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Oscar Wilde, Music, and the ‘Opium-Tainted Cigarette’: Disinterested Dandies and Critical Play

机译:奥斯卡·王尔德(Oscar Wilde),音乐和“鸦片污染的香烟”:无私的花花公子和评论剧

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This article shows how the musical references in Oscar Wilde's novel The Picture of Dorian Gray are important to the identity of the dandy, especially in relation to the literary-critical work of Matthew Arnold, whose guiding presence in Wilde's oeuvre has traditionally been somewhat underestimated. Wilde's male characters, although famously fond of music, reveal ‘disinterestedness’ in earnest musical pursuits, similar to the ‘Indian virtue of detachment’ outlined by Arnold in his exploration of ‘The Function of Criticism at the Present Time’ (1864, in Arnold, Culture and Anarchy and Other Writings, ed. by Stefan Collini (Cambridge: Cambridge University Press, 1993), pp. 26-51). Furthermore, the critical attitude of the dandy-aesthete intersects with the implications that we can read into the posture of the lounging opium smoker. Extensive scholarship has already established the relationship between the East and opium in fictional works by Thomas de Quincey, Wilkie Collins, Charles Dickens and Oscar Wilde. Music is an essential ingredient to this literature, too, both in terms of its narrative presence and because it is a key element in an ongoing, nineteenth-century British exploration of how stylistic innovations could be represented as ‘music’. After disclosing the close connections between dandyism and those nineteenth-century composers whose lives and works were often represented as dandyish (Berlioz, Chopin and Schumann), the essay builds from the tradition of opium-inspired fiction. It suggests Wilde's debt to Dickens's The Mystery of Edwin Drood (1870), while also showing Wilde's innovations in making shifts in character and narrative voice into indicators of narcotic consumption.View full textDownload full textKeywordsMatthew Arnold, Hector Berlioz, Frédéric Chopin, dandies, Charles Dickens, empire, music, opium, Richard Schumann, Richard Wagner, Oscar WildeRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/13555502.2010.519520
机译:本文展示了奥斯卡·王尔德(Oscar Wilde)的小说《多利安·格雷的图片》中的音乐参考如何对花花公子的身份很重要,尤其是与马修·阿诺德(Matthew Arnold)的文学批评作品有关时,后者在王尔德作品中的主导地位传统上被低估了。王尔德的男性角色,尽管著名地喜欢音乐,但在认真的音乐追求中表现出“无私”,类似于阿诺德(Arnold)在探索“批评的功能”时概述的“印度独立精神”。 “现在的时间”(1864年,阿诺德的《文化与无政府状态及其他著作》,史蒂芬·科里尼编(剑桥:剑桥大学出版社,1993年),第26-51页)。此外,花花公子美学的批判态度与我们可以读到懒散的鸦片烟民的姿势的含义相交。托马斯·德·昆西,威尔基·科林斯,查尔斯·狄更斯和奥斯卡·王尔德的小说作品中,广泛的学术研究已经确立了东方与鸦片之间的关系。音乐在这方面的叙述也很重要,就其叙事形式而言,也因为它是正在进行的,十九世纪的英国探索中如何将样式创新表示为“音乐”的关键因素。在揭示了丹迪主义与那些生活和作品经常被以丹迪斯为代表的十九世纪作曲家(贝里奥兹,肖邦和舒曼)之间的紧密联系之后,这篇文章是建立在鸦片式小说的传统基础上的。它暗示了王尔德对狄更斯的《埃德温·德鲁德的奥秘》(1870)的欠债,同时也展示了王尔德在将性格和叙事声音转变为麻醉剂消费指标方面的创新。查看全文下载全文关键字Matthew Arnold,Hector Berlioz,Frédéric Chopin ,花花公子,查尔斯·狄更斯(Charles Dickens),帝国,音乐,鸦片,理查德·舒曼(Richard Schumann),理查德·瓦格纳(Richard Wagner),奥斯卡·王尔德(Oscar Wilde)相关var addthis_config = {ui_cobrand:“泰勒和弗朗西斯在线”,services_compact: stumbleupon,digg,google,more“,pubid:” ra-4dff56cd6bb1830b“};添加到候选列表链接永久链接http://dx.doi.org/10.1080/13555502.2010.519520

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