Spelling suggestions: "subject:"wilde, oscar , 1854c1900"" "subject:"wilde, oscar , 185411900""
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LES TRADUCTIONS FRANCAISES DE THE PICTURE OF DORIAN GRAY D'OSCAR WILDE /GAMMEL, JEAN-PHILIPPE. Lautel, Alain January 1997 (has links) (PDF)
Thèse de doctorat : ETUDES ANGLAISES : Metz : 1997. / 1997METZ015L. 396 ref.
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Performing that-which-will-become posthuman and queer bodies in the works of Heinrich von Kleist and Oscar WildeNorman, Douglas Everett 28 August 2008 (has links)
Not available / text
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Epicurean aestheticism: De Quincey, Pater, Wilde, StoppardEmilsson, Wilhelm 11 1900 (has links)
This is a study of what I argue is a neglected side of Aestheticism. A standard definition of
Aestheticism is that its practitioners turn away from the general current of modernity to
protest its utilitarian and materialistic values, but this generalization ignores the profound
influence of contemporary philosophical and scientific thought on such major figures of
British Aestheticism as Walter Pater and Oscar Wilde. This study focuses on Aesthetes
who are not in flight from modernity. I call their type of Aestheticism "Epicurean
Aestheticism" and argue that since this temperament is characterized by a willingness to
engage with the flux of modern times it must be distinguished from the more familiar,
escapist form of Aestheticism I call "Platonic Aestheticism." I propose that Aestheticism
be viewed as a spectrum with Epicurean Aestheticism on one side and the Platonic variety
on the other. While Platonic Aesthetes like W. B . Yeats and Stephane Mallarme continue
the Romantic project of trying to counter modernity with various idealist and absolutist
philosophies, Epicurean Aesthetes adopt materialist and relativistic strategies in their
desire to make the most of modern life. I argue that the first unmistakable signs of
Epicurean Aestheticism are to be found in Thomas De Quincey, that the sensibility is fully
formulated be Pater, continued by Wilde, and finds a current representative in Tom
Stoppard. All Aesthetes are dedicated to the pursuit of beauty, but Platonic Aesthetes seek
beauty in an eternal and transcendent realm, while Epicurean Aesthetes have given up such
absolutist habits of thought. Pater writes: "Modern thought is distinguished from ancient
by its cultivation of the "relative" spirit in place of the "absolute." Epicurean Aesthetes
want a new aesthetic that will parallel the paradigm shift from absolutism to relativism.
While a nostalgic, quasi-religious longing for a purely ideal realm characterizes Platonic
Aesthetes, Epicurean Aesthetes accept that the high, idealistic road to eternal beauty is
closed. Instead of lamenting this fact, they start looking for beauty among the uncertainties
of the phenomenal world: by viewing life as an aesthetic spectacle to be observed and
experimented on with playful detachment they become Epicureans of the flux of
modernity.
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Walter Pater, Oscar Wilde, and audiences of aestheticismMacLeod, Kirsten. January 1997 (has links)
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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Wilde's decorative arts : a study of painting, clothing, and home décor in the writings of Oscar WildeBellon, Liana January 2003 (has links)
This project explores Oscar Wilde's work on painting, the art of dress, and home decor, referred to collectively in his lectures as the 'decorative arts.' While it has become commonplace to assert that Wilde's plays and essays subvert the status quo, few scholars have studied Wilde's work on the decorative arts to substantiate his status as a writer arguing for social and political change. Through an analysis of Wilde's North American lecture tour and his editorship of The Woman's World, as well as his approach to painting, clothing, and home decor in his more well-known work, I argue that Wilde conceives of the decorative arts as a means of expressing and inciting dissatisfaction with the social and political realities of Victorian England. / As I show, Wilde subtly presents avant-garde art, sartorial details, and home decor items as functional ornaments. The formal elements of a painting foster receptivity and, by extension, sensitivity and compassion. Unconventional attire functions as a visual symbol of discontent with social and physical conformity. In light of Wilde's published support of women's emancipation, his writings on home decor imply that the well-decorated house, rather than the Victorian wife, should be responsible for creating domestic harmony. / Wilde's penchant for the decorative arts has long remained the domain of anecdote; the following study instead positions Wilde's interest in the decorative arts as a defining, and insightful, aspect of his oeuvre .
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The picture of Dorian Gray and Celtic magicUpchurch, David A. January 1977 (has links)
This thesis has explored Irish influences on the author of The Picture of Dorian Gray, Oscar Wilde. The study explored early family and peer influences on the author and has traced his Irish roots to reveal a knowledge of Irish folk lore which is apparent in this novel.In addition, the thesis has analyzed the novel with respect to characteristics of Irish folk lore which are called, in this study, Celtic magic. The paper also has presented the case that Oscar Wilde should be placed with Anglo-Irish writers instead of British authors.
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Epicurean aestheticism: De Quincey, Pater, Wilde, StoppardEmilsson, Wilhelm 11 1900 (has links)
This is a study of what I argue is a neglected side of Aestheticism. A standard definition of
Aestheticism is that its practitioners turn away from the general current of modernity to
protest its utilitarian and materialistic values, but this generalization ignores the profound
influence of contemporary philosophical and scientific thought on such major figures of
British Aestheticism as Walter Pater and Oscar Wilde. This study focuses on Aesthetes
who are not in flight from modernity. I call their type of Aestheticism "Epicurean
Aestheticism" and argue that since this temperament is characterized by a willingness to
engage with the flux of modern times it must be distinguished from the more familiar,
escapist form of Aestheticism I call "Platonic Aestheticism." I propose that Aestheticism
be viewed as a spectrum with Epicurean Aestheticism on one side and the Platonic variety
on the other. While Platonic Aesthetes like W. B . Yeats and Stephane Mallarme continue
the Romantic project of trying to counter modernity with various idealist and absolutist
philosophies, Epicurean Aesthetes adopt materialist and relativistic strategies in their
desire to make the most of modern life. I argue that the first unmistakable signs of
Epicurean Aestheticism are to be found in Thomas De Quincey, that the sensibility is fully
formulated be Pater, continued by Wilde, and finds a current representative in Tom
Stoppard. All Aesthetes are dedicated to the pursuit of beauty, but Platonic Aesthetes seek
beauty in an eternal and transcendent realm, while Epicurean Aesthetes have given up such
absolutist habits of thought. Pater writes: "Modern thought is distinguished from ancient
by its cultivation of the "relative" spirit in place of the "absolute." Epicurean Aesthetes
want a new aesthetic that will parallel the paradigm shift from absolutism to relativism.
While a nostalgic, quasi-religious longing for a purely ideal realm characterizes Platonic
Aesthetes, Epicurean Aesthetes accept that the high, idealistic road to eternal beauty is
closed. Instead of lamenting this fact, they start looking for beauty among the uncertainties
of the phenomenal world: by viewing life as an aesthetic spectacle to be observed and
experimented on with playful detachment they become Epicureans of the flux of
modernity. / Arts, Faculty of / English, Department of / Graduate
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Wilde's decorative arts : a study of painting, clothing, and home décor in the writings of Oscar WildeBellon, Liana January 2003 (has links)
No description available.
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Walter Pater, Oscar Wilde, and audiences of aestheticismMacLeod, Kirsten. January 1997 (has links)
No description available.
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`The love that dare not speak its name' in the works of Oscar WildeGrewar, Debra Suzanne 30 November 2005 (has links)
Victorian society had strict written and unwritten laws about what was permissible in terms of personal relationships. Anglican patriarchal church values governed behaviour between the classes and enforced codes of conduct on gender related boundaries of private individuals. Society subscribed to the traditional family of man, woman and children in the context of marriage. Homosexuality amongst men was punishable by prison. Government and religion preached Christian morality, yet the number of prostitutes had never been greater. This dissertation explores the problems of a pro-homosexual and anti-establishment Victorian author writing about human relationships forbidden by society. It exposes the consequences suffered by Oscar Wilde due to his investigative insights into the `Other' in the context of individual rights of preference in regard to sexual orientation, as expressed in selected texts, and his resolution of conflict, in De Profundis. / English Studies / MA (English)
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