Reinstating Oscar Wilde within the Literary Canon of Post Modernity: Re-visioning Salome

Simple item page
dc.contributor.authorDr. Mahmoud Arjoon
dc.date.accessioned2017-05-03T09:34:06Z
dc.date.available2017-05-03T09:34:06Z
dc.date.issued2012-05-05
dc.description.abstract<p>Oscar Wilde has always been a paradigm of opposites and contradictoriness and far beyond his literary age as far as his narratology goes. Drawing reflective sustenance from Pater and Ruskin, he moved much beyond the Victorian aesthetics into the fractured dichotomies of post-modernist functionalities and inter-texualities. Be it his first volume of poems (1881) or his first play Vera (1883) or the fairy tales (1888)or his only novel The Picture of Dorian Gray he showed a predilection for varied forms and structures disregarding the usual determinants of generic affiliation. In Salome (1893) Wilde chose to exploit a Biblical legend without dwelling on the Christian nuances and connotations and instills into the story an avant-garde and asocial viewpoint typical of his own bohemian lifestyle recasting and re-visioning the pristine tale into a modernist exposition of repressed psychological desires. The paper proposes to analyze the verbal arabesques of Salome's speeches to investigate her inexorable capacity to fly into surrealistic distortions evincing her own fractured selfhood verging on the mythically demonic, transcending the spatio-temporality of human circumstances, creating an exclusivity of being and becoming.</p>en
dc.description.abstract<p>Oscar Wilde has always been a paradigm of opposites and contradictoriness and far beyond his literary age as far as his narratology goes. Drawing reflective sustenance from Pater and Ruskin, he moved much beyond the Victorian aesthetics into the fractured dichotomies of post-modernist functionalities and inter-texualities. Be it his first volume of poems (1881) or his first play Vera (1883) or the fairy tales (1888)or his only novel The Picture of Dorian Gray he showed a predilection for varied forms and structures disregarding the usual determinants of generic affiliation. In Salome (1893) Wilde chose to exploit a Biblical legend without dwelling on the Christian nuances and connotations and instills into the story an avant-garde and asocial viewpoint typical of his own bohemian lifestyle recasting and re-visioning the pristine tale into a modernist exposition of repressed psychological desires. The paper proposes to analyze the verbal arabesques of Salome's speeches to investigate her inexorable capacity to fly into surrealistic distortions evincing her own fractured selfhood verging on the mythically demonic, transcending the spatio-temporality of human circumstances, creating an exclusivity of being and becoming.</p>ar
dc.identifier.urihttps://hdl.handle.net/20.500.11888/8835
dc.titleReinstating Oscar Wilde within the Literary Canon of Post Modernity: Re-visioning Salomeen
dc.titleReinstating Oscar Wilde within the Literary Canon of Post Modernity: Re-visioning Salomear
dc.typeOther
Files
Original bundle
Now showing 1 - 1 of 1
Thumbnail Image
Name:
reinstating-oscar-wilde-within-literary-canon-post-modernity-re-visioning-salome.pdf
Size:
51.33 KB
Format:
Adobe Portable Document Format
Description:
Download
Collections
1st International Conference on: "Current Academic Research"