is paid to the peculiarities of the interpretation of the image of Salome and the "Dance of the Seven Veils" in the iconographic sources of the 12th – early 21st centuries through the prism of the aesthetics of certain era aimed to find artistic means of expression. An overview of the reflection of the event at the feast of Tetrarch Herod in the Gospel of Matthew and Mark. The content of the young princess's fateful dance, which led to irreparable tragic consequences — the beheading of John the Baptist. The necessity of using the concept of different branches of knowledge in order to establish a holistic picture of the development of events in this scene is proved. The sources that inspired O. Wilde to create the drama "Salome" are identified. The peculiarities of artistic interpretations of the image of the princess by the writer S. Mallarme and the artist G. Moreau are reflected in the article, in addition, the author showed the difference in the interpretation in the author's concept by O. Wilde. The stage version of "Salome" of 1902, directed by M. Reinhardt, is analyzed, the master's innovative approaches to the embodiment of dance are singled out against the background of the original scenography solution of M. Krause and L. Corinth, which became an aesthetic discovery in theatrical art of the modern era. Peculiarities of interpretation of Salome's dance based on O. Wilde's drama to O. Glazunov's music, with L. Bakst's decoration, M. Fokin's choreography, which continued modern experiments on the stage embodiment of the said work, are revealed. Priorities are set by dance director M. Fokin to work with iconographic sources, artistic design of the issue over the analysis of his musical drama. The results of the choreographer's search for new, relevant to the modern era, means of stage expression, their non-standard, bold combination to create an original version of the artistic and holistic spectacle are outlined. The influence of innovative discoveries of M. Reinhardt, V. Meyerhold and M. Fokin on further dance interpretations in R. Strauss's opera "Salome"

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8

Ferraz, Maria Cristina Franco, and Louise Ferreira Carvalho. "A Salomé de Oscar Wilde: Véus, espelhos e decapitações na Belle Époque." Revista FAMECOS 24, no. 3 (August 1, 2017): 26065. http://dx.doi.org/10.15448/1980-3729.2017.3.26065.

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No final do século XIX, assistiu-se, na cultura ocidental, a uma proliferação obsessiva do tema bíblico de Salomé e da decapitação de João Batista, investigada neste artigo ensaístico a partir da peça Salomé (1893), de Oscar Wilde. A disseminação desse episódio na modernidade já laicizada pode ser lida como um dos indícios mais enfáticos da insistência da época em explorar temas pulsantes: o desejo, a sexualidade, a crise da identidade e da suposta coesão do “eu”. Na esteira de Nietzsche, a obra de Wilde realiza um interessante jogo de véus, de máscaras e de espelhos, elevando o falso a sua mais alta potência. Retomando trechos da peça, ressaltaremos os perigos do olhar e das pulsões que levaram a subjetividade moderna a “perder a cabeça”.

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9

Słowik, Agata. "Nieokreśloność gatunkowa i rozbieżność interpretacji: postmodernistyczne spojrzenie na Salome Oscara Wilde’a." Ogrody Nauk i Sztuk 3, no. 3 (February 17, 2020): 238–44. http://dx.doi.org/10.15503/onis2013.238.244.

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Oscar Wilde. Mistrz ciętej riposty i błyskotliwego aforyzmu a jednocześnie przenikliwy obserwator wyższej klasy społeczeństwa wiktoriańskiego. W swojej twórczości wielokrotnie krytykuje społeczeństwo brytyjskiego dekadentyzmu, jednak nigdy w sposób oczywisty. Najlep-szym tego przykładem jest sztuka Salomé, przez wielu krytyków traktowana jako dramat czy też klasyczna tragedia, będąca jednak zawoalowaną drwiną a nawet metaforą zdegenerowanych wyższych sfer brytyjskiego fi n de siècle. Autor celowo defamiliaryzuje sztukę poprzez osadzenie akcji w czasach biblĳ nych w celu nie tylko spotęgowania jej odbioru, ale także zapobiegnięcia automatyzacji percypowania. Dzięki temu Salomé jest nie tylko głównym obrazem archetypu femme fatale czyli kobiety fatalnej, ale staje się także samoświadomym i samorefl eksyjnym satyrycznym krytycyzmem. Jednakże taka interpretacja możliwa jest tylko przy postmodernistycznym spojrzeniu na teorię parodii i autoironii reprezentowaną m.in. przez Lindę Hutcheon czy Michele Hannoosh.

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10

Hutcheon, Linda, and Michael Hutcheon. "O corpo perigoso." Revista Estudos Feministas 11, no. 1 (June 2003): 21–60. http://dx.doi.org/10.1590/s0104-026x2003000100003.

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A adaptação operística de Richard Strauss de Salomé de Oscar Wilde transgride todas as regras de representação do corpo feminino: este corpo não é apenas contemplado pelo 'olhar masculino' mas também contempla, com resultados poderosos e mortais. Na versão de Strauss, Salomé oferece um desafio às teorias canônicas tanto do 'olhar' quanto do feminino enquanto objeto.

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11

Galery, M. C. V. "A Dança Invisível: Olhar, Desejo e Transgressão em Salomé, de Oscar Wilde." Revista Scripta Uniandrade 13, no. 2 (December 30, 2015): 111–24. http://dx.doi.org/10.18305/1679-5520/scripta.uniandrade.v13n2p111-124.

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12

Pun, Min. "Politics, sex, and spirit: the divided self in oscar wilde's salomé." International journal of life sciences & earth sciences 2, no. 1 (June 18, 2019): 5–12. http://dx.doi.org/10.31295/ijle.v2n1.73.

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The paper aims to examine the self in Oscar Wilde’s one-act play Salomé. In the play, there are three characters, namely, Herod, Salomé and Jokanaan who represent the three different worlds of expression. One represents the world of politics who is always in search of power, the second represents the world of sex who is in search of love and passion, and the third one represents the world of spirit who dedicates his life for God. These characters comprise of three different selves of Wilde and his writing, making his play as a fictionalized autobiographical work.

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13

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

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14

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

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The Dance of the Seven Veils is one of the main reasons for the scandalous success of Richard Strauss's Salome, whose premiere in Dresden on 9 December 1905 shook the musical world and brought extraordinary fame to its author. Just as Oscar Wilde, in the play on which Strauss based his libretto, had written no instructions as to how the dance should be performed, the composer left this section of the opera to the imagination. The quotation in the title of this article is taken from Wilde's inscription to Aubrey Beardsley in his copy of ‘Salomé’ and aims to draw attention to the ambiguous nature of the dance in Strauss's opera. The source of endless fascination and moral disapproval, his Dance of the Seven Veils is characterized by contradictions: it marks a stasis as well as a frenzied advancement of the plot; it is performed to pleasure the king and yet it is also Salome's supreme moment of self-expression; it is a separate entity from the opera and yet it is at the heart of the story. In my article, I will examine the role of this pivotal episode within the opera and highlight its uniqueness as an early example of modern expressive dance on the operatic stage. I will also mention other examples of the use of dance in literature and music, with a particular focus on the works of Heinrich Heine. Finally, I will analyze Strauss's own scenario for the piece, which he wrote many years after the opera was first performed. This is a text of important documentary value despite the fact that, ironically, the composer's choreographic suggestions amplify the sense of the elusive quality of the piece.

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15

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

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

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16

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

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17

Im, Yeeyon. "“A SERIOUSNESS THAT FAILS”: RECONSIDERING SYMBOLISM IN OSCAR WILDE'SSALOMÉ." Victorian Literature and Culture 45, no. 1 (February 13, 2017): 163–75. http://dx.doi.org/10.1017/s1060150316000486.

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Writing as recently as 2011, Michael Bennett asks ifSaloméis an anomaly in the oeuvre of Oscar Wilde (viii). Read against his witty societal comedies of manners, it certainly appears to be one.Saloméhas been regarded as a fine example of symbolist drama in the history of British theatre, and few critics would dispute its “seriousness” as such. Its growing significance in recent discourses of gender and sexuality also adds seriousness to the play. Although Feminist and gender critics show little qualms about dubbing the play as symbolist, the final tableau of a young girl kissing the mouth of the severed head seems to me at odds with symbolism, whether Salomé is seen as an archetypal femme fatale, a queer man in disguise, or a New Woman as critics argue. Symbolism in Wilde'sSaloméis widely different from other specimens of the genre such as Yeats'sThe Countess Cathleen, for instance, which directly deals with a spiritual issue of the salvation of soul.Saloméalso lacks the fatalistic sense of doom that dominates Maeterlinck'sPrincess Maleine, with which it is often compared. Wilde's wayward heroine is not a victim of the invisible forces in the same way Maeterlinck's characters are. Wilde's Salomé is “monstrous,” as Herod says: she seems to commit “a crime against some unknown God” (Complete Works604). How can we reconcile her cruel passion of carnal desire with the supposed spirituality of the symbolist tradition? Also problematic in a symbolist reading of the play is the presence of the comic and the parodic, as pointed out by many critics. Is Wilde'sSaloméan authentic symbolist drama?

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18

Silvela Calvo, Alejandro. "De la escena a la viñeta:." Neuróptica, no. 2 (May 17, 2021): 227–40. http://dx.doi.org/10.26754/ojs_neuroptica/neuroptica.202025428.

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Resumen: P. Craig Russell ha destacado, entre otras aportaciones, por su labor a la hora de realizar una larga serie de adaptaciones del mundo de la ópera a la viñeta. El estilo de Russell se caracteriza por partir de la idea de adaptar una obra musical a un medio plástico y visual haciendo que no solo se convierta en la simple narración de una ópera musical, sino que crea una obra en sí misma en la que intenta recoger diferentes sensaciones estilísticas, estructurales y estéticas de la obra y generar una representación de las mismas. En este artículo nos valdremos de su adaptación de Salomé, ópera de Richard Strauss de 1905 basada en la obra teatral homónima de Oscar Wilde. Se tratará la idea de musicalización del cómic y la forma en la que Russell plasma diferentes ideas musicales referentes no solo a timbres, leitmotiv u orquestación, sino atendiendo a diferentes parámetros que engloba la obra de Strauss, en torno a la idea de maximalización y decadencia del arte de finales del siglo XIX y principios del siglo XX. Abstract: P. Craig Russell has stood out, among other contributions, for his work in making a long series of adaptations from the world of opera to comic. Russell's style is characterized by starting from the idea of adapting a musical work to a plastic and visual medium, making it not only become the simple narration of a musical opera, but also creates a work in itself in which he tries to collect different stylistic, structural and aesthetic sensations of the work and generate a representation of them. In this article we will use his adaptation of Salomé, an opera by Richard Strauss from 1905 based on the play of the same name by Oscar Wilde. The idea of musicalization of the comic will be discussed and the way in which Russell expresses different musical ideas referring not only to timbres, leitmotivs or orchestration, but also taking into account different parameters that encompass Strauss's work around the idea of maximalization and decadence of art from the end of the 19th century and the beginning of the 20th century.

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19

Sánchez Martínez, Andrés. "Salomé. Novela-Poema de José María Vargas Vila: una relectura de un mito finisecular en la literatura hispanoamericana." Anales de Literatura Hispanoamericana 48 (December 4, 2019): 109–26. http://dx.doi.org/10.5209/alhi.66794.

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Este artículo pretende analizar la relectura del mito de Salomé que el autor colombiano José María Vargas Vila realiza en su novela de 1918 Salomé. Novela-Poema. Se estudiará primero el esquema motívico con el que se conforma este mito en el modernismo latinoamericano, heredero de lecturas europeas como la obra de Oscar Wilde. Por ello, la metodología no dejará de ser comparatista al poner en comunicación intertextual la obra del autor irlandés y la del colombiano junto con otras fuentes manejadas por ambos, para saltar en última instancia a las variantes introducidas en la novela. La revisión del discurso mítico de Salomé por parte de Vargas Vila será radical, dando lugar a una modificación de personajes y estructuras tal, que roza la desmitificación. De esta forma, la poética del autor colombiano, inmersa en el orientalismo tan afín al modernismo hispánico, no dejará de sorprender. En primer lugar, por su propuesta lúdica en lo que a reinvención de un mito y un género se refiere; y, en segundo lugar, en el retrato de unos personajes cuya perversidad atenta contra los cánones de la sociedad finisecular.

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20

Denny, M. Diane, and Richard Ellmann. "Oscar Wilde." Theatre Journal 41, no. 2 (May 1989): 264. http://dx.doi.org/10.2307/3207881.

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21

Bick, Suzann, and Richard Ellmann. "Oscar Wilde." Antioch Review 46, no. 4 (1988): 527. http://dx.doi.org/10.2307/4611975.

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22

Kaplan, Joel H., and Katharine Worth. "Oscar Wilde." Canadian Journal of Irish Studies 12, no. 1 (1986): 104. http://dx.doi.org/10.2307/25512672.

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23

Stokes, John, and Peter Raby. "Oscar Wilde." Modern Language Review 86, no. 2 (April 1991): 430. http://dx.doi.org/10.2307/3730568.

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24

Coffel, Scott. "Oscar Wilde." Antioch Review 53, no. 2 (1995): 197. http://dx.doi.org/10.2307/4613126.

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25

Fowler, Douglas, and Richard Ellmann. "Oscar Wilde." South Atlantic Review 55, no. 1 (January 1990): 156. http://dx.doi.org/10.2307/3199895.

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26

A., N. C. "Oscar Wilde." American Journal of Psychiatry 145, no. 12 (December 1988): 1589–90. http://dx.doi.org/10.1176/ajp.145.12.1589.

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27

Tattersall, Carol A., C. George Sandulescu, J. Donohue, and R. Berggren. "Rediscovering Oscar Wilde." Canadian Journal of Irish Studies 23, no. 2 (1997): 131. http://dx.doi.org/10.2307/25515227.

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28

Chadwick, Peter K. "Oscar Wilde: psychologist." Changes 15, no. 3 (August 1997): 163–74. http://dx.doi.org/10.1002/(sici)1234-980x(199708)15:3<163::aid-cha204>3.0.co;2-k.

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29

Novak, Daniel A. "Picturing Wilde: Christopher Millard’s “Iconography of Oscar Wilde”." Nineteenth-Century Contexts 32, no. 4 (December 2010): 305–35. http://dx.doi.org/10.1080/08905495.2010.530398.

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30

Mullen, Alexandra, Barbara Belford, Merlin Holland, Rupert Hart-Davis, Oscar Wilde, Douglas Murray, Jonathan Fryer, and Joan Schenkar. "The Oscar Wilde Industry." Hudson Review 54, no. 1 (2001): 125. http://dx.doi.org/10.2307/3852831.

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31

Gordon, AG. "Diagnosis of Oscar Wilde." Lancet 357, no. 9263 (April 2001): 1209. http://dx.doi.org/10.1016/s0140-6736(00)04359-2.

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32

Willoughby, Guy. "Oscar Wilde and Poststructuralism." Philosophy and Literature 13, no. 2 (1989): 316–24. http://dx.doi.org/10.1353/phl.1989.0019.

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33

Lyons, J. B. "Death of Oscar Wilde." BMJ 295, no. 6612 (December 12, 1987): 1567. http://dx.doi.org/10.1136/bmj.295.6612.1567-c.

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34

Schroeder, Horst. "Oscar Wilde at Homburg." Notes and Queries 32, no. 3 (September 1, 1985): 361–62. http://dx.doi.org/10.1093/notesj/32.3.361-a.

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35

SCHROEDER, HORST. "OSCAR WILDE AT HOMBURG." Notes and Queries 32, no. 3 (September 1, 1985): 361—b—362. http://dx.doi.org/10.1093/nq/32-3-361b.

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36

Sammells, Neil. "A Little Oscar Wilde." Irish Studies Review 13, no. 3 (January 2005): 397–401. http://dx.doi.org/10.1080/09670880500172056.

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37

O'Gorman, Francis. "Oscar Wilde and Pope." Notes and Queries 53, no. 3 (September 1, 2006): 341–42. http://dx.doi.org/10.1093/notesj/gjl096.

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38

Stokes, John. "The Rare Oscar Wilde?" Cambridge Quarterly XXI, no. 3 (1992): 282–85. http://dx.doi.org/10.1093/camqtly/xxi.3.282.

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39

Gardiner, John. "Oscar Wilde and Posterity." History Workshop Journal 58, no. 1 (2004): 320–25. http://dx.doi.org/10.1093/hwj/58.1.320.

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40

Maguire, J. Robert. "The Cambridge Companion to Oscar Wilde, and: The Oscar Wilde Encyclopedia (review)." Victorian Studies 42, no. 4 (2000): 715–17. http://dx.doi.org/10.1353/vic.1999.0019.

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41

Gillespie, Michael Patrick, and Neil Sammells. "Wilde Style: The Plays and Prose of Oscar Wilde." Canadian Journal of Irish Studies 27/28 (2001): 148. http://dx.doi.org/10.2307/25515402.

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42

Bashford, Bruce. "WHEN CRITICS DISAGREE: RECENT APPROACHES TO OSCAR WILDE." Victorian Literature and Culture 30, no. 2 (August 27, 2002): 613–25. http://dx.doi.org/10.1017/s1060150302302122h.

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REVIEWINGTHE SCHOLARSHIP on Wilde in the last decade is a daunting task not only because of the large amount of recent work on Wilde, but because the ground is already occupied by two book-length surveys: Ian Small’s Oscar Wilde: Recent Research (which picks up where his 1993 Oscar Wilde Revalued left off) and Melissa Knox’s Oscar Wilde in the 1990s: The Critic as Creator. The reader, then, is referred to these volumes for their more comprehensive coverage. Here I will focus my discussion by borrowing what Small designates three “new paradigms” that emerged in the 1990s: the Gay Wilde, the Irish Wilde, Wilde and Consumerism — this last I will rename the Materialist Wilde. To these I will add a fourth category, again taking my cue from Small: Idealist Wilde. In each category I will use representative examples to reflect on the issues confronting these approaches to Wilde. Both Small and Knox evaluate as well as chronicle, though from different perspectives. Small believes work in the field should be better supported by empirical information — “facts” — about Wilde’s life, his career, and the period, and he thinks scholars need to consider whether the different “Wildes” they construct are compatible with each other (12–13). Knox favors a biographical approach to Wilde, saying explicitly that her survey “explores the forms of resistance to biography as well as its successful use in criticism of the l990s” (xv), and turning up more instances of resistance than success.1

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Murrenus, Valerie A. "Wilde Style: The Plays and Prose of Oscar Wilde (review)." New Hibernia Review 5, no. 1 (2001): 156–57. http://dx.doi.org/10.1353/nhr.2001.0013.

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Валова, О. М. "OSCAR WILDE’S VIEWS ON ROMANTICISM." Вестник Рязанского государственного университета имени С.А. Есенина, no. 1(66) (June 8, 2020): 98–106. http://dx.doi.org/10.37724/rsu.2020.66.1.012.

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Романтизм — направление, оказавшее существенное влияние на мировоззрение О. Уайльда, которому было близко устремление к ирреальному, воображаемому, фантастике. Писатель считал, что романтизм — это творчество поэтов с особым складом души, предтечами романтизма он считал Христа, Данте, Дюрера, Китса, соотносил с этим направлением многих предшественников и современников. В своих произведениях Уайльд симпатизирует героям, которые не имеют «практической» цели в жизни, временные и пространственные границы в его произведениях часто достаточно условны, поскольку писателю важнее представить сущность явления. Уайльда привлекала фигура Д. Китса, его отношение к искусству, творчеству. Оба поэта считали красоту истинной сущностью действительности, черпали вдохновение не в жизни, а в творчестве современников и предшественников. Уайльд разделял точку зрения П. Б. Шелли на драматургию; взгляды Шелли и сюжет его драмы «Ченчи» отчасти нашли отражение в уайльдовской трагедии «Герцогиня Падуанская». Очевиден интерес Уайльда к творчеству Г. Гейне, что прослеживается в отказе от изображения повседневности, отторжении мещанского, в увлечении странным, таинственным. Как и романтики, Уайльд проявлял интерес к переходным, неустойчивым, двойственным состояниям, большое значение придавая художественной форме. Oscar Wilde, an artist infatuated with surreal, imaginary, fantastic, and bizarre, is greatly influenced by the literary movement of romanticism. According to Wilde, adherents of romanticism are poets capable of uniquely transmuting the commonly perceived world. Wilde believes that Christ, Dante, Durer, and Keats are true forerunners of romanticism. He believes that many of his contemporaries adhere to romanticism, too. In his works, Oscar Wilde sympathizes with his characters that have no utilitarian goal. The temporal and spatial dimensions of his works are often vague and tentative, for Wilde is more interested in the essence of phenomena. Oscar Wilde admires D. Keats for the latter’s artistic perception and creativity. Both poets believe that beauty is the true essence of all beings. Both poets seek inspiration in their contemporaries’ and predecessors’ works rather than in the surrounding world. Oscar Wilde shares P. B. Shelley’s views on drama. P. B. Shelley’s views and the plot of his verse drama “The Cenci” are discernible in Wilde’s play “The Duchess of Padua”. Wilde is obviously interested in H. Heine’s works, hence, Wilde’s infatuation with everything mysterious and bizarre and his neglect of everyday routine. Like other romanticists, Wilde is interested in transient and ambivalent states and values artistic presentation above all.

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Jackson, Russell, and Ian Small. "Oscar Wilde: A "Writerly" Life." Modern Drama 37, no. 1 (March 1994): 3–11. http://dx.doi.org/10.3138/md.37.1.3.

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Gillespie, Michael Patrick. "The Branding of Oscar Wilde." Études anglaises 69, no. 1 (2016): 23. http://dx.doi.org/10.3917/etan.691.0023.

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Couderc, Gilles. "Setting Oscar Wilde to Music." Études anglaises 69, no. 1 (2016): 100. http://dx.doi.org/10.3917/etan.691.0100.

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Tara Penry. "Bret Harte's Oscar Wilde Tale." American Literary Realism 51, no. 1 (2018): 21. http://dx.doi.org/10.5406/amerlitereal.51.1.0021.

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Kahn, Sholom J., and Ed Cohen. "Oscar Wilde and His Context." PMLA 103, no. 5 (October 1988): 815. http://dx.doi.org/10.2307/462522.

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North, Michael. "The Picture of Oscar Wilde." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 185–91. http://dx.doi.org/10.1632/pmla.2010.125.1.185.

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If I were to choose a single image to represent the interest and challenge of working with visual materials, I think it would be the rather outlandish bit of kitsch in figure 1 and not a more attractive or impressive example. Part of the appeal for me, I would have to admit, is the visual humor of the situation, for this image of Oscar Wilde appears on a collectible cigar card, one that adult smokers were apparently meant to save, just as young baseball fans now save and cherish the cards of their heroes. In fact, this must have been one of the first such cards, which had only been in use for a few years when it appeared sometime around 1882. The novelty of the enterprise of collectible cards might explain Wilde's unexpected appearance here, where it is surprising to find a literary subject.

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