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That there is a queeras opposed to merely homosexualhistory before Oscar Wilde will come as news to many in the sexuality studies field. Oscar Wilde Prefigured. It turns out that there is indeed a history of queerness, and that is originated in the early 18th century, coming to a head, as it were, by the end of the 19th. Dominic Janes draws on lots of new historical material, especially parodies and stereotypes in caricatures of sodomy and effeminacy. Front and center, then, are the 18th-century macaronies and mollies and men of feeling, the Regency dandies, and Victorian aesthetes. Visual display become a powerful historical tableau, generating a long history of queerness/homosexuality via caricatures of allegedly effeminate types. Images of effeminacy became a cultural field in which same-sex desire could be expressed. Wilde, then, was not the starting-point of public gay figures, but the endpoint. Wilde, in turn, is the pivot for connecting the Georgian figures to 20th-century stereotypes of camp (think Liberace), using images drawn from theater, fashion, and popular press to reveal new dimensions of identity politics and queer culture."
De Profundis (Latin: "from the depths") is a letter written by Oscar Wilde during his imprisonment in Reading Gaol, to "Bosie" (Lord Alfred Douglas).In its first half Wilde recounts their previous relationship and extravagant lifestyle which eventually led to Wilde's conviction and imprisonment for gross indecency. He indicts both Lord Alfred's vanity and his own weakness in acceding to those wishes. In the second half, Wilde charts his spiritual development in prison and identification with Jesus Christ, whom he characterises as a romantic, individualist artist. The letter began "Dear Bosie" and ended "Your Affectionate Friend".Wilde wrote the letter between January and March 1897, close to the end of his imprisonment. Contact had lapsed between Douglas and Wilde and the latter had suffered from his close supervision, physical labour and emotional isolation. Nelson, the new prison governor, thought that writing might be more cathartic than prison labour. He was not allowed to send the long letter which he was allowed to write "for medicinal purposes"; each page was taken away when completed, and only at the end could he read it over and make revisions. Nelson gave the long letter to him on his release on 18 May 1897.Wilde entrusted the manuscript to the journalist Robert Ross (another former lover, loyal friend and rival to "Bosie"). Ross published the letter in 1905, five years after Wilde's death, giving it the title "De Profundis" from Psalm 130. It was an incomplete version, excised of its autobiographical elements and references to the Queensberry family; various editions gave more text until in 1962 the complete and correct version appeared in a volume of Wilde's letters.
Concise and illuminating articles explore Oscar Wilde's life and work in the context of the turbulent landscape of his time.
Leyendecker and Georgia O'Keeffe, the Metropolitan Museum of Art and Pepsi-Cola, the avant garde and the Famous Artists Schools, Inc.
The family that wrote itself -- Sensation! -- Wooing mother -- Bringing up the subject -- Fifty ways to say I hate my father -- Tell the truth, my boy -- A map of biographical urges -- To write a life -- Women in love -- Graphomania -- Being queer -- What's in a name? -- Though wholly pure and good -- He never married -- All London is agog -- Carnal affections -- Be a man, my boy -- "It's not unusual . . ." -- The god of our fathers -- It will be worth dying -- The deeper self that can't decide -- Our father -- Secret history -- Writing the history of the church -- Building history -- Forms of worship -- Capturing the Bensons -- Not I
French symbolist artist Odilon Redon (1840–1916) seemed to thrive at the intersection of literature and art. Known as “the painter-writer,” he drew on the works of Poe, Baudelaire, Flaubert, and Mallarmé for his subject matter. And yet he concluded that visual art has nothing to do with literature. Examining this apparent contradiction, The Brush and the Pen transforms the way we understand Redon’s career and brings to life the interaction between writers and artists in fin-de-siècle Paris. Dario Gamboni tracks Redon’s evolution from collaboration with the writers of symbolism and decadence to a defense of the autonomy of the visual arts. He argues that Redon’s conversion was the symptom of a mounting crisis in the relationship between artists and writers, provoked at the turn of the century by the growing power of art criticism that foreshadowed the modernist separation of the arts into intractable fields. In addition to being a distinguished study of this provocative artist, The Brush and the Pen offers a critical reappraisal of the interaction of art, writing, criticism, and government institutions in late nineteenth-century France.
Explores the life of Toulouse-Lautrec, his involvement "in a secret community of anarchist revolutionaries," his loyalty to Oscar Wilde, and his alliance to such outspoken social critics as Félix Fénéon.--Jacket.
Beginning in 1611 with the King James Bible and ending in 2014 with Elizabeth Kolbert's 'The Sixth Extinction', this extraordinary voyage through the written treasures of our culture examines universally-acclaimed classics such as Pepys' 'Diaries', Charles Darwin's 'The Origin of Species', Stephen Hawking's 'A Brief History of Time' and a whole host of additional works --
Gothic Architecture and Sexuality in the Circle of Horace Walpole shows that the Gothic style in architecture and the decorative arts and the tradition of medievalist research associated with Horace Walpole (1717–1797) and his circle cannot be understood independently of their own homoerotic culture. Centered around Walpole’s Gothic villa at Strawberry Hill in Twickenham, Walpole and his “Strawberry Committee” of male friends, designers, and dilettantes invigorated an extraordinary new mode of Gothic design and disseminated it in their own commissions at Old Windsor and Donnington Grove in Berkshire, Lee Priory in Kent, the Vyne in Hampshire, and other sites. Matthew M. Reeve argues that the new “third sex” of homoerotically inclined men and the new “modern styles” that they promoted—including the Gothic style and chinoiserie—were interrelated movements that shaped English modernity. The Gothic style offered the possibility of an alternate aesthetic and gendered order, a queer reversal of the dominant Palladian style of the period. Many of the houses built by Walpole and his circle were understood by commentators to be manifestations of a new queer aesthetic, and in describing them they offered the earliest critiques of what would be called a “queer architecture.” Exposing the role of sexual coteries in the shaping of eighteenth-century English architecture, this book offers a profound and eloquent revision to our understanding of the origins of the Gothic Revival and to medievalism itself. It will be welcomed by architectural historians as well as scholars of medievalism and specialists in queer studies.
Vilified by fellow Victorians for his sexuality and his dandyism, Oscar Wilde, the great poet, satirist and playwright, is hailed today, in some circles, as a progressive sexual liberator. But this image is not how Wilde saw himself. Joseph Pearce's biography strips away pretensions to show the real man, his aspirations and desires. It uncovers how he was broken by his prison sentence; it probes the deeper thinking behind masterpieces such as The Picture of Dorian Gray and De Profundis; and it traces his fascination with Catholicism through to his eleventh-hour conversion. Pearce removes the masks and reveals the Wilde beneath the surface. He has written a profound, wide-ranging study with many original insights on a great literary figure.