Secondary sources in Spanish

compiled by

Dr.  CRISTINA PASCUAL ARANSÁEZ

Head of the English Department, King Don García Institute, Madrid

 

September 2007; updated December 2012

 

The present bibliography contains information about the research material on Oscar Wilde which has been written in Spain since 1900.  For the first edition, please click here.

The fascination exerted by Wilde in Spanish academic and non-academic circles has made him the subject of different kinds of articles and books for more than a century.  Unfortunately a considerable number of accounts about Wilde has focused on the myth and has thus expanded the legend around him to the detriment of his intellectual and literary achievements.  Nevertheless, the critical material written about Oscar Wilde in Spain over the recent decades has marked a gradual transition from the ‘mythologized’ and very often inaccurate descriptions of Wilde’s life and writings to a revision of the figure of Wilde and his works that has done much to revalue Wilde’s position as a writer and thinker.

As it is the case in other countries, the significant turn in critical research towards the serious appreciation of Oscar Wilde in this country has been the product of the discovery of a variety of unknown documents by Wilde as well as of the emergence of new areas of study and innovative methods of analysis in literary history.  In addition, there have been important political and sociocultural changes in Spain – the establishment of democracy in the mid-seventies, the introduction of the degree of English Philology at Spanish universities in the sixties – which have undoubtedly allowed to re-assess Wilde’s career under proper conditions and has contributed to the proliferation of writings about Wilde’s life and works in the last decades.

Since the amount of critical material which has been written about Oscar Wilde throughout all these years in Spain is particularly impressive, there seemed to be a need of compiling the Spanish bibliographical information about Wilde in order to offer a practical tool for researching to those scholars interested in acceding to those critical works.  However, this bibliographical study is not simply intended to offer a listing of the titles of the essays and books written about Wilde in this country; the present work constitutes a guide of research whose principal objectives are the following ones: first, to recover a number of essays and books which may have been unduly forgotten among the morass of studies on Wilde in the last years but are nevertheless interesting due to their thoughts and perspectives into Wilde’s life and writings; second, to provide a description of the main developments in the lines of investigation in Wildean criticism which may account for the present ‘demythologized’ portrayal of Wilde; third, to indicate that there are innovative approaches into Wilde’s writings that may be further pursued with fruitful results as well as to suggest new areas of study that have not been explored in Spain yet.

This bibliography starts with a compilation of the Spanish books which are entirely devoted to Oscar Wilde.   With the exception of Armiño and Peláez’s work (2001), which contains a large number of papers read at an Oscar Wilde Congress in Madrid and thus shows indirectly the recent efforts to enhance Wilde’s intellectual and literary reputation, the rest of the books are biographies written about Oscar Wilde by Spanish writers from the first decades of the twentieth century up to the present.  The fact that these works share significant characteristics – all these works are biographical, none of them has been written by researchers – is particularly revealing: on the one hand, it confirms that these writings emerged from an initial interest in the representation the life of Wilde ‘the myth’ over that in his career as an artist; on the other hand, it suggests that many of them may have in turn endorsed and therefore propagated that popular image of Wilde.

To a certain extent this is true of most of the early biographies of Wilde, which tend to rely on the use of undocumented and/or biased sources and to accumulate an impressive amount of trivial material, all of which renders them fairly inaccurate.  With this caution in mind, it is worth remarking Ramón Gómez de la Serna’s biographical works (1944, 1968), which constitute notable attempts to emphasise the importance of Oscar Wilde’s crucial role in the development of fin-de-siècle literary movements.  Gómez de la Serna was an aesthetic writer and a prolific journalist who founded a literary magazine called Prometeo in order to innovate the literary panorama in Spain with the introduction of the main ideas and works of the French writers at the turn of the nineteenth century.  He contributed immensely to the diffusion of the writings of Oscar Wilde in Spain by publishing extracts of Wilde’s works in Prometeo and he wrote several prologues to the Spanish translations of Wilde’s literary production.  All in all, Gómez de la Serna’s biographies of Wilde abound in banal anecdotes, most of which were invented, but he regards Wilde’s eccentric attitude – which he shared – as a brave means to undermine the puritanical code of the Victorian world and, most importantly, he treats Wilde’s artistic achievements with the outmost respect.

The works written by Gómez de la Serna and all the other early biographical studies of Wilde have been superseded in several respects by those written in the last decades.  Contemporary biographies of Wilde are more documented and less partial than the previous ones, and consequently they deal with Wilde’s life and affairs seriously.  But regrettably few of these works aim to stop the process of mythologizing Wilde’s life.

Among those writers who intend to provide a demythologized image of Wilde, the most outstanding example is Villena (1978, 1989, 2001).  Luis Antonio de Villena is a well-known Spanish poet, writer and literary translator whose deep concern with epicurean decadent traditions as well as his delight in adopting extravagant dandiacal poses may have led him to draw his attention to Oscar Wilde at a very early stage of his literary career.  Villena’s account of Wilde surpasses the other Wildean biographies in Spain, because it sets a special emphasis on Wilde as a modern writer who used his literary contacts to promote his writings.  Luis Antonio de Villena treats in detail some aspects of Wilde’s career – Wilde’s poetical production, the American tour, his experience as a journalist – which had been neglected by previous Spanish biographers.  Above all, Villena insists that Wilde was ‘modern’ in all the aspects of his life and work.

Other authors have dwelled upon the ‘myth’ by writing fictionalised accounts of Wilde’s life.  For instance, Dalmau (1994, reprinted in 2000) recreates a fictional monologue in which Wilde addresses the musician Morrissey after the latter has told the writer that he wants to write an opera about him.  Another fictional work about Oscar Wilde is a novel written by Villena (1997), which narrates the last meeting of Wilde with Lord Alfred Douglas at an old Parisian café. And it is also worth mentioning Arana’s Oscar eta Sebastian (2009), which a biographical novel on Wilde written in Basque that received the “Premio de Ciudad de Irún” in 2009.

The next section of this bibliography contains the titles of those books which are partially devoted to Oscar Wilde.  The main interest of this section is that it allows us to trace the changes in the perception of Wilde to the emergence of new disciplines and perspectives within the area of literary history in the last years.  Spanish critics started to apply to the analysis of Wilde the innovative methodology proposed in areas such as theatre history and comparative studies (Camero, 2006) and the question of Irish identity (Toro Santos, 2007).

Soon biographical sketches of Wilde began to appear in the form of chapters in different literary histories written by Spanish writers, which indirectly indicates that, in spite of the usual prejudices against him, his image as a writer of international reputation was never altogether dismissed:

It must be admitted that some of the first commentators presented Wilde’s life and works under the pervasive influence of his legend, which very often resulted in impartial accounts of his artistic achievements; for example, Ayala (1919, reprinted in 2003) describes Wilde as a ‘spoiled child’, and he examines his writings from a moral perspective that leads him to diminish the value of his literary and critical output (but paradoxically he claims elsewhere that Wilde was a ‘genius’ and he places his works among those of Shakespeare, Ibsen and Lord Byron).  Some notable exceptions to this early tendency to allow the ‘myth’ overshadow the merits of the artist are Unamuno and Borges (1).  Miguel de Unamuno (1968), the eminent Spanish philosopher and writer, compiled a series of articles about British writers under a volume called Letras Inglesas, one of which is devoted to Oscar Wilde (‘La balada de la prisión de Reading’, first published in 1897).  Unamuno, who is a firm detractor of Aestheticism, complains that the writers and thinkers who follow this literary movement in Spain lack the artistic qualities which Oscar Wilde possesses; and Borges, whose appreciation of Wilde’s as a writer and thinker is widely known, is one of the first writers to set the myth of Wilde under the proper light in order to emphasise the role of Wilde the artist.  In recent years Javier Marías, who is an acclaimed Spanish writer, has included a brief description of Wilde’s life in a selection of biographies of international writers called Vidas Escritas (1992), where he depicts Wilde’s exile to France with a mixture of mild irony and deep admiration.

But the serious examination of Wilde’s writings which would eventually led to the revaluation of this author started with those comparative studies (Cansinos-Assens, 1919; Goy de Silva, 1950) which discussed Wilde’s treatment of the Salomé myth and the relation of Wilde’s text to those of the French writers at the turn of the nineteenth century.  Nonetheless, these books about Salomé tended to portray Wilde as a minor figure who limited himself to appropriate French sources.  Later some writers have tried to rectify this alleged lack of originality in Wilde’s use of French motives, for example Alonso Gómez (1999), who reinterprets Wilde’s original use of symbolism in his one-act tragedy.

The parallels between Wilde’s De Profundis and other writings in Western literature are the object of analysis of some studies such as González de Cardedal’s pioneering work (1939) and the recent account of Puente (2002), both of which provide accounts of the possible analogues of Wilde’s work in European literature and thinking where Wilde is treated as a central figure in the modernist tradition.

A similar line of argument is pursued by Julio Chiappini (1991) and Juan Herrero Senés (2002), who broaden their scope to deal with Wilde’s critical writings.  Hence Julio Chiappini investigates the connections between Wilde’s and Borges’ critical stance on different literary matters.  And Herrero Senés reassesses Wilde’s significance as a thinker and art theoretician by exploring the liberating experience which arises from Nietzsche’s and Wilde’s conceptions of life and art.

Equally remarkable in their attempts to relocate Wilde’s position in literary and intellectual culture are those works which have lately arisen from the most innovative methods associated with literary history.  In the area of theatre history Javier Navarro de Zuvillaga (2002) provides a short but insightful description of the stage design in the contemporary productions of Wilde’s plays in Spain which draws attention to Wilde’s resourcefulness as a modern playwright.  As far as the new studies of literature in relation to mass society, the stimulating Formas artísticas y sociedad de masas: elementos para una genealogía del gusto, el entresiglos XIX-XX (Facundo, 2001) tries to elaborate a paradigm to understand contemporary culture by searching the roots of today’s cultural concerns in the artistic and literary products at the turn of nineteenth century.

The third section of the present bibliography is the most extensive of all of them, because it includes the large number of papers and articles written about Oscar Wilde in this country over the last century.  It is especially noteworthy that most of these scholarly essays have been written over the last thirty years, which testifies to the fact that the current tendency to revaluate Wilde’s artistic merits in the light of the new areas of study of literary history has in turn produced an increase in the intellectual interest in his figure and writings.  A look at the academic writings about Wilde shows that there exists a wide range of innovative approaches to his life and works, and it also allows us to determine the degree and the kind of critical attention which individual works receive.  This point is essential in order to determine the similarities and differences between the trends in Wildean criticism in Spain in contrast to those in other countries, which can be very helpful to suggest new fields of research for the future.

The majority of the recent studies about Wilde have focused on the most controversial aspects of his life, such as his dealings with Victorian society, the trials, his imprisonment and his exile (García Sánchez, 2006; Guajardo Fajardo, 2008; Padró Sancho, 2011).  However, there is a notable shift from the traditional moralizing vision of Wilde’s life which was typical of the previous works to the main emphasis upon the social and philosophical concerns that Wilde concealed beneath his public mask which characterises these new articles and papers (e. g.  Roffe, 1979; Ballesteros González, 19917; Álvarez Baños, 1998; González Moreno, 2000; Rodríguez Monge, 2000; Pascual Aransáez, 2003, 2004).  Apart from this, the growing interest of critics to take up the subject of Wilde as an influential literary figure has resulted in the production of works which analyse how his critical and literary principles pervades the works of later Spanish writers (Bellveser, 1976; Coletes, 1985; Constán Valverde, 2002, 2003; Mateo, 2010).

As regards Wilde’s literary and critical output, The Picture of Dorian Gray has received much more scholarly attention than the rest of Wilde’s writings.  Spanish scholars have devoted most of their studies to Wilde’s novel, and they have discussed the same kind of topics:

Galán (1997) and Costas Pardo (1998) examine the sources and parallels of Wilde’s novel with different works: Galán indicates the connections between Wilde’s The Picture of Dorian Gray and Stevenson’s Strange Case of Dr Jekyll and Mr Hyde, and Costas Pardo analyses the relationship of Wilde’s novel to the theme of Faust.  The issue of homosexual identity in The Picture of Dorian Gray is investigated by Sánchez Pardo (1993) and Domínguez Leiva (2000) from the perspective of the emergence of homosexuality within literary discourse, and Suárez (2001) treats the question of homosexuality in Wilde’s novel in contrast to contemporary representations of homosexuality in art.  Also the impact of Wilde’s novel in post-war Spain has been object of study (Lázaro, 2011). But The Picture of Dorian Gray has been especially explored by means of the different methodologies provided by the late trends in literary theory.  Therefore, Fraile (1994) comments Wilde’s novel from a postmodernist standpoint which draws on different critical perspectives in order to provide a picture of it as a metaphor of the act of reading; Monforte (1998) reads The Picture of Dorian Gray in terms of Jacques Lacan’s The Mirror Stage; Pascual Aransáez (2001) carries out a study of Wilde’s novel by putting into practice the theoretical principles of the reception theorist Wolfgang Iser, and she shows that Wilde employs certain literary strategies all throughout the novel in order to propel the reader to cooperate actively in the production of the meaning novel and thus to discover by himself its moral implications.

The plays have also been persistently studied in Spain, both taken collectively and individually.  The early works about Wilde’s modern comedies are those which regarded them as a whole.  Critics such as Toro Santos (1979) and Martínez Victorio (1987) comment on the nature and the function of the dandy in Wilde’s society dramas, arguing that the Wildean dandy’s use of irony is an effective weapon both to disguise his real self as well as to attack the social and moral foibles of Victorian society.

A more innovative approach to Wilde’s plays is provided by recent critics, who prefer to study them on an individual basis.  The Importance of Being Earnest has received the greatest amount of critical attention, and many of the studies devoted to it have subjected it to a close textual analysis.  Hence Candel Borman (2000) centres upon the propositional and pragmatic behaviour in the play, and Mira (2003) analysis the different possibilities of translation of the play into Spanish.  An Ideal Husband has also been discussed from an innovative perspective in Mansilla Blanco’s ‘‘Art Never Expresses Anything but Itself’: las acotaciones artísticas en An Ideal Husband de Oscar Wilde’ (1994), which is an insightful analysis of the stage directions in Wilde’s play.  Apart from the social comedies, Salome has been widely studied by Wildean critics.  López-Abadía Arroita (1988) and Ramos Gay (2003) have pursued the question of the origins and development in the use of the myth of Salomé from the French writers to Oscar Wilde, where the emphasis is set upon the parallels (not the influences) between the French writings and Wilde’s drama as wells as in Wilde’s rewriting of the French playwrights (Ramos Gay, 2005).  Even more innovative are the accounts provided by Gutiérrez Gutiérrez (1995) and Bonilla  Cerezo (2003), who discuss the influences of Wilde’s Salomé upon the literary works of modernist writers from Spanish-speaking countries (Enrique Gómez Carillo in the former, Valle-Inclán and Castelao in the latter).

Interestingly enough, Oscar Wilde’s critical works have been highly appreciated by Spanish critics in recent years.  In general these scholars who have taken up the study of Wilde’s critical writings attempt to bring light to the connections between Wilde’s criticism and those of acclaimed literary critics or writers, which enables them to emphasise the value of Wilde’s proposals in the context of the most important literary and critical movements as well to highlight Wilde’s role as a precursor of certain concerns in modern and contemporary literary theory.  Among these articles, the most suggestive ones are Díaz Bild’s ‘Wilde and Barkhtin on the Opendedness of Art and Life’ (1996), Pascual Aransáez’s ‘Extreme Versions of Subjectivist Criticism: Oscar Wilde’s Intentions and Anatole France’s La Vie Littéraire’ (2001) and ‘A New Approach to Oscar Wilde’s Literary Criticism: Revaluation of Wilde’s Aesthetics in the Perspective of Reception Theory’ (2002); Rodríguez Mosteiro’s ‘Oscar Wilde a la luz de las teorías orteguianas’ (2002), Bárcenas Orbe’s ‘El canto de Marsis: filosofía, educación y el arte de vivir’ [on education as an aesthetic experience in the critical production of Foucault and Wilde] (2006).

In contrast, Wilde’s short fiction has been barely discussed by critics in Spain.  The works which have treated Wilde’s fairy tales collectively treat them from a rather traditional standpoint (Martínez Arancón, 1980; Roca i Costa, 2000).  The critics who have analysed Wilde’s fictional writings separately provide more innovative accounts of them, but they are scarce: Sanz Casares (1990) comments on the social and ethical proposal of ‘The Young King’, and in another article (1992) she explores the figure of the grotesque in ‘The Birthday of the Infanta’; Pascual Aransáez (1999) carries out a cognitive analysis of the crosss-linguistic differences between the ‘The Happy Prince’ and its Spanish translation.

Oscar Wilde’s later writings have not received much critical attention by Spanish critics, either.  Sánchez- Pardo González in ‘Confesión y Sublimación en De Profundis: raza, disciplina e identidad en Oscar Wilde’ (1999) maintains that Wilde’s lifewriting results from the collapse of the ‘fundamental fantasy’ that organised his reality by protecting him from the loss of Lord Alfred Douglas.  As she sees it, Wilde decides to turn to the concept of ‘race’ as a category of imagination which induces him to reconstruct his identity through this epistolary representation of his melancholia and his acceptance of social abjection.  As regards The Ballad of Reading Gaol, the few critics who examine it adopt a linguistic perspective: Sala (1997) discusses Miguel Arimany’s poetic translation of Wilde’s poem; Pascual Aransáez (2000) analyses the interrelationship between syntax and metre in The Ballad of Reading Gaol in order to show that Wilde’s personal experience in prison had an important influence on the form of the poem, which differs from a traditional ballad in that it reflects the individual’s subjective point of view.

The next section of the bibliography deals with the Spanish doctoral dissertations which are totally or partially devoted to Oscar Wilde.  A look at the former indirectly indicates the shift towards the revaluation of Wilde’s works that has taken place in the last decades:

The early doctoral dissertations focused on traditional aspects such as the socialism in Wilde’s writings (Toro Santos, 1977), the irony in Wilde’s literary production (Martínez Victorio, 1989), and the aestheticism in Wilde’s fairly tales (Sanz Casares, 1991).  In contrast, Pascual Aransáez (2002) considers Wilde as the epitome of modern professional writer who mastered the relationships between literature and mass culture at the end of the 19th century and used his businesslike abilities and the marketing techniques at his disposal to promote his works, and she studies how Wilde’s emphasis on the creative role of the receiver of the work of art leads him to employ a series of strategies in his literary writings that encourage the reader to participate in the construction of the meaning and to derive their social implications.  As regards the study of Wilde’s influence on other authors’ works, Ramos Gay (2003) analyses the reception and subversion of the French drama (especially Feydeau’s vaudevilles) in Wilde’s comedies in order to reassess Wilde’s plays in the context of nineteenth century English drama and to show Wilde as a precursor of certain comical formulas used by contemporary playwrights (Noel Coward, Joe Orton, Tom Stoppard). And Constán Valverde (2007) studies how Wilde’s works influenced Spanish authors from 1882, which is the year of the publication of the first article on Oscar Wilde in Spain, to the outbreak of the Spanish Civil War in1936.

In a similar way, the fact that there is a growing number of scholars who decide to make reference to Wilde’s works in their doctoral dissertations about other authors indicates the current appreciation of Wilde’s achievements as a thinker (Serrano de Haro Soriano, 1993; Cruzalegui Sotelo, 1994; Clúa Ginés, 2004), a writer (Sánchez Espinosa, 1994; Valls Oyarzun, 2005; Gónzalez de la Llama Fernández, 2005), and a playwright (Marín Lajusticia, 1991; Jiménez Fortea, 2003).

Finally, I have included two sections which are intended to testify to the enormous popularity of Oscar Wilde in academic and non-academic circles alike at present.  The first one of them comprises those Spanish film and theatrical representations of Wilde’s works that have been recorded (although there have been many of them live everywhere in Spain over the last twenty years), and the second one contains the main information about the free adaptations of Wilde’s life and Wilde’s writings which have been written or performed (and later recorded) in this country.

All in all, the amount of critical material here compiled demonstrates that the ‘traditional’ portrayal of Wilde which was characteristic in the critical accounts about this author and his works at the beginning of the twentieth century has eventually given way to an innovative image of Wilde as a professional and skilled writer and a serious thinker who was concerned with social and cultural matters.  Nevertheless, it also implies that there is still much to be done in order to broaden the scope of research of Wildean studies in Spain, because there are some aspects which have been unduly neglected: we have observed that the short fiction and the later writings have not received much critical interest and the same can be said with respect to two society dramas, A Woman of No Importance and An Ideal Husband; moreover, Wilde’s active participation in the commercial aspects involved in the production of his narrative and dramatic works has not been explored yet; and some aspects of Wilde’s life, such as his career as a journalist or his political concerns have been totally ignored so far.  These final remarks do not intend to add a pessimistic tone to the bibliography.  On the contrary, my objective is to encourage scholars to continue their investigations into Wilde’s life and writings by searching new fields of study in order to attain a deeper understanding of the richness of Oscar Wilde’s literary and intellectual achievements.

I.  BOOKS ENTIRELY ABOUT WILDE

 

  1. Agustinoy, Fernando.  Oscar Wilde.  Barcelona: G. P. , 1964, 79 pp.
  1. Armiño, Mauro and Peláez, Andrés, coords.  Ciclo de Conferencias en torno a Oscar Wilde.  ISBN 84-451-2141-3.  Madrid: Comunidad de Madrid; Consejería de Educación, 2001, 129 pp.
  1. Blázquez, José Antonio G.  Oscar Wilde.  Madrid: Epesa, 1969, 200 pp.
  1. _________.  La Balada de Oscar Wilde (re-edited version of the book in 1994) ISBN 84-8450-380-1.  Barcelona: Planeta, 2000, 347 pp.
  1. Delmar, Alberto N.  Vida de Oscar Wilde: el famoso y el desconocido.  ISBN 84-7954-440-6.  Madrid: Ediciones Libertarias, 1998, 373 pp.
  1. Gómez de la Serna, Ramón.  Oscar Wilde.  Buenos Aires: Poseidón, 1944, 270 pp.
  1. _________ [et al. ].  Oscar Wilde.  Buenos Aires: Juárez, 1968, 193 pp.
  1. González-Ruano, César.  Notas Sobre Oscar Wilde.  Madrid: Fernando Fe, 1925, 45 pp.
  1. Juan Arbó, Sebastián.  Oscar Wilde.  Madrid: Cid, 1960, 548 pp.
  1. _________.  Oscar Wilde.  Barcelona: G. P. , 1967, 447 pp.
  1. Matamoros, Blas.  Diccionario privado de Oscar Wilde (2).  Madrid: Altalena, 1980, 95 pp.
  1. Martí, José.  Oscar Wilde.  ISBN 84-96624-04-8 / 978-84-96624-04-7.  Valencia: Institutos de Estudios Modernistas, 2006, 69 pp.
  1. Miranda, Julio.  Retrato del artista encarcelado.  ISBN 980-296-700-9.  Maracaibo: Universidad Cecilio Acosta, 1999, 109 pp.
  1. Santísimo Sacramento, Pablo del.  Oscar Wilde se llamaba ‘el hijo pródigo’: estudios de una existencia auténtica.  Burgos: El Monte Carmelo, 1953, 236 pp.
  1. Villena, Luis Antonio de.  Conocer Oscar Wilde y su obra (3).  ISBN 84-7235-404-0.  Barcelona: Dopesa, 1978, 144 pp.
  1. _________.  Oscar Wilde.  ISBN 84-397-1523-4.  Madrid: Mondadori, 1989, 113 pp.
  1. _________.  Wilde total: la vida, el mundo, el personaje (re-edited, corrected and extended version of the book in 1978).  ISBN 84-08-03837-0.  Barcelona: Planeta, 2001, 301 pp.

II. BOOKS PARTIALLY ON WILDE

  1. Alonso Gómez, Lourdes.  La magia celta según Gustavo Adolfo Bécquer, Oscar Wilde y la literatura artúrica actual.  ISBN 84-89769-14-1.  Sevilla: Padilla Libros, 1999, 151 pp.
  1. Borges, Jorge Luis.  Otras Inquisiciones.  ISBN 84-20633-16-X Madrid: Alianza, 1999, 296 pp.
  1. Camero, Carmen.  ‘Imágenes de estetas: Oscar Wilde y los escritores franceses ‘Fin de Siglo’, Estudios comparativos, representaciones culturales, cromáticas y visuales de la escritura (ed.  Carmen Camero, Inmaculada Illanes), ISBN 84-472-1080-4, (2006) 27-40.
  1. Cansinos-Assens, Rafael.  Salomé en la literatura: Flaubert, Wilde, Mallarmé, Eugénio de Castro, Apollinaire.  Madrid: Editorial América, 1919, 254 pp.
  1. Chiappini, Julio.  Borges y Oscar Wilde.  Buenos Aires: Zeus, 1991, 49 pp.
  1. Facundo, Tomás.  Formas artísticas y sociedad de masas: elementos para una genealogía del gusto, el entresiglos XIX-XX.  ISBN 84-7774-621-4.  Madrid: Antonio Machado Libros, 2001, 273 pp.
  1. González de Cardedal, Olegario.  Cuatro poetas desde la otra ladera: Unamuno, Jean Paul, Machado, Oscar Wilde: prolegómenos para una cristología (4).  ISBN 84-8164-103-0.  Madrid: Trotta, 1934, 659 pp.
  1. Goy de Silva, Ramón.  Salome.  Madrid: Afrodisio Aguado, 1950, 186 pp.
  1. Herrero Senés, Juan.  La inocencia del devenir: La vida como obra de arte según Friedrich Nietzsche  y Oscar Wilde.  ISBN 84-974- 2058-6.  Madrid: Biblioteca Nueva, 2002, 164 pp.
  1. Marías, Javier.  Vidas escritas.  ISBN 84-7844-120-4.   Madrid: Siruela. , 1992, 174 pp.
  1. Navarro de Zuvillaga, Javier (ed. ).  Homenaje a Calderón, Wilde y Saint-Exupéry: [en su centenario].  ISBN 84-897-8432-9.  Madrid: Editorial Complutense, 2002, 80 pp.
  1. Pérez de Ayala, Ramón.  ‘Oscar Wilde o el espíritu de la contradicción’ in Las Máscaras II.  Vol.  V from Obras Completas.  Madrid: Fundación José Antonio de Castro, 2003 (1919), 1144 pp.
  1. _________.  ‘Las comedias modernas de Wilde’ in Las Máscaras II.  Vol.  V from Obras Completas.  Madrid: Fundación José Antonio de Castro, 2003 (1919), 1144 pp.
  1. _________.  ‘Proceso póstumo’ in Las Máscaras II.  Vol.  V from Obras Completas.  Madrid: Fundación José Antonio de Castro, 2003 (1919), 1144 pp.
  1. _________.  ‘La moral y el arte’ in Las Máscaras II.  Vol.  V from Obras Completas.  Madrid: Fundación José Antonio de Castro, 2003 (1919), 1144 pp.
  1. Puente, David.  De Profundis: literatura y perdón (Tennyson, Baudelaire, Wilde).  ISBN 84-7030-589-1.  Madrid: Biblioteca Nueva, 2002, 91 pp.
  1. Toro Santos, Antonio Raúl de. La literatura irlandesa en España. ISBN 978-84-9745-216-8. La Coruña: Netbiblo SL, 2007, 97 pp.
  1. Unamuno, Miguel de.  ‘La balada de la prisión de Reading’ (5) in Letras Inglesas (1899-1936).  Vol.  IV from Obras Completas.  Madrid: Escélicer, 1968, 1467 pp.

III.  ARTICLES ON WILDE

  1. Álvarez Baños, María Isabel.  ‘Un griego nacida en Irlanda: Oscar Wilde’, Estudios Clásicos, ISSN 0014-1453, 40, 113 (1998), 71-88.
  1. Arias Fernández, Alfredo.  ‘Dragón y caballero: el asesino sensible’, Revista latente: Revista de historia y estética del audiovisual, ISSN 1134-430X, 1 (2003), 73-96.
  1. Arranz, Manuel.  ‘‘La decadencia de la mentira’ de Oscar Wilde’, Archipiélago: Cuadernos de crítica de la cultura, ISSN 0214-2686, 52 (2002), 131-133.
  1. Aznar Almazán, Mª Sagrario.  ‘El retrato de Dorian Gray: La teoría de un esteta’, Espacio, Tiempo y Forma, Serie VII, Historia del Arte, ISSN 1130-4715, 2 (1989), 433-440.
  1. Bach, Mauricio.  ‘Oscar Wilde, dandi y mártir’, Clij: Cuadernos de literatura infantil y juvenil, ISSN 0214-4123, 89 (1996), 44-53.
  1. _________.  ‘Oscar Wilde: el ingenio de un dandi’, Qué leer, ISSN 1136-3916, 31 (1999), 55-58.
  1. Ballesteros González, Antonio.  ‘Los retratos de Oscar Wilde: el escritor en la sociedad victoriana de fin de siglo’, Estudios Ingleses de la Universidad Complutense, ISSN 1133-0392, 5 (1997), 247-260.
  1. Bárcena Orbe, Fernando.  ‘El canto de Marsias: filosofía, educación y el arte de vivir’, Estudios Filosóficos, ISSN 0210-6086, 55,  160 (2006), 439-448.
  1. Bellveser, Ricardo.  ‘De Oscar Wilde a Juan Gil-Albert.  Con una referencia a José Romera’, Diario Las Provincias, 22 February 1976, 40.
  1. Bonilla Cerezo, Rafael.  ‘Salomé danza ante los tetrarcas modernistas Valle-Inclán y Castelao.  Plástica, caricatura y cine en un mito de Wilde’, Analecta Malacitana, ISSN 0211-934X, 26, 1 (2003), 159-179.
  1. Candel Borman, Daniel.  ‘The Importance of Being Earnest as regards both Propositional and Pragmatic Behaviour’, Revista Canaria de Estudios Ingleses, ISSN 0211-5913, 41 (2000), 235-248.
  1. Castex, Mariano N.  ‘El Dios oculto en el ateismo de Oscar Wilde’.  Conferencia pronunciada el miércoles 7 de noviembre de 1984), Serie Conferencias en la Academia Nacional de Ciencias de Buenos Aires, ISBN 950-9186-19-8, 10 (1985), 17 pp.
  1. Clúa Gines, Isabel.  ‘Cuando Frankenstein encontró a Dorian Gray: dandismo, post-identidad y sujetos virtuales’, Lectora: revista de dones i textualitat, ISSN 1136-5781, 10 (2004), 115-132.
  1. Coletes Blanco, Agustín.  ‘Oscar Wilde en España, 1902-1928’, Cuadernos de Filología Inglesa, ISSN 0213-5485, 1 (1985), 17-32.
  1. Constán Valverde, Sergio.  ‘La importancia de llamarse Ramón: notas sobre la presencia de Wilde en Gómez de la Serna’, Philologica canariensia, ISSN 1136-3169, 8-9 (2002-2003), 61-73.
  1. _________.  ‘Abel Sánchez o la lección aprendida del Dorian Gray: decadentismo wildiano en Unamuno’, Proceedings of the 27th Internacional Conference of AEDEAN (eds.  Antonio R.  Celada, Daniel Pastor, Pedro J.  Pardo), ISBN 84-7455- 103 – X, (2004).
  1. Costas Pardo, María del Carmen.  ‘El héroe y temas míticos en Fausto y El Retrato de Doria Gray’, Actas del VII Congreso Internacional de la Asociación Española de Semiótica (ed.  Tús Blesa), Zaragoza: Asociación Española de Semiótica, 2 (1998), 94-97.
  1. Devant, Teresa.  ‘Actos indecentes, los tres juicios de Oscar Wilde’, ADE teatro: Revista de la Asociación de Directores de Escena de España, ISSN 1133-8792, 105 (2005), 154-157.
  1. Díaz Bild, María Aída.  ‘Wilde and Barkhtin on the Opendedness of Art and Life’, ES: Revista de filología inglesa, ISSN 0210-9689, 20 (1996), 49-54.
  1. Domínguez Leiva, Antonio.  ‘Dorian G(r)ay: el monstruo en el armario’, Cuadernos Hispánicos, ISSN 1131-6438, 606 (2000), 131-140.
  1. Duro Moreno, Miguel.  ‘Ironía y retórica en The Importance of Being Earnest’, Analecta Malacitana, ISSN 0211-934X, 16, 1 (1993), 137-152.
  1. Elices Agudo, Juan Francisco.  ‘From aithirne the importunate to Robert McLiam Wilson: a preliminary overview of the Irish satiric’, Journal of English Studies, ISSN 1576-6357, 4 (2003/2004), 73-78.
  1. Fraile, Isabel.  ‘Taking Risks: a Reading of Oscar Wilde’s The Picture of Dorian Gray’, Miscelánea: a journal of English and American studies, ISSN 1137-6368, 15 (1994), 219-234.
  1. Galán, Rafael.  ‘Theatres of the Mind: Text and Identity in The Picture of Dorian Gray and The Strange Case of Dr Jekyll and Mr Hyde’, Anuari de Filologia, ISSN 113-1-6861, 8 (1997), 49-60.
  1. García Carballido, Xosé Luis.  ‘O encadeamento de Oscar Wilde on a importancia de semellar honesto’, A Coruña: Universidade da Coruña.  Servicio de Publicacións, (1999), 161-164.
  1. García Sánchez, Jorge.  ‘El retrato de Sebastián Melmoth: Oscar Wilde en el exilio’, Historia 16, ISSN 0210-6353, 360 (2006), 46-51.
  1. García Tójar, Luis.  ‘Últimas noticias sobre Dorian Gray’, CIC: Cuadernos de Información y Comunicación, ISSN 1135-7991, 5 (2000), 171-194.
  1. Gilabert i Barberà, Pau. ‘Anti-Hellenism and Anti-Classicism in Oscar Wilde’s Works: the Second Pole of a Paradoxical Mind’, Itaca: quaderns catalans de cultura clàsica, ISSN 0213-6643, 21 (2005), 229-270.
  1. Gómez, S.  ‘Oscar Wilde (1854-1900): cien años después’, Padres y maestros, ISSN 0210-4679, 255 (2000), 27-32.
  1. González Cruz, Iván. ‘A Oscar Wilde’, Revista hispano cubana, ISSN 1139-0883, 28 (2007), 181.
  1. González Moreno, Beatriz.  ‘Wilde y el espíritu de la contradicción: el apolíneo caballero y el dionisíaco subversor’, Estudios de filología moderna, ISSN 1575-9954, 1 (2000), 163-180.
  1. Grande, Félix.  ‘Oscar Wilde llevaba razón’, República de las Letras: Revista literaria de la Asociación Colegial de Escritores, ISSN 1133-2158, 98 (2006), 55-66.
  1. Guajardo Fajardo, Javier. ‘La transfiguración del dolor en belleza (Oscar Wilde en la cárcel)’, Catedra Nova, ISSN 1135-2981, 27 (2008), 217-230.
  1. Gutiérrez Gutiérrez, José Ismael.  ‘Dos acercamientos a un motivo literario de fin de siglo: la Salomé de Oscar Wilde y la de Enrique Gómez Carrillo’, Hispanic Review,  63, 3 (1995), 411-431.
  1. Herrero Brasas, Juan Antonio.  ‘Religión, ética y estética en Walt Whitman y en Oscar Wilde’, Letras de Deusto, ISSN 0210-3516, 24, 64 (1994), 87-102.
  1. Herrero Senés, Juan.  ‘Nietzsche, Wilde y la agenda del artista moderno’, Quimera: Revista de Literatura, ISSN 0211-3325, 198 (2000), 27-33.
  1. Lamillar, Juan.  ‘Los procesos contra Oscar Wilde’, Clarín: Revista de nueva literatura, ISSN 1136-1182, 2, 7 (1997), 73-74.
  1. Lázaro, Alberto. ‘Reading Oscar in Post-War Spain: The Picture of Dorian Gray under the Microscope’, Dreaming the Future: new horizons – old barriers in 21st century Ireland (eds. María Losada Friend, José María Tejedor Cabrera, José Manuel Estévez Saá), ISBN 978-3-86821-327-0, 2011, 43-50.
  1. López-Abadía Arroita, Isabel Sara.  ‘Salomé, un mito literario finisecular: De Flaubert a Oscar Wilde’, Estudios de lengua y literatura francesas, ISSN 0214-9850, 2 (1988), 125-134.
  1. Machado, Manuel.  ‘La última balada de Oscar Wilde’, Nuestro Tiempo, 33 (1903), 354-359.
  1. Maetzu, Ramiro de.  ‘Oscar Wilde de Nuevo’, Heraldo de Madrid, 25th April, 1913.
  1. Malpartida, Juan.  ‘Cuatro dublineses (Wilde, Yeats, Joyce, Beckett)’, Cuadernos Hispánicos, ISSN 1131-6438, 479 (1990), 153-154.
  1. Mansilla Blanco, María Isabel.  ‘‘Art Never Expresses Anything but Itself’: las acotaciones artísticas en An Ideal Husband de Oscar Wilde’, Revista de Filología Inglesa, ISSN 0210-9689, 18 (1994), 75-80.
  1. Marco Escoda, Elisabet.  ‘Cien años sin Oscar Wilde’, Primeras Noticias.  Literatura infantil y juvenil, 169 (2004), 10-11.
  1. Marías, Javier.  ‘Oscar Wilde tras la cárcel’ (extracted from the book in 1992), Claves de razón práctica, ISSN 1130-3689, 19 (1992), 41-43.
  1. Martínez Arancón, Ana.  ‘Los hermosos cuentos de Wilde’, Nueva Estafeta, ISSN 0210-0835, 20 (1980), 97-98.
  1. Martínez Conde, Ricardo.  ‘El aforismo como representación’, Claves de razón práctica, ISSN 1130-3689, 67 (1996), 68-70.
  1. Martínez Victorio, Luis Javier.  ‘La proyección del dandismo de Wilde en sus comedias’, Revista Canaria de Estudios Ingleses, ISSN 0211-5913, 15 (1987), 53-66.
  1. _________.  ‘Trasgresión estética y perversión racionalista en The Picture of Dorian Gray’, Estudios Ingleses de la Universidad Complutense, ISSN 1133-0392, 4 (1996), 161-174.
  1. ________. ‘Narciso y Dioniso en W. Pater y O. Wilde’, Amaltea: revista de mitocrítica, ISSN-e 1989-1709, 0 (2008), 251-276.
  1. Matamoros, Blas.  ‘Dos irlandeses’, Cuadernos Hispanoamericanos, ISSN 1131-6438, 499 (1992), 93-104.
  1. Mateo, Marta. ‘The Reception of Wilde’s Works in Spain through Theatre Performances at the Turn of the Twentieth and Twenty-first Centuries’, The Reception of Oscar Wilde in Europe (ed. Stefano Evangelista), ISBN 978-1-8470-6005-1, (2010), 156-172.
  1. Memba, Javier.  ‘Oscar Wilde, el esteta, el decadente, el snob’, Diario El Mundo, 28th July, 2002, viewed 20 Agust 2007, http://www. elmundo. es/elmundolibro/2002/07/28/anticuario/1027580567. html.
  1. Míguez Ben, Manuel.  ‘Earnest Problem Pictures’, Santiago de Compostela: Universidade de Santiago de Compostela: Servicio de Publicacións e Intercambio Científico, 2 (1999), 504-510.
  1. Mira, Alberto.  ‘Conferencia.  La importancia de no ser fiel: a propósito de una nueva traducción de Oscar Wilde’, Vasos comunicantes: Revista de ACE traductores, ISSN 1135-7037, 27 (2003), 92-99.
  1. Monforte, Enric.  ‘A reading of Oscar Wilde’s The Picture of Dorian Gray in the light of Jacques Lacan’s The Mirror Stage’, Proceedings of the 22nd Internacional Conference of AEDEAN (eds.  Pere Gallardo, Enric Llurda), ISBN 84-8409-045-0, (1998), 397-400.
  1. Montesdeoca Cubas, María del Pino.  ‘Cuando el autor se convierte en personaje: The Last Testament of Oscar Wilde de Peter Ackroyd’, Revista Canaria de Estudios Ingleses, ISSN 0211-5913, 48 (2004), 165-178.
  1. Moreno-Durán, Rafael Humberto.  ‘Oscar Wilde: Ceder a la Tentación’, Quimera: Revista de literatura, ISSN 0211-3325, 103/104 (1991), 88-92.
  1. Moya Gutiérrez, Ana.  ‘‘Dorian Gray’: An Epitaph for Victorian Civilization?’, Actas del XV Congreso de AEDEAN (eds.  Francisco José Ruiz, Carmelo Cunchillos), ISBN 84-600-8718-2, (1993), 109-114.
  1. _________.  ‘Terry Eagleton’s Saint Oscar (1989): Reading Wilde at the end of the twentieth century’, BELLS: Barcelona English language and Literature Studies, ISSN 1139-8213, 11 (2000), 161-170.
  1. _________ and Mariàngela Cerdà.  ‘Centenari Óscar Wilde (1856 [sic]-1900).  Estètica, ètica i politica de Dorian Gray’, Ciclo Literatura Fantástica Universal.  Barcelona: Ateneu Barcelonés, 2000, 1 cassette.
  1. Muñoz Álvarez, Vicente.  ‘Oscar Wilde: perversión e ideal’, Filandón (supplement of Diario de León), 627 (1998), 4.
  1. Navarro Durán, Rosa. ‘Salomé o la tentación irresistible’, Anagnórisis: revista de investigación teatral, ISSN-e 2013-6986, 1 (2010), 130-144.
  1. _________. ‘La bailarina mortal del romancero de García Lorca y la luna de “Salomé” de Oscar Wilde, Clarin: revista de nueva literatura, ISSN 1136-1182, 88 (2010), 14-18.
  1. Obregón, Antonio de.  ‘Conversaciones atribuidas a Oscar Wilde’, Revista de Occidente, 45 (1934), 104-112.
  1. Pacheco, José Emilio.  ‘Wilde en su (tercer) mundo’, Letras Libres, ISSN 1405-7840, 3, 25 (2001), 26-29.
  1. Padrò Sancho, Carles. ‘Proceso a Wilde’, Historia y vida, ISSN 0018-2354, 515 (2011), 72-78.
  1. Pascual Aransáez, Cristina.  ‘A Cognitive Analysis of the Cross-Linguistic Differences between English and Spanish Verbs and its Implications for Translation (A Study of Oscar Wilde’s ‘The Happy Prince’)’, EPOS: Revista de Filología, ISSN 0213-201X, 15 (1999), 335-346.
  1. _________.  ‘Wilde and his experience in prison: The interrelationship between Syntax and Metre in The Ballad of Reading Gaol’, Estudios ingleses de la Universidad Complutense, ISSN 1133-0392, 8 (2000), 259-266.
  1. _________.  ‘Extreme Versions of Subjectivist Criticism: Oscar Wilde’s Intentions and Anatole France’s La Vie Littéraire’, Proceedings of the 24th Internacional Conference of AEDEAN (eds.  Ángel Mateos-Aparicio, Silvia Molina), AEDEAN: Universidad de Castilla-La Mancha, ISBN 84-699-5709-0, (2000), CD-ROM.
  1. _________.  ‘A Comparative Study of two Extreme Versions of Subjectivist Criticism: Oscar Wilde’s Intentions and Anatole France’s La Vie Littéraire’, EPOS: Revista de Filología, ISSN 0213-201X, 17 (2001), 295-304.
  1. _________.  ‘The Role of the Reader in Oscar Wilde’s The Picture of Dorian Gray’, Re-Interpretations of English.  Essays on Literature, Culture and Film, ISSN 0017-4181, 2 (2001), 211-228.
  1. _________.  ‘A New Approach to Oscar Wilde’s Literary Criticism: Revaluation of Wilde’s Aesthetics in the Perspective of Reception Theory’, New Voices in Irish Criticism III, Dublin: Four Court Press, ISBN 18-51826-33-5, (2002), 137-142.
  1. _________.  ‘El retrato de Oscar Wilde’ (interview by P. M. G), Diario La Rioja, 16th December 2002, 81-82.
  1. _________.  ‘La máscara de Oscar Wilde’ (interview by César Coca), Diario El Correo Español, 6th January 2003, 32-33.
  1. _________.  ‘La verdad de las máscaras de Oscar Wilde.  Homenaje a Oscar Wilde en el 150 Aniversario de su Nacimiento’, Diario El Correo, 13th Octubre 2004, 45.
  1. Peñate, Carlos and Manuel Wood.  ‘Enseñando inglés con Oscar Wilde’, Simposio Didáctica de Lenguas y Culturas, ISBN 84-88301-76-6, (1993), 141-148.
  1. Prieto Martínez, Antonio.  ‘Representación y realidad de la violencia: de Thomas Hardy a Oscar Wilde’, Violencia y desigualdad: realidad y representación (ed.  Emilio Sampedro), ISBN 84-7800-565-X, (2004) 235-252.
  1. Quesada Monge, Rodrígo.  ‘Oscar Wilde (1854-1900): Del arte por el arte a una cena con panteras’, Espéculo: Revista de estudios literarios, ISSN 1139-3637, 15 (2000), viewed 20 August 2007, http://www.  ucm. es/info/especulo/numero15/o_wilde. html.
  1. _________.  ‘El amor que no se atreve a decir su nombre.  Oscar Wilde y la cuestión homosexual’, Escáner Cultural, ISSN 1138-7734, 30 (2001), viewed 20 August 2007,  http://www. escaner. cl/escaner30/perfiles. htm.
  1. _________.  ‘Esfinges sin misterio.  Las mujeres de Oscar Wilde’, Escáner Cultural, ISSN 1138-7734, 31 (2001), viewed 20 August 2007, http://www. escaner. cl/escaner31/perfiles. htm.
  1. _________.  ‘Oscar Wilde en América Latina’, Escáner Cultural, ISSN 1138-7734, 66 (2004), viewed 20 August 2007, http://www. escanercl/escaner66/perfiles. html.
  1. Ramos Gay, Ignacio.  ‘Du conte au théatre: la translation du mythe biblique de Salomé de Flaubert à Oscar Wilde’, El relato corto francés del siglo XIX y su recepción en España (ed.  Concepción Palacios), ISBN 84-8371-423-X, (2003), 303-328.
  1. _________.  ‘La crítica como arte en Wilde y Baudelaire’, La literatura en la literatura: Actas del XIV Simposio de la sociedad española de literatura general y comparada (ed.  Magdalena León), ISBN 84-96408-01-9, (2004), 369-378.
  1. _________.  ‘Farsas, dobles y simetrías en Georges Feydeau y Oscar Wilde: de Monsieur Chasse a The Importance of Being Earnest’, El texto como encrucijada: estudios franceses y francófonos (eds.  Ignacio Iñarrea, María Jesús Salinero), ISBN 84-95301-85-7, 1 (2004), 375-388.
  1. _________. ‘Myth and Censorship: Oscar Wilde re-writing the French Classics’, Quaderns de filología. Estudis literaris, ISSN 1135-4178, 10 (2005), 271-284.
  1. _________. ‘Francia vs Irlanda: Oscar Wilde y la negociación de la identidad dramática’, Quaderns de filología. Estudis literaris, ISSN 1135-4178, 12 (2007), 103-116.
  1. Revuelta, Laura.  ‘El síndrome de Dorian Gray’, Lápiz: Revista Internacional del Arte, ISSN 0212-1700, 210-211 (2005), 164-169.
  1. Rivas Bravo, Noel.  ‘Retratos Modernistas de Oscar Wilde’, Philologia Hispalensis, ISSN 1132-0265, 16 (2002), 235-241.
  1. Roca i Costa, Maria Carme.  ‘Oscar Wilde: temas y simbología de sus cuentos’, Clij: Cuadernos de literatura infantil y juvenil, ISSN 0214-4123, 129 (2000), 7-18.
  1. Rodríguez Mosteiro, Ana María.  ‘Oscar Wilde a la luz de las teorías orteguianas’, A Coruña: Universidade da Coruña: Servicio de Publicacións, (2002), 255-263.
  1. Roffe, Mercedes.  ‘Oscar Wilde o el dandysmo como rebeldía’, Nueva Estafeta, ISSN 0210-0835, 11 (1979).
  1. Sala Lleal, Jordi. ‘Traduir Oscar Wilde: vicissituds pràctiques i implicacions teòriques’, Quaderns: revista de traducció, ISSN 1138-5790, 19 (2012), 373-385.
  1. Sala, Rafael.  ‘Un hito de la traducción poética: Miguel Arimany y su versión de The Ballad of Reading Gaol’, Livius: Revista de estudios de traducción, ISSN 1132-3191, 9 (1997), 151-158.
  1. Salazar Chapela, Esteban.  ‘Anecdotario Americano de Oscar Wilde’, leaflet  of Revista Nacional de Cultura, 121/2 (1957).
  1. Sambad, Daniel de.  ‘Retrato estético de un artista maldito que se creía Oscar Wilde’, Pontevedra: Deputación Provincial de Pontevedra, ISBN 84-89690-X, 1998.
  1. Sánchez Espinosa, Adelina.  ‘Oscar Wilde: The Subversion of the Christian Myth’, Estudios de literatura en lengua inglesa (ed.  Miguel Martínez), ISBN 84-338-2020-6, 1 (1995) 273-298.
  1. Sánchez Luque, María.  ‘Acercamiento al pensamiento estético de Oscar Wilde: hacia una teoría del arte moderno’, Boletín de arte, ISSN 0211-8483, 23 (2002), 325-348.
  1. Sánchez-Pardo González, Esther.  ‘The Picture of Dorian Gray: el surgimiento de la identidad homosexual en el discurso literario contemporáneo’, Actas del XV Congreso de AEDEAN (eds.  Francisco José Ruiz, Carmelo Cunchillos), ISBN 84-600-8718-2, (1993), 233-241.
  1. _________.  ‘Confesión y sublimación en De Profundis: Raza, disciplina e identidad en Oscar Wilde’, Estudios Ingleses de la Universidad Complutense, ISSN 1133-0392, 7 (1999), 241-263.
  1. Sanz Casares, María Concepción.  ‘‘The Young King: una propuesta ético-social de Oscar Wilde’, ES: Revista de filología inglesa, ISSN 0210-9689, 14 (1990), 129-138.
  1. _________.  ‘Función y Significado de la figura grotesca en ‘The Birthday of the Infanta’, ES: Revista de filología inglesa, ISSN 0210-9689, 16 (1992), 77-84.
  1. Serrano de Haro, Amparo.  ‘El retrato del crítico: Inglaterra (1850-1900)’, Palabra y pintura: la tradición crítica anglo-americana, ISBN 84-362-4072-3, 8 (1995), 321-331.
  1. _________.  ‘Oscar Wilde y la modernidad’, Espacio, Tiempo y Forma, Serie VII, Historia del Arte, ISSN 1130-4715, 8 (1995), 321-332.
  1. Suárez, José Antonio.  ‘La máquina queer: insubordinación sexual, tecnología y velocidad: de El Retrato de Dorian Gray a Boys Don’t Cry’, Orientaciones: Revista de homosexualidades, ISSN 1576-978X, 1 (2001), 129-148.
  1. Tena Medialdea, María Dolores. ‘¿Salomanía?: la construcción imaginaria de la danza oriental’, Extravío: revista electrónica de literatura comparada, ISSN-e 1886-4902, 3 (2008), 121-129.
  1. Toro Santos, Antonio Raúl de.  ‘Algunas notas en torno a la función del Dandy en las comedias de Oscar Wilde’, Atlantis: Revista de la Asociación Española de Estudios Anglonorteamericanos, ISSN 0210-6124, 1, 2 (1979), 40-43.
  1. Vilá Badia, Anna.  ‘Oscar Wilde: esplendor y ocaso de un genio’, Historia y vida, ISSN 0018-2354, 392 (1968), 64-72.
  1. Villena, Luis Antonio de.  ‘Oscar Wilde: Aspas para el Centenario’, Turia: Revista Cultural, ISSN 0213-4373, 53 (2000), 30-33.

IV.  DOCTORAL DISSERTATIONS ENTIRELY ABOUT WILDE

  1. Constán Valverde, Sergio.  La Presencia de Oscar Wilde en la Literatura Española.  Universidad de Palmas de Gran Canaria: Departamento de Filología Española, Clásica y Árabe, 2007.
  1. Martínez Victorio, Luis Javier.  Relaciones Irónicas en la Obra Narrativa y Dramática de Oscar Wilde.  Universidad Complutense: Facultad de Filología, 1989.
  1. Pascual Aransáez, Cristina.  El Papel del Lector en la Obra Narrativa y Dramática de Oscar Wilde.  Universidad de La Rioja: Departamento de Filologías Modernas, 2002.
  1. Ramos Gay, Ignacio.  La Dramaturgia de Oscar Wilde, Ejemplo Paradigmático de la Influencia y Recepción del Teatro Francés en Gran Bretaña (1880-1895).  Universidad de Valencia: Facultad de Filología, 2003.
  1. Sanz Casares, María Concepción.  Los Cuentos de Oscar Wilde como Un Medio de Autoexpresión Artística.  Valladolid: Facultad de Filosofía y Letras, 1991.
  1. Toro Santos, Antonio Raúl de.  El Individualismo y el Socialismo en Oscar Wilde.  Universidad de Sevilla: Facultad de Filosofía y Letras, 1977.

V.  DOCTORAL DISSERTATIONS PARTIALLY ON WILDE

  1. Clúa Ginés, Isabel.  Género e Identidad en la Obra Narrativa de Gabriel Miró.  Universidad Autónoma de Barcelona: Departamento de Filología Española, 2004.
  1. Cruzalegui Sotelo, Patricia.  L’Experencia Platonica en L’Anglaterra del Dinou.  Universidad de Barcelona: Departamento de Historia de la Filosofía, Estética y Filosofía de la Cultura, 1994.
  1. González de la Llama, Natalia.  Adán y Eva, Fausto y Dorian Gray: Tres Mitos de Transgresión.  Universidad Complutense de Madrid: Instituto Universitario de Ciencias de las Religiones, 2005.
  1. Jiménez Fortea, María.  Harold Pinter: Entre la Convención y el Absurdo Cotidiano.  Universidad de Valencia: Departamento de Lingüística y Retórica Inglesas, 2003.
  1. Marín Lajusticia, Juan M.  La Tradición de la Comedia Inglesa de Joe Orton.  Universidad de Zaragoza: Departamento de Filología Inglesa y Alemana, 1991.
  1. Sánchez Espinosa, Adelina.  La Evolución de la Narrativa de Thomas Hardy y su Relación con el Enfoque Estético de Walter Pater y Oscar Wilde.  Universidad de Granada: Departamento de Filología Inglesa, 1994.
  1. Serrano de Haro, Amparo.  Panorama de la Crítica de Arte del Siglo XX y sus Precedentes (1850-1950).  Universidad Nacional de Educación a Distancia: Departamento de Historia del Arte, 1993.
  1. Valls Oyarzun, Eduardo.  Formación y Representación de la Ideología Moderna en la Literatura Inglesa del Siglo Diecinueve.  Universidad Complutense de Madrid: Departamento de Filología Inglesa, 2005.

VI.  FILM AND THEATRICAL PRODUCTIONS OF WILDE’S WORKS

  1. Chavarri, Jaime.  El retrato de Dorian Grey [sic] [film].  Murcia: Alga Editores, 1996.
  1. Lebrel, Blanco.  Salomé [recorded play].  Pamplona: Institución Príncipe de Viana  [s.  a. ], 2002.
  1. Melendres, Jaume.  La importancia de ser Frank [recorded play] .  Barcelona: Institut del Teatre, 1997.
  1. Radio Televisión Española (RTVE).  El retrato de Dorian Gray [film].  Madrid: RTVE, Serie 2000 programas para la educación, 1985.

VII. MISCELLANY: ADAPTATIONS OF WILDE’S WORKS AND FICTIONALISED BIOGRAPHIES OF WILDE

  1. Anaya.  ‘El Príncipe Feliz’ de Oscar Wilde y el taller de cuentos.  ISBN 84-207-7527-4.  Madrid: Anaya Educación, 1996, interactive CD-ROM.
  1. Arana, Aitor. Oscar eta Sebastian. ISBN 978-84-7173-535. Donostia: Fundación kutxa-Ediciones y Publicaciones, 2009, 232 pp.
  1. Dalmau, Miguel.  Yo, Wilde.  ISBN 84-08-01215-0.  Barcelona: Planeta, 1994, 333pp.
  1. Días César, Murilo.  La pasión de Oscar Wilde o ‘Del Amor Encarcelado’ [Argentinean play in two-acts].  Unabridged text available in the URL obrasdeteatroparatodos. blogspot. com, 16th May, 2007.
  1. Goiri, Arantza.  El Baile: basado en el cuento ‘El Ruiseñor y la Rosa’ de Oscar Wilde [comic].  Bilbao: Editores Bilbao [s. n. ], 1978.
  1. Luque, Fernando and Enrique Calongue.  La Pastorela.  La importancia de la seriedad [zarzuela (i. e.  Spanish operetta)].  Madrid: Siglo XX, 1927, 101 pp.
  1. Lleixà, Carme and Carme Collol.  El gegant egoísta [scores and adaptation of Wilde’s fairy tale].  Barcelona: DINSIC.  Escola de Música del Palau, 2001.
  1. Palencia Tubau, Ceferino.  El fantasma de Canterville: comedia en tres actos [recorded comedy].  Madrid: Editorial Estampa, 1929, 76 pp.
  1. Quirarte, Vicente.  El fantasma del Hotel Alsace [recorded play].   ISBN 968-36-8965-5.  México: Coordinación de Difusión Cultural, Dirección de Literatura, UNAM, 2001, 70 pp.
  1. Turina, José Luis.  Homenaje a Oscar Wilde [scores for a string quartet].  [S.  l. ]: the autor, cop.  1997.
  1. Villena, Luis Antonio de.  El charlatán crepuscular: Oscar y Bosie (6) [novel].  ISBN 84-08-01963-5.  Barcelona: Planeta, 1997, 171 pp.

NOTES

  1.   The present bibliography compiles secondary sources about Oscar Wilde which have appeared in Spain, even if they have been originally written in different countries.  Therefore, writers such as Jorge Luis Borges and Julio Chiappini are included here, because the works of these Argentinean writers have also been published by Spanish publishing houses; the same can be said with respect to Rodrigo Quesada Monge from Costa Rica, whose articles on Oscar Wilde are published in an electronic journal and thus available in Spain.
  2.   Reviewed in: Salas, Horacio.  ‘Diccionario de Oscar Wilde’, Cuadernos Hispanoamericanos, ISSN 1131-6438, 361/2 (1980), 425-426.
  3.  Reviewed in: Cerezo Galán, Pedro.  ‘Entre poesía y religión: sobre Cuatro poetas desde la otra ladera’, Saber Leer, ISSN 0213-6449, 110 (1997), 8-9.
  4.  This article was first published after Wilde’s release from prison in a Spanish journal called Las Noticias (Barcelona, October 1897).
  5. Reviewed in: Nieva, Francisco.  ‘La resurrección de Oscar Wilde’, Diario el Mundo, 22nd February, 1997; Prada, Juan Manuel de.  ‘Luis Antonio de Wilde’, Diario ABC, 28th February, 1997
  6. Reviewed in: Matamoros, Blas.  ‘Conocer Oscar Wilde y su obra’, Cuadernos Hispanoamericanos, ISSN 1131-6438, 358, 1980, 257-259.

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