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Salome de Oscar Wilde

Salome

Autor Oscar Wilde Editat de The Perfect Library
en Limba Engleză Paperback

Adresată studenților la litere, cercetătorilor curentului decadentist și practicienilor din artele spectacolului, această ediție a piesei Salome oferă o perspectivă lingvistică radicală asupra uneia dintre cele mai controversate lucrări semnate de Oscar Wilde. Considerăm că principala valoare a acestui volum rezidă în traducerea semnată de Joseph Donohue, care reușește să înlocuiască limbajul biblic artificial al versiunilor clasice cu o engleză americană directă și modernă. Această abordare elimină distanța auto-impusă de traducerile victoriene, aducând cititorul într-o confruntare brutală cu temele erotismului și ale violenței ritualice.

Structura volumului este una academică, dar accesibilă. Dincolo de textul piesei, reținem prezența unui aparat critic impresionant în Appendix A, unde sunt explorate sursele literare care l-au influențat pe Wilde, de la Flaubert la Mallarmé. Această ediție funcționează ca o alternativă necesară la Salomé (versiunea standard), fiind ideală pentru cursurile de dramaturgie universală prin avantajul adus de integrarea contextului vizual; gravurile lui Barry Moser și istoria iconografică (Moreau, Beardsley) oferă o experiență senzorială completă.

Poziționată în opera autorului, Salome reprezintă experimentul său cel mai îndrăzneț, îndepărtându-se de comediile de moravuri precum Plays of Oscar Wilde pentru a explora simbolismul întunecat. Dacă în The Picture of Dorian Gray Wilde analiza decadența prin proză, aici el distilează obsesia pentru frumusețe și moarte într-o formă dramatică fixă, oferind o viziune asupra unei lumi aflate la pragul unei noi ordini spirituale.

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Specificații

ISBN-13: 9781523225071
ISBN-10: 1523225076
Pagini: 48
Dimensiuni: 152 x 229 x 3 mm
Greutate: 0.08 kg
Editura: CreateSpace Independent Publishing Platform

De ce să citești această carte

Recomandăm această ediție pentru oricine dorește să descopere piesa Salome dincolo de clișeele victoriene. Cititorul câștigă o înțelegere profundă a intertextualității modernismului internațional, susținută de bibliografia extinsă și ilustrațiile contemporane ale lui Barry Moser. Este un instrument esențial pentru studiu, dar și o piesă de colecție datorită esteticii grafice deosebite, oferind o lectură fluidă printr-o traducere care sună natural urechii moderne.

Despre autor

Oscar Wilde (1854–1900) a fost un dramaturg, poet și romancier irlandez, figură centrală a mișcării estetice. Educat la Trinity College Dublin și Oxford, Wilde a devenit celebru pentru spiritul său caustic și stilul de viață extravagant. Deși este recunoscut la nivel mondial pentru capodopera The Picture of Dorian Gray și pentru comediile sale de salon, piesa Salome, scrisă inițial în franceză, demonstrează versatilitatea sa lingvistică și afinitatea pentru simbolismul european. Cariera sa strălucitoare a fost întreruptă de procesele răsunătoare și condamnarea pentru „indecență gravă”, Wilde rămânând până astăzi un simbol al libertății artistice și al luptei împotriva prejudecăților sociale.

Descriere scurtă

"Salome" from Oscar Wilde. Irish playwright, novelist, poet, and author of short stories (1854-1900)."

Descriere

Descriere de la o altă ediție sau format:
Salome is Oscar Wilde’s most experimental—and controversial—play. In its own time, the play, written in French, was described by a reviewer as “an arrangement in blood and ferocity, morbid, bizarre, repulsive.” None, however, could deny the importance of Wilde’s creation. Contemporary audiences and reviewers variously regarded Salome as the symbol of a thrilling modernity, a challenge to patriarchy, a confession of desire, a sign of moral decay, a new form of art, and a revolt against the restraints of Victorian society. Less well known than Wilde’s beloved comedies, Salome is as enduringly modern and relevant.
This edition uses the English translation done by Wilde’s lover, Lord Alfred Douglas, and overseen and corrected by Wilde himself. Appendices detail the play’s sources and provide extensive materials on its contemporary reception and dramatic productions.

Recenzii

Salome is Oscar Wilde’s most experimental—and controversial—play. In its own time, the play, written in French, was described by a reviewer as “an arrangement in blood and ferocity, morbid, bizarre, repulsive.” None, however, could deny the importance of Wilde’s creation. Contemporary audiences and reviewers variously regarded Salome as the symbol of a thrilling modernity, a challenge to patriarchy, a confession of desire, a sign of moral decay, a new form of art, and a revolt against the restraints of Victorian society. Less well known than Wilde’s beloved comedies, Salome is as enduringly modern and relevant.
This edition uses the English translation done by Wilde’s lover, Lord Alfred Douglas, and overseen and corrected by Wilde himself. Appendices detail the play’s sources and provide extensive materials on its contemporary reception and dramatic productions.

“Salome illuminated! This edition presents Salome as a formally complex, richly intertextual, and generative phenomenon of international modernism. Kimberly Stern sets a superbly annotated text between an extensive introduction and several appendices documenting the play’s literary, cultural, and visual sources, its reception, and its translation, illustration, and performance histories. The edition offers copious source materials to augment the text, some requisite and some unexpected. Stern’s adept and unprecedented selection of contextual sources enhances the powerful and recurrent fascination of a play that has continuously spawned adaptations as well as controversy. This is where all students of Salome should start.” — Heidi Hartwig, Central Connecticut State University

Cuprins

Acknowledgements
Introduction
Oscar Wilde: A Brief Chronology
A Note on the Text
Salome
Appendix A: Sources
  1. Matthew 14:1-12, The Bible: Authorized King James Versionwith Apocrypha (2008)
  2. “Descent of the Goddess Ishtar into the Lower World,”The Sacred Books and Early Literature of the East (1917)
  3. From Heinrich Heine, Atta Troll (1843)
  4. From J.C. Heywood, Herodias: A Dramatic Poem (1867)
  5. From Oscar Wilde, “Review of J.C. Heywood’s Salome,”Pall Mall Gazette (15 February 1888)
  6. From Stéphane Mallarmé, “La scéne: Nourrice—Hérodiade”(1864-67)
  7. From Gustave Flaubert, “Hérodias” (1877)
  8. William Wilde, “Salome” (1878)
  9. From Joris-Karl Huysmans, Á Rebours (1884)
  10. From Maurice Maeterlinck, La Princesse Maleine (1889)
Appendix B: A Visual History
  1. Gustave Moreau, “The Apparition” (1876)
  2. Aubrey Beardsley, Design for the Title Page to the English Edition of Salome (1894)
  3. Aubrey Beardsley, Final Design for the Title Page (1894)
  4. Aubrey Beardsley, “The Woman in the Moon” (1894)
  5. Aubrey Beardsley, “The Climax” (1894)
Appendix C: Contemporary Responses
  1. From Edgar Saltus, Oscar Wilde: An Idler’s Impression (1917)
  2. Pierre Louÿs, “Salomé: à Oscar W.” (30 June 1892)
  3. Letter from Oscar Wilde to Richard Le Gallienne (22/23 February 1893)
  4. From a Letter from Bernard Shaw to Oscar Wilde (28 February 1893)
  5. From a Letter from Max Beerbohm to Reginald Turner (February 1893)
  6. From “Salomé,” The Times (23 February 1893)
  7. From a Review of Salomé, Pall Mall Gazette (27 February 1893)
  8. Letter from Stéphane Mallarmé to Oscar Wilde (March 1893)
  9. From William Archer, “Mr. Oscar Wilde’s New Play,”Black and White (11 May 1893)
  10. From Lord Alfred Douglas, “Salomé: A Critical Overview,” The Spirit Lamp (1893)
Appendix D: Translation History
  1. Letter from Lord Alfred Douglas to John Lane (30 September 1893)
  2. From a Letter from Lord Alfred Douglas to John Lane (16 November 1893)
  3. From a Letter from Oscar Wilde to Lord Alfred Douglas (January-March 1897)
  4. From a Letter from Robert Ross to Frank Harris (undated)
  5. From Lord Alfred Douglas, Autobiography (1929)
  6. Translation Chart
Appendix E: Performance History
  1. From Charles Ricketts, Self-Portrait (1939)
  2. From Graham Robertson, Time Was (1931)
  3. Photograph of Sarah Bernhardt in Costume as Salome (1891)
  4. From a Letter from Oscar Wilde to William Rothenstein (July 1892)
  5. “Mr. Oscar Wilde on Salome,” The Times (2 March 1893)
  6. From Oscar Wilde, “The Censure and Salome,” Pall Mall Budget (30 June 1892)
  7. Bernard Partridge, “A Wilde Idea,” Punch Magazine (9 July 1892)
  8. From a Letter from Max Beerbohm to Reginald Turner (June 1892)
  9. Oscar Wilde, “Plan de la scene” (1891)
  10. From M.J. du Tillet, “Théâtres” [review of the Paris premiere of Salome], Revue bleue politique et littéraire (1896)
  11. From Jean de Tinan, “Théâtre de l’oeuvre: Salomé” [review of the Paris premiere], Mercure de France (March 1896)
  12. From “Salome,” The Saturday Review (13 May 1905)
  13. Photograph of Alice Guszalewicz in Costume as Salome (c. 1910)
  14. “The Cult of the Clitoris,” The Vigilante (16 February 1918)
  15. From the Verbatim Report of the Trial of Noel Pemberton Billington, MP, on a Charge of Criminal Libel (1918)
Select Bibliography

Notă biografică

Oscar Fingal O'Flahertie Wills Wilde (1854 - 1900) was an Irish playwright, novelist, essayist and poet. After writing in different forms throughout the 1880s, he became one of London's most popular playwrights in the early 1890s. He is remembered for his epigrams, his novel The Picture of Dorian Gray, his plays, as well as the circumstances of his imprisonment and early death. Wilde's parents were successful Anglo-Irish Dublin intellectuals. Their son became fluent in French and German early in life. At university, Wilde read Greats; he proved himself to be an outstanding classicist, first at Dublin, then at Oxford. He became known for his involvement in the rising philosophy of aestheticism, led by two of his tutors, Walter Pater and John Ruskin. After university, Wilde moved to London into fashionable cultural and social circles. As a spokesman for aestheticism, he tried his hand at various literary activities: he published a book of poems, lectured in the United States and Canada on the new "English Renaissance in Art" and then returned to London where he worked prolifically as a journalist. Known for his biting wit, flamboyant dress and glittering conversation, Wilde became one of the best-known personalities of his day.