An Electronic Journal for the Exchange of Information
on Current Research, Publications and Productions
concerning
Oscar
Wilde
and His Circles
Vol. II No. 1
January 2002
Issue no. 8
To Table
of Contents 
| Return
to hub page 
|Return to THE OSCHOLARS home page 
Notice of the seventh (December) issue of THE OSCHOLARS was transmitted to 403 readers. Since then,the number of those wishing to receive the journal has risen to 467 in thirty-three countries, the great majority in one or other of nearly 200 universities or university colleges from Haifa to Helsinki. This was the largest monthly increase in our short history, and hardly one that we will sustain. THE OSCHOLARS is also subscribed to in the City Library, Ystad, Sweden; the National Library of Ireland; the Library of Trinity College, Dublin; and the Library of the Instituto de Artes del Espectáculo, University of Buenos Aires.
We are very happy to announce the first OSCHOLARS colloquium on Oscar Wilde, which will take place in Senate House, University of London, on Tuesday 25th June. The themes will be 'Staging Wilde' (morning )and what we will have to consent to refer to as 'The Tales for Children' in the afternoon (or perhaps the other way round). Details of this will be given in the February edition of THE OSCHOLARS.
As always, suggestions for improvements, additions and above all corrections, to THE OSCHOLARS are very welcome.
THE OSCHOLARS is not intended to be vanity publishing for its Editor, but since it generates a considerable correspondence, we are going to risk the impeachment and from time to time publish bits and pieces from our own research, in the hope of some peer-group review and in order to give those readers who wish to quote the points something more substantial as a citation than 'private correspondence'. There will henceforth be a new section towards the end of THE OSCHOLARS named, I hope fittingly, 'And I, my Lord? May I say nothing?' This will begin in March, to give myself (or you, gentle reader) the chance to have second thoughts.
We wish specifically to direct readers' attention to the note about Inge Borkh.
Nothing in THE OSCHOLARS© is copyright to the Journal (although it may be to individual writers) unless indicated by ©,and the usual etiquette of attribution will doubtless be observed. Please feel free to download it, re-format it, print it, store it electronically whole or in part, copy and paste parts of it, and (of course) forward it to colleagues.
We have simplified the design in one way in this issue. Names emboldened in the text below are those of subscribers to THE OSCHOLARS, who may be contacted through Melmoth@aliceadsl.fr. Underlined text in blue can be clicked for navigation through the document or to other addresses.
The Irish translation of 'There is only one thing worse than being talked about' has been kindly supplied by Colin Ryan of Sydney, Australia.
The technical assistance of Dr John Phelps of Goldsmiths College has remained invaluable; but the errors remain the Editor's.
Editor: D.C. Rose
I. GUIDANCE FOR SUBMISSIONS
Publication is on the last day of each month (or if this is not possible, the first day of the next); copydate is not later than the 25th.
Please specify if you wish your e-mail address to be included.
Work in Progress: Please give the provisional title, status (e.g. article, book, M.A. Dissertation, Ph.D. thesis etc.) and where appropriate your university affiliation.
Publications: Full title, publisher, place and date of publication as usual, ISBN if possible.
Notices: If you are kindly submitting notices of events, such as conferences, productions, broadcasts or lectures, please include as many details as you can: venue, date, time, and contact address if possible or relevant.
Notes & Queries: These can include points that you might like to see discussed in a 'Letters to the Editor' column.
II. NEWS FROM SUBSCRIBERS
1. Publications and Papers
Jad Adams: Madder Music, Stronger Wine, The Life of Ernest Dowson was published in paperback on 6th December by Tauris Parke Paperbacks in Britain and the US.
Alfred J. Drake writes
'I would like to announce an electronic archive offering
texts by nineteenth-century authors
such as Arnold, Carlyle, Newman, Pater, and Wilde as well as important
works by lesser-known writers such as Henry Mayhew and J.J. Thomas. The archive is called "E-Texts for
Victorianists," and is located at http://www.ajdrake.com/etexts.
The Complete Works of Walter Pater (based upon the Macmillan Library Edition of 1910, but soon to contain some earlier editions as well, such as the 1885 Marius the Epicurean) are now available for downloading, as is Wilde's The Picture of Dorian Gray in its initial Lippincott's Magazine version of 1890 (13 chapters), along with the first edition of Pen, Pencil, and Poison.
The 1890 Dorian Gray might be of interest to scholars of Wilde because it differs markedly from the 1891 edition. The Pater texts contain source work on classical references.
You are welcome to view and download materials from E-Texts for Victorianists - volumes are available in their entirety in both HTML and TXT or "plaintext" format, downloadable as self-extracting ZIP files. Some of the archive's most popular works (Dorian Gray, Culture and Anarchy, etc.) are also available for immediate viewing in HTML in chapter-by-chapter form, linked by a common index page and navigation bars. I base my electronic versions on authoritative public domain texts, and they will retain notes, page numbers, and other essential elements of a scholarly work. I shall soon be posting additional materials in PDF (Adobe's "portable document format").'
Melissa Knox (St Peter's College, New Jersey) has now published Oscar Wilde in the 1890s: The Critic as Creator (Woodbridge, Suffolk: Boydell & Boyars 2001. ISBN: 1 57113 042 X)
Claudia Letat has now produced an English version of her distinguished website Oscar Wilde- Ode an ein Genie http://www.besuche-Oscar-Wilde.de/start.htm. This is called Oscar Wilde - Standing Ovations and is to be found at http://home.arcor.de/oscar.Wilde/start.htm. OscarWilde - Ode an Genie was reviewed in THE OSCHOLARS I/4 September 2001.
Christopher S. Nassaar (American University, Beirut) writes
'I have two articles that you may wish to announce from now. These are:
1. "Wilde's Salome and the Victorian Religious Landscape". Scheduled for the January 2002 issue of The Wildean (no. 20). The essay argues at length that Salome functions throughout at two levels, one ancient and the other Victorian, and that all the characters in the play, major and minor, have Victorian counterparts. The conclusion is that the play reflects the entire Victorian religious landscape exoticized.
2. "Wilde's The Importance of Being Earnest: Self-Parody and the Theme of Child Abuse", in the Winter 2001 issue of The Explicator. This brief essay stresses that child abuse is a strong undercurrent in many of Wilde's works. The Young King, Dorian Gray, Salome, and Gerald Arbuthnot were all abused as children. The theme resurfaces in Earnest but is reduced to hilarious nonsense. Jack is lost by Miss Prism as a baby but escapes all the potentially horrible consequences of such neglectful abuse. Mr. Cardew showers upon him all the luxuries that money can buy, except, alas!, for the name of Ernest. As always in this play, Wilde reduces the themes and incidents of his earlier works to the level of absurdity: even child abuse is treated comically.'
Piotr Sadowski (American College, Dublin) writes
'This is to let you know about my latest book, Gender and Literature: A Systems Study, published by the University Press of America, ISBN0-7618-2132-5, which has references to Wilde scattered throughout, as well as a chapter called "'A Delicate Bubble of Fancy': Oscar Wilde's The Importance of Being Earnest'", in which I discuss the way Wilde inverts conventional gender types in relation to his male and female characters.
On 11th December, Margaret D. Stetz, Associate Professor of English & Women's Studies at Georgetown University, gave a lecture on 'Beatrix Potter and Aestheticism', emphasizing the artistic links between Potter and Wilde as fellow frequenters of the Grosvenor Gallery in the 1880s (as well as between the fate of rebellious Peter Rabbit and that of the writer who suffered imprisonment and disgrace for his own rebelliousness). The occasion was an exhibition titled 'Beatrix Potter & Peter Rabbit: A Centenary Celebration from the Collections of Grolier Club Members' curated by Mark Samuels Lasner. This exhibition opened on 15th November 2001 and closes on 11th January at the Grolier Club, 47 E. 60th Street, New York, NY.
2. Visits and Occasions
Donald Mead (Oscar Wilde Society) has sent the Society's events programme for the first half of 2002. Theseevents are only open to members of the Society, but details of membership may be obtained by reference to the Society's section of THE OSCHOLARS (see below)
v 12th January: Author's lunch at a London restaurant, with guest speaker Matthew Sweet, author of Inventing the Victorians (London: Faber and Faber 2001; ISBN 0 571 20658 1)
v 23rd February: Visit to Reading Gaol.
v 17th to 19th May: Weekend in Dieppe and Berneval.
v 20th July: Lunch at Magdalen College, Oxford.
Christopher Breward (London College of Fashion) is one of the speakers at a workshop CLOTHES SHOPPING: RETAILING, FASHION AND STYLE, 1700-2000, organised by CHORD (the Committee for the History of Retailing and Distribution). All interested researchers are invited to this workshop on the 13th February, devoted to the discussion of the history of clothes shopping and clothes retailing.
The other Speakers:
Katrina Honeyman, University of Leeds
Miles Lambert, Gallery of Costume, PlattHall.
The workshop will be held at The University of Wolverhampton
Fee: £7. The fee
will be waived for those not able to obtain institutional funding. For more information please contact Dr Laura
Ugolini, Room MQ203/4, Quadrant Chambers, University of Wolverhampton,
Wolverhampton, WV1 1SB. E-mail: L.Ugolini@wlv.ac.uk
CHORD web-site: http://www.wlv.ac.uk/shass/chord.html
3. Wilde on the Curriculum
Clifton Snider (California State University at Long Beach) will be again offering a seminar on Oscar Wilde, English 469T, at CSULB this spring. 'In addition to all of Wilde's important works, we will look at some of the writers he himself admired, for example, Swinburne, the Pre-Raphaelites, and Whitman'. More on this may be found at http://www.csulb.edu/~csnider/index.html.
'Oscar Wilde and His Age' is a course taught by Joe Law (Wright State University, Ohio) http://hypatia.wright.edu/Dept/Eng/syllab.htm.
4. Work in Progress
Sumner Peirce writes
'I am feverishly writing a play whose main protagonists are Wilde, Bosie, and Alfred Taylor. The assistance of others is needed in whereto look for information regarding Alfred Taylor's life after his prison term had been served. I am in dire need of fleshing-out the character of Alfred Taylor beyond that done for his character in the film WILDE. All assistance will receive an honorable mention. I can be contacted by e-mail at shpeirce@aol.com'.
Philip Craig Russell's drawings for The Devoted Friend, which will be published in his next volume of illustrated works by Wilde, can be found at http://lurid.com/pcr/treasury/devoted_sb/index.htm.
Julia Wood is currently writing a book about the last decade of interest in Oscar Wilde. Her review of the Haymarket Theatre, Leicester, production of The Selfish Giant appears below.
Jacqueline Groth (Portland State University) writes
'Currently, I am working on a formal essay for my Master's program at Portland State University. Oscar Wilde's play Salome, with which I became enamored when I first entered a university in 1964 (yes!), has become the focus of my essay, and a play which I am creating anew, that somewhat parallels Wilde's version, but throws the guilt back on Herodias, where I believe it belongs.
I hope the play will have some wit, some humor, and display some of the imagery and symbolism that Wilde worked with in his version. I, however, shall twist it into a more modern language and reference. I put the story in Chicago, in 1929, October. It is the night before the Stock Market Crash. The John the Baptist figure is now an American Indian who brings with him not only his own messianic crusade, but the voices, the spirits, of all the Indian messiahs who preceded him. His is the voice of poetry, and the others provide a counterpoint, displaying their crudeness, their decadence, greed, and live up to everything vile that he accuses them of being.
I started this without any knowledge of what I would find. My research is showing startling parallels and justification for this story to occur where and when I first imagined it.
Now, the essay is to be on the topic of something that seems trivial on the surface, but seeking the answer to the question has proven obscure, and very interesting.
The question I must answer is, "What is the Dance of the Seven Veils?" with the additional questions that have evolved from that initial question, e.g. "Why did Oscar Wilde pick that particular dance, or did he invent it?", and "What did Wilde's inscription mean in the copy of the script he sent to Aubrey Beardsley?" The inscription reads (somewhat paraphrased) "To the only artist, who, besides myself, understands the dance of the seven veils, and the meaning of that invisible dance." Now, you see, it gets more interesting. What does he mean by "invisible"? In the script the stage direction (and it is Wilde's) is only [Salome performs the dance of the seven veils]. In every production I've seen, it is NOT invisible!
So, does ANYONE have a reference, or even a direction I might use to check this out? I need a source to quote that is reputable, of course. It becomes somewhat difficult to access what I need in this foreign country. Much of what looks interesting may be in another language, and I do a little French. So that would work as well.
Other interesting facts, if you are interested, is that there is a "Dance of the Seven Scarves" that was actually part of the dance repertoire of a desert tribe in the appropriate region to have been known by Salome. Also, there may be an actual dance of the seven veils which could relate to the Epic of Gilgamesh in which it is told that the goddess, Ishtar, had to remove an attribute at each of the seven gates of Hades, following protocol prescribed by her sister-goddess who ruled the Underworld, thereby insuring that only by stripping naked, could one enter Hades. So, there's more in a stage direction that has been taken for granted as a simple, erotic striptease all these years.
I appreciate any responses and look forward to more dialogue in the future.
Jacqueline Groth jg@viclink.com
5. Broadcasts
The discussion programme on Wilde and Æstheticism on BBC Radio 4, 9.00 a.m. GMT on Thursday 6th December in the Melvyn Bragg 'In Our Time' programme, announced in THE OSCHOLARS I/7 (December) also featured Professor Regenia Gagnier (University of Exeter) and Professor Valentine Cunningham (Corpus Christi College, Oxford) .
We know of no broadcasts for January.
6. Picked from the Platter
We are most grateful to Dr Clifton Snider (California State University, Long Beach) and to Dr Jill Casid and Dr María deGuzmán (SPIR: Conceptual Photography) , who have placed links to THE OSCHOLARS on their home pages at http://www.csulb.edu/~csnider/index.html and http://www.home.earthlink.net/~mdeguzman.
III. THE CRITIC AS CRITIC
We hope to carry at least one review in each issue.
1. The Selfish Giant in Leicester
Julia Wood
Leicester Haymarket's Christmas production of Oscar Wilde's The Selfish Giant, adapted for stage by Annie Wood, is perhaps more aptly described as a piece of surreal theatre than a children's story. The giant, played by Ross Mullan, transpires to be a man attached to an oversized puppet with a headset microphone across his face in order to add volume to his voice. Spring and Winter are personified as a woman dressed in green and a man bearing a resemblance to Lenny Henry, complete with Birmingham accent, who wears a white romper suit and hood.
Punctuated with songs the piece aims for pantomime in order to win the approval of its audience, comprised chiefly of the under-fives and their Mothers. One feels that some of the poignancy of Wilde's tale is compromised by such emphasis on slapstick comedy. (One moment in the piece has the giant stalked by 'Spring' while a chorus of tiny voices shout, 'she's behind you!') One felt especially uneasy about the pun on the Autumn winds, personified as a person dressed in brown who appeared to have chronic flatulence.
A clever device though, was the active involvement of the children in the audience, who were brought into the story as the children who were playing in the garden, and then cast out by the selfish giant, who wanted his garden to himself.
The moving ending of Wilde's original story was adhered to, despite its being softened for its child spectators. The giant is 'going away', we are told, and in comes a swirling and ethereal flood of heavenly choirs. At the backdrop of the stage, encircled by a yellow moon of light, is the image of the giant, and boy who had crept into the garden and melted his heart.
Despite the various liberties taken with Wilde's text it is worth seeing, if only for its visual interest and its sense of the theatrically surreal.
v Julia Wood is best known for her committed interest in the rehabilitation of Lord Alfred Douglas, and has written a play about the effects of the Wilde trial upon Bosie's later life. It was performed at the Hawth Studio Theatre in 1995, in commemoration of the 50th anniversary of Bosie's death.
2. The Star-Child and Other Stories in Dublin
Michael O'Rourke
The Draíocht Theatre in Blanchardstown which opened in May of last year played host to the 52nd leg of the 78 performance tour of the Storytellers Theatre Company's The Star Child and Other Stories. Originally commissioned by the Oscar Wilde Centre for Irish writing at Trinity College, Dublin a year ago (to mark the centenary of Wilde's death) the adaptation of Wilde's three fairy stories is in its second successful run having premiered at the Project Theatre in Dublin last Christmas. The triumvirate of stories has been adapted by Mary Elizabeth Burke-Kennedy, wife of novelist Declan Burke-Kennedy and a founder member and director of Story Tellers. The stories are intricately interwoven with Burke-Kennedy providing a clever narrative frame whereby a group of animals tell each other stories in a winter woodland to ward off the bitter cold and wait for the daylight to arrive. The wintry setting is imaginatively suggested by Chisato Yoshimi's magical set design with its gnarled, knotted trees and lavish white drapes. The music of Trevor Knight is equally as enchanting and entrancing as Paul O'Neill's blue and white lighting. The set and costume design owe much to the influence of Knight and Kei Ito and their work on Words, Not Words for the Temenos Project, a play about the life and art of Georgia O'Keefe. The floor and back wall (in this large theatre space - very like Tallaght's Civic Theatre in size and structure) with their black calligraphic swirls are evocative of Japanese brush painting and shodo and reminiscent of O'Keefe's painting 'Winter Road, 1'. Not only does the movement, music, light and text betray Japanese influence but also the text and narrative. There is the obvious Noh Theatre motif in the Star-Child of meeting an animal or beggar and the climactic moment of the revelation of their true identity. Burke-Kennedy chooses to introduce the leper before the beggar woman in her re-working of the story which as the longest of the three is also, necessarily, the most truncated. There is also the cultural archetype of the trickster which is freely adapted with the use of animal puppets and masks and animal names for each of the seven actors.
The puppets are delightful and frighteningly realistic. The casting is extremely apt also as each of the actors takes on an anthrozoomorphic quality. The imposing Shakespearean actor Gerard Walsh is a booming bear and the petite, birdlike Sarah Jane Drummey a perfect linnet/sparrow (each of the actors takes on multiple roles). However, if any of the players should be singled out for especial praise it would have to be Nicole Rourke for her graceful, almost balletic movement and Fergal McElherron for his vocal work. He plumbs the very pit of his stomach to produce the rasping, viperish voice of the ugly Star Child and astounding ventriloquial power to mimic the baby's cries (a very, very special effect). The puppets are the work of world famous John McCormick, currently at work on a book project on Victorian marionettes, and are affectionately known to the actors as Michael Jackson, Britney and Baby Jesus. I was amused to hear that Michael Jackson's nose fell off in an earlier performance! The effects in this adaptation for the stage are deceptively simple but stunning. The shadow puppetry of Clodagh McCormick, a researcher into Nineteenth Century puppet design and construction is strongly influenced by Indonesian shadow puppetry and is used to aid visualizing each of the three scenes involving the sparrow in the Happy Prince. Blue and red lasers are used to represent the ruby and sapphires in these vignettes.
While this is aimed primarily at a children's audience it carries with it a degree of sophistication. It retains much of Wilde's text and vocabulary and the plots are so seamlessly woven together that it may be difficult for children to recognize narrative shifts. However, the audience of mainly younger children did seem transfixed and mesmerized by what is a spellbinding and deservedly acclaimed production.
v Michael O'Rourke teaches in the Department of Modern English and American Literature at University College, Dublin
IV. NEWS FROM ELSEWHERE
1. Exhibitions & Talks
Oscar Wilde: A Life in Six Acts
This exhibition at the Morgan Library, New York regrettably ends on 13th January. The exhibition is curated by Sally Brown of the British Library.
There is also an excellent website (its earlier faults have been corrected) at
http://www.morganlibrary.org/exhibtions/current/html/main.html.
This page will be moved from 'current' to 'past"' exhibitions on the Morgan Library web site., making it still accessible once the exhibition closes.
Also at the Morgan Library, though not connected with the exhibition, is the Lunchtime Interview
'A Life in Opera: A Public Dialogue with Inge Borkh and Alfred Hubay', Tuesday, 15th January, 1 p.m.
We include this because Inge Borkh sang Salome at the Munich Festival (21st July 1951)with Joseph Keilberth conducting; at the King's Theatre, Edinburgh (8th September 1956) conducted by Ludwig Leopold; and at Covent Garden (13th, 16th, 18th November 1959) when Kempe conducted.
Inge Borkh only seems to have recorded the final scene, however, in 1955 with the Chicago Symphony/Reiner (RCA 68636) and again with the Vienna Philharmonic/Krips (Preiser 90302), recorded on 19th and 20th June, 1956 in the Sofiensaal, Vienna (see illustration). We have not been able to discover which of these is the one replayed on MYTO MCD 001.212, but will return to the subject when we come to treat of Salome in the 'Mad, Scarlet Music' section.
If anyone would like to report on this interview for THE OSCHOLARS, we would be only too happy to publish it. It may be a historic opportunity to gain some insights into Salome.
Yinka Shonibare
In THE OSCHOLARS I/3 we carried a short piece about Yinka Shonibare and his Dorian Gray photographs. These are being shown in the Museo Hendrik C. Andersen in Rome to the 3rd March in an exhibition arranged by the British Council, and are described in their Press Release as follows:
‘Inspired by the film version of The Portrait[sic] of Dorian Gray (1945, USA, directed by Albert Lewin, with George Sanders and Angela Lansbury) - the most famous literary work of the dandy par excellence, Oscar Wilde - is the cycle of photographic tableaux that completes the Roman exhibition. In the twelve large images in black and white, Shonibare himself appears in the guise of Dorian Gray, emblem of the dark side of dandyism, a potent brew of narcissism, degeneration and hedonism.'
For the complete Press Release go to http://www.e-flux.com/decode.php3?cid=73 and click on the link Gallery Programme of The British School at Rome
Wallpaper
On Thursday 10th January, Christine Velut (ENS, Paris) is giving a talk on 'The question of design in the wallpaper manufactures in Paris at the beginning of the 19th century.'
Although this is the wrong end of the 19th century, we do not actually know how old was the wallpaper that so distressed Wilde. Perhaps here is a chance to find out. This is one of the research seminars hosted by the V&A/RCA Joint Course in the History of Design. The seminar meets weekly on Thursdays during term at 4.00 pm in the Victoria and Albert Museum. It takes place in V&A/RCA Course Seminar Room 2, which is in the premises of the Museum's Research Department. Access to Course Seminar Room 2 is via the entrance to the Research Department, opposite the Metalwork Department offices. To get there, go to the top of the staircase decorated with ceramic tiles that leads from the Italian Renaissance Gallery(Room 11) on level A past the Silver Gallery (Room 70a) on level B. All those with a research interest in the field are welcome. Admission to the Museum is now free. Allow at least five minutes to get to Course Seminar Room 2 from the Museum entrances.
2. Publications
Nineteenth-Century British Women Writers: A Bio-Bibliographical Critical Sourcebook edited by Abigail Burnham Bloom was published by Greenwood Press in 2000.
This contains an entry on Lady Wilde by Dejan Kuzmanovic, a PhD candidate at Rice University.
"Proust's Queer Metalepses" is an article by Michael Lucey in the most recent issue (Vol. 116 Number 4, September 2001) of MLN. http://muse.jhu.edu/journals/mln/toc/mln116.4.html
This traces a queer genealogy from Wilde to Balzac to Genet to Proust. In particular it focuses on Proust's three references (epistolary and novelistic) to Wilde's character and Vivian's reference to Balzac's character Lucien using Genette's concept of metalepsis as extradiegetic trangression.
v We are grateful to Michael O'Rourke (University College, Dublin) for this reference.
Michael O'Mara Books http://www.mom.com have published a 'Wit and Wisdom of Oscar Wilde' calendar for 2002, compiled by Helen Comberbatch. We are told, however, that that the publishers are 'no longer planning on releasing this calendar to the trade', so we recommend readers to snap up any fugitive copies, and we shall treasure ours.
The Harris Guide (ISBN: 0970127405), self-described as 'the most comprehensive directory of the gay, lesbian, bisexual, and transgender press worldwide ever published'- is now available through Amazon or bookshops.
V. BEING TALKED ABOUT: CALLS FOR PAPERS
« Másolc an rud a bheith i mbéal an phobail, is measa fós
a bheithgan iomrá »
We hope these may attract Wildëans.
Any specific papers on Wilde will be noted in future issues of THE OSCHOLARS.
[To skip this section: click here or on any Green Carnation in the text]
1. CALL FOR PAPERS: Literary London.
A Conference on Literary London will be held at Goldsmiths College, University of London, 4th to 7th July. This will include a session on The Café Royal, which will be chaired by the Editor of THE OSCHOLARS. There will be an official call for papers later, but preliminary indications of interest in this particular session may be sent in. The Academic Director of the Conference is Lawrence Phillips (Goldsmiths College).
v NOTE ADDED FEBRUARY 2006.
The session on the Café Royal was cancelled.
2. CALL FOR PAPERS: Theatre History.
The Theatre History Focus Group of the Association for Theatre in Higher Education invites submissions for a debut panel to be presented at the ATHE conference in San Diego 25th to 28th July.
ELIGIBILITY: Anyone who has neither published articles nor presented on a scholarly topic at a national conference (including graduate students, faculty, and undergraduates).
CONTENT: Papers must address theatre history, but an active engagement with theory and/or dramatic literature is welcome. There are no restrictions as to nationality, period, or methodology. Papers should be an appropriate length for a 15- or 20-minute presentation (that is, 8-10 pages).
SELECTION COMMITTEE: Submissions will be evaluated by Marla Carlson of the CUNY Graduate Center, Lisa Merrill of Hofstra University, and Donnalee Dox of Texas A&M University. Marla Carlson will chair the conference panel.
DEADLINE: 19th January.
TO SUBMIT: Please send FOUR copies of your completed paper and a coversheet to:
Marla Carlson, 381 First Street, Brooklyn, NY 11215,
Abstracts are not sufficient. Papers of more than 10 pages will not be considered. Do NOT put your name on the paper. On the cover sheet, include the title of your paper, your name, address, telephone, and email address.
NOTIFICATION: You will be informed about the judges' decisions by 23rd March.
IMPORTANT NOTE: By submitting a paper, you are agreeing to attend the conference and present your paper should it be accepted. Please consider logistical and economic concerns BEFORE submitting.
FOR MORE INFORMATION: If you have questions, e-mail Marla Carlson at marlacarlson@earthlink.net.
3. CALL FOR PAPERS: Reflections in the Mirror
City University of New York Graduate Center. The English Students' Association 7th Annual Graduate Conference 8th March.
Mirrors, like creative works, produce a duplicate of the world that offers viewers a new perspective on reality. However, the seemingly objective mirror image is inevitably distorted. The image is notonly reversed from left to right, but subject to interpretation by the viewers, who may see only what they expected to see in the first place.
This dichotomy of objectivity and distortion may explain the frequency with which the mirror appears in text and theory. Narcissus, in what is probably one of history's most (re)interpreted myths, dies while gazing into another kind of mirror, the reflecting river. In the Faerie Queene, the magic mirror of Merlin informs the king of secret plots and invasions. And while poet John Ashbery cautions us not to live in our reflections because 'the gray gaze of the past attacks all know-how', reflection as a process of cognition is an essential part of the creative process.
This conference attempts to bring together the many interpretations and uses of reflective surfaces, whether the mirror, the pool of water, or the eye of the beloved, and perhaps come to a better understanding of the role of reflections and how a text can reflect itself or us.
Potential subjects for reflection:
As the process of cognition is sometimes called 'reflection', it is not surprising that artistic creations are often compared to mirrors. But what does the creation reflect? Does a text mimic the physical world, other texts, its own creation, or the beliefs and cognitive processes of the writer or the reader?
What do mirrors have to tell us about the self or about self-image? What do literary characters see when they look in the mirror?
Twins, doppelgangers, and cases of mistaken identity present double images. Where are these identical, where are they yin and yang, and what do such pairings signify?
Paper topics are not limited to the above suggestions, which do not exhaust the various possibilities of the theme (chiasmus? vampires? Smoke and mirrors? mirror writing or dyslexia?). Proposals for panels are also welcome.
Please send abstract of 400-600 words and CV by 7th January to
Graduate Conference Committee, Ph.D. Program in English, CUNY Graduate Center, 365 Fifth Avenue, New York, NY 10016. Notification of accepted papers: 23rd January.
Questions and submissions in .rtf format may be sent via e-mail to Jaime Cleland at jcleland@gc.cuny.edu or Mark McCullough at mccullough@mindspring.com.
4. CALL FOR PAPERS: Irish Women Writers
Special Session of the Modern Language Association (MLA) Annual Conference: New York City, December 2002.
Chaired & Convened by: Maureen E. Mulvihill, Princeton Research Forum, Princeton, NJ.
LA Session Goal:
Addressing a relatively unmined field in Irish Studies, this proposed Special Session at the MLA Conference in New York City next December. This seeks to shed new light on the identity, politics, and goals of Irishwomen writers at work in Ireland (or in England), c. 1700-1845, before The Great Hunger.
This Special Session engages with women writing politically (not prettily),in response to conditions and forces about them, conditions which would fundamentally compromise the production, publication, and consumption of 'indigenously' Irish writing for some years.
One-sheet abstract, with CV, to Maureen E. Mulvihill by 1st March. E-mail Address: mulvihill@nyc.rr.com or by post, to my New York City residence:
One Plaza Street West, Apt 5D, Park Slope, Brooklyn, New York 11217.
Proposals for papers on Speranza and The Nation will qualify for scrutiny
Maureen Mulvihill's review of the Wilde in Six Acts exhibition at the Morgan Library, New York City will be published in the Spring, 2002 issue of The Irish Literary Supplement.
5. CALL FOR PAPERS for Editors' Topic on Victorian Ireland in the journal Victorian Literature and Culture.
Send papers on any aspect of the literature and culture of Victorian Ireland, including diasporic Irish literature and culture, by 1st December to
Abigail Burnham Bloom, 54 Riverside Drive 15D, New York, NY 10024. abigail.bloom@nyu.edu
6. CALL FOR PAPERS: The Persistence of Gothic: Exploring the Boundaries of Gothic from 1750 to the Present.
The University of Greenwich, Greenwich Maritime Site, 12th October. Deadline for proposals 31st March.
Keynote Speakers: Fred Botting, David Punter, Avril Horner and Sue Zlosnik.
Cost £25.00, student rate £10.00
We invite papers on topics including aspects of Gothic to be found in literature, visual art and film, 1750 to the present. Please send an abstract of not more than 300 words to
Dr. J. R. Williams, University of Greenwich, School of Humanities, Maritime Greenwich Campus, Park Row, Greenwich, London, SE10 9LS. j.r.williams@greenwich.ac.uk
For further information, contact John Williams at the above address.
7. CALL FOR PAPERS: Living in a Gendered World.
William Paterson University of New Jersey, Friday 1st March 9.00 a.m. - 4:30 p.m.
The Women's Center and Graduate Studies at William Paterson University of New Jersey are pleased to announce an inter-disciplinary, public conference highlighting research about gender by graduate students. Presentations in all disciplines are invited on women's issues, gender studies and/orgay/lesbian/bisexual/transgender issues.
One-page abstracts of individual papers must be submitted on line to the Women's Center womenscenter@wpunj.edu.
Submission of panels is also welcome. Please send the abstract in the body of your email message, not as an attachment. Please include also the name, affiliation, email, address, phone, and presentation title for each presenter.
The deadline for submission of abstracts is 1st February.
This event is free and open to the Public. Faculty and undergraduates, as well as members of the community, are welcome. No registration is required.
William Paterson University is one of the nine state colleges and universities in New Jersey. The campus is located 20 miles west of New York City.
Michelle Moravec, Ph.D., Director, Women's Center, William
Paterson University of New Jersey, 300 Pompton Road, Student Center 214 Wayne,
NJ 07470 973 720 2946
http:// www.wpunj.edu/womenscenter
8. CALL FOR PAPERS: The Language of Fashion / Fashioning Language One-Day Symposium.
The University of Aberdeen, Saturday 23rd March.
From 18th to 24th March 2002, a trio of prominent young Austrian artists, Astrid Becksteiner (video artist), Lisa D. (fashion designer) and Petra Gangelbauer (writer) will be in residence at the University of Aberdeen, working on a collaborative project on 'Clothing'. Both individually and collectively, they will be reflecting on the multiple meanings of 'clothing' in their particular medium, and will present the results of their work in a performance to take place on Saturday 23rd March 2002 as part of a one-day symposium on 'The Language of Fashion / Fashioning Language'.
We now invite proposals for papers that creatively engage with the title of the symposium. In selecting papers, we will seek to facilitate a cross-cultural, cross-temporal and cross-disciplinary approach. Possible topics include: Writing Fashion Display and Disguise Fashioning the Self Fashion and Social Theory Text as Clothing Writing on the Body Clothing as Projection Surface.
Proposals for 30-minute papers, accompanied by a 200-word abstract, should be sent (preferably by email) to:
Dr Janet Stewart, Dept. of German, Taylor Building, University of Aberdeen, AB24 5BH
Tel. 01224 272488 Fax: 01224 272562. E-mail: j.stewart@abdn.ac.uk
9. CALL FOR PAPERS: Sexuality and Gender.
Papers are invited for a special edition of the International Journal of Sexuality and Gender Studies examining the intersections of queer and postcolonial discourse.
Articles could raise questions related to sexuality, marginalization, and the construction of the Other. We will discuss these questions through disciplines as varied as Literature, Education, History, Anthropology, Women's Studies, Gender Studies, Queer Studies, and Cultural Studies. Thematic possibilities include but are not restricted to intersections of sexuality/gender and colonialism, queer identities and boundary crossing under colonialism, and the conjunctures of queer and postcolonial theory. We welcome theoretical articles that could map the encounters between nationalism, sexuality, and colonialism.
Please send a 300-500 word abstract as soon as possible. Full versions of the articles will be required by mid-2002. Only work that has not been previously published will be considered.
Send inquiries and abstracts to Deepika Marya at: Deepikamarya@aol.com.
10. CALL FOR PAPERS: Culture & Texts: Interrelations & Subversions.
2nd International Students' Conference, Baskent University, 27th to 29th March 2002 Ankara, Turkey.
In light of the framework of the above title, we aim to investigate the two terms 'culture' and 'text'. In our title, the term 'text' encompasses all fields of humanities i.e. Performance and Theatre, Film and Media, Poetry (Musical lyrics), Prose and Fiction. The sub-topics of 'Interrelations and Subversions' enable participants to explore culture through not only a single framework but through exploring a vast array of cultural artefacts and their connections to/with one another. Students may focus on any aspect of American or English Culture and Literature, from any historical period. The papers must reflect personal perspectives and they should present a focused argument and should be provocative. The time is restricted, though. Please keep the presentations to 15-20 minutes which approximately comes down to 1200-1500 words or 4-6 double-spaced pages.
The deadline for proposals is 1st February.
Please download the registration form which you can find in the American Culture and Literature Department page under http://www.baskent.edu.tr/~amer and return to the following address by post, electronic mail or fax.
Those who wish to present papers may send their (approximately 150 words) presentation proposals to these e-mails:
Baskent Universitesi
Amerikan K¸lt¸r¸ ve Edebiyat* Bolumu Baglica
Kampusu Eskisehir Yolu 20 km.
06530 Ankara, Turkey.
Tel: + 90 312 2341040 Fax: +90 312 2341041
[WE APOLOGISE FOR THE SCRAMBLING OF THE DIACRITICALS IN THIS ADDRESS]
11. CALL FOR PAPERS: Egotistics.
Egotistics is pleased to announce the publication of its second volume of peer-reviewed academic essays by graduate students.
Published under the auspices of the English Graduate Organization at The University of Alabama, we seek to provide an outlet for graduate students aiming to publish their academic work.
The third volume is scheduled to appear at the end of the spring 2002 semester. We gladly accept submission on any topic related to literature and language, as well as notes and book reviews. Please have your submissions in before 1st March 2002.
To check out our first two volumes and see our submission guidelines, please browse to http://bama.ua.edu/~ego.
For general questions, please e-mail me at the address below.
Michel Aaij, Editor, Egotistics. aaij001@bama.ua.edu. http://bama.ua.edu/~ego
12. CALL FOR PAPERS: 'La Prude Angleterre': Victorians and France: Cultural Cross-currents in the Nineteenth Century An International Conference.
University of London Institute of English Studies School of Advanced Study in association with The Browning Society 18th to 19th October.
'. . . such a tone as the current one in France, is significant of the tone of the society, & could be audible nowhere without an existent harmony between it & the local manners or morals. . . what is natural and familiar to France 'la prude Angleterre' recoils from,---& and must recoil from, as long as she retains her views (right or wrong) of the law of marriage and the laws of God . . .' Elizabeth Barrett Browning 1844.
'L'Angleterre . . . se
montre d'une sévérité singulaire contre la France . . . on nous croit malades .
. . on fait defense a toute personne saine et bien pensante de nous lire . . .
. les puritains d'outre Manche . . .' La Revue des Deux Mondes 1836.
French literature, politics, fashions and much else of French life figured in the fabric of British life in the Victorian period much more than is often appreciated now. However, the relationship between the two cultures was complex, fraught with the tension created by mutual admiration tinged with the hostility of prejudice. This interdisciplinary conference seeks to further understanding of the role played by the literary and cultural dialogue between both sides of the English Channel throughout the nineteenth century which played an important role in the self-definition of two growing and changing nations.
Speakers include: Michael Drolet, Danny Karlin, Leonée Ormond, Andrew Sanders.
Proposals for papers should be addressed by 28th February to
Dr Berry Chevasco, c/o Institute of English Studies, School of Advanced Study, Senate House (3rd Floor), Malet Street, London WC1E 7HU. ies@sas.ac.uk. http:// www.sas.ac.uk/IES.
Enquiries to the Institute of English Studies (Conference Bookings). Tel: +44 (0)20 7862 8675 Fax: +44 (0)20 7862 8672. E-mail: ies@sas.ac.uk
Fee: £22.00 per day Standard; £12.00 per day. Concessions, Members of IES and Members of the Browning Society.
13. CALL FOR PAPERS: Postgraduate English (UK): A Journal and Forum for Postgraduates in English in the UK and Europe.
Papers are invited for issue no. 5 of this new journal (March 2002) for a deadline of 18th January.
Postgraduates in English in the UK or in any European country are welcome to submit papers concerning any aspect of English Studies of up to 7,000 words.
All papers are refereed by members of our editorial board, and should conform to MLA guidelines in presentation. Papers should be despatched no later than the deadline of 18th January 2002.
UPDATING FROM THE LAST ISSUE: we also invite contributions on the experiences of postgraduates applying for jobs and/or research fellowships as they near the end of their doctoral theses. This will add to our "Forum" section on postgraduate experience in the UK and Europe, which already includes pieces of academic journalism on teaching, publishing and other issues of interest to postgraduates.
All e-mails and postal correspondence should be addressed to
Richard Brewster (editor), Department of English Studies, University of Durham, Hallgarth House 77 Hallgarth Street, Durham DH1 3AY. r.j.brewster@dur.ac.uk
Issue no. 4 (September 2001) now available at http://www.dur.ac.uk/~dng0zz5/journal1.htm
14. CALL FOR PAPERS (extended deadline): StephenCrane
The Stephen Crane Society will sponsor two sessions at the American Literature Association Conference in Long Beach, California, on 30th May to 2nd June.
Crane Abroad. This topic may include Crane's writing and reputation as well as translations of Crane's works. The term "abroad" loosely refers to Mexico, Germany, Greece, or other countries relevant to Crane's work.
An open session on topics in Crane studies.
Presentations will be limited to 20 minutes. Please send five-hundred word abstracts or papers of no more than ten double-spaced pages by 15th January to the program chair:
Donna Campbell, Department of English, AD Box 31, Gonzaga University, 502 East Boone Avenue, Spokane, WA 99258. campbell@gonzaga.edu. Fax: 509.323.5718
With your proposal, please include any request for a slide projector or other equipment that will be necessary for your presentation. E-mail proposals are welcome, but please do not send attachments.
15. CALL FOR PAPERS: Genders
Genders is an on-line journal http://www.Genders.org which welcomes essays that consider genders and sexualities in relation to artistic, semiotic, political, literary, social, ethnic, racial, economic, rhetorical or legal concerns.
Contact the Executive Editor
Ann Kibbey, University of Colorado 226 UCB, Boulder, CO 80309. kibbey@colorado.edu
16. CALL FOR PAPERS: Victorian Gender Benders: 'Representing the Border'.
8th Annual McGill University Graduate Student Symposium on Language and Literature, Montreal, Quebec. 23rd & 24th March.
Papers are being solicited for a panel on the borders between genders and within genders in nineteenth-century fiction.
The literature of the Victorian period is filled with distinct notions of both femininity and masculinity. It often seems as though the literary characters’ adherence to or deviation from social norms determine which end of the respective gender spectrum they fit into, and consequently, their narrative fates. Women can usually be classified as either angelic wives, virgins, and spinsters, or fallen, tainted objects of pity and disdain. Men are often portrayed as either gentlemen, rakes, or dandies. While in many narrative instances these gender-specific categories are clearly outlined and adhered to, in others the borders are crossed, and Victorian propriety is quietly trampled on. This panel will examine the ways in which the Victorians uphold and defy gender categories in their poetry and prose, and the implications thereof. One page proposals that may consider, but are not limited to the following topics are requested:
v Which characters adhere to gender stereotypes and what can we gather from their literary fates?
v What happens to female characters who are given masculine traits, and vice versa?
v If the Victorians are defying gender norms in their fiction, then do we still associate the Victorian era with a certain rigidity and prudishness?
v Do male and female authors treat issues of gender in markedly different ways?
v How do the Victorians interpret and incorporate pre-existing concepts of femininity and masculinity?
v How does the gender ideology of the Victorians affect later writing?
Please send proposals to Stephanie King sking30@hotmail.com by 31stJanuary.
17. CALL FOR PAPERS: Animals in Fact, Fable, and Scripture: An Ecumenical Examination.
The Beast Fable Society and its 9th International Congress are pleased to announce its 2002 Congress 13th to 19th June, Maltese Islands.
‘Animals in Fact, Fable, and Scripture: An Ecumenical Examination' is an interdisciplinary, cross-cultural look at how human beings from all walks of life look at, think of, treat/mistreat, write about, teach, learn from, and cohabitate with animals. This includes - but not limited to - literary and artistic presentations; theoretical and hermeneutical approaches; zoological and medical perspectives; ethical, religious, and philosophical exegeses; public, national, and international policy making; commercial and financial considerations; and historical and fictional narratives.
Papers and original fables (in English) are welcome from littérateurs, creative writers, nature writers, and literary scholars; historians; artists; philosophers; theologians; scientists; economists; ethicists; animal lovers; journalists who cover animal rights in the media and champions of animal rights.
N.B. All papers and original fables delivered at the Congress will be considered for publication in Bestia, the Society's refereed Yearbook. Reduced group fares and room rates are available to Congress participants and their immediate family members.
Send 250-word abstract and one-page c.v. by 2nd February to:
Professor Ben Bennani, President, Beast Fable Society, Division of Language and Literature, Truman State University, Kirksville, MO 63501. E-mail submissions are welcome: bbennani@truman.edu
18. CALL FOR PAPERS: Æsthetics - ASA Annual Meeting 30th October to 1st November, Miami.
The Program Committee of the American Society for Æsthetics invites submissions for presentation of papers or panels at the 60th annual meeting of the Society at the Hyatt Regency, Miami (Coral Gables), Florida. The Society welcomes submissions from persons in all arts-related disciplines, as well as from graduate students.
Papers on all topics in æsthetics are welcome. Deadline: 15th February.
We particularly encourage submissions on the following themes:
v Nineteenth Century Æsthetics
v Art and Religion
v The Æsthetics of Non-Fiction/Reality TV/Disasters and News Packaging
v Beach Culture: Fashion and Body Arts
v Crossover Culture: The Æsthetics of Identity Formation
v Latino/Cubano/Haitian Art and Culture
v Gay and Transvestite Culture
v Environmental Art: Florida Everglades/Florida Architecture
v Dance Æsthetics.
Persons submitting paper or panel suggestion for review by the Program Committee must be members of the American Society for Æsthetics. Email submissions are encouraged, but hard copies should be sent to ensure receipt. All submissions will be subject to blind refereeing; enclose a cover sheet and do not include identifying information in the body of the paper.
Presentation time for papers will be limited to twenty minutes, strictly enforced. Proposals for two-hour panel sessions are also invited. Panel proposals should describe the topic and list names and qualifications of the prospective participants.
Cynthia Freeland, Department of Philosophy, 513 Agnes Arnold Hall, University of Houston, Houston TX 77204-3004. cfreeland@uh.edu
______________________________
« Másolc an rud a bheith i mbéal an
phobail, is measa fós a bheithgan iomrá »
VI. NOTES AND QUERIES
1. Thomas Bell
In Philippa Pullar's biography of Frank Harris references are made to an unpublished work Oscar Wilde without Whitewash by Thomas Bell, Harris's secretary. There is no mention of this in Ellmann or Belford or Pearce, and the whereabouts of the MS are unknown to Alfred Armstrong of the Frank Harris website (http://www.oddbooks.co.uk/harris). Can any reader throw some light on this? (Philippa Pullar died in 1997.)
2. Evelyn de Morgan
The de Morgan Foundation, in London, owns approximately a hundred of Evelyn de Morgan's paintings, tiles, pots, and lusterware, as well as archive material and sketches. The collection was only available for occasional viewing, as it was housed in a private home. It has now moved into new premises in Wandsworth, London (a 19th century library building with excellent gallery space), where it will become a centre for study and research in the 19th century called "The De Morgan Centre - 19th Art and Society."
Anyone interested should contact Lois Drawmer ldrawmer@aol.com
3. Dorian Gray
Is there any literature that explores the differences between the two versions?
4. Frank Pettingell
Michael Seeney writes
'Further to Roy Waters' notes on Frank Pettingell, there is an American LP (date unknown) called "Frank Pettingell Presents Oscar Wilde", on which Mr Pettingell reads: The Selfish Giant, Witticisms, A Scene from the Trial of Oscar Wilde, A Talk with Mr Oscar Wilde, The Remarkable Rocket. It is on the Westminster Spoken Arts label.'
5. G.P. Putnam's offspring
Richard Freed (University of Eastern Kentucky) is looking for information about the multi-volume edition of Wilde published by Putnam, of which Putnam's itself appears to have no record. Its origin, scarcity and current value are all of interest. Richard.Freed@eku.edu
6. Salammbô
Salammbô est une comédie musicale de Pascal Revial d'
après l' oeuvre littéraire de Gustave Flaubert.
Compositeur : Pascal Revial
Lyriciste : Pascal Revial
Librettiste: Emmanuel Younsi
Etat du projet : L'album est totalement
composé,les musiques des chorégraphies aussi, nous sommes à la recherchede
financements pour la production et l'édition.
http://salammbo.flaubert.free.fr
[Salammbô is a musical comedy by Pascal Revial, from the work by Gustave Flaubert.
Composition and lyrics: Pascal Revial
Libretto: Emmanuel Younsi
Current situation: Album, music and choreography are all complete, and the projectors are seeking the finance for production and publication.]
7. Notes towards an Iconography of Wilde
The Naxos audiobook recording of Hesketh Pearson's Life of Wilde was pictured on the cover of the Naxos catalogue 1995-6.
8. Oscar in Popular Culture
Michael Seeney writes
'For the Oscar in Popular Culture section you might like to note a quotation from "Dr Terrible's House of Horrible", a spoof horror show on BBC2 starring Steve Coogan (12th November 2001) "Sapphic vampiricism, the love that cannot spell its name."'
Here is a further association of Wilde with whisky.
8. Wilde as Unpopular Culture
In his book Tendencies of Modern English Drama (London: Constable 1924 pp.247-8) A.E. Morgan, while giving extended treatment to Grundy, Jones, Pinero, T.C. Murray, St John Ervine, Lennox Robinson, Lady Gregory and so on (and two whole chapters on Shaw), lets Wilde go in a single paragraph:
There was Wilde, who in the 'nineties made contributions of at least two kinds. In such plays as An Ideal Husband and A Woman of No Importance he carried on the serious problem play, flavoured with sentimentalism and depending not a little on those theatrical situations which gave the actor and actress the opportunity they like for strong histrionic effect. They are what the "profession" call "good theatre". In this respect they maintain the tradition, to a large extent French, which was upheld by such a dramatist as Grundy. Wilde's second, and perhaps especial, contribution was the quality of his dialogue. He depended for relief on coruscating paradox. He filed his plays with anew kind of wit-trap, to use Fielding's term, which consisted of dazzling epigram and verbal absurdity. This device, coupled with equal absurdity of farcical situation, reached its height in The Importance of being Earnest. Or perhaps we should say its depth, for to-day these fireworks are rather damp squibs. We may see some influence of this manner in the dialogue of Sir Arthur Pinero and Mr Shaw, but on the whole Wilde's dramatic work seems to have fallen to the spot from which it was fired.
VII. 'MAD, SCARLET MUSIC'
This section is arousing a good deal of interest. To go directly to the previous 'Mad, Scarlet Music' click here.
Michael Seeney has kindly supplied the following:
Oh! Beautiful Star, serenade. Words by Oscar Wilde, music composed by Lawrence Kellie. Copyright 1892. Music published by Robert Cocks &Co, New Burlington Street, London. (This is the poem Under the Balcony which first appeared in the New Shakespearean Show Book in 1884.)
A Symphony of Sorrow. Music by Henry Muldrow. Texts by Oscar Wilde. Arrangements by Nicolaas Ravenstijn. CD recorded 1999, Amsterdam. The texts are: I have it not; What if I do not speak at all?; Guilty; Will you not say you love me?
We also now record two works by Mario Castelnuovo-Tedesco (b. 3rd April 1895 d. 16th March 1968), an Italian composer who moved to the United States in 1938 when the rising tide of anti-Semitism in Italy made life there intolerable for him.
In 1944 he wrote The Birthday of the Infanta, and he also wrote music for The Importance of Being Earnest in 1961 as a chamber opera for eight singers, two pianos and percussion.
More information about either of these works is eagerly sought. Castelnuovo-Tedesco's papers are in the Library of Congress.
Faye-Ellen Silverman has sent report of her recent work 'Wilde's World' (2000; 14 minutes) for tenor, viola, and guitar, a setting of Wilde's poem "To L.L.". It is published by Seesaw Music Corporation. The first performance was on 3rd March 2001 in New York as one of the Music Under Construction Concert Serieswith Michael Brown (tenor), Jovanina Pagano (viola), Stanley Dorn (guitar). http://www.amc.net/member/Faye_Silverman/home.html
In the last issue of THE OSCHOLARS we promised further information about musical adaptations of The Selfish Giant. Any additions to the information that follows will be greatly appreciated.
1. The Selfish Giant An Operetta for Young People. Music by Robin Donald Graham. Text by Paul David Graham.
2. The Selfish Giant adapted by Kristin Walter with music and lyrics by Larisa Bryski and directed by Bruce Merrill, was staged by the Vital Theatre Company in New York 8th January to 26th February 2000. This featured Ryan Paulson, Kristy Castora, Cara Pontillo, Jennifer Ronald, Michael Schiffer, and Jennifer Russo. Choreography was by Stefanie Sowa, production design by Michael Schloegl.
3. A version as a children's musical by Jonathan Rathbone and Clare Bradley is published by Massey Music, 61 Clarendon Rd, London E17 9AY.
4. Ballet music by Graeme Koehne for The Selfish Giant has been recorded by the Queensland Philharmonic Orchestra, Stephen Barlow conductor, on the Tall Poppies label TP115.
5. The earliest version is presumably that by Liza Lehmann (1862-1918, and to be distinguished carefully from Lotte Lehmann) dating to 1911.
6. Ruth Bampton (b.1902; d.?) composed a version in 1948.
7. Julia Perry (1924-1979) wrote an opera/ ballet in 1964, perhaps the only engagement with Wilde by an African-American. In the February issue we hope to publish a short article about this.
8. Charles Wilson wrote a version in 1973.
9. The Selfish Giant, An Opera for Young People, with music by Francis Shaw and libretto by Michael ffinch appeared in 1973
10. Jean Gracie's libretto [as ‘The Giant’s Garden’] was published by Universal Editions, London, 1982.
11. A libretto by John Bryan was published by Oxford University Press in 1986 as a musical for schools.
12. Donal Hurley (b.1950) composed a version in Dublin in 1987. This was a children's workshop piece, in collaboration with Paul Hayes, Michael Holohan, Mary Kelly with text by Paul Hayes 'after Oscar Wilde'. It was commissioned by Dublin Corporation Street Carnival and performed 20th June 1987, in Mountjoy Square.
13. A version with text and music by Mary McAuliffe was premièred at the National Concert Hall, Dublin, 13th December 1997.
14. Debbie Wiseman composed music for the version narrated by Stephen Fry and Vanessa Redgrave and available on a Warner Classics CD (Academy of St Martin in the Fields, conducted by Sir Neville Marriner), 2000.
15. Alan Ridout (1934-1996) composed a version about which we have discovered nothing whatever.
VIII. PRODUCTIONS DURING JANUARY 2002
· Contributions to this section of THE OSCHOLARS from anywhere in the world will be very welcome indeed. We will do our best to arrange reviews.
Denmark
There will be five performances of Salome, on the 31st January and the 2nd, 6th, 9th and 15th February) at the Kongelige Teater, København (Copenhagen).
England
The Importance of Being Earnest, directed by Bruce Jamieson, continues at the Greenwich Playhouse, London to 13th January.
The Selfish Giant continues at the Haymarket Theatre, Leicester 5th to 12th January.
A Woman of No Importance opens at the Theatre Royal, Windsor, 22nd January (to 9th February) directed by Elijah Moshinsky.
The Netherlands
Salome will staged at De Nederlandse Opera in Amsterdam 12th, 15th, 18th, 21st, 24th, 27th, and 29th January.
|
Herod |
Chris Merritt |
|
Herodias |
Anja
Silja |
|
Salome |
Inga Nielsen |
|
Jochanaan |
Albert Dohmen |
|
Narraboth |
Gordon Gietz |
|
Page |
Annette Seiltgen |
|
Conductor |
Edo de Waart |
|
Producer |
Harry Kupfer |
|
Sets, Costumes |
Wilfried Werz |
Russia
Salome will be staged at the Mariinsky Theatre, St Petersburg by the Kirov on 8th January.
Switzerland
Salome will be staged at the Theater am Stadtgarten, Winterthur, on the 22nd, 23rd and 25th January.
USA
The Importance of being Earnest, directed by Jerry Marino, is at the Villagers Theatre, Somerset, New Jersey 11th January to 2nd February.
- and for the record
Doric Wilson writes 'I just was directed to your site and am very impressed. You will be (I think) interested in a play of mine that relates to Wilde's Salome called Now She Dances! It can be downloaded for free from my site: www.doricwilson.com. This was produced in Glasgow in 2000'.
This was a double bill 'The Night Salome Danced', with a production of Salome itself, 28th November to 2nd December. The director was Steve Bottoms.
The Picture of Dorian Gray was adapted for the stage and directed by Joe O'Byrne for the Irish Repertory Theatre, 132 West 22nd Street, New York, 13th March to 20th May, 2001
Cast: Paul Vincent Black (Ensemble), Crispin Freeman (Dorian Gray), Nick Hetherington (JamesVane, Ensemble), Tertia Lynch (Sybil Vane, Ensemble) , Colleen Madden (Lady Henry, Ensemble), Paul Anthony McGrane (Shadow One), Daniel Pearce (Lord Henry), Angela Pierce(Mrs. Vane, Ensemble), Andrew Seear (Basil Hallward, Ensemble), Timothy Smallwood (Ensemble).
Production Staff: Joe O'Byrne (Director), Elizabeth Larson (Production Stage Manager), Andrew Crawford (Assistant Stage Manager), Akira Yoshimura (Set Designer), Rebecca Vary(Set Designer), Bob Flanagan (Mask and Puppet Designer), David Toser (Costume Designer), Brian Nason (Lighting Designer), Murmod, Inc. (Sound Design).
This had been preceded (20th January to 4th March) by Niall Buggy in Micheál MacLiammóir's The Importance of Being Oscar, directed by Charlotte Moore, set design by Charlotte Moore, costume design by David Toser, lighting design by Jason A. Cina and sound design by Murmod, Inc.
IX. WEB FOOT NOTES
A monthly look at websites (contributions welcome).
http://www.cmgww.com/historic/Wilde/index.html is self-described as the 'The official Web site of Oscar Wilde'. This meagre offering is distinguished only by a short essay by Merlin Holland. There is a biography of Wilde, which runs to all of 1,074 words; a list of works published in Wilde's lifetime, including a play apparently called 'The Duchess of Padue', which list together with one of six scholastic honours, is described as 'accomplishments'; nine photographs, with either the name of the photographer or of the owner as caption, which gives the rather odd effect of an otherwise unidentified picture of Constance having the label 'Merlin Holland' - clearly some future Ellmann is going to decide that this is Mr Holland dressed as Gwendolen Fairfax.
http://www.tidmus.com/oscarWilde/welcome.html is a very well designed site of information about Wilde, where form predominates over content.
http://www.imagi-nation.com/moonstruck/clsc38.html is a site headed Theatre History.com where Wilde's names are given in the wrong order and we are told that 'In 1900, Oscar Wilde died penniless and alone in a Paris hotel. He was buried without much ceremony in the cemetery of Père Lachaise.' Moonstruck indeed: one day we will construct the biography of this other Oscar Wilde, compiled from such snippets.
http://intendo.net/chem/Wildechron.html. Nice site, if somewhat slight and containing information more extensively found elsewhere. The chronology is one of the more comprehensive and accurate ones, despite its references to 'Lady Windermer' and 'Marguess of Queensbury'. Its greatest oddity is that it is an off-spring of a site called Chemical World. That this was created by Eric Hwang, a mathematical student at Duke University, can be added to our knowledge of the breadth of Wilde's appeal. The only other person with a page devoted to him on this site is Morrissey, a singer who himself is an admirer of Wilde's.
http://www.jeffgower.com/dowson.html is an all-too-brief page devoted to Ernest Dowson.
http://homepages.nildram.co.uk/~simmers/symons1.htm is a far more ambitious site dedicated to Arthur Symons (although one is perturbed by the reference to Dorian Grey).
Readers are reminded of the Oscaria/Oscar photographs, the work of SPIR: Conceptual Photography, which can be seen at http://www.home.earthlink.net/~mdeguzman.
X. SOME SELL AND OTHERS BUY
Books in print mentioned in THE OSCHOLARS can be ordered from:
John Wyse Jackson at John Sandoe (Books) Ltd, 10 Blacklands Terrace, London SW3 2SR books@jsandoe.demon.co.uk
· John Wyse Jackson is editor of Aristotle at Afternoon Tea: The Rare Oscar Wilde. London: Fourth Estate 1991; paperback edition retitled Uncollected Oscar Wilde 1995.
Oscar Wilde Buchhandlung und Versand at Alte Gasse 51, 60313 Frankfurt. Tel.: 069/28 12 60 Fax: 069/297 75 42. Contact Harald. Internet: http://www.oscar-Wilde.de; e-mail: shop@oscar-Wilde.de
Dorian Bookstore, 802 Elm at Madison, Youngstown, Ohio 44505-2843. Contact Jack Peterson.
Internet: http://alt.youngstown.org/dorian.html; e-mail: dorianbooks@cboss.com
The Oscar Wilde Book Shop, 15 Christopher Street,
New York, NY 10014. E-mail: Wildebooks@aol.com.
Ebay is an online auction house where many Wilde items are offered, from second-hand paperbacks to playbills to limited editions. We have set up this link which should take you straight to ebay's Wilde pages:
Some of the more interesting offers on Ebay this month were
'A 1947 LAVISH THEATRE PROGRAM FOR THE 1947 PRODUCTION OF THE 1892 OSCAR WILDE WRITTEN "LADY WINDERMERES FAN "!!'
There was also a cabinet photograph of the actress Lily Hanbury (d.1908),for which the following was the sales pitch:
‘The date: February 22, 1892. The scene: St. James's Theatre, London. The event: the premiere of Oscar Wilde's brilliant comedy, "Lady Windmere's Fan." The illustrious opening night audience in evening dress and gowns included Lillie Langtry, who inspired the play, and for whom Wilde wrote the title role. She did not accept, however; creating the title role that night was the lovely English actress Lily Hanbury, another Oscar Wilde favorite. An extraordinary autographed cabinet photo circa 1892 of this Wilde original cast member.’
Also offered were a German edition of Lord Arthur Savile's Crime with rather sub-Beardsley illustrations; Oscar Wilde by Frances Winwar, published by Blue Ribbon Books, New York, 1941; and a trivial letter from Maud Tree to an unidentified correspondent, rather foolishly described as *OSCAR WILDE'S WOMAN RARE MRS ALLONBY LETTER*
These descriptions are those of the booksellers, and while having no reason to doubt them, clearly THE OSCHOLARS cannot vouch for their accuracy.
XI. A WILDE JANUARY
Here are the birth and death dates of some of those whose lives intersected that of Wilde (and some whose lives surprisingly did not). One particularly notes the anniversary of Constance Wilde's birth on the 2nd.
|
02 |
01 |
1858 |
Birth of Constance Lloyd. |
|
06 |
01 |
1854 |
Traditional date for the birth of Sherlock Holmes. |
|
07 |
01 |
1873 |
Birth of Charles Péguy. |
|
08 |
01 |
1865 |
Birth of Winaretta Singer, later princess Edmond de Polignac. |
|
12 |
01 |
1856 |
Birth of John Singer Sargent. |
|
13 |
01 |
1865 |
Birth of W.B. Yeats. |
|
15 |
01 |
1872 |
Birth of Stephen Mac Kenna. |
|
16 |
01 |
1853 |
Birth of Johnston Forbes-Robertson. |
|
17 |
01 |
1840 |
Birth of Wilfrid Scawen Blunt. |
|
18 |
01 |
1837 |
Birth of Jane de Tourbey, later comtesse de Loynes. |
|
19 |
01 |
1839 |
Birth of Cézanne. |
|
22 |
01 |
1849 |
Birth of Strindberg. |
|
23 |
01 |
1832 |
Birth of Manet. |
Garb of woe should be worn on the following days:
|
01 |
01 |
1916 |
Death of Tommaso Salvini. |
|
02 |
01 |
1904 |
Death of Princess Mathilde Bonaparte. |
|
02 |
01 |
1928 |
Death of Loïe Fuller. |
|
03 |
01 |
1944 |
Death of Edvard Munch. |
|
04 |
01 |
1891 |
Death of Charles Keene. |
|
06 |
01 |
1942 |
Death of Emma Calvé. |
|
08 |
01 |
1896 |
Death of Paul Verlaine. |
|
08 |
01 |
1916 |
Death of Ada Rehan. |
|
09/10 |
01 |
1904 |
Death of Jean Léon Gérôme. |
|
11 |
01 |
1942 |
Death of Walter Sickert. |
|
12 |
01 |
1931 |
Death of Giovanni Boldini. |
|
14 |
01 |
1892 |
Death of Prince Albert Victor, Duke of Clarence. |
|
14 |
01 |
1977 |
Death of Peter Finch. |
|
15 |
01 |
1908 |
Death of the comtesse de Loynes. |
|
15 |
01 |
1911 |
Death of Henry Labouchere (garb of woe may be omitted). |
|
15 |
01 |
1947 |
Death of Richard Le Gallienne. |
|
16 |
01 |
1889 |
Deaths of Crown Prince Rudolf and Marie Vetsera at Mayerling. |
|
16 |
01 |
1943 |
Death of Jane Avril. |
|
18 |
01 |
1903 |
Death of Henri de Blowitz. |
|
18 |
01 |
1936 |
Death of Rudyard Kipling. |
|
20 |
01 |
1900 |
Death of John Ruskin. |
|
21 |
01 |
1933 |
Death of George Moore. |
|
22 |
01 |
1901 |
Death of Queen Victoria. |
|
22 |
01 |
1945 |
Death of Arthur Symons. |
|
23 |
01 |
1947 |
Death of Pierre Bonnard. |
|
23 |
01 |
1956 |
Death of Alexander Korda. |
|
26 |
01 |
1885 |
Death of General Gordon. |
|
28 |
01 |
1903 |
Death of Augusta Holmes. |
|
28 |
01 |
1939 |
Death of Reynaldo Hahn |
|
29 |
01 |
1899 |
Death of Alfred Sisley. |
|
30 |
01 |
1929 |
Death of La Goulue. |
|
31 |
01 |
1891 |
Death of Meissonier. |
|
31 |
01 |
1900 |
Death of Lord Queesberry. |
|
31 |
01 |
1943 |
Death of R.H. Sherard. |
Wilde's own calendar for the
month (America excepted, being accessible elsewhere) is as follows. Additions and corrections as always welcome.
|
|
01 |
1883 |
Wilde in Paris, first at the Hôtel Continental and then at the Hôtel Voltaire [till ?May] and is visited by Sickert. |
|
|
01 |
1885 |
William Morris meets Wilde at the Richmonds. |
|
|
01 |
1889 |
Wilde meets Lady Blanche Hozier. |
|
|
01 |
1889 |
Publication of Wilde's 'London Models' in The English Illustrated Magazine. |
|
|
01 |
1889 |
Wilde and Constance at first night of Macbeth (Irving, Ellen Terry). |
|
|
01 |
1891 |
Wilde meets Lord Alfred Douglas for the first time. |
|
|
01 |
1891 |
Rhymers' Poetry reading at Herbert Horne's. Wilde there with John Gray. |
|
|
01 |
1891 |
Sherard sees 'much' of Wilde in London. |
|
|
01 |
1895 |
Wilde and Carson meet in The Strand. |
|
|
01 |
1897 |
Wilde
begins De Profundis. |
|
|
01 |
1897 |
Wilde is allowed to let his hair grow. |
|
|
01 |
1898 |
Wilde moves to 31 Santa Lucia, Naples. |
|
|
01 |
1885 |
The Wildes move to 16 Tite Street, Chelsea. |
|
04 |
01 |
1895 |
Gilbert Burgess interviews Wilde for The Sketch. |
|
08 |
01 |
1885 |
Wilde probably present at Sidney Webb's lecture, Kelmscott House, on 'The Irish National Movement and its bearing on Socialism'. |
|
12 |
01 |
1906 |
Charles Hemphill, great uncle of Constance Wilde, raised to the peerage. |
|
12 |
01 |
1906 |
First performance of Wilde's Florentine Tragedy in Berlin, directed by Max Reinhardt. |
|
13 |
01 |
1894 |
Constance Wilde opens a 'fancy bazaar' for the Ferdinand Place Mission Schoolroom, Chalk Farm. |
|
17 |
01 |
1895 |
Wilde visits Algiers with Lord Alfred Douglas. |
|
19 |
01 |
1875 |
J.E.C. Bodley encounters Oscar Wilde with Willie at the Victoria Music Hall, Oxford. |
|
20 |
01 |
1888 |
Publication of Wilde's 'From the Poets' Corner’ in The Pall Mall Gazette. |
|
26 |
01 |
1889 |
Publication of Wilde's 'The New President' in The Pall Mall Gazette. |
|
28 |
01 |
1864 |
William Wilde knighted. |
|
28 |
01 |
1897 |
More Adey visits Wilde in Reading Gaol. |
|
30 |
01 |
1895 |
Fifteenth meeting of Wilde and Gide, in Algiers. |
|
31 |
01 |
1872 |
Wilde placed third in Exam Honours. |
|
31 |
01 |
1895 |
Wilde returns from Algiers. |
XII. THE OSCAR WILDE SOCIETY AND THE WILDEAN
THE OSCHOLARS happily continues its association with The Oscar Wilde Society and its journal The Wildean. Contacts for the Society are given below.
Contributions to future issues of The Wildean are invited. Guidelines for submissions are available from the Editor, and articles, reviews, notes or letters should be sent to him at the address given below:
Donald Mead writes
The Oscar Wilde Society is a literary society devoted to the congenial appreciation of Oscar Wilde. It is a non-profitmaking organisation which aims to promote knowledge, appreciation and study of Wilde's life, personality and works. It organises lectures, readings and discussions, and visits to places in Great Britain and overseas associated with Wilde. The most recent visits were to Dublin (September 2001) and to Paris (November 2000). There is an annual lunch in Oxford, and an annual Birthday Dinner at the Cadogan Hotel, London.
New members are very welcome. The current annual individual subscription (UK) is £18 and household membership £23. The rates for overseas membership are £20 (European postal area) and £25 (Rest of the World).
A newsletter - Intentions - is published about six times a year and gives reports on the Society's activities and information about forthcoming events, performances and publications. The current issue (No 17, December 2001) sets out the Society's 2002 programme of events for members, including an author's lunch with Matthew Sweet (who has written that engaging and informative book about our understanding of the Victorian era, Inventing the Victorians) and a visit to Reading Gaol. A visit to Dieppe and Berneval to see the many places of Wildean interest there is also in prospect. There are notices of performances and recent books, and brief glimpses of Matthew Sweet proposing a toast to Julia Pastrana, the Baboon Lady, and of Terry Eagleton describing the pleasure and pain of seeing Saint Oscar performed in Italian in Bologna.
The Society's journal - The Wildean - is published twice a year and contains features on a variety of subjects relating to Wilde, including articles, reviews and accounts of some major Society events. It is a publication of permanent interest (MLA listed and indexed) and copies of all recent back issues are available at cover price, which includes postage in the UK.
THE OSCHOLARS publishes the Table of Contents for each new issue of The Wildean. The next issue will be No.20 (January 2002) of which details will be in the February issue of THE OSCHOLARS. Meanwhile we are printing the Tables of Contents from earlier issues, with a note from the editor about the principal articles, and will continue to do this until the whole set has been detailed.
The Wildean No.12 was published in January 1998. In the preceding year, the centenary of Oscar's release from Reading Gaol, the film 'Wilde' with Stephen Fry opened in London. Oscar, whose memorial window in Westminster Abbey had been installed two years earlier, and whose bronze-and-granite statue by Maggi Hambling was being prepared for unveiling later in 1998, was immortalised in wax in Madame Tussaud's and in a variety of coloured stones by Danny Osborne in Merrion Square.
In his witty and thoughtful article on 'Oscar Wilde and Socialism' John Mortimer, himself frequently called a Champagne Socialist, claims that Wilde was serious about his Socialism, although when Oscar talked about abolishing poverty, about Socialism leading to individualism, and about not having to pity people, he was, as in all his thoughts, a mass of contradictions. But as he so memorably said, he had no time for a map on which Utopia is not marked. Sir John is pictured toasting Oscar in wax, the sculpture that was then just about to be installed at Madame Tussaud's.
In another article, Donald Mead describes seeing this waxwork being created at the Tussaud's Studios. The sculptor, Paul Bennett, explains how he researched the details of Wilde's features, with difficulties in finding reliable colour references, and how he solved the problem of establishing the right pose. The resulting work has proved of enduring interest. Wilde in Wax was on duty at the entrance to the British Library centenary exhibition 'A Life in Six Acts', and was much in demand there for photographs with visitors. The face is a three-dimensional oil painting and can photograph awkwardly, but when properly lit, it convincingly demonstrates the sculptor's meticulous skill. Different aspects of Wilde are revealed in Paul Bennett's own photograph in The Wildean 18, and in Hiroshi Sugimoto's meditative portrait of Oscar the aesthete in his exhibition of photographs of waxworks at the Saatchi Gallery in January 2001.
J. D. Murphy recounts the unveiling by Merlin Holland of a very different sculpture: Danny Osborne's representation of Oscar in solid porcelain, dressed in a jade jacket and blue pearl granite trousers, reclining on a large quartz boulder in Merrion Square, and looking towards two small bronze figures on granite plinths - Dionysos, representing Art, and a pregnant naked Constance representing Life.
There are two pieces about the film 'Wilde' with Stephen Fry. Jonathan Fryer give sa most entertaining account of the première - 'quite the poshest of Oscar's birthday celebrations in 1997'. Merlin Holland found it a moving film, but entertainment rather than great cinema, weakened by crass mistakes, incomprehensible omissions, and a travesty of an ending.
The real Oscar Wilde is vividly evoked in Daniel Novak's account of his lecture on Dress in Ryde Town Hall, Isle of Wight, in which he quotes the observations of local newspaper reporters. One of these found the lecture to be 'conceited nothings' and 'a string of namby-pamby notions', but for another 'Mr Wilde is an enthusiast in a good cause.' This is one of the series of articles in The Wildean on the neglected subject of Oscar Wilde's lecture tours in Britain.
Karl Beckson writes on 'Oscar Wilde and the Religion of Art' - a version of the entry in his 'Encyclopedia'; Sandra Siegel reviews the New York production of Moisés Kaufman's Gross Indecency - The Three Trials of Oscar Wilde- praising the intellectual force which it brings to the legend of Wilde; Horst Schroeder draws our attention to a striking poem by Stephen Phillips; and Julia Wood analyses the tendency to vindicate Oscar by blaming Bosie.
Anya Clayworth wondered which books to choose for review from numerous new publications in 1997, and remarked 'our consciousness is saturated with Wilde.' The centenary was however three years away . . . Michael Seeney reviewed a new musical in which Dorian Gray looked like a short Kevin Keegan without the dress sense, and found few pleasures in Jeremy Reed's novel Dorian beyond the inadvertent.
|
Articles |
|
|
|
Oscar Wilde and Socialism |
Sir John Mortimer |
|
|
Wilde in Wax |
Donald Mead |
|
|
A New Sculpture in Merrion Square |
J. D. Murphy |
|
|
The 'Wilde' Première |
Jonathan Fryer |
|
|
The Film 'Wilde' - A Wasted Opportunity? |
Merlin Holland |
|
|
Oscar Wilde in the Isle of Wight |
Daniel Novak |
|
|
Oscar Wilde and the Religion of Art |
Karl Beckson |
|
|
'Gross Indecency' |
Sandra F. Siegel |
|
|
Stephen Phillips: The Torturers |
Horst Schroeder |
|
|
Kicking Bosie's Corpse |
Julia Wood |
|
|
Reviews |
|
|
|
1997: The Year of Oscar Wilde Merlin Holland: The Wilde Album. Peter Raby (ed.) : The Cambridge Companion to Oscar Wilde; Isobel Murray (ed.): Oscar Wilde: Complete Poetry; Richard Foulkes: Church & Stage in Victorian England; Barbara Tuchman: The Proud Tower: A Portrait of the World before the War 1890-1914. |
Anya Clayworth |
|
|
Two New Dorians Dorian a new musical by David Reeves (Arts Theatre, London 1997). Jeremy Reed: Dorian: A Sequel to "The Picture of Dorian Gray." |
Michael Seeney |
|
|
Correspondence |
|
|
|
'Requiescat' |
Veronica Thain |
|
|
A Disturbing 'Earnest' at the Olney Theatre. |
Francine Morris Swift |
|
|
The Oscar Wilde Society may be contacted by writing to the Hon. Secretary, Vanessa Harris, 100 Peacock Street, Gravesend, Kent, DA12 1EQ, England e-mail: vanessa@salome.co.uk The Wildean may be contacted by writing to its Editor, Donald Mead 63 Lambton Road, London, SW20 0LW, England. e-mail donmead@Wildean.demon.co.uk |
|
To Table
of Contents | Return
to hub page |Return to THE OSCHOLARS home page
PLEASE NOTE OUR E-MAIL ADDRESS: