The spectacle of boxing and the geometry of tennis
, 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 OscarWilde 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
Hamo Thornycroft’s The Mower and Matthew Arnold’s ‘Thyrsis’
intention, the 1884 plaster version of The Mower – enhanced by its epigraph –
demonstrates what OscarWilde 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
figures such as OscarWilde (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
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). OscarWilde (London: Penguin).
OscarWilde’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
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 OscarWilde would clearly absorb and in a sense repeat
in reverse in The
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. ‘OscarWilde 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
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 OscarWilde (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