Liberalism and liberalisation in the niche of nature, culture, and technology
Regenia Gagnier

Oscar Wilde’s ‘The Soul of Man Under Socialism’ (1982 [1891]), an essay that was often taken lightly in London (and subsequently in Victorian Studies) but circulated widely throughout the Communist world. Wilde had argued in characteristically brilliant fashion that in order for individualism to flourish, society would first have to institute a level playing field through socialist redistribution. Only from an initial basis of equality would people then be able to develop in accordance with their different and unique

in Interventions
Frankenstein’s queer Gothic
Mair Rigby

centre. In 1897, having been released from his prison sentence for homosexuality and forced into exile in France, Oscar Wilde pertinently signed his name as ‘Sebastian Melmoth’ in the register of the hotel where he was staying. In so doing he identified himself with the title character of Maturin’s Gothic novel Melmoth The Wanderer (1820), a damned figure forced to wander the earth until the devil

in Queering the Gothic
Abstract only
Angela Carter and European Gothic
Rebecca Munford

as a kind of hinge in a European Gothic lineage: ‘Poe’s story points both forward and back: back to Walpole and Radcliffe, forward to another whole constellation of Gothic at the end of the nineteenth century, exemplified particularly in [Oscar] Wilde and in Bram Stoker’ ( 1996a : 180). While Punter appositely foregrounds his pivotal position in a British Gothic tradition, Poe’s aesthetic of

in Decadent Daughters and Monstrous Mothers
Zalfa Feghali

‘Oscar’ that precedes Yunior’s story of Oscar is especially relevant given that Oscar Wao is a nickname he is given by Yunior and other boys who are making fun of his Doctor Who Halloween costume, humorously missing the sci-​fi reference and instead mistaking it for a different literary reference that allows them to taunt him about his perceived homosexuality: ‘I couldn’t believe how much he looked like that fat homo Oscar Wilde, and I told him so’ (p. 180) so that Oscar Wilde is changed to Oscar Wao by the Spanish inflection of English and its engagement with Irish

in Crossing borders and queering citizenship
Cosmopolitanism and cultural mediation in aesthetic criticism
Stefano Evangelista

to be got from France and why – that is a crucial episode in the early history of aestheticism, establishing its roots, cultural mission, and future directions as they would appear in the better-known critical writings of Pater and Oscar Wilde. The dominant note of Arnold’s criticism in this period is his impatience with his perceived narrowness of nineteenth-century English

in Algernon Charles Swinburne
Women performers and the law in the ‘long’ Edwardian period
Viv Gardner

, under the headline ‘The Cult of the Clitoris’; this paragraph advised readers that Scotland Yard had only to seize the list of members about to attend a private performance of Oscar Wilde’s Salome, in which Allan Defending the body, defending the self ­139 was to play the lead, to uncover several of the names of the estimated 47,000 ‘followers of Wilde’ at large among the British cultural and political elite. By its verdict, the jury publicly declared Allan ‘a sadist, a lewd, unchaste and immoral woman’, whose performance would encourage ‘obscene and unnatural

in Stage women, 1900–50
Abstract only
Writing from the dark underground, 1976–92
Claire Nally

opportunities for the mixture of sacred and profane signifiers. Goths often ‘profane’ traditional religious iconography by using it for flagrantly stylistic rather than religious purposes.55 A similar negotiation of religion is discernible in Propaganda. The homoerotic overtones to Saint Sebastian in these images can be associated with this very same parodic homage to conventional faith, and this Goth zines -123- has a long history in relation to the saint. Oscar Wilde referred to Sebastian in a poem about John Keats, stating he was ‘Fair as Sebastian, and as early slain

in Ripped, torn and cut
Abstract only
Clemence and Laurence Housman
Jill Liddington

encountered Sandro as ‘a scantily clad Cupid’.11 Back in London, ebullient Laurence enjoyed sociable evenings at the Café Royal with friends Max Beerbohm and William Rothenstein. Having befriended Oscar Wilde, Sandro and he now visited Wilde in his Paris exile, to deliver money collected by the Café Royal set. In the wake of the Wilde trials however, Laurence, like Alfred, required privacy concerning his own homosexuality; and even years later in his autobiography, Laurence remained understandably reticent about his own male relationships. For solace and escape, he now

in Vanishing for the vote
Orientalism, miscegenation fears and female fantasy
Lucy Bland

trial out of general interest.18 The press noted the cosmopolitan air of the court: in addition to ‘many Egyptians’ (which included Egyptians lawyers holding watching briefs for members of Fahmy’s family), they spotted ‘an Indian woman and an elegant man with the mark of Paris stamped on his clothes’. 19 On the last day of the trial it was noted that ‘most of the crowd were foreigners, and many were French’.20 The prosecution was led by Percival Clarke (son of the famous Sir Edward Clarke, QC, who had unsuccessfully defended Oscar Wilde in 1895) while the defence was

in Modern women on trial
Corin Redgrave

before so he wore his film clothes every day in the street, to see whether people behaved differently towards him when he was dressed in a cloth cap and heavy boots – a workman’s clothes – and of course he found that they did. He found, as Oscar Wilde said, that the poor are wiser, more charitable, kinder, more generous than we are, and he used some of that in his performance

in British cinema of the 1950s