Commentaries on Individual Plays VI

Salomé / Salome

, Michael Y., ed. Refiguring Oscar Wilde’s Salome. Amsterdam: Rodopi, 2011. 295 pp


Armatage, Kay, & Caryl Clark. ‘Seeing and hearing Atom Egoyan’s Salome.’ Pp 307-28 in Monique Tschofen & Jennifer Burwell, eds. Image and territory: essays on Atom Egoyan. Waterloo: Wilfred Laurier UP, 2007

Bacigalupo, Massimo. ‘Il dramma del desideria: Salomé di Wilde e Strauss.’ Lingua e Letteratura 30-31 1998 25-33

Baum, Robert K. ‘Salomé: re /dressing Wilde on the rim.’ Pp 205-18 in Jennifer Wagner-Lawlor, ed. The Victorian comic spirit: new perspectives. Aldershot: Ashgate, 2000

Beacham, Richard C. ‘Sex and the censored Salomé.’ Yale / Theater 1 iii 1968 13-19; ‘Sex, censorship, and Salome in 1968: or, “I’m not allowed to take my clothes off!”.’ Theater (Yale) 28 iii 1998 50-60

Beatty, Bernard. ‘The form of Oscar: Wilde’s art of substitution.’ Irish Univ Rev 11 i 2003 33-49  (part deals with plays, especially Salomé)

Becker-Leckrone, Megan. ‘Salome: the fetishization of a textual corpus.’ New Literary History 26 1995 239-60

Beerbohm, Max. Around theatres, volume II. London: Heinemann, 1924, 140-52 (review of 1905 performance)

Belford, Barbara. Oscar Wilde: a certain genius. NY: Random House, 2000, 199-206

Bendz, Ernst. Oscar Wilde: a retrospect. Vienna: Hölder, 1921, 92-123: ‘À propos de la Salomé d’Oscar Wilde’ (from Englische Studien 51 1917 48-70)

Bennett, Chad. ‘Oscar Wilde’s Salome: décor, de corps, desire.’ ELH 77 2010 297-324

Bennett, Karen. ‘The seven veils of Salomé: a study of Wilde’s play in Portuguese translation.’ Translator: Studies in Intercultural Communication 9 i 2003 1-39

Bennett, Michael Y. Narrating the past through theatre: four crucial texts. NY: Palgrave Macmillan, 2013, 37-57: ‘Salome’s tale—Iokanaan’s telling—Wilde’s retelling: historical relativity and (un)specificity in Wilde’s Salome’ (incorporates ‘Brecht in the Wilde: Salomé’s liminal spaces and the storyteller.’ JTD: Journal of Theatre and Drama (Haifa) 7-8 2001-02 145-58)

—–. ‘A Wilde performance: Bunburying and “bad faith” in Salomé and The Importance of Being Earnest.’ Pp 167-81 in Bennett

—–. Words, space, and the audience: the theatrical tension between empiricism and rationalism. NY: Palgrave Macmillan, 2012, 27-56: ‘Victorian ideals: Wilde performances in The Importance of Being Earnest and Salomé’ (50-54 on the play)

Bentley, Toni. Sisters of Salome. New Haven, CT: Yale UP, 2002, 19-26: ‘The Wilde story’

Bergler, Edmund. Selected papers, 1933-1961. NY: Grune & Stratton, 1969, 433-41: ‘Salome: the turning point in the life of Oscar Wilde’ (from Psychoanalytic Review 43 1956 97-103)

Bigliazzi, Silvia. ‘Collaborating media and symbolic fractures in Wilde’s Salomé.’ Pp 79-90 in Bigliazzi & Sharon Wood, eds. Collaboration in the arts from middle ages to the present. Burlington, VT: Ashgate, 2006

Bird, Alan. The plays of Oscar Wilde. NY: Barnes & Noble, 1977, 54-91

Bonin, Déborah. ‘Un opéra d’après la Salomé de Wilde, l’appropriation d’un drama.’ Pp 147-65 in Drugeon (Antoine Mariotte’s opera Salomé [1910])

Borowitz, Helen O. ‘Visions of Salome.’ Criticism 14 1972 12-21

Boyd, Jason. ‘Staging the page: visibility and invisibility in Oscar Wilde’s Salome.’ Nineteenth Century Theatre and Film 35 i 2008 17-47

Brasol, Boris. Oscar Wilde: the man, the artist, the martyr. NY: Scribner’s, 1938, 216-25: ‘The knight of Salomé’

Brass, Friedrich K. Oscar Wildes Salome: eine kritische Quellenstudie. Borna-Leipzig: Robert Noske, 1913. 115 pp (publ. diss.)

Braun, Heather. The rise and fall of the femme fatale in British literature, 1790-1910. Madison, NJ: Fairleigh Dickinson UP, 2012, 117-25: ‘The fate of the virgin-seductness in Oscar Wilde’s Salomé.’

Bren, Herta. Mit Berücksichtigung der nichtfranzösischen Versionen des Salomestoffes. Vienna:   1950: ‘Die Gestalt der Salome in der französischen Literatur’ [unable to verify, but annotated in Mikolyzk; neither Mikhail nor Mikolyzk give page numbers]

Brown, Daniel. ‘Wilde and Wilder.’ PMLA 119 2004 1216-30 (the play and Billy Wilder’s film Sunset Boulevard)

Bucknell, Brad. ‘On “seeing” Salome.’ ELH: English Literary History 60 1993 503-26

Burns, Edward. ‘Salome: Wilde’s radical tragedy.’ Pp 30-36 in Sandulescu

Cahun, Claude. ‘La Salomé d’Oscar Wilde: le procès Billing et les 47 000 pervertis du “livre noire.”’ Mercure de France 128 1918 69-80

Cambray, C. ‘La Salomé d’Oscar Wilde et trois de ses illustrateurs: Aubrey Beardsley, John Vassos, Boris Arttzybasheff: le corps spectacle.’ Imaginaires 2 1997 113-28

Cansinos-Assens, Rafael. Salomé en la literatura: antología y exégesis. Madrid: América, 1919, 9-97

Cantarella, Rosa C. ‘La “donna fatale” nell’opera di Oscar Wilde.’ Sicolorum Gymnasium 26 1973 206-36 (part on the play)

Cardin, Bertrand. ‘Salomé ou la représentation fin-de-siècle.’ Études Irlandaises 21 ii 1996 85-95

Cave, Richard A. ‘Staging Salome’s dance in Wilde’s play and Strauss’s opera.’ Pp 145-66 in Bennett

—–. ‘A staging of Oscar Wilde’s Salomé by Mick Gordon for the Gate Theatre and the Royal National Theatre Studio at the Riverside Studios, December, 1998.’ Yeats Annual 14 2001 377-89

Clark, Barrett H. A study of the modern drama. NY: Appleton, 1925, 241-50: ‘Oscar Wilde’ (part on the play)

Cogman, Peter. ‘Wilde’s Salomé: tenses, tension and progression in Salome’s final monologue.’ Pp 81-95 in Nigel Harkness et al., eds. Birth and death in nineteenth-century French culture. Amsterdam: Rodopi, 2007

Cohen, Philip K. The moral vision of Oscar Wilde. Rutherford, NJ: Fairleigh Dickinson UP, 1978, 156-80: ‘“Decadence” in the ironic mode: Salome

Combs, Robert. ‘Salomé and the shudder of history: a reading in memory of Morse Peckham.’ Pp 183-99 in Bennett

Conlardeau, Jacques. ‘Salome, an obsessive compulsive myth, from Oscar Wilde to Richard Strauss.’ Pp 131-46 in Drugeon

Coriat, Isador H. ‘The sadism in Oscar Wilde’s Salomé.’ Psychoanalytic Review 1 1914 257-59

Corti, Claudia. ‘La luna rossa e il sole nero: mito e rito nella Salomè di Oscar Wilde.’ Pp 137-57 in Delia Gambelli & Fausto Malcovati, eds. La scena ritrovata: mitologie teatrali del Novecento. Rome: Bulzoni, 2004

Cucullu, Lois. ‘Wilde and Wilder Salomés: modernizing the nubile princess from Sarah Bernhardt to Norma Desmond.’ Modernism / Modernity 18 2011 495-524

Daalder, Joost. ‘A history of confusion: the two earliest English translations of Oscar Wilde’s Salomé.’ Bibliographical Society of Australia and New Zealand Bulletin 26 iii-iv 2002 134-75; see also ‘Which is the most authoritative early translation of Wilde’s Salomé?’ English Studies 85 2004 47-52

Daniel, Anne M. ‘Lost in translation: Oscar, Bosie, and Salome.’ Princeton University Library Chronicle 68 i-ii 2006-07 60-70

D’Astorg, Bertrand. ‘Le mystère de Salomé.’ Revue des Deux Mondes April 1971 93-109 (the legend in literature)

Davies, Helen. ‘The trouble with gender in Salomé.’ Pp 55-69 in Bennett

Davis, Diane L. ‘Oscar Wilde, Salomé, and the German press 1902-1905.’ English Literature in Transition 44 2001 149-80

Davis, L. E. ‘La traducción de Salome de guerra mondragon.’ Sin Nombre 10 iii 1980 26-39

Dellamora, Richard. ‘Traversing the feminine in Oscar Wilde’s  Salomé.’ Pp 246-64 in Thaïs E. Morgan, ed. Victorian sages and cultural discourse: renegotiating gender and power. New Brunswick, NJ: Rutgers UP, 1990

De Vries, Manfred K. ‘Intertextuality and intermediality in Oscar Wilde’s Salomé, or: How Oscar Wilde became a postmodernist.’ Pp 235-55 in Bennett

Dicks, Annabel C. ‘Desire and denial in Salome.’ Annale Istituto Universitario Orientale, Napoli: Sezione Germanica: Anglistica 31 i-ii 1988 53-69

Dieckmann, Liselotte. ‘The dancing Electra.’ Texas Studies in Literature and Language 2 i 1960 3-16 (Salome compared with Hofmannsthal’s Elektra)

Dierkes-Thrun, Petra. ‘“The brutal music and the delicate text”? The aesthetic relationship between Wilde’s and Strauss’s Salome.’ Modern Language Quarterly 69 2008 367-89

—–. Salomé’s modernity: Oscar Wilde and the aesthetics of transgression. Ann Arbor: Univ. of Michigan Pr., 2011. 247 pp (not examined; chapters on the Salomés of Strauss, Nazimova, Maud Allan, and others; final chapter: ‘Portraits of the artist as a gay man and Salomé as a feminist icon: Wilde and Salomé in popular culture since the 1980s’)

—–. ‘Salomé, c’est moi? Salomé and Wilde as icons of sexual transgression.’ Pp 171-79 in Smith

Donohue, Joseph. ‘Distance, death and desire in Salome.’ Pp 118-42 in Raby

—–. ‘Oscar Wilde’s ground plan for a production of Salomé.’ Performing Arts Resources 228 2011 169-77

—–. ‘Salome and the Wildean art of symbolist theatre.’ Modern Drama 37 1994 84-103

Doody, Noreen. ‘“An echo of some one else’s music”: the influence of Oscar Wilde on W. B. Yeats.’ Pp 175-82 in Böker (Yeats draws on the play in his early dramas)

Douglas, Lord Alfred. ‘Salomé: a critical review.’ Spirit Lamp: An Aesthetic, Literary, and Critical Magazine (Oxford) 4 i 1893 20-27; repr. in Bruno Chap Cooks (NY) 2 iii 1915 39-43

Downey, Katherine B. Perverse midrash: Oscar Wilde, Andre Gide, and censorship of Biblical drama. NY: Continuum, 2004, 95-114: ‘Manifesting fears: Oscar Wilde’s Salomé

Eells, Emily. ‘Naturalizing Oscar Wilde as an hommes de lettres: the French reception of Dorian Gray and Salomé (1895-1922).’ Pp 80-95 in Evangelista

—–. ‘Transposing Wilde’s Salomé: the French operas by Strauss and Mariotte.’ Pp 66-83 in Andrew Radford & Victorian Reid, eds. Franco-British cultural exchanges, 1880-1940: channel packets. NY: Palgrave Macmillan, 2012

—–. ‘Wilde’s French Salomé.’ Pp 115-30 in Drugeon

Ellis, Sylvia C. The plays of W. B. Yeats: Yeats and the dancer. NY: St. Martin’s Pr., 1995, 1-85: ‘The figure of the dancer: Salome’ (50-56, 69-73 on the play)

Ellmann, Richard. Golden codgers: biographical speculations. NY: Oxford UP, 1973, 39-59: ‘Overtures to Wilde’s Salomé’ (from Yearbook of Comparative and General Literature 17 1968 17-28; rev. in TriQuarterly 15 1969 45-64); repr. on pp 73-91 in Ellmann

Ericksen, Donald H. Oscar Wilde. Boston: Twayne, 1977, 122-29

Erzgräber, Willi. ‘Tanz und Tod bei Oscar Wilde, W. B. Yeats und James Joyce.’ Pp 317-33 in Franz Link, ed. Tanz und Tod in Kunst und Literatur. Berlin: Duncker & Humblot, 1993

Eynat-Confino, Irène. ‘Oscar Wilde and dramatic strategies.’ Pp 127-36 in Sandulescu

Falzon, Alex R. Le nozze alchemiche di Salomé: Oscar Wilde e la tradizione ermetica. Ospedaletto (Pisa): Pacini, 2007. 174 pp

—–. ‘Wilde and Euripides: Dionysus at the theatre.’ Pp 211-22 in Franci

Farrell, Kirby. ‘Necrophilia and enchantment in Salomé.’ Pp 105-24 in Bennett

Fendall, Jeff. ‘Imagining Salomé.’ Wildean 26 2005 72-74

Fernbach, Amanda. ‘Wilde’s Salomé and the ambiguous fetish.’ Victorian Literature and Culture 29 2001 195-218

Findlater, Richard. Banned! A review of theatrical censorship in Britain. London: MacGibbon & Kee, 1967, 92-96

Finney, Gail. Women in modern drama: Freud, feminism, and European theater at the turn of the century. Ithaca, NY: Cornell UP, 1989, 55-78: ‘The (wo)man in the moon: Wilde’s Salomé’; see also her ‘Theater of impotence: the one-act tragedy at the turn of the century.’ Modern Drama 28 1985 451-61

Fludernik, Monika. ‘Religion und Ästhetik im fin de siècle: von den Präraphaeliten zu Oscar Wildes Salome.’ Pp 85-121 in Fludernik et al., eds. Fin de siècle. Trier: Wissenschaftlicher Verlag, 2002

Frankel, Nicholas. ‘The dance of writing: Wilde’s Salomé as a work of contradiction.’ Text: An Interdisciplinary Journal of Textual Studies 10 1997 73-106

—–. ‘On the dates of composition for Wilde’s Salome and Lady Windermere’s Fan.’ Notes and Queries 52 2005 488-90

Gagnier, Regina. Idylls of the marketplace: Oscar Wilde and the Victorian public. Stanford, CA: Stanford UP, 1986, 165-71, 199-204 and see index

Garelick, Rhonda. Rising star: dandyism, gender and performance in the fin de siècle. Princeton, NJ: Princeton UP, 1998, 128-53: ‘Camp Salome: Oscar Wilde’s circles of desire’

Garland, Tony W. ‘Deviant desires and dance: the femme fatale status of Salome and the dance of the seven veils.’ Pp 125-43 in Bennett

Genet, Jacqueline. ‘L’esprit fin de siècle: de la Salomé de Wilde à celle de Yeats ou de la mort d’un siècle à la naissance d’un autre.’ Études Irlandaises 24 ii 1999 33-56

George, David. ‘“Le ‘mythe fin-de-siècle’ par excellence”: Catalan and Spanish versions of Oscar Wilde’s Salomé.’ Romance Studies 18 2000 113-24

Giaufret, Anna. ‘Il testo e il suo doppio: la Salomé di Oscar Wilde e la Salome di Alfred Douglas: un’analisi comparata linguistico-stilistica.’ Quaderni del Dipartimento di Lingue e Letterature Straniere Moderne, Università di Genova 5 1992 9-28

Gilbert, Elliot L. ‘“Tumult of images”: Wilde, Beardsley, and Salome.’ Victorian Studies 26 1983 133-59

Gillespie, Michael P. Oscar Wilde and the poetics of ambiguity. Gainesville: UP of Florida, 1996, 133-54: ‘The Salome of Wilde and Beardsley: multiple voices, multiple texts’

Gilman, Sander L. ‘Salome, syphilis, Sarah Bernhardt and the “Modern Jewess.”’ German Quarterly 66 1993 195-211

Gladden, Samuel L. ‘Unveiling Salomé: the word-made-flesh undone.’ Pp 180-87 in Smith

González Salvador, Ana. ‘Valle-Inclán spectographe: Salomé réfractée.’ Anuario de Estudios Filológicos 19 1996 249-54

Good, Graham. ‘Early productions of Oscar Wilde’s Salome.’ Nineteenth Century Theatre Research 11 1983 77-92; supplemented by Laurence Senelick in ‘Salome in Russia.’ Nineteenth Century Theatre Research 12 1984 93-94

Gray, Piers. ‘The comedy of suffering.’ Critical Quarterly 33 iv 1991 41-57 (part on the play)

Greger, Christoph. ‘Constructing the aesthetic gaze: Salome and the submissive art of spectatorship.’ Literature and Psychology 47 iii 2001 38-51

Grünberg, Tristan. ‘Salomé, reine d’Angleterre: destins esthétique de la Salomé d’Oscar Wilde (Aubrey Beardsley, Charles Bryant, Ken Russell).’ Cahiers Victoriens & Edouardiens 73 2011 165-77

Gurfinkel, Helena. ‘“Yet each man kills the thing he loves”: murder and sexual transgression in The Importance of Being Earnest, “Lord Arthur Savile’s Crime,” and Salome.’ Pp 163-74 in Keane (171-72 on the play)

Gutiérrez, José I. ‘Dos acercamientos a un motivo literario de fin de siglo: la Salomé de Oscar Wilde y de la Enrique Gómez Carrillo.’ Hispanic Review 63 1995 411-31

Hamard, Marie C. ‘La femme fatale: Salomé et le Yellow Book.’ Cahiers Victoriens et Édouardiens 36 1992 29-49

Han, Pierre. ‘Wilde’s Salome: survival in a hothouse.’ Journal of Comparative Literature and Aesthetics 7 1984 97-105

Hartley, Kelver. Oscar Wilde: l’influence française dans son oeuvre. Paris: Librairie du Recueil Sirey, 1935, 105-68: ‘Son théâtre’ (151-68 on the play)

Hartwig, Heidi. ‘Dancing for an oath: Salomé’s revaluation of word and gesture.’ Modern Drama 45 2002 23-34

Hawthorne, Melanie C. ‘“Comment peut-on être homosexuel?”: multinational (in)corporation and the Frenchness of Salomé.’ Pp 159-82 in Liz Constable et al., eds. Perennial decay: on the aesthetics and politics of decadence. Philadelphia: Univ. of Pennsylvania Pr., 1999

Hoeveler, Diane L. ‘A reading of the emotions of Salome: sympathy for the Devil, or fear and loathing.’ Prism(s): Essays in Romanticism 9 2001 87-108

Hughes, Merritt Y. ‘The immortal Wilde.’ University of California Chronicle 30 1928 305-24 (compares illustrated editions of the play)

Hutcheon, Linda & Michael. ‘“Here’s lookin’ at you, kid”: the empowering gaze in Salomé.’ Profession 1998 11-22

Hyman, Erin W. ‘Salomé as bombshell, or How Oscar Wilde became an anarchist.’ Pp 96-109 in Bristow 1

Im, Yeeyon. ‘Oscar Wilde’s Salomé: disorienting orientalism.’ Comparative Drama 45 2011 361-80

Imura, Kimie. ‘On Salomé by Oscar Wilde: its background.’ Studies in Literature and Arts, Tsurumi Women’s College 10 1972 25-47

Innes, Christopher. Modern British drama, 1890-1990. Cambridge: Cambridge UP, 1992, 354-58

Ishikawa, Yumi. ‘The performance history of Oscar Wilde’s Salomé.’ British and American Cultures 29 1999 27-45

Jackson, Holbrook. ‘Introduction.’ Pp 11-27 in Wilde. Salomé: A Tragedy in One Act, translated from the French of Oscar Wilde by Lord Alfred Douglas and illustrated by Aubrey Beardsley. London: Limited Editions Club, 1938

Jasper, G. R. Adventure in the theater. New Brunswick, NJ: Rutgers UP, 1947, 206-13

Jeffery, Peter. The secret gospel of Mark unveiled: imagined rituals of sex, death, and madness in a biblical forgery. New Haven, CT: Yale UP, 2007, 226-39: ‘The wisdom of Salome’ (227-33 on the play)

Jenkins, Anthony. The making of Victorian drama. Cambridge: Cambridge UP, 1991, 204-08

Joost, Nicholas, & Franklin E. Court. ‘Salomé, the moon, and Oscar Wilde’s aesthetics: a reading of the play.’ Papers on Language and Literature 8 supplement 1972 96-111

Jiang, Jing. ‘Chinese Salomés on the modern stage.’ Modern Chinese Literature and Culture 23 2011 175-211

Joyce, James. ‘Oscar Wilde: il poeta di Salomé.’ Piccolo della Sera (Trieste) March 24, 1909; translated as ‘Oscar Wilde: the poet of Salomé’ and printed on pp 201-05 in Ellsworth Mason & Richard Ellmann, eds. The critical writings of James Joyce. London: Faber & Faber, 1959; repr. on pp 56-60 in Ellmann (little on the play)

Kailo, Kaarina. ‘Blanche Dubois and Salomé as New Women, old lunatics in modern drama.’ Pp 119-36 in Madness in drama. Themes in drama, 15. Cambridge: Cambridge UP, 1993

Kano, Ayako. ‘Visuality and gender in modern Japanese theater: looking at Salome.’ Japan Forum 11 i 1999 43-55

Kaye, Richard A. ‘Salome’s lost childhood: Wilde’s daughter of Sodom, jugendstil culture, and the queer afterlife of a decadent myth.’ Pp 119-34 in Dennis Denisoff, ed. The nineteenth-century child and consumer culture. Aldershot: Ashgate, 2008

Kellogg-Dennis, Patricia. ‘Oscar Wilde’s Salome: symbolist princess.’ Pp 224-31 in Sandulescu

Kettle, Michael. Salome’s last veil: the libel case of the century. London: Granada, 1977. 320 pp

Killeen, Jarlath. The faiths of Oscar Wilde: Catholicism, folklore and Ireland. Basingstoke: Palgrave Macmillan, 2005, 62-78

King, Frederick D. ‘Oscar Wilde’s Salome and the queer space of the book.’ Pp 159-78 in Magid

Knapp. Bettina L. ‘The hetaira type on stage: Thais and Salomé.’ Language Quarterly 14 iii-iv 1976 19-22

Knox, Melissa. ‘Losing one’s head: Wilde’s confession in Salome.’ Pp 232-43 in Sandulescu

—–. Oscar Wilde: a long and lovely suicide. New Haven, CT: Yale UP, 1994, 1-38: ‘Salome: in his end, his beginning’

Kohl, Norbert. Oscar Wilde: the works of a conformist rebel. Cambridge: Cambridge UP, 1989, 176-93

Kohlmayer, Rainer. ‘Oscar Wildes Einakter Salome und die deutsche Rezeption.’ Pp 159-85 in Winfried Herget & Brigitte Schultze, eds. Kurzformen des Dramas: gattungspoetische, epochenspezifische und funktionale Horizonte. Tübingen: Francke, 1996

Koritz, Amy. Gendering bodies / performing art: dance and literature in early twentieth-century British culture. Ann Arbor: Univ. of Michigan Pr., 1995, 75-85: ‘Oscar Wilde’s Salomé: rewriting the fatal woman’

Kramer, Lawrence. ‘Cultural and musical hermeneutics: the Salome complex.’ Cambridge Opera Journal 2 1990 269-94 (part on the play)

Kravec, Maureen T. ‘Wilde’s Salomé.’ Explicator 42 1983 30-32

Krishnayya, D. Radha. ‘Wilde’s Salomé: deviations from  the biblical episode.’ Commonwealth Quarterly 2 viii 1978 71-76

Kuryluk, Ewa. ‘Woman in the moon.’ Denver Quarterly 24 iii 1990 49-56

Lawler, Donald. ‘The Gothic Wilde.’ Pp 249-68 in Sandulescu (253-57 on the play)

Lawlor, Kimie I. ‘Salomé in Japan: a drama of desire.’ Pp 38-46 in Earl Miner et al., eds. ICLA ’91 Tokyo: The force of vision, I: Dramas of desire; visions of beauty. Tokyo: International Comparative Literature Association, 1995; see also pp 386-93

Lewis, Hanna B. ‘Salomé and Elektra: sisters or strangers.’ Orbis Litterarum 31 ii 1976 125-33

Lewsadder, Matthew. ‘Removing the veils: censorship, female sexuality, and Oscar Wilde’s Salome.’ Modern Drama 45 2002 519-44

Livio, Gigi. ‘Delle estetiche e delle poetiche, dello spirito del testo e del testo carico di destino: risposta a Ferdinando Taviani.’ Castello di Elsinore 8 1995 101-14 (Carmelo Bene’s production of the play is the chief example)

—–. ‘L’orientalismo fine secolo nel linguaggio della scena italiana: quattro rappresentazioni di Salomé.’ Pp 495-525 in Antonella Ottai, ed. Teatro Oriente / Occidente. Rome: Bulzoni, 1986

Lucas, Valerie. ‘“Tell me the thing that thou desirest”: design strategies for Salomé.’ Assaph: Studies in the Theatre 13 1997 123-34

Mabille, Louise. The rage of Caliban: Nietzsche and Wilde: contra modernity. Bethesda, MD: Academic Pr., 2006, 102-05

MacDonald, Ian A. ‘Oscar Wilde as a French writer: considering Wilde’s French in Salomé.’ Pp 1-19 in Bennett

Maier, Sarah E. ‘Symbolist Salomés and the dance of Dionysus.’ Nineteenth-Century Contexts 28 2006 211-23

Marcovitch, Heather. The art of the pose: Oscar Wilde’s performance theory. Bern: Lang, 2010, 138-40 (from ‘The princess, persona, and subjective desire: a reading of Oscar Wilde’s Salome.’ Papers on Language and Literature 40 2004 88-101)

Marcus, Jane. Art and anger: reading like a woman. Columbus: Ohio State UP, 1988, 3-19: ‘Salomé: the Jewish princess was a New Woman’ (from Bulletin of the New York Public Library 78 1974 95-113)

Marcus, Sharon. ‘Salomé!! Sarah Bernhardt, Oscar Wilde, and the drama of celebrity.’ PMLA 126 2011 999-1021

McCurley, Dallas. ‘Inspired by Kabuki: reflections on a theatrical experiment with Wilde’s Salomé.’ Pp 185-200 in Drugeon

McGinnis, Robert M. ‘Swinburne’s Chastelard and Wilde’s Salomé: Victorian experiments in the theatre of cruelty.’ Komos 2 1969 32-36

McKenna, Neil. The secret life of Oscar Wilde. London: Century, 2003, 163-66

Meier, Franz. ‘Oscar Wilde and the myth of the femme fatale in fin-de-siècle culture.’ Pp 117-34 in Böker (123-29 on the play)

Meisel, Martin. ‘The world, the flesh, and Oscar Wilde: bodily politics in Salome and Dorian Gray.’ Nineteenth Century Contexts 16 1992 121-34

Meyer, Jürgen. ‘“How black it is, down there!” Schizophrene Kommunikationsstrukturen in Oscar Wildes Salomé.’ Archiv 239 2002 287-312

Miller, Martha L. ‘Ana Rossetti and the Wilde connection: disturbing gender polarity.’ RLA: Romance Languages Annual 8 1996 576-81

Millett, Kate. Sexual politics. Garden City, NY: Doubleday, 1970, 152-56

Mitchell, Jason P. ‘A source Victorian or biblical? The integration of biblical diction and symbolism in Oscar Wilde’s Salomé.’ Victorian Newsletter 89 1996 14-18

Mueller, Martin. ‘Hoffmansthal’s Electra and its dramatic models.’ Modern Drama 29 1986 71-91 (the play is one model)

Nassaar, Christopher S. Into the demon universe: a literary exploration of Oscar Wilde. New Haven, CT: Yale UP, 1974, 80-109

—–. ‘Pater’s The Renaissance and Wilde’s Salomé.’ Explicator 59 2001 80-82

—–. ‘Wilde’s The Picture of Dorian Gray and Salomé.’ Explicator 53 1995 217-20

—–. ‘Wilde’s Salome.’ Explicator 57 1999 89-90

—–. ‘Wilde’s Salome and the Victorian religious landscape.’ Wildean 20 2002 2-13

—–, & Nataly Shaheen. ‘Wilde’s Salome.’ Explicator 59 2001 132-34

Navarre, Joan. ‘The moon as symbol in Salomé: Oscar Wilde’s invocation of the triple white goddess.’ Pp 71-86 in Bennett

—–. ‘Oscar Wilde and the motif of looking: an approach to teaching gender issues in Salomé.’ Pp 157-62 in Smith

—–. ‘Paul Verlaine and a Platonic lament: Beardsley’s portrayal of a parallel love story in Wilde’s Salome.’ English Literature in Transition 51 2008 152-63

Nunokawa, Jeff. Tame passions of Wilde: the styles of manageable desire. Princeton, NJ: Princeton UP, 2003, 121-28

Obed, Leonora R. V. ‘Steven Berkoff’s Salomé and the antinomian impulse.’ Wilde About Wilde Newsletter 20 1996 3-5

Ogane, Atsuko. ‘Vers un nouveau myth lunaire de Salomé: modernité de la mise en scène de la danse de Salomé.’ Pp 167-84 in Drugeon

Ossato, Cristina. ‘Salomé ed il linguaggio simbolico: Gustave Moreau e Oscar Wilde.’ Strumenti Critici 17 2002 379-97

Pencak, William. ‘“Appalling in its gloomy fascination”: Stoker’s Dracula and Wilde’s Salome.’ Pp 31-36 in James C. Holte, ed. The fantastic vampire: studies in the children of the night. NY: Greenwood Pr., 2002

Pestka, Dariusz. Oscar Wilde: between aestheticism and anticipation of modernism. Torún: Wydawnictwo Uniwersytetu Miko»aja Kopernika, 1999, 76-86: ‘Salome’ (incorporates ‘Salome—Wilde’s symbolic drama.’ Acta Universitatis Nicolai Copernici: English Studies 7 1997 5-16)

Peters, Julie S. ‘Performing obscene modernism: theatrical censorship and the making of modern drama.’ Pp 206-30 in Alan L. Ackerman & Martin Puchner, eds. Against theatre: creative destructions on the modernist stage. NY: Palgrave Macmillan, 2006

Pierobon, Frank. Salomé, ou, la tragédie du regard: Oscar Wilde, l’auteur, le personnage. Paris: Différence, 2009. 283 pp

Pimentel, Luz A. ‘Los avatares de Salomé.’ Anuario de Letras Modernas 6 1993-94 37-67

Plokker, J. H. ‘Salomé: bijdrage tot de psycho-analyse van een figuur van Oscar Wilde.’ Nederlands Tijdschrift voor Psychologie en haar Gransgebieden 7 1940 449-62

Poueymirou, Margoux. ‘The race to perform: Salomé and the Wilde Harlem Renaissance.’ Pp 201-19 in Bennett

Powell, Kerry. Acting Wilde: Victorian sexuality, theatre, and Oscar Wilde. Cambridge: Cambridge UP, 2009, 58-65: ‘Salomé: (a)head of its time’

—–. Oscar Wilde and the theatre of the 1890s. Cambridge: Cambridge UP, 1990, 33-54: ‘Salomé, the censor, and the divine Sarah’

Primorac, Antonija. ‘Dvije Salome: Salomé Oscara Wildea i Saloma Miroslava Krleze.’ Knjizevna Smotra 38 iii-iv 2006 123-30

Psichari, Jean. ‘Salomé et la décollation de Saint Jean-Baptiste.’ Revue de l’Histoire des Religions 72 i-ii 131-58

Puchner, Martin. The drama of ideas: Platonic provocations in theater and philosophy. NY: Oxford UP, 2010, 82-92 (88-92 on the play)

Pyle, Forest. ‘Extravagance; or, Salomé’s kiss.’ Journal of Pre-Raphaelite Studies 7 ii 1998 39-52

Pym, Anthony. ‘The importance of Salomé: approaches to a fin de siècle theme.’ French Forum 14 1989 311-22

Quigley, Austin E. ‘Realism and symbolism in Oscar Wilde’s Salomé.’ Modern Drama 37 1994 104-19

Raafat, Z. ‘The literary indebtedness of Wilde’s Salomé to Sardou’s Théodora.’ Revue de Littérature Comparée 40 1966 453-66

Raby, Peter. Oscar Wilde. Cambridge: Cambridge UP, 1988, 101-19

—–. ‘Unspeakable things: Headlong Theatre’s Salomé and an aesthetic for the new millenium.’ Pp 221-34 in Bennett

—–. ‘Wilde’s comedies of society.’ Pp 143-60 in Raby

Rao, M. Venkateswara. ‘The wayward woman in the “romantic plays” of Oscar Wilde.’ Treveni 59 iv 1990 74-77 (the play and The Duchess of Padua)

Richmond-Garza, Elizabeth M. ‘The double life of Salomé: sexuality, nationalism and self translation in Oscar Wilde.’ Pp 21-36 in Bennett

—–. ‘“Like a woman rising from a tomb”: Salomé, Cleopatra and Victorian Egypt.’ Pp 217-33 in Krystyna Kujawi½ska Courtney & John M. Mercer, eds. The globalization of Shakespeare in the nineteenth century. Lewiston, NY: Edwin Mellen Pr., 2003

Riquelme, J. P. ‘Shalom / Solomon / Salomé: modernism and Wilde’s aesthetic politics.’ Centennial Review 39 1995 537-80

Rix, Robert W. ‘Salomé and the fin du globe: Oscar Wilde’s decadent tragedy.’ Pp 94-123 in Ib Johansen and Dominic Rainsford, eds. Fins de siècle / New Beginnings. Aarhus: Aarhus UP, 2000

Robbins, Ruth. Oscar Wilde. London: Continuum, 2011, 144-61: ‘Artificial worlds: Salomé and The Importance of Being Earnest’; 144-51 on the play

Robinson, Bonnie J. ‘The perversion of decadence: the cases of Oscar Wilde’s Dorian Gray and Salome.’ Pp 147-67 in Paul Fox, ed. Decadences: morality and aesthetics in British literature. Stuttgart: Ibidem, 2006

Rodríguez Fonseca, Delfina P. Salomé: la influencia de Oscar Wilde en las literaturas hispánicas. Oviedo: Universidad de Ovieda, 1997. 240 pp (publ. diss.)

Roeder, Adam. Salomé. Wiesbaden: Emil Behrend, 1908 (adverse crit. of play & opera)

Roof, K. M. ‘Salomé: the play and the opera.’ Craftsman (NY) 11 1907 523-38

Rose, Marilyn G. ‘The daughters of Herodias in Hérodiade, Salomé and [Yeats’s] A Full Moon in March.’ Comparative Drama 1 1967 172-81

—–. ‘The synchronic Salomé.’ Pp 146-52 in Ortrun Zuber, ed. The languages of theatre: problems in the translation and transposition of drama. Oxford: Pergamon Pr., 1980

Rühm, Gerhard. ‘Oscar Wildes Salome und meine deutsche Nachdichtung.’ Protokolle 1982 iv 141-52

Russ, Andrew R. ‘Wilde’s Salomé: the chastity, promiscuity and monstrosity of symbols.’ Pp 37-54 in Bennett

Ryals, Clyde de L. ‘Oscar Wilde’s Salomé.’ Notes and Queries 6 1959 56-57

—–. ‘Toward a definition of decadent as applied to British literature of the nineteenth century.’ Journal of Aesthetics and Art Criticism 17 1958 85-92 (compares the play with Coleridge’s Christabel)

Salamensky, S. I. The modern art of influence and the spectacle of Oscar Wilde. Basingstoke: Palgrave Macmillan, 2012, 35-71: ‘Wilde women: Salomé and the spectacle of the transgendered Jewish hysteric’

—–. ‘Oscar Wilde’s “Jewish problem”: Salomé, the ancient Hebrew and the modern Jewess.’ Modern Drama 55 2012 197-215

Sammells, Neil. Wilde style: the plays and prose of Oscar Wilde. Harlow: Longman, 2000, 72-76

San Juan, Epifanio. The art of Oscar Wilde. Princeton, NJ: Princeton UP, 1967, 113-30

Sarti, Antonella. ‘Il corpo “fissato”: Salomé di Oscar Wilde.’ Merope 28 1999 89-104

Satzinger, Christa. The French influences on Oscar Wilde’s The Picture of Dorian Gray and Salomé. Lewiston, NY: Mellen Pr., 1994. 315 pp

Saunders, William. ‘Oscar Wilde’s Salomé.’ Drama (Chicago) 12 1922 335-37

Schnapp, Luise. ‘Oscar Wilde und die Bibel.’ Germanisch-Romanische Monatsschrift 21 1933 360-73 (stresses the play)

Schoonderwoerd, N. H. G. J. T. Grein, ambassador of the theatre 1862-1935. Nijmegen: Van Corcum, 1963, 197-206

Scurtulescu, Antonia. Oscar Wilde’s dramatic discourse: Salomé. Bucharest: Cartea Universitara, 2004. 160 pp

Schweik, Robert C. ‘Congruous incongruities: the Wilde-Beardsley “collaboration.”’ English Literature in Transition 37 i 1994 9-26

—–. ‘Oscar Wilde’s Salome, the Salome theme in late European art, and a problem of method in cultural history.’ Pp 123-36 in O. M. Brack, ed. Twilight of dawn: studies in English literature in transition. Tucson: Univ. of Arizona Pr., 1987

Severi, Rita. ‘Oscar Wilde e il mito di Salomé.’ Rivista di Letterature Moderne e Comparate 34 1981 59-74; ‘Oscar Wilde, la femme fatale and the Salomé myth.’ Pp 458-63 in Anna Balakian, ed. Proceedings of the Xth congress of the International Comparative Literature Association, II. NY: Garland, 1985

—–. ‘Salomé di Oscar Wilde: dal teatro alla rappresentazione.’ Quaderni di Teatro 9 1980 123-36

Shannon, Beth T. ‘Viewing Salomé symbolically.’ Pp 163-70 in Smith

Shewan, Rodney. ‘The artist and the dancer in three symbolist Salomés.’ Bucknell Review 30 i 1986 102-30 (120-28 on the play)

—–. Oscar Wilde: art and egotism. London: Macmillan, 134-47

Sims, George. ‘Rex v. Pemberton-Billing.’ London Magazine 32 iii-iv 1992 99-108

Skaggs, Carmen T. ‘Modernity’s revision of the dancing daughter: the Salome narrative of Wilde and Strauss.’ College Literature 29 iii 2002 124-39

Smiegel, Frank. ‘The queen is dead: style, Salome, and the death of the woman.’ Pp 248-66 in Katherine H. Burkman & Judith Roof, eds. Staging the rage: the web of misogyny in modern drama. Madison, NJ: Fairleigh Dickinson UP, 1998

Snodgrass, Chris. ‘Wilde’s Salome: turning “the monstrous beast” into a tragic hero.’ Pp 183-96 in Keane

Strukelj, Vanja. ‘Salomé: the enigma of the severed head in nineteenth-century iconography.’ Pp 223-39 in Franci

Sully, Jess. ‘Narcissistic princess, rejected lover, veiled priestess, virtuous virgin: how Oscar Wilde imagined Salomé.’ Wildean 25 2004 16-33

Sykora, Katharina. ‘Eine moderne Salome: Alla Nazimovas und Natacha Rambovas filmische Oscar Wilde-Adaptation von 1923.’ Frauen Kunst Wissenschaft 19 1995 41-50

Szalczer, Eszter. ‘Teaching Oscar Wilde’s Salomé in a theater history and dramatic literature seminar.’ Pp 151-56 in Smith

Tabak, Jennie. ‘Medusa is no longer laughing: Oscar Wilde’s symbolism in Salomé.’ JTD: Journal of Theatre and Drama (Haifa) 7-8 2001-02 159-73

Tena Medialdea, María D. ‘“Salomanía”: la construcción imaginaria de la danza oriental.’ Extravío: Revista Electrónica de Literatura Comparada 3 2008 121-29

Thomas, David W. ‘The “strange music” of Salomé: Oscar Wilde’s rhetoric of verbal musicality.’ Mosaic 33 i 2000 15-38

Thomas, Martine. ‘Oscar Wilde’s Salomé: a few “fin de siècle” aspects.’ Cahiers Victoriens et Édouardiens 36 1992 153-69

Toepfer, Karl. The voice of rapture: a symbolist system of ecstatic speech in Oscar Wilde’s Salome. NY: Lang, 1991. 182 pp

Tookey, Helen. ‘“The fiend that smites with a look”: the monstrous / menstruous woman and the danger of the gaze in Oscar Wilde’s Salomé.’ Literature & Theology 18 i 2004 23-37

Touwen, Tanya. ‘Salome: the music and language of Oscar Wilde and Richard Strauss.’ Irish Studies Review 11 Summer 1995 20-23

Townsend, Julie. ‘Staking Salomé: the literary forefathers and choreographic daughters of Oscar Wilde’s “hysterical and perverted creature.”’ Pp 154-79 in Bristow 1

Tunda, Mariagrazia. ‘Il corpo impuro della luna: Salomè di O. Wilde.’ Annali della Facoltà di Lingue e Letterature Stranieri (Università di Bari)

Tydeman, William, & Steven Price. Wilde: Salome. Plays in production. Cambridge: Cambridge UP, 1996. 214 pp

Ue, Tom. ‘Death and tragedy in Thomas Hardy’s The Return of the Native and Oscar Wilde’s Salomé.’ Pp 87-103 in Bennett

Vanhoutte, Jacqueline. ‘Salome’s earnestness.’ Text & Presentation: The Journal of the Comparative Drama Conference 13 1992 83-87

Varty, Anne. A  preface to Oscar Wilde. London: Longman, 1998, 131-55: ‘Salome, Salome, and symbolist theatre’

Vernadakis, Emmanuel. ‘Oscar Wilde, Tennessee Williams and the palimpsest of the courtesan.’ Pp 229-40 in Georges Letissier, ed. Rewriting / Reprising: plural intertextualities. Newcastle: Cambridge Scholars, 2009 (on La Sainte Courtisane and the play compared to two by Williams)

Vlachos, Ilias. ‘Agave, Salome and the enchanted heads: mind and body dialectics in Euripides and Oscar Wilde’s work.’ Psychoanalytic Review 96 2009 685-701

Walker, R. A. ‘Introduction.’ Pp 13-26 in Wilde. Salomé. Translated by Walker. London: Heinemann, 1957

Wallen, Jeffrey. ‘Illustrating Salomé: perverting the text?’ Word & Image: A Journal of Verbal / Visual Enquiry 8 1992 124-32

Wallerstein, Nicholas. ‘Classical and religious rhetoric in Oscar Wilde’s Salomé.’ Language and Literature 23 1998 61-72

Walshe, Eibhear. ‘“Angels of death”: Wilde’s Salomé and Shaw’s Saint Joan.’ Irish University Review 27 1997 24-32

Walz, Sandra. Tänzerin um das Haupt: eine Untersuchung zum Mythos ‘Salomé’ und dessen Rezeption durch die europäische Literatur und Kunst des fin de siècle. Munich: Meidenbauer, 2008. 628 pp

Wong, Linda P. ‘The initial reception of Oscar Wilde in modern China, with special reference to Salome.’ Comparative Literature and Culture 3 Sep 1998 52-73; repr. in OSCHOLARS: Journal of Wilde Studies July 2003 unpaged

Worth, Katharine J. The Irish drama of Europe from Yeats to Beckett. Atlantic Highlands, NJ: Humanities Pr., 1978, 99-119: ‘Salomé and [Yeats’s] A Full Moon in March

—–. Oscar Wilde. London: Macmillan, 1983, 51-73

Wright, Willard H. ‘Famous Salomes.’ Classic (NY) Oct 1922 34-77 (actresses)

Zagona, Helen G. The legend of Salomé and the principle of art for art’s sake. Geneva: Droz, 1960, 121-32: ‘Oscar Wilde’s Salomé: sensationalism and enigma’

Zaic, Franz. ‘Zur Dramatisierung des Salome-Stoffes in England.’ Anglia 78 1960 341-52

Zatlin, Linda G. ‘Wilde, Beardsley, and the making of Salome.’ Journal of Victorian Culture 5 2000 341-57

Zawrzykraj, Agata. ‘Salome taka, jak sie, państwu zdaje.’ Dialog (Warsaw) 49 i 2004 153-56

Zhou, Xiaoyi. Beyond aestheticism: Oscar Wilde and consumer society. Beijing: Peking UP, 1996, 145-57: ‘Desire for the body without a soul: Salome

—–. ‘Salomé in China: the aesthetic art of dying.’ Pp 295-316 in Bristow 2

Ziolkowski, Theodore. ‘The veil as metaphor and as myth.’ Religion and Literature 40 ii 2008 61-81

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