Masturbation and same-sex desire in Teleny
Diane Mason

First published in 1893, Teleny, or The Reverse of the Medal , the classic erotic novel of homosexual love, is, perhaps, today best known for its alleged associations with Oscar Wilde. Indeed, authorship of the 1986 Gay Men’s Press edition is explicitly attributed to ‘Oscar Wilde and others’. 1 Critical speculation and emphasis on the enigma of its production has, however, resulted in a critical tendency to concentrate on Teleny ’s relationship to Wilde’s wider literary output and cultural (or, alternately, subcultural) milieu. On the

in The secret vice
Conflicting signifiers of vice in The Picture of Dorian Gray and The Mystery of Edwin Drood
Diane Mason

‘Mad Hungers’: Dorian Gray and drug addiction In his 1999 book A Geography of Victorian Gothic Fiction: Mapping History’s Nightmares , Robert Mighall examines the way in which Oscar Wilde utilises ‘physiognomical codes for sensational and narrative effects’ in The Picture of Dorian Gray (1890). 1 Drawing on Victorian medical discourse as a basis for his reading, Mighall suggests that the symptomatology of ‘onanism can be considered a likely candidate for an imaginative model’ in the construction of Wilde

in The secret vice
Lyly, euphuism and a history of non-reading (1632–1905)
Andy Kesson

supposedly unnatural, corrupting rhetoric, though not yet in the name of euphuism. The third part of the chapter shows how an 1820 novel helped euphuism to displace Lyly himself, to stand for the writer whilst also encompassing something much bigger. The final section examines the association of Walter Pater and Oscar Wilde with euphuism at the end of the nineteenth century and shows how the

in John Lyly and Early Modern Authorship
Sarah Annes Brown

uncanny traditions he is tapping into enhances the effective ambiguities attendant on James’s fall. This is yet another example of the uncanny – like allusion – benefiting from understatement. We have already seen a confusion between suicide and Doppelgänger murder in both of Hogg’s tales, and in several other texts, including Edgar Allan Poe’s ‘William Wilson’ (1839) and Oscar Wilde’s The Picture

in A familiar compound ghost
Undead aesthetics and mechanical reproduction – Dorian Gray, Dracula and David Reed’s ‘vampire painting’
Sam George

vampire in works of art, both real and imagined, beginning with the writings of Oscar Wilde. There is a passage in ‘The Critic as Artist’ ( 1891 ) where Wilde imagines the Mona Lisa as a vampire, following its description in Pater: 37 Mr Pater has put into the portrait of the Monna Lisa [ sic ] something that Lionardo [ sic

in Open Graves, Open Minds
Open Access (free)
The Admirable Crichton and Look Back in Anger
Stephen Lacey

historical period, Oscar Wilde’s The Importance of Being Earnest (directed by Anthony Asquith in 1952). The Admirable Crichton does not signify ‘theatre’ in the way that Asquith’s film does in its opening sequence, but it offers an interesting intertextual reference to one of Wilde’s most famous characters. In Barrie’s play, Lady Brockenhurst, Mary’s prospective mother-in-law, appears only in the last

in British cinema of the 1950s
Swinburne’s journalism 1857–75
Laurel Brake

production, and reproduces it largely as originally published; in 1877 he denounces it to Thomas Purnell, editor of the Tatler, while allowing him to publish A Year’s Letters in his weekly Swinburne’s diverse responses resemble those of other late Victorian writers including Matthew Arnold, Henry James, and Oscar Wilde who valued and denounced the press while persisting in writing for it. Typical too

in Algernon Charles Swinburne
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Author: Tom Ryall

This is a comprehensive critical study of Anthony Asquith. The author sets the director's work in the context of British cinema from the silent period to the 1960s, and examines the artistic and cultural influences within which his films can be understood. Asquith's silent films were compared favourably to those of his eminent contemporary Alfred Hitchcock, but his career faltered during the 1930s. However, the success of Pygmalion (1938) and French Without Tears (1939), based on plays by George Bernard Shaw and Terence Rattigan respectively, together with his significant contributions to wartime British cinema, re-established him as one of Britain's leading film makers. Asquith's post-war career includes several pictures in collaboration with Rattigan, and the definitive adaptation of Oscar Wilde's The Importance of Being Earnest (1951), but his versatility is demonstrated effectively in a number of modest genre films including The Woman in Question (1950), The Young Lovers (1954) and Orders to Kill (1958).

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Masturbation in Victorian fiction and medical culture
Author: Diane Mason

This book provides a reading of both fictional and medical writings concerned with auto-erotic sexuality in the long nineteenth century. It examines the discourse on masturbation in medical works by influential English, Continental and American practitioners such as J. H. Kellogg, E. B. Foote, Havelock Ellis, Krafft-Ebing and R. V. Pierce, as well as a number of anonymously authored texts popular in the period. The book demonstrates the influence and impact of these writings, not only on the underworld literatures of Victorian pornography but also in the creation of well-known characters by authors now regarded as canonical including Dean Farrar, J. S. Le Fanu, Charles Dickens, Oscar Wilde and Bram Stoker. It is not merely a consideration of the male masturbator however: it presents a study of the largely overlooked literature on female masturbation in both clinical and popular medical works aimed at the female reader, as well as in fiction. The book concludes with a consideration of the way the distinctly Victorian discourse on masturbation has persisted into the late-twentieth and twenty-first centuries with particular reference to Willy Russell's tragic-comic novel, The Wrong Boy (2000) and to the construction of ‘Victorian Dad’, a character featured in the adult comic, Viz.

Tom Ryall

This chapter sheds light on the post-war British film industry and the turn Asquith's career took during these times. He was well established as one of the British cinema's leading directors on the basis of a diverse output: the middlebrow drama adaptations of Shaw and Rattigan, lowbrow genre films including a comedy thriller and a costume melodrama, patriotic war pictures and documentary dramas. Asquith resumed his directing career with While the Sun Shines (1947), and his next film, The Winslow Boy (1948), was a Rattigan adaptation in which he corraborated with Korda's revived London Films and British Lion. The Importance of Being Earnest, a version of Oscar Wilde's famous play from the 1890s, was his first film in colour. Asquith's genre exercises from the early 1950s, though containing much of interest – innovatory narrative structures, imaginative mise-enscène, lyricism, and poetry, the radical ideological questioning of war – remain little-known films on the periphery of the mainstream British cinema of the time.

in Anthony Asquith