This, the first publication of Oscar Wilde's Commonplace Book and Notebook, which he kept during his middle twenties at the end of his studies at Oxford, will forever alter critical perceptions of Wilde's achievement in the larger tradition of English critical and aesthetic thought. Containing the records of his education and reading--quotations and paraphrases of other writers, and Wilde's own analytical and descriptive jottings, comments, and fragmentary drafts--these documents reveal how Wilde developed the synthesis of Hegelian idealism and Spencerian evolutionary theory that was to be a mainstay of his major critical and creative works. Not merely the dandy and aesthete of modernist myth, Wilde was also a precocious and widely-read Victorian humanist. In addition, the editors provide an introduction and commentary.

Volume IV of the Oxford English Texts Complete Works of Oscar Wilde is the first variorum edition of Wilde's major critical writing; it includes the critical essays which were re-published in book-form in his life-time - that is, those anthologised in Intentions and The Soul of Man - as well as his graduate essay usually known by the title The Rise of Historical Criticism, but which this volume titles Historical Criticism. The Introduction gives a detailed account of the composition of each of the essays: it gives a new explanation for the relationship between the 'The Decay of Lying' and 'Pen, Pencil, and Poison' (arguing that they are best understood as companion pieces); it provides the first concrete demonstration that Wilde did, on occasions, knowingly 'copy' his own work; and it reveals that substantial cuts were made to some of Wilde's essays (without his full consent) by the periodical editors with whom he worked. The edition also provides, for the first time, a full collation of the textual variants between the published versions of Wilde's essays (that is, both book and periodical), and all extant manuscripts; in addition it establishes a new, authoritative text for Historical Criticism, based on an examination of the original manuscript, which differs significantly from that printed by Robert Ross in his 1908 Collected Edition (and subsequently reprinted in the Collins Complete Works). The annotation to the edition reveals the full extent of Wilde's 'borrowings' both from his own work, and from other writers; it also reveals that much of Historical Criticism is in fact paraphrasing or translating well-known classical texts, and that the some of denseness of the argument is due to ellipses in Wilde's text that were disguised by earlier editors.

Brown (English, Boston U.) places Wilde in the continuum of continental philosophy from Kant and Schiller through Kierkegaard and Nietzsche to Benjamin and Adorno, discussing his conception of art, its meaning, and the contradictory relations between art and the sphere of the ethical everyday. Annotation copyrighted by Book News, Inc., Portland, OR

Concise and illuminating articles explore Oscar Wilde's life and work in the context of the turbulent landscape of his time.

Oscar Wilde's Oxford Notebooks, which was originally published in 1989, was the first publication of Oscar Wilde's Notebook on History and Philosophy and his Commonplace Book, which he began to keep while a student at Oxford between 1874 and 1879, will forever alter critical perceptions of Wilde's intentions and achievements.

For the first time in scholarship, this essay collection interprets modernity through the literary micro-genres of the aphorism, the epigram, the maxim, and the fragment. Situating Friedrich Nietzsche and Oscar Wilde as forerunners of modern aphoristic culture, the collection analyses the relationship between aphoristic consciousness and literary modernism in the expanded purview of the long twentieth century, through the work of a wide range of authors, including Samuel Beckett, Max Beerbohm, Jorge Luis Borges, Katherine Mansfield, and Stevie Smith. From the romantic fragment to the tweet, Aphoristic Modernity offers a compelling exploration of the short form's pervasive presence both as a standalone artefact and as part of a larger textual and cultural matrix.