As Camp as a Row of Pink Tents: Stephen’s Portrait of Mr W. S. by Samuel Slote

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Lire/voir The Ballad of Reading Gaol d’Oscar Wilde à la lumière de l’expressionnisme by Xavier Giudicelli

Subjects: “…Oscar Wilde…”
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« Leprous literature » : le modèle de la transmission contesté par les théories esthétiques d’Oscar Wilde by Carole Delhorme

“…This paper examines the extent to which Oscar Wilde’s aesthetic theories, as articulated in his critical works collected in Intentions, respond to and challenge this evaluative framework. …”
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“Consummate Too Too”: On the Logic of Iconotexts Satirizing the “Aesthetic Movement” by Anne-Florence Gillard-Estrada

Subjects: “…Oscar Wilde…”
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Salomé, reine d’Angleterre : destins esthétiques de la Salomé d’Oscar Wilde (Aubrey Beardsley, Charles Bryant, Ken Russell) by Tristan Grünberg

“…En 1893, Oscar Wilde publie Salomé, sa première pièce écrite en français. …”
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Two Tombeaux to Oscar Wilde: Jean Cocteau’s Le Portrait surnaturel de Dorian Gray and Raymond Laurent’s essay on Wildean aesthetics, A bilingual presentation of the texts edited and translated by Emily Eells by Richard Hibbitt

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From Dumas fils’s Étrangère to Wilde’s Aventurière: French Theatrical Forerunners of the Wildean Female Dandy by Ignacio Ramos Gay

“…The aim of this paper is to acknowledge the influence of French dramatical stererotypes in Oscar Wilde’s creation of the female dandy. I will particularly focus on two society comedies, Lady Windermere’s Fan (1892) and An Ideal Husband (1895) so as to unearth French female forerunners of his aventurière throughout a series of plays written by boulevard authors such as Victorien Sardou, Emile Augier and Dumas fils. …”
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‘I’m grown a man no doubt, I’ve broken bounds’—Robert Browning Crossing the Limits of Poetry by Jean-Charles Perquin

“…Was it not one of the reasons why Oscar Wilde called him a ‘prose Browning’?…”
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Un opéra français d’après la Salomé de Wilde, l’appropriation d’un drame by Déborah Bonin

“…Evoked and revisited numerous times over the centuries since its origin in the Bible, the story of Salome was approached in a completely innovative way by Oscar Wilde at the end of the nineteenth century. By placing the young Judean princess at the heart of the drama and using, in keeping with other symbolist authors, language resembling a musical dialogue, Wilde’s play inspired a number of musicians including Richard Strauss, Alexandre Glazounov and the French composer, Antoine Mariotte.What were the reasons for Mariotte’s enthusiasm for his English contemporary’s play ? …”
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From Text, to Myth, to Meme: Penny Dreadful and Adaptation by Alison Lee, Frederick D. King

“…Challenging linear and genetic models of adaptation, Penny Dreadful transforms Mary Shelley’s Frankenstein (1818, 1831), Oscar Wilde’s The Picture of Dorian Gray (1890, 1891), and Bram Stoker’s Dracula (1897) into vehicles of cultural transmission: memes that have come to redefine the viewer’s relationship to Victorian literature and culture as a myth of modernity.…”
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The Triptych of Dorian Gray (1890–91): Reading Wilde’s Novel as Three Print Objects by Brett Beasley

“…Oscar Wilde’s novel The Picture of Dorian Gray has the rare distinction of having not only controversial content, but a controversial textual history as well. …”
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An ‘extraordinary change’ in the Climate: The Transformative Power of Impressionism in George Moore’s Art Criticism by Fabienne Gaspari

“…Oscar Wilde’s essay ‘The Decay of Lying’ introduces the idea of the transformative power of Impressionist painting, ‘this extraordinary change that has taken place in the climate of London’. …”
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Conversions to Catholicism among Fin de Siècle Writers: A Spiritual and Literary Genealogy by Claire Masurel-Murray

“…During the last decade of the 19th century, a number of English writers converted to Roman Catholicism: the “Decadent” poets John Gray, Lionel Johnson and Ernest Dowson joined the Church in 1890 and 1891, while Oscar Wilde flirted with the Catholic faith during his college years at Oxford, and received the last sacraments on his deathbed in 1900. …”
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White Magic, Black Humour: Ella D’Arcy’s Narrative Strategies by Heather Marcovitch

“…We see D’Arcy adopting this ironic pose as she tries to keep The Yellow Book on schedule in the aftermath of Oscar Wilde’s arrest, and as she copes with Harland’s regular tantrums and Lane’s indifference. …”
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Embracing and Rejecting the Ruskinian Heritage in Wilde’s Aesthetic Theories by Carole Delhorme

“…This paper aims to assess the influence of Ruskin’s ideas on Oscar Wilde’s aesthetic theories. It examines to what extent Wilde’s aesthetic stance is indebted to the teachings of the Slade Professor, but also why Wilde ultimately disavowed his Ruskinian heritage. …”
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“Le Tétraque se perdait dans un rêve”: Concordance between Flaubert’s Hérodias and Hérodiade by Milliet, Grémont and Massenet by Clair Rowden

“…Attention is focussed on the “Dance of the Seven Veils”, recreated by innumerable dancers and musicians, particularly in the wake of Oscar Wilde’s Salomé (1893), but whom inevitably returned to Flaubert’s description of the dance as a naturalist source of inspiration which Wilde’s symbolist text was lacking. …”
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Furnishing Nature: Textile Materiality and the Victorian Home in Alfred Hayes’s The Vale of Arden and Other Poems (1895) by Stefanie John

“…He contributed to The Yellow Book, collaborated with Richard Le Gallienne and Norman Gale, and was reviewed by Oscar Wilde. The essay investigates the forms and functions of Hayes’s textile references and allusions to Victorian interiors in the collection The Vale of Arden and Other Poems, which was first published by John Lane at The Bodley Head in 1895. …”
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Lounging Men, Standing Women: Pose and Posture in the Aesthetic Interior by Richard W. Hayes

“…Published the year before Oscar Wilde’s The Picture of Dorian Gray, the novel is set, like Wilde’s, in the two most characteristic milieux of British Aestheticism: an artist’s studio and a theatre. …”
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Catholic Church Interiors in Fin-de-Siècle Literature by Claire Masurel-Murray

“…The works of such late-Victorian writers as Lionel Johnson, Ernest Dowson, Theodore Wratislaw, John Oliver Hobbes and Oscar Wilde represent Catholic churches as retreats set apart from the ugliness and mediocrity of Victorian England—religious versions of Des Esseintes’s Fontenay-aux-Roses house in À rebours—filled with incense, organ music, and coloured light filtering through medieval stained-glass windows. …”
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Almas encerradas, cuerpos al desnudo: sexualidad, erotismo y feminidad en la edad victoriana by Luca Tommaso Catullo MacIntyre

“…Moral que fue duramente criticada por algunos de sus contemporáneos, como los escritores Oscar Wilde y Bernard Shaw, que reflejaron en sus obras la mediocridad y la estrechez de miradas de aquella sociedad. …”
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