La cabeza de Juan el Bautista a cambio de una danza erótica: la pieza teatral en un acto de Oscar Wilde que escandalizó a la sociedad victoriana. La presente edición reproduce sin censuras las exquisitas ilustraciones originales de Beardsley.
INDICE: Introduccion. - I. Modernismo/(Post)Modernidad: La estetica ex-centrica de Agustini. - II. Reflejos de Ofelia: El libro blanco (Fragil). -III. Unidad y fragmento en Los calices vacios. Dos poemas previos. - IV. (Auto)Creacion y revisionismo en Los calices vacios. - V. Orfeo desmembrado: Delmira Agustini y la estetica finisecular de la fragmentacion. - VI. De Musa a Medusa: Delmira Agustini y la ambiguedad del cisne. - Conclusion."
This first full-length study of Salome in English since Lawrence Gilman's (1907) moves from historical and literary analysis to critical appraisal and includes a synopsis, bibliography and discography.
Contains all the Aubrey Beardsley drawings and is the English translation undertaken by Lord Alfred Douglas of Wilde's most brilliant tale of passion, which was originally written in French to avoid (unsuccessfully) Victorian censorship. Salome is a simple tale of complex passion. Wilde's heroine bears no resemblance to her biblical origin. His Salome is no mere instrument of Herodias, but a dangerous and passionate young woman whose thwarted affections for John the Baptist lead to a disasterous climax for all persons involved. Wilde's script is a brilliant look at deep-rooted desires and the dangers of obsession. This edition of the play is a must for anyone building their own theatrical library.
'Sisters of Salome' explores how four influential dancers embraced the persona of the femme fatale & transformed the misogynist image of a dangerously sexual woman into a form of personal liberation.
This 1998 book is a study of Oscar Wilde's Salome, a play now regarded as central to his artistic achievement.
Loie Fuller was the most famous American in Europe throughout the late nineteenth and early twentieth centuries. Rising from a small-time vaudeville career in the States, she attained international celebrity as a dancer, inventor, impresario, and one of the first women filmmakers in the world. Fuller befriended royalty and inspired artists such as Mallarmé, Toulouse-Lautrec, Rodin, Sarah Bernhardt, and Isadora Duncan. Today, though, she is remembered mainly as an untutored "pioneer" of modern dance and stage technology, the "electricity fairy" who created a sensation onstage whirling under colored spotlights. But in Rhonda Garelick's Electric Salome, Fuller finally receives her due as a major artist whose work helped lay a foundation for all modernist performance to come. The book demonstrates that Fuller was not a mere entertainer or precursor, but an artist of great psychological, emotional, and sexual expressiveness whose work illuminates the centrality of dance to modernism. Electric Salome places Fuller in the context of classical and modern ballet, Art Nouveau, Orientalism, surrealism, the birth of cinema, American modern dance, and European drama. It offers detailed close...
Salome of the Tenements shocked many critics and writers when first published in 1923, but its author was immediately hailed as a major new talent. A love story of a working-class Salome and her "highborn" John the Baptist, the novel is based on the real-life story of Jewish immigrant Rose Pastor's fairytale romance with the millionaire socialist Graham Stokes. It also reflects Yezierska's own aborted romance with the famous educator John Dewey. Yezierska's passionate but cynical novel poses oppositions such as cultural type/stereotype, passion/reason, and ethnic identity/assimilation, and it resonates powerfully to the contemporary reader.
The daughter of an illustrious Russian general, Lou von Salome left her home in the heart of Tsarist Russia to conquer intellectual Europe at the tender age of 18. Eventually settling in Germany, she became a best-selling novelist, a groundbreaking essayist, and a well-known literary critic. In addition to all this, Salome was a real-life muse for some of the most brilliant men of her time. This biography tells the story of Salome's entire life and career, focusing on her young adulthood; celibate marriage with linguistics scholar Carl Friedrich Andreas; rumored affairs with Friedrich Nietzsche, Rainier Maria Rilke, and several other authors and poets; and her relationship with Sigmund Freud, which was marked most notably by their contrasting views of psychoanalysis.
A study of Oscar Wilde's Salomé in modernist and postmodernist literature and culture
How does literature imagine its own powers of representation? Françoise Meltzer attempts to answer this question by looking at how the portrait—the painted portrait, framed—appears in various literary texts. Alien to the verbal system of the text yet mimetic of the gesture of writing, the textual portrait becomes a telling measure of literature's views on itself, on the politics of representation, and on the power of writing. Meltzer's readings of textual portraits—in the Gospel writers and Huysmans, Virgil and Stendhal, the Old Testament and Apuleius, Hawthorne and Poe, Kafka and Rousseau, Walter Scott and Mme de Lafayette—reveal an interplay of control and subversion: writing attempts to veil the visual and to erase the sensual in favor of "meaning," while portraiture, with its claims to bringing the natural object to "life," resists and eludes such control. Meltzer shows how this tension is indicative of a politics of repression and subversion intrinsic to the very act of representation. Throughout, she raises and illuminates fascinating issues: about the relation of flattery to caricature, the nature of the uncanny, the relation of representation to memory and...
Using a division between substantive and formal law as the key element for understanding the applicable law in papyri, this study offers a new understanding of the distinct parts Roman and local law played in the legal reality of second-century Arabia.
Lou Andrea Salomé est une femme qui a toujours intriguée de par sa capacité à inspirer trois grands hommes: Nietzsche, Rilke et Freud. Lou a été l'amante de Rilke, l'amie intime de Nietzsche et l'élève et la confidente de Freud. Une femme super-muse qui a inspiré ces hommes, relativement méconnus au moment de la relation. Cette fiction dramatique présente les relations de cette femme extraordinaire avec ces trois hommes extraordinaires afin de pouvoir réfléchir sur la nature de la femme et les mécanismes qu’elle utilise, la plupart du temps sans le vouloir ou sans s’en rendre compte, dans le but d’inspirer les hommes avec qui elle entre en contact.
Although the root of the Hebrew name “Salome” is “peaceful”, the image spawned by the most famous woman to carry that name has been anything but peaceful. She and her story have long been linked to the beheading of John the Baptist, as described in the Gospels of Matthew and Mark, since Salome was the supposed catalyst for the prophet’s execution. This history of the myth of Salome describes the process by which that myth was created, the roles that art, literature, theology and music played in that creation, and how Salome’s image as evil varied from one period to another according to the prevailing cultural myths surrounding women. After setting forth the Biblical and historical origins of the Salome story, the book examines the major cultural, literary and artistic works which developed and propagated it, including those by Filippo Lippi, Rogier van der Weyden, Titian, Moreau, Beardsley, Mallarmé, Wilde and Richard Strauss.
This study claims that scholars need to examine all twenty-seven English illustrated editions of Wilde's and Beardsley's Salomë to understand whether Beardsley's compositions do, or do not, illustrate Wilde's words. For the last one hundred years scholars have addressed the aesthetic function of Beardsley's compositions (whether or not Beardsley's compositions illustrate Wilde's words), and each scholar sees something different: Beardsley's compositions are "irrelevant" to Wilde's words; Beardsley's compositions are "relevant" to Wilde's words; Beardsley's compositions are both "irrelevant" and "relevant." What is at issue here is that this traditional dance of signification (scholars' interpretations of the aesthetic function of Beardsley's compositions) relies upon an interpretive strategy that disavows the history of textual transmissions. To put this another way, what scholars "see" depends upon the particular English illustrated edition(s) they read. Beardsley's compositions are physical objects conditioned by a physical setting--i.e., the components of total book design. Yet, for many, the visible appears invisible. The motivation for this study arises from previously...
Es el verano de 1960 y Camila Henríquez Urena, profesora de español jubilándose de la Universidad de Vassar, está empacando sus últimas pertenencias antes de mudarse de su apartamento en Poughkeepsie, Nueva York para unirse a la revolución de Fidel Castro en Cuba. Camila es hija de Salomé Urena, la famosa poetisa dominicana de finales del siglo diecinueve que instigaba revolución con sus apasionados versos, se casó con un presidente y luchó por educar a las niñas de su querida isla. Para Camila su llamado a la revolución es parte de su herencia. Pero Camila también ha heredado la confusión y el dolor del exilio y tiene sólo dos baúles llenos de papeles y efectos personales para iluminar el corazón y la vida de una madre que nunca llegó a conocer de verdad — y así también descubrir su propio ser naciente.
Esta obra colectiva recoge buena parte de las comunicaciones y las ponencias presentadas en el XVII Coloquio de la APFUE, la Asociación de Profesores de Francés de la Universidad Española que ha trocado recientemente su denominación por la de AFUE (Asociación de Francesistas de la Universidad Española); cambio motivado, en opinión –expresada mayoritariamente– de sus miembros, por entender que el término francesistas refleja mejor al conjunto de los universitarios que se dedican a los Estudios Franceses en España, tanto en la docencia como en la investigación. El volumen da cumplida respuesta –aunque dilatada en el tiempo–, dentro del vasto campo de nuestros estudios, al lema que presidió el coloquio: Texte, Genre, Discours. A la hora de organizar las distintas contribuciones, en lugar de ceder a la tentación de ordenarlas alfabéticamente, hemos optado por respetar la distribución en mesas temáticas llevada a cabo en el congreso. Con ello nos atenemos a la coherencia y cohesión exigibles en una edición de esta naturaleza y más, si cabe, con el asunto planteado.
Présente le texte d'O. Wilde, édité pour la première fois il y a 110 ans, avec les illustrations alliant orientalisme et érotisme, de l'un des illustrateurs les plus représentatifs de l'Art nouveau. La version française est imprimée sur fond blanc, et la version anglaise en négatif, sur fond noir.
Oscar Wilde's Salome is an evocation of Biblical horror in which blasphemies abound and which has been banned for most of the last 100 years. Under the Hill tells of great decadence and sexual delinquency.
![Salomé, La Sainte Courtisane [and] A Florentine Tragedy](https://cdn1.descargarlibros.cl/images/libro/salome-la-sainte-courtisane-and-a-florentine-tragedy-id-L7csAQAAMAAJ.webp)
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