What were Wilde's intentions? They had always been suspect, from the time of Poems, when the charge was plagiarism, to his trials, when the charge was sodomy. In Intentions (1891), the book on which his claim as a theoretical critic chiefly lies, and in two related essays, `The Portrait of MrW. H.' and `The Soul of Man Under Socialism', Wilde's epigrammatic dazzle and paradoxical subversions both reveal and mask his designs upon fin-de-siecle society. In the first extended study of Wilde's criticism, Lawrence Danson examines these essays/dialogues/fictions (unsettling the categories wasone of their intentions) and assesses their achievement. Danson sets Wilde's criticism in context. He shows how the son of an Irish patriot sought to create a new ideal of English culture by elevating `lies' above history, levelling the distinction between artist and critic, and ending the sway of`nature' over liberated human desire.

Intentions By Oscar Wilde was published in 1891 when Wilde was at the height of his form, these brilliant essays on art, literature, criticism, and society display the flamboyant poseur's famous wit and wide learning. A leading spokesman for the English Aesthetic movement, Wilde promoted art for art's sake against critics who argued that art must serve a moral purpose. On every page of this collection the gifted literary stylist admirably demonstrates not only that the characteristics of art are "distinction, charm, beauty, and imaginative power, but also that criticism itself can be raised to an art form possessing these very qualities. In the opening essay, Wilde laments the decay of Lying as an art, a science, and a social pleasure. He takes to task modern literary realists like Henry James and Emile Zola for their "monstrous worship of facts" and stifling of the imagination. What makes art wonderful, he says, is that it is absolutely indifferent to fact, invents, imagines, dreams, and keeps between herself and reality the impenetrable barrier of beautiful style, of decorative or ideal treatment.

With extensive reference to and exposition on Wilde's theoretical writings and letters, Frankel shows that, far from being marginal elements of the literary text, these decorative devices were central to Wilde's understanding of his own writings as well as to his "aesthetic" theory of language. Extensive illustrations support Frankel's arguments.".

WILDE NOWreads Oscar Wilde through our now, through a contemporary sensibility (and approach), in which literature and popular culture interrogate and are interrogated by critical concepts and categories such as performance, celebrity, intermediality, and consumerism. This volume exceeds the shape and meaning of a critical study to turn into a drama of five different acts/moments in Wilde’s life and work: his early performances in Dublin, London and Oxford; the 1882 American tour; his successful season of the first half of the 1890s, his prison years and finally his glorious resurrection in contemporary pop culture. Most importantly WILDE NOW approaches these moments through contemporary rewritings and performances of “Oscar Wilde” in the fields of cinema, music and literature by such artists as Al Pacino, Rupert Everett, Stephen Fry, Gyles Brandreth, David Hare, David Bowie, Morrissey, Nick Cave, Neil Tennant, Gavin Friday. These artists – through their awareness of the importance of being/playing Oscar in their specific worlds and cultural contexts – will also show us that Wilde can be conceived as a subversive, critical role one might successfully perform and appropriate, now more than ever.

This set comprises 40 volumes covering 19th and 20th century European and American authors. These volumes will be available as a complete set, mini boxed sets (by theme) or as individual volumes. This second set compliments the first 68 volume set of Critical Heritage published by Routledge in October 1995.

Professor Kohl's aim is to gain fresh insight into his literary and critical œuvre of Oscar Wilde. He analyses each of his works on the basis of a textually oriented interpretation, taking equal account of the biographical and intellectual contexts through the use of contradictions that Wilde show as individualism and convention.

An examination of the most significant literary criticism on Wilde at the turn of the century. In 1891, Oscar Wilde defined 'the highest criticism' as 'the record of one's own soul, and insisted that only by 'intensifying his own personality' could the critic interpret the personality and work of others. This book exploreswhat Wilde meant by that statement, arguing that it provides the best standard for judging literary criticism about Wilde a century after his death. Melissa Knox examines a range of Wilde criticism in English -- including the work of Lawrence Danson, Michael Patrick Gillespie, Ed Cohen, and Julia Prewitt Brown. Applying Wilde's standards to his critics, Knox discovers that the best of them take to heart Wilde's idea of the aim of criticism -- 'to see theobject as in itself it really is not.' By this, Wilde appreciates Walter Pater's profound observation that everyone sees through a 'thick wall of personality' and that, therefore, objectivity as conceived by Matthew Arnold does not exist. Admiring Pater, Wilde became a prophet for Freud, his exact contemporary. Their intellectual sympathies, made obvious in Knox's exegesis, help to make the case for Wilde as a modern, not a Victorian. Melissa Knox's book Oscar Wilde: A Long and Lovely Suicide was published in 1994. She teaches at the University of Duisburg-Essen, Germany.