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dc.contributor.authorHighsmith, Stacee Lynn
dc.date.accessioned2014-03-04T20:24:15Z
dc.date.available2014-03-04T20:24:15Z
dc.date.issued2011-12
dc.identifier.otherhighsmith_stacee_l_201112_ma
dc.identifier.urihttp://purl.galileo.usg.edu/uga_etd/highsmith_stacee_l_201112_ma
dc.identifier.urihttp://hdl.handle.net/10724/27731
dc.description.abstractAmong the innumerable literary and visual interpretations of the Biblical legend of Salome produced since early Christian times, perhaps the best-known is the 1894 English translation of Oscar Wilde’s Salome, illustrated by Aubrey Beardsley. This collaborative work of art has most frequently been scrutinized in terms of Freudian castration theory and the sexual fetish. Moreover, it has been widely assumed that Beardsley’s drawings are incongruous with Wilde’s text. I propose instead that these artists meshed their respective mediums to create a parody of nineteenth-century aestheticism, and of the gender politics of fin-de-siècle England; in Salome, components of aestheticism are exaggerated and parodied, as are the era’s stereotypes of women and homosexuals. I present a detailed interpretation of Beardsley’s images, and evaluate their augmentation of Wilde’s text. In analyzing Salome in this manner, I construct an alternative interpretation of this enigmatic play and the drawings inspired by it.
dc.languageeng
dc.publisheruga
dc.rightspublic
dc.subjectAubrey Beardsley
dc.subjectOscar Wilde
dc.subjectSalome
dc.subjectJaponisme
dc.subjectAestheticism, Gender Politics
dc.subjectNineteenth-century England
dc.subjectNineteenth-century Literature
dc.subjectJames McNeill Whistler
dc.titleAubrey Beardsley, Oscar Wilde, and Salome as aesthetic parody
dc.typeThesis
dc.description.degreeMA
dc.description.departmentArt
dc.description.majorArt History
dc.description.advisorNell Andrew
dc.description.committeeNell Andrew
dc.description.committeeJanice Simon
dc.description.committeeAlisa Luxenberg


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