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The spectacle of boxing and the geometry of tennis
Bernard Vere

, etc.) as a means to subvert 19th-century Wilhelminian culture’.9 In America itself, the journal The Soil devoted as much time to boxing matches as it did to Oscar Wilde or Paul Cézanne, and Robert Alden Sanborn concluded his account of the atmosphere at a boxing match there with the claim: ‘We are making pictures, we are making art history, and we don’t know it and don’t want to know it because we are too full of life.’10 That The Soil displayed a lively interest in boxing and that it was American was not a coincidence. More than any other sport in Europe, boxing

in Sport and modernism in the visual arts in Europe, c. 1909–39
Hamo Thornycroft’s The Mower and Matthew Arnold’s ‘Thyrsis’
Jane Thomas

Thornycroft’s intention, the 1884 plaster version of The Mower – enhanced by its epigraph – demonstrates what Oscar Wilde was to adumbrate less than four years later in ‘The Decay of Lying’, that ‘life holds the mirror up to art, and either reproduces some strange type imagined by painter or sculptor, or realises in fact what has been dreamed in fiction’ and, we might add, poetry. The energy of life, Wilde claims, ‘is simply the desire for expression, and art is always presenting various forms through which this expression can be attained’.4 This inceptive version of 166

in Ekphrastic encounters
Frederick H. White

figures such as Oscar Wilde (1854–1900), I am attempting the first tentative steps towards an evaluation of Andreev’s role in this cultural discourse. After all, a comprehensive reexamination of Russian decadence would necessitate an entire monograph of its own. Nonetheless, just as Wilde came to represent English decadence and social mores, Andreev could be similarly understood as a representative of Russian national concerns at the beginning of the twentieth century. Unfortunately, Soviet scholarship did not embrace a Russian decadent period, while Western scholars

in Degeneration, decadence and disease in the Russian fin de siècle
The Vorticist critique of Futurism, 1914–1919
Jonathan Black

Art’, The Times (11 February), 14. Brock, A. C. (1919b). ‘The New English Art Club’, The Times (5 June), 12. Brock, A. C. (1919c). ‘Modern War Pictures’, The Times (27 December), 13. Corbett, D. P. (1997). The Modernity of English Art: 1914–1930 (Manchester: Manchester University Press). Cork, R. (1976). Vorticism and Abstract Art in the First Machine Age. I, Origins and Development (London: Gordon Fraser). Edwards, P. and R. Humphreys (2008). Wyndham Lewis: Portraits (London: National Portrait Gallery). Ellmann, R. (1988). Oscar Wilde (London: Penguin). Ferguson, N

in Back to the Futurists
Word and image in the twenty-first century. Envoi
Catherine Gander and Sarah Garland

Oscar Wilde’s The Rose and the Nightingale – prompts considerations of perceptual variance as it re-perceives linguistic methods of meaning-making to evoke an emotional response different but akin to the response generated by Wilde’s original words.5 It is tempting to set up an opposition here between digital and non-digital somaesthetics; between the bodily experience of printed, painted, photographed and assembled imagetexts and the bodily experiences brought to us through touchscreens and display screens. Notions of tactility take different forms in the digital

in Mixed messages
Stephen Cheeke

of ‘purity’, the mechanical reproduction or faithful copy, which it associates with Hilda. Thrown into despair when she The face of Beatrice Cenci135 witnesses the murder of the Model by Donatello, and certain that she has also witnessed Miriam’s complicity in that murder, Hilda returns to her tower and notices in a mirror placed beside the Cenci portrait that her own face has begun to resemble that of Beatrice’s. ‘“Am I, too, stained with guilt?”’, she asks herself, in a dramatic moment Oscar Wilde would clearly absorb and in a sense repeat in reverse in The

in Ekphrastic encounters
Frederick H. White

issues of women’s rights edged forward, so did the anxiety.’ Bentley, Toni. Sisters of Salome (New Haven: Yale University Press, 2002) 22–3. Meier, Franz. ‘Oscar Wilde and the Myth of the Femme Fatale in Fin-deSiècle Culture.’ In The Importance of Reinventing Oscar: Versions of Wilde during the Last 100 years. Edited by Uwe Böker, Richard Corballis and Julie A. Hibbard (Amsterdam: Rodopi, 2002) 119. Andreev, Ekaterina Ivanovna, 460–1 / 144. Ibid., 461 / 146. Ibid., 462–3 / 149–50. Ibid., 466 / 160. Ibid., 470 / 170–1. The English translation uses ‘crabs,’ but the

in Degeneration, decadence and disease in the Russian fin de siècle
Abstract only
Lez Cooke

these was a series called On Trial (July–September 1960), ten plays re-enacting famous trials, such as those of Sir Roger Casement (8 July 1960) and Oscar Wilde (5 August 1960). Described as ‘factual dramatisations’ by Julia Hallam (2003: 18), this was an early venture by Granada into the realm of drama-documentary, a genre in which Granada subsequently excelled. Like the single plays Granada contributed to Play of the Week and Television Playhouse not all of these anthology series were ‘regional’ in subject matter. Anthology series such as Saki (1962), based on the

in A sense of place