An Electronic Journal for the Exchange of Information
on Current Research, Publications and Productions
concerning
Oscar Wilde
and His Circles
Vol. II No. 5
May 2002
Go to Table of Contents of this
issue
The Oscar Wilde Statue by
Danny Osborne,
Notice of the eleventh (April) issue of THE OSCHOLARS was transmitted to 603
readers. Since then, the number of those
registered as readers of the journal has risen to 640. Nearly 250
universities or university colleges (from John's,
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Plans continue for 'Staging Wilde', the first OSCHOLARS colloquium
on Oscar Wilde, which will take place in Senate House, The Conference Pack is being
kindly sponsored by
Numbers are limited to one hundred. As the Colloquium is being widely promoted, we urge early booking. Speakers will be
Chairs include Don Mead
(Editor of The Wildean) and Eibhear Walshe ( The final programme will be published in the June issue of THE OSCHOLARS and on the Conference website at |
As always, suggestions for improvements, additions and above all corrections, to THE OSCHOLARS are very welcome. This month sees the introduction of a new section SHAVINGS, in which the connections both personal and literary between Wildeand George Bernard Shaw will be explored.
The continued, welcome and somewhat unexpected, expansion in readership
places upon THE
OSCHOLARS
the obligation to increase its range and coverage. Over the next months, we will be identifying
those areas and subjects in which we feel the need to strengthen our
outreach. We are very pleased that Angela
Kingston of the
In order to reduce the length of THE OSCHOLARS, and thus decrease the loadingtime for readers with older computers, not all the sections will be accessible in future by scrolling down, but in appendices reached through clicking via the entry in the Table of Contents instead. This is a natural progression from our long ago switching from our original e-mail attachment form to the current webpage.
As a trial, this applies this month to two sections 'Being Talked About: Calls for Papers', and 'And I? May I Say Nothing?' Reactions to this are welcome.
We hope readers will use the new correspondence section discussion forum. This is viâ a link from our home page to a yahoo
group. It will only be accessible to
readers of THE
OSCHOLARS, who will be able to inaugurate their own discussions and
controversies where these are germane to the purposes of THE OSCHOLARS. We will also use it to announce news that
arrives after our copydate, and we also hope it will serve in particular to
keep student readers in touch with one another.
It can also be accessed from within THE OSCHOLARS where you see this sign 
.
By clicking on any Green
Carnation displayed thus 
,
you can go directly to the Table of Contents; 
returns you to THE OSCHOLARS homepage ; 
returns you to our hubpage.
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.
As usual, names emboldened in the text are those of subscribers to THE OSCHOLARS, who may be contacted through oscholars@gmail.com. Underlined text in blue can be clicked for navigation through the document or to other addresses.
The Romanian translation of 'There is only one thing worse than being
talked about' has been kindly supplied by Irina Iristratescu of the
The technical assistance of Dr John Phelps of
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Editor: D.C. Rose 1 rue Gutenberg 75015 |
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Assistant Editor for Angela Kingston Department of English |
Assistent Redacteur voor
Vlaanderen en Assistant Editor for Eva Thienpont Vakgroep Engelse Literatuur Universiteit Gent Rozier 44 9000 België [Please only contact by e-mail in the firstinstance] |
Return to
Table of Contents 
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TABLE OF CONTENTS
Click on any entry for direct
access |
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1. Cyril Wilde |
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3. Film |
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5. Naming Names |
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III. THE CRITIC AS CRITIC |
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VII. 'MAD, SCARLET MUSIC' |
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1. Australia |
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2. England |
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3. Estonia |
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4. France |
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2. Exhibitions |
5. Germany |
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6. Japan |
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4. Conferences |
7. Russia |
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8. Sicily |
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IX. THE OTHER OSCAR |
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d. RLS 2002 |
X. SHAVINGS |
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XI. WEB FOOT NOTES |
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XIII. A WILDE MAY |
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XIV. AND I? MAY I SAY NOTHING? v
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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 addressif possible or relevant.
Notes & Queries: Please keep these reasonably short, and use the section 'And I? May I say nothing?' for longer pieces. Other correspondence of a more ephemeral kind may be best suited to our discussion forum
.
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II NEWS FROM SUBSCRIBERS
1. Publications and Papers
Tommy P. Christensen (University of Copenhagen) is giving a paper 'Oscar Wilde and the Scandinavian Nobility' at Nordic Irish Studies Network's Conference (N.I.S.N.) 15thto 17th May at the University of Bergen, Norway.
Information on the conference: Ruben.Moi@eng.uib.no
Anne Margaret Daniel (Princeton University) is giving a paper on 'The Testimonial "Truth" of Oscar Wilde' for the American Irish Historical Society, New York (991 5th Avenue @ 80 Street), 2nd May. Dr Daniel has kindly allowed us to reprint the abstract:
In April and May, 1895, Oscar Wilde participated in three trials -- first as a plaintiff, and in the last two as a defendant -- that destroyed his literary and public career and still define his reputation, and sexuality, today. Wilde's trials have been reinterpreted and replayed almost compulsively in the past few years. It is not of Wilde's birth, or some great success, but of what he and many others have referred to as his 'downfall', the eradication of Oscar Wilde by reputation and in name, that the English and American cultures have, rather paradoxically, marked in centenary celebrations. During the 1990s, popular and critically acclaimed plays from The Judas Kiss to Gross Indecency to The Invention of Love, as well as the film Wilde, have focused on Wilde under the law.
Dr. Anne Margaret Daniel, lecturer at Princeton University, will present this evening's talk about Wilde's own trial testimony - as the most elaboratework of fiction, and grandest theatrical performance, in which he ever engaged -- and Wilde's absolute inability to lie successfully in the witness box. Try though he did to save himself in court, Wilde's lies decay inexorably into the truth every time. Dr. Daniel has instructed at the Yeats International Summer School in Sligo, and she has written and researched on Yeats, Wilde, Kipling, Woolf, Fitzgerald, and Auden.
Le mille e una maschera di Oscar Wilde ('The Thousand and One Masks of Oscar Wilde') by Giovanna Franci and Rosella Mangaroni, will be published in May by the new publishing house of the University of Bologna, the Bononia University Press, BUP.
Oscar Wilde, from one century to another, from one millennium to another, has endured a series of literary vicissitudes and iconographies that have left him forged, plagiarized, and misunderstood. Such misunderstanding, on the other hand, was one of Oscar's own aspirations.
The Thousand and One Masks of Oscar Wilde does not wish to be the umpteenth critical work, nor simply a biography, since both genres already fill up library shelves. This work, aside from rendering homage to the incomparable Dandy, seeks to demonstrate how artifice and deception, typically Wildesque, have produced and reproduced in time other falsities and inventions more authentic than the real; or to use a term that Wilde would have liked, other masks.
The authors present, as if in a sort of gallery, parodies and caricatures inspired by Wilde and his works. Beginning with the contemporaries to the present, the Wildesque rewrites (by Hichens and Holloway, Eagleton and Osborne, Ackroyd and Stoppard . . . are numerous and constitute other masks of the most famous Dandy of the fin-de-siècle. The volume is with thirty-some illustrations, photographs and caricatures, some previ