Abel (Chicago and London: University of Chicago Press, 1983), 157–158.Įlaine Showalter, Sexual Anarchy: Gender and Culture at the Fin de Siècle (New York: Viking, 1990), 175–176. Zora Neale Hurston, Dust Tracks on a Road: An Autobiography (Urbana and Chicago: University of Illinois Press, 1984), 149.Īdrienne Rich, “Compulsory Heterosexuality and Lesbian Existence,” in The Signs Reader: Women, Gender & Scholarship, eds. Rebecca West, Sunflower (London: Virago, 1986), 23. Victoria Glendinning, Rebecca West: A Life (London: Weidenfeld and Nicolson, 1987), 73. Ardis, New Women, New Novels: Feminism and Early Modernism (New Brunswick and London: Rutgers University Press, 1990), 170–171. Virginia Woolf, A Room of One’s Own (New York and London: Harcourt Brace Jovanovich, 1981), 76.Īnn L. Anne Olivier Bell (London: Hogarth Press, 1984), 258. Virginia Woolf, The Diary of Virginia Woolf, Volume V: 1936–1941, ed. Andrew McNeillie (London: Hogarth Press, 1994), 359–360. Virginia Woolf, “Romance and the ‘Nineties,” in The Essays of Virginia Woolf, Volume IV, 1925–1928, ed.
This process is experimental and the keywords may be updated as the learning algorithm improves. These keywords were added by machine and not by the authors. A “reading” of Salomé has migrated from Brooklyn to Broadway, starring Al Pacino, Aiden Quinn, Diane Wiest, and Jennifer Jason Leigh (a role then assumed by Marisa Tomei), with Pacino recapitulating his Broadway role of Herod from the 1980s. A new production of The Importance of Being Earnest at the Jean Cocteau Repertory Company closed several months ago, only to be followed by another production by the Aquila Theater Company set in contemporary times that recently opened on off-Broadway. On Broadway, a musical version of the film A Man of No Importance, adapted to the stage by the playwright Terrence McNally, depicted as its protagonist a Wilde-obsessed homosexual bus-driver.
#Oscar wilde gay chambermaids movie#
As I write this in New York City, Wilde the erotic dissident and decadent artist (the two roles, as we shall see, are today entangled) is everywhere in evidence: recently a new production of Strauss’s Salomé ran at the New York City Opera, the set for which - a court of Herod dominated by a huge, glittering staircase - borrowed winkingly from the Billy Wilder Hollywood movie Sunset Boulevard. If there is an author who seems to evoke today’s complex and shifting sexual Zeitgeist, animating contemporary fantasies, anxieties, and obsessions, it is surely Oscar Wilde.
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