Thesis (Ph. D.)--University of Wisconsin--Madison, 1973. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Giessen, University, Diss., 2001.

Thesis (M. Phil.)--University of Hong Kong, 2000. / Includes bibliographical references (leaves 254-264).

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).

Diss.--Zurich. / Bibliography: p. 135.

Thesis (M. Phil.)--University of Hong Kong, 1999. / Includes bibliographical references (leaves 152-165).

Inaug.-Diss.--Bonn. / Lebenslauf. "Kommt hier nur ein Teil der Eingerichten Arbeit zum Abdruck. Die ganze Arbeit Wird unter dem Titel: 'Walter Pater's Einfluss auf Oscar Wilde' in den 'Bonner Studien zur englischen Philologie' erscheinen." Cf. Clark, W.A. Wilde and Wildeiana. 1922-31. v. 5, p. 45-56. "Verzeichnis der Benutzten Literatur": p. [29].

Thesis (Ph. D.)--University of Wisconsin--Madison, 1975. / Typescript. Vita. Description based on print version record. Includes bibliographical references (leaves 321-331).

This study analyzes the themes of victimization and self-sacrifice as they appear in the life and works of Oscar Wilde. "Victimization" is defined as an instance in which one character disregards, damages, or destroys another's well-being; "self-sacrifice" is an instance in which one character acts to his own detriment in order to help another or through dedication to a cause or belief. Chapter I discusses the way in which these concepts affected Wilde's personal life. Chapters II-VI discuss their inclusion in his romantic/decadent dramas, social comedies, various stories and tales, novel, and final poem; and Chapter VII concludes by demonstrating the overall tone of charitable morality that these two themes create in Wilde's work as a whole.

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.