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Subverting the Gaze, Seducing with the Bible: A Study of Oscar Wilde's Salomé

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Dąbrowska J., University of Łódź, Justyna Dąbrowska is an MA student of English Philology at the University of Łódź. She completed her BA thesis entitled “‘Neither at things n. a. p. s. o. l. t. G. C. i. O. W. s. S. a. t. D. o. D. a. P. E. L. a. t. U. o. Ł.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
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2014
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vol. 2
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issue 1
EN
The present article engages with the eponymous character of Oscar Wilde’s Salomé and focuses on her subversion of the patriarchal rules, and on her attempts at seducing the prophet Jokanaan. Wilde’s Salomé becomes “an erotic symbol of daring, transgression, and perversity” (Sloan 112). She wants to look at Jokanaan, as well as to be touched by him and openly states her great desire for him, using the imagery taken from the biblical Song of Songs to express her passion. Moreover, the Princess skillfully adopts and reverses the male gaze to manipulate others and go beyond the patriarchal constraints at Herod’s court. She becomes aware that the only way to reach her goals is to look actively and evade being a mere object of the male gaze. The article shows that the imagery employed in the eponymous character’s speeches contributes to her portrayal as a seductress, also accentuating her rebellion, and analyzes how the Princess transgresses the patriarchal constraints through appropriating the male gaze.
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Sztuki pasyjne po irlandzku, czyli kobiety i śmierć u Oskara Wilde’a i Mariny Carr

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O’Keefe K., Dublin City University S. P. s. C. D., Katherine O’Keefe specjalizuje się w literaturze i dramacie Anglii i Irlandii. W 2011 roku uzyskała tytuł doktora na University College Dublin. Obecnie wykłada na uniwersytecie St. Patrick’s College w Drumcondra. W 2012 roku wyróżniona została stypendium badawczym University of Columbia w Los Angeles, katherine@keestone.net
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2014
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vol. 24
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issue 2
EN
A little more than century apart from each other, Oscar Wilde and Marina Carr each took clear inspiration from antiquity to write intensely symbolic drama for their times, featuring powerful female characters with fatal impulses. The article intends to examine resonances between Oscar Wilde’s Salome and The Duchess of Padua and the more recent dramas by Marina Carr. In their complex interactions of desire, guilt, evocations of blood sacrifice, and an impulse towards death, these plays may offer a possibility of transcendence.
3
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Subverting the Gaze, Seducing with the Bible: A Study of Oscar Wilde's Salomé

100%
Dąbrowska J.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
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2014
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vol. 2
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issue 1
9-17
EN
The present article engages with the eponymous character of Oscar Wilde’s “Salomé” and focuses on her subversion of the patriarchal rules, and on her attempts at seducing the prophet Jokanaan. Wilde’s “Salomé” becomes “an erotic symbol of daring, transgression, and perversity” (Sloan 112). She wants to look at Jokanaan, as well as to be touched by him and openly states her great desire for him, using the imagery taken from the biblical “Song of Songs” to express her passion. Moreover, the Princess skillfully adopts and reverses the male gaze to manipulate others and go beyond the patriarchal constraints at Herod’s court. She becomes aware that the only way to reach her goals is to look actively and evade being a mere object of the male gaze. The article shows that the imagery employed in the eponymous character’s speeches contributes to her portrayal as a seductress, also accentuating her rebellion, and analyzes how the Princess transgresses the patriarchal constraints through appropriating the male gaze.
4
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ИСПОВЕДЬ ЭСТЕТА: МАСКИ, ШИФРЫ И ПЕРЕПОРУЧЕННЫЙ ОПЫТ В РОМАНЕ ОСКАРА УАЙЛЬДА ПОРТРЕТ ДОРИАНА ГРЕЯ

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Джумайло О.
Conversatoria Litteraria
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2016
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vol. 10
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issue -
67-80
PL
The paper addresses Oscar Wilde’s The Picture of Dorian Gray and its specific confessional strategy, which is characterized by aestheticization of personal experience. The choice of means is correspondent to intellectual, aesthetic and ethic positions developed by Wilde as a critic in his theoretical works. Confessional Wilde puts forward style, imagination and reinvention of the Self with the help of masks, scripts and allusions to literary and non-literary sources. It is claimed that there are various allusions to Greek life and its cultural reinvestigation in Wilde’s time, and to different aspects of Christian aesthetics and mythology.
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The paradoxical self: duality and ambiguity in the works and lives of Oscar Wilde and Morrissey

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Adamskich K.
Scripta Neophilologica Posnaniensia
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2021
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vol. 21
285-302
EN
Oscar Wilde’s and Morrissey’s lives seem to be full of contradictions. Their art constitutes a reaction against materialism, traditional lifestyle and social standards, as well as defence of individualism and freedom of thought. So far, their works have been analysed only from a very limited perspective of the tension between aesthetics and ethics. Nevertheless, it is worth mentioning that what prevails in their art is the state of ambivalence and ambiguity in relation to the issues connected with religion and morality, innocence and experience, life and death. This article aims at demonstrating multiplicity of personalities of the artists mentioned and ethical ambivalences of their works. Taken together, Wilde and Morrissey’s creative outputs present a clash between different spheres of life, the divided consciousness and the split between body and soul. Thus, the oscillation between opposite standpoints and values excluding each other is not only the result of the artists’ personal experience but it may symbolise the paradox and absurdity of the human existence as well.
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Oscar Wilde’s Renaissance References: Neo-Platonism, Hermeticism and Mannerism

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Budziak A.
Anglica Wratislaviensia
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2015
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issue 53
25 - 33
EN
A standard association of Wilde’s philosophy, of creating art and of living an aesthetic life, is with Hellenism. The Renaissance inspiration has received relatively little attention in the Wilde criticism. If somewhat overlooked by critics, the Renaissance underpinnings of Wilde’s attitudes and beliefs were largely viewed as providing him with a cultural code to explore and legitimise homosexuality. While fully in agreement with the view of Renaissance allusions as a cultural warrant for homosexuality, this paper aims to explore their significance in a different light. Its focus is twofold. It highlights Wilde’s allusions to the Renaissance interweaving of neo-Platonism and Hermeticism. It also stresses his invocations of the aesthetics typical of Italian Mannerists. By foregrounding these two themes, it attempts to demonstrate that, actually, Wilde’s preferences were for the art of the post- rather than of the Pre-Raphaelite period. Renaissance Hermeticism and neo-Platonism served him, as well as other Decadents, in the way they had served Italian Mannerists: by nourishing a belief that the world of artifice was founded on ideal neo-Platonic harmonies and Hermeticist correspondences. This ideal world, in turn, provided artists with a route to escape from the troubling sense of civilisational decadence.
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“Oscillate Wildly”: Morrissey’s art and persona as a continuation of Oscar Wilde’s artistic legacy

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Adamskich K.
Scripta Neophilologica Posnaniensia
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2020
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vol. 20
PL
The works of Oscar Wilde form a link between late Victorian and modernist literature. His art and wit have continued to exert a great influence on other artists. The art of Morrissey, a legendary poet and singer, may serve as a case in point. Thus, this paper aims at presenting Morrissey’s works and persona as a continuation of Oscar Wilde’s artistic legacy. The article presents their attitude to life and to the process of creation. In view of that, breaking with traditional moral code, the artists’ fascination with beauty, their defense of humanity and all possible freedoms, as well as earnestness of their works, is depicted as the key to the analysis of their art. Thus, the writers’ rebellion against society and modern life, along with propounding aestheticism, will be investigated in this paper
8
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Parodic and Post-Classic, British Decadent Aestheticism Re-Approached

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Budziak A.
Anglica. An International Journal of English Studies
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2014
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issue 23/1
83-93
EN
Considering the fact that postmodernism may, from a certain viewpoint, be called “neo-Decadence” and Oscar Wilde a “pre-postmodernist,” this essay approaches the affinity between Decadence and postmodernism in terms of their shared post-classical and parodist condition. Indicating the insufficiency of the romantic/classicist model, and taking as the point of departure Symons’s description of Decadence as the disfiguring of the “classic,” it looks at Decadent subversions through Linda Hutcheon’s twofold parodist paradigm. It shows how Decadence, which is doubly parodist – in the stylistic sense (as in Max Beerbohm) and in social sense (as in Wilde) – subverts its classical heritage, thus, anticipating postmodernist strategies.
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OSCARA WILDE’A WIZJA SOCJALIZMU ESTETYCZNEGO

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Diniejko A.
Zeszyty Naukowe Uczelni Vistula
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2017
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issue 52(1) Filologia
104-121
PL
W artykule omówiono poglądy społeczno-polityczne Oscara Wilde’a wyrażone przez niego w stosunkowo mało znanym eseju politycznym pt. The Soul of Man under Socialism (Dusza ludzka w socjalizmie), opublikowanym w 1891 roku, w którym „król estetów” przedstawia swój dość osobliwy światopogląd socjalistyczny i krytykuje altruizm oraz filantropię jako działania, które nie likwidują nędzy. Z charakterystycznym aforystycznym dowcipem i wdziękiem Wilde snuje swoją wizję socjalizmu estetycznego z perspektywy artysty, a nie filozofa czy ideologa. Twierdzi, że socjalizm zniweluje różnice społeczne i majątkowe oraz doprowadzi do nieznanego w kapitalizmie ożywienia twórczych zdolności artystów, którzy będą realizować swoje cele artystyczne bez obawy ulegania koniunkturalizmowi i komercji. Co sprawia, że esej Wilde’a, mimo że zawiera anachroniczne i skompromitowane przez historię pomysły dotyczące wizji socjalizmu jako idealnego ustroju stołecznego, nadal stanowi interesującą lekturę i jest ciekawym kawałkiem prozy późnowiktoriańskiej wywołującym u czytelnika głębszą refleksję? Próbą odpowiedzi na to pytanie jest niniejszy artykuł.
EN
In his article, the author discussed the Oscar Wilde’s socio-political views expressed by him in a relatively recondite essay entitled The Soul of Man under Socialism, published in 1891, in which the ‘king of aesthetes’ presents his quite a specific socialist ideology and criticises altruism and philanthropy as the measures that do not liquidate poverty. With a characteristic aphoristic with and charm, Wilde spins his vision of aesthetic socialism from the perspective of an artist and not a philosopher or an ideologist. He alleges that socialism will level social and financial differences and will lead to an unknown in capitalism recovery of creative abilities of artists who will be accomplishing their artistic objectives free of the threat of being subjective to opportunism and commerce. What causes that the Wilde’s essay, despite it contains the outdated and compromised by the history ideas concerning the vision of socialism as an ideal social system, still is an interesting reading and is an interesting piece of the late Victorian prose evoking a deeper reflection of the reader? This article is an attempt to answer this question.
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Subjectivity in (Re)Translation: The Case of Oscar Wilde’s Tales in Romanian

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Hăisan D.
Lublin Studies in Modern Languages and Literature
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2020
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vol. 44
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issue 1
DE
Der Artikel enthält das Abstract auschließlich in englischer Sprache.
EN
Based on a corpus of nine tales by Oscar Wilde (making up the two well-known volumes: The Happy Prince and Other Stories, 1888, and A House of Pomegranates, 1891), along with nine Romanian versions of these texts, the present article aims at reflecting on the linguo-semantic expression of emotion (with a focus on subjective adjectives like little, big, poor etc.), as well as making an inventory of the compensation strategies used by translators, taking into account the fact that most Romanian versions are addressed to children, and also that translation criticism, just like translating itself, is a matter of instinct, taste, affinity, finally emotion.
FR
L'article contient uniquement le résumé en anglais.
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