In the same way that students of Shakespeare discuss their "Supreme Quartet" of plays, so Irish Studies has its own quartet of writers, Yeats, Joyce, Beckett and Wilde, whose fame is outstanding and worldwide. The inclusion of Wilde in the quartet may surprise some, but it is an incontrovertible fact that scholars are coming to appreciate Wilde's importance as a major influence on 20th century literature. Over the past years, conferences on all four members of this Irish quartet have been organized by the Princess Grace Irish Library of Monaco (the proceedings of each being published in this series), the most recent, on Wilde, in 1993. This collection of papers given at that conference, covers every aspect of Wilde's oeuvre, not only considering his plays, poetry and novels, but his family, his influence on writers both in English (such as Joyce and Stoppard) and in other languages (including Marti, Dario, Borges and Lispector). How influential and far-reaching he has become can be seen by the nationalities of those who attended the conference and contributed papers: Antonio Ballesteros Gonzalez, Mariano Baselga, Pia Brinzeu, Edward Burns, Richard Allen Cave, Davis Coakley, Jean M. Ellis D'Allessandro, Masolino D' Amico, Lawrence Danson, Denis Donoghue, Joseph Donoghue, Irene Eynat-Confino, Michael Patrick Gillespie, Robert Gordon, Warwick Gould, Merlin Holland, Joel H. Kaplan, Patricia Kellogg-Dennis, Melissa Knox, Jacques de Langlade, Donald Lawler, Jerusha Mccormack, Bart J. Moore-Gilbert, Isobel Murray, Sylvia Ostermann, Norman Page, Kerry Powell, Maria Pilar Pulido, Peter Raby, Gerd Rohmann, Roy Rosenstein, Neil Sammells, Ronald Schuchard, Theorharis Constantine Theoharis, Deirdre Toomey, Emmaneul Vernadakis, and Marie-Noelle Zeender. This is the eighth volume in the Princess Grace Irish Library Series.

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.

Oscar Wilde: A Literary Life tracks the intellectual biography of one of the most influential minds of the nineteenth century. Rather than focusing on the dramatic events of Wilde’s life, this volume documents Wilde’s impressive forays into education, religion, science, philosophy, and social reform. In so doing, it provides an accessible and yet detailed account that reflects Wilde’s own commitment to the “contemplative life.” Suitable for seasoned readers as well as those new to the study of his work, Oscar Wilde: A Literary Life brings Wilde’s intellectual investments into sharp focus, while placing him within a cultural landscape that was always evolving and often fraught with contradiction.

Oscar Wilde said of himself, "I put all my genius into my life; I put only my talent into my work." Now, for the first time, Neil McKenna focuses on the tormented genius of Wilde's personal life, reproducing remarkable love letters and detailing Wilde's until-now unknown relationships with other men. McKenna has spent years researching Wilde's life, drawing on extensive new material, including never-before published poems as well as recently discovered trial statements made by male prostitutes and blackmailers about Wilde. McKenna provides explosive evidence of the political machinations behind Wilde's trials for sodomy, as well as his central role in the burgeoning gay world of Victorian London. Dazzlingly written and meticulously researched, The Secret Life of Oscar Wilde fully charts Wilde's astonishing odyssey through London's sexual underworld and paints a frank and vivid psychological portrait of a troubled genius.

This book contains five stories by Irish author Oscar Wilde and are retold, with an introduction by Oscar Wilde's grandson. The book was edited by Merlin Holland.

The Cambridge Companion to Oscar Wilde offers an essential introduction to one of the theatre's most important and enigmatic writers. Although a general overview, the volume also offers some of the latest thinking on the dramatist and his impact on the twentieth century. Part One places Wilde's work within the cultural and historical context of his time and includes an opening essay by Wilde's grandson, Merlin Holland. Further chapters also examine Wilde and the Victorians and his image as a Dandy. Part Two looks at Wilde's essential work as playwright and general writer, including his poetry, critiques, and fiction, and provides detailed analysis of such key works as Salome and The Importance of Being Earnest among others. The third group of essays examines the themes and factors which shaped Wilde's work and includes Wilde and his view of the Victorian woman, Wilde's sexual identities, and interpreting Wilde on stage. This 1997 volume also contains a detailed chronology of Wilde's work, a guide to further reading, and illustrations from important productions.

They borrow from published works without attribution. They remake literary creation in the image of consumption. They celebrate the art of scissors and paste. Who are these outlaws? Postmodern culture-jammers or file-sharing teens? No, they are the Copywrights—Victorian and modernist writers, among them Oscar Wilde and James Joyce, whose work wrestled with the intellectual property laws of their day. In a highly readable and thought-provoking book that places today's copyright wars in historical context, Paul K. Saint-Amour asks: Would their art have survived the copyright laws of the new millennium? Revisiting major works by Wilde and Joyce as well as centos assembled by anonymous writers from existing poems, Saint-Amour sees the period 1830–1930 as a time when imaginative literature became aware of its own status as intellectual property and began to register that awareness in its subjects, plots, and formal architecture. The authors of these self-reflexive literary texts were more conscious than their precursors of the role played by consumption in both the composition and the consecration of literature. The texts in question became, in turn, part of what Saint-Amour characterizes as a "counterdiscourse" to extensive monopoly copyright, a vocal minority that insisted on a broadly conceived public domain not only as indispensable to free expression and fresh creation but as a good in itself. Recent events such as the court battle over the Copyright Term Extension Act (CTEA), which extends copyright terms by 20 years, the patenting of the human genome and of genetically altered seed lines, and high-stakes controversies over literary parody have increased public awareness of intellectual property law. In The Copywrights, Saint-Amour challenges the notion that copyright's function ends with the provision of private incentives to creation and innovation. The cases he examines lead him to argue that copyright performs a range of political, emotional, and even sacred functions that are too often ignored and that what seems to have emerged as copyright's primary function—the creation of private property incentives—must not be an end in itself.