| Titre : |
Intentions |
| Type de document : |
texte imprimé |
| Auteurs : |
OSCAR WILDE, Auteur |
| Editeur : |
Bibliothech Press |
| Année de publication : |
2020. |
| Importance : |
159p. |
| Présentation : |
couv. ill. en coul, |
| Format : |
22 cm. |
| ISBN/ISSN/EAN : |
978-1-61895-851-8 |
| Langues : |
Anglais (eng) |
| Index. décimale : |
E823 NOVELS AND STORIES |
| Résumé : |
Intentions Initially published in 1891 when Wilde was at the peak of his writing career, these splendid articles on art, writing, literature, criticism, and society show the confident poseur's well-known mind and wide learning. The main representative of the English Esthetic development, Wilde promoted "art for art's sake" against critics who contended that art should dive into the morals of every human being. On each page of this assortment, the skilled artistic beautician splendidly exhibits not only the attributes of art are "distinction, charm, beauty, and imaginative power," in addition to that, criticism itself can be raised to a fine art having these very characteristics. In the initial article, Wilde regrets the " decay of Lying as an art, a science, and a social pleasure." He berates present-day artistic pragmatists like Henry James and Emile Zola for their " monstrous worship of facts" and smothering of the creative mind. What makes craftsmanship awesome, he says, is that it is "absolutely indifferent to fact, [art] invents, imagines, dreams, and keeps between herself and reality the impenetrable barrier of beautiful style, of decorative or ideal treatment."The following article, "Pen, Pencil, and Poison," is an entrancing artistic enthusiasm for the existence of Thomas Griffiths Wainewright, a gifted painter, art critic, classicist, fellow of Charles Lamb, and - a murderer. The core of the collection is the long two-section article named "The Critic as Artist." In an endless series of important entries, Wilde takes incredible measures to show that the pundit is just as much a craftsman as the craftsman himself, sometimes more so. A skilled critic resembles a virtuoso mediator: "When Rubinstein plays ... he gives us not merely Beethoven, but also himself, and so gives us Beethoven absolutely...made vivid and wonderful to us by a new and intense personality. When a great actor plays Shakespeare we have the same experience" At long last, in "The Truth of Masks," Wilde gets back to the topic of art as artifice and creative deception. This article centers around the utilization of veils, camouflages, and outfits in Shakespeare. For novices to Wilde and the people who know his popular plays and fiction, this brilliant assortment of his analysis offers many pleasures. |
| Note de contenu : |
Oscar Fingal O'Flahertie Wills Wilde (16 October 1854 – 30 November 1900) was an Irish poet and playwright. After writing in different forms throughout the 1880s, he became one of London's most popular playwrights in the early 1890s. He is best remembered for his epigrams and plays, his novel The Picture of Dorian Gray, and the circumstances of his criminal conviction for "gross indecency", imprisonment, and early death at age 46.Wilde's parents were successful Anglo-Irish intellectuals in Dublin. Their son became fluent in French and German early in life. At university, Wilde read Greats; he proved himself to be an outstanding classicist, first at Trinity College Dublin, then at Oxford. He became known for his involvement in the rising philosophy of aestheticism, led by two of his tutors, Walter Pater and John Ruskin. After university, Wilde moved to London into fashionable cultural and social circles.As a spokesman for aestheticism, he tried his hand at various literary activities: he published a book of poems, lectured in the United States and Canada on the new "English Renaissance in Art" and interior decoration, and then returned to London where he worked prolifically as a journalist. Known for his biting wit, flamboyant dress and glittering conversational skill, Wilde became one of the best-known personalities of his day. At the turn of the 1890s, he refined his ideas about the supremacy of art in a series of dialogues and essays, and incorporated themes of decadence, duplicity, and beauty into what would be his only novel, The Picture of Dorian Gray (1890). The opportunity to construct aesthetic details precisely, and combine them with larger social themes, drew Wilde to write drama. He wrote Salome (1891) in French while in Paris but it was refused a licence for England due to an absolute prohibition on the portrayal of Biblical subjects on the English stage. Unperturbed, Wilde produced four society comedies in the early 1890s, which made him one of the most successful playwrights of late-Victorian London. |
Intentions [texte imprimé] / OSCAR WILDE, Auteur . - Bibliothech Press, 2020. . - 159p. : couv. ill. en coul, ; 22 cm. ISBN : 978-1-61895-851-8 Langues : Anglais ( eng)
| Index. décimale : |
E823 NOVELS AND STORIES |
| Résumé : |
Intentions Initially published in 1891 when Wilde was at the peak of his writing career, these splendid articles on art, writing, literature, criticism, and society show the confident poseur's well-known mind and wide learning. The main representative of the English Esthetic development, Wilde promoted "art for art's sake" against critics who contended that art should dive into the morals of every human being. On each page of this assortment, the skilled artistic beautician splendidly exhibits not only the attributes of art are "distinction, charm, beauty, and imaginative power," in addition to that, criticism itself can be raised to a fine art having these very characteristics. In the initial article, Wilde regrets the " decay of Lying as an art, a science, and a social pleasure." He berates present-day artistic pragmatists like Henry James and Emile Zola for their " monstrous worship of facts" and smothering of the creative mind. What makes craftsmanship awesome, he says, is that it is "absolutely indifferent to fact, [art] invents, imagines, dreams, and keeps between herself and reality the impenetrable barrier of beautiful style, of decorative or ideal treatment."The following article, "Pen, Pencil, and Poison," is an entrancing artistic enthusiasm for the existence of Thomas Griffiths Wainewright, a gifted painter, art critic, classicist, fellow of Charles Lamb, and - a murderer. The core of the collection is the long two-section article named "The Critic as Artist." In an endless series of important entries, Wilde takes incredible measures to show that the pundit is just as much a craftsman as the craftsman himself, sometimes more so. A skilled critic resembles a virtuoso mediator: "When Rubinstein plays ... he gives us not merely Beethoven, but also himself, and so gives us Beethoven absolutely...made vivid and wonderful to us by a new and intense personality. When a great actor plays Shakespeare we have the same experience" At long last, in "The Truth of Masks," Wilde gets back to the topic of art as artifice and creative deception. This article centers around the utilization of veils, camouflages, and outfits in Shakespeare. For novices to Wilde and the people who know his popular plays and fiction, this brilliant assortment of his analysis offers many pleasures. |
| Note de contenu : |
Oscar Fingal O'Flahertie Wills Wilde (16 October 1854 – 30 November 1900) was an Irish poet and playwright. After writing in different forms throughout the 1880s, he became one of London's most popular playwrights in the early 1890s. He is best remembered for his epigrams and plays, his novel The Picture of Dorian Gray, and the circumstances of his criminal conviction for "gross indecency", imprisonment, and early death at age 46.Wilde's parents were successful Anglo-Irish intellectuals in Dublin. Their son became fluent in French and German early in life. At university, Wilde read Greats; he proved himself to be an outstanding classicist, first at Trinity College Dublin, then at Oxford. He became known for his involvement in the rising philosophy of aestheticism, led by two of his tutors, Walter Pater and John Ruskin. After university, Wilde moved to London into fashionable cultural and social circles.As a spokesman for aestheticism, he tried his hand at various literary activities: he published a book of poems, lectured in the United States and Canada on the new "English Renaissance in Art" and interior decoration, and then returned to London where he worked prolifically as a journalist. Known for his biting wit, flamboyant dress and glittering conversational skill, Wilde became one of the best-known personalities of his day. At the turn of the 1890s, he refined his ideas about the supremacy of art in a series of dialogues and essays, and incorporated themes of decadence, duplicity, and beauty into what would be his only novel, The Picture of Dorian Gray (1890). The opportunity to construct aesthetic details precisely, and combine them with larger social themes, drew Wilde to write drama. He wrote Salome (1891) in French while in Paris but it was refused a licence for England due to an absolute prohibition on the portrayal of Biblical subjects on the English stage. Unperturbed, Wilde produced four society comedies in the early 1890s, which made him one of the most successful playwrights of late-Victorian London. |
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