Keywords
Oscar Wilde
Gay Studies
How to Cite
Funding data
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Grant numbers 001
Abstract
Oscar Wilde’s tomb, at Père-Lachaise cemetery in Paris it’s enclosed by a glass barrier installed with the aim of keeping the monolith conceived by Jacob Epstein safe from the insolent mout
Oscar Wilde’s tomb, at Père-Lachaise cemetery in Paris it’s enclosed by a glass barrier installed with the aim of keeping the monolith conceived by Jacob Epstein safe from the insolent mouths that instead on leaving their lipstick marks upon it. Such urge to preserve the past, and in this case a heteronormative past, says a lot about literary criticism itself, which for decades evaded the queer facet of Wilde’s works. In this essay, I carry out an literature review on Wilde’s criticism, pointing out impasses and omissions regarding treatment of his work and biography, especially when homoaffective issues are concerned. I present some quarrels that divided gay and queer studies in their initial approach to Wilde; I explore critical works unfolding Wilde’s work and biography, particularly related to the fin de siècle studies and its relation to the modern sexual politics, and I close this essay with a critical comment on the films Wilde (1997) and Velvet Goldmine (1998), which exemplify the different approaches to the author’s image.
hs that instead on leaving their lipstick marks upon it. Such urge to preserve the past, and in this case a heteronormative past, says a lot about literary criticism itself, which for decades evaded the queer facet of Wilde’s works. In this essay, I carry out an literature review on Wilde’s criticism, pointing out impasses and omissions regarding treatment of his work and biography, especially when homoaffective issues are concerned. I present some quarrels that divided gay and queer studies in their initial approach to Wilde; I explore critical works unfolding Wilde’s work and biography, particularly related to the fin de siècle studies and its relation to the modern sexual politics, and I close this essay with a critical comment on the films Wilde (1997) and Velvet Goldmine (1998), which exemplify the different approaches to the author's image.
References
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