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Essay / Research Paper Abstract
A 5 page paper discussing the issue of sexuality and contributions to the avant-garde. Beardsley's representation of Salome can be seen as a symbolic one, and one carefully crafted for public dissection, given Beardsley's and Wilde's public relationship. Though others may still wonder whether Beardsley ever actually saw the play, his illustrations provide an intriguing counterpoint to Wilde's work. Bibliography lists 6 sources in 10 footnotes.
Page Count:
5 pages (~225 words per page)
File: CC6_KSsalomBeards.doc
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Unformatted sample text from the term paper:
the Victorian era, on the cusp of transition from romance to aestheticism. Wilde was the most visible of aestheticisms adherents, and in fact is credited with creating the stereotype
of gay men dressing, if not effeminately, at least outrageously. "Victorians perceived sex as chaotic and anarchic, a threat to the social order and to the self,"1 thereby making
its treatment in literature require complex strategies. The Threat of Salom Oscar Wilde and Aubrey Beardsley represented the avant-garde of the 1890s,2 but
some critics of Beardsleys illustrations have mused that while his work was intriguing, perhaps he had never seen the play.3 Beardsleys illustrations provide rich, flowing and beautiful women, none
of which can seen to be representative of that one Nassaar refers to as being "devoid of any moral sense. Hers is the ultimate crime. Even the depraved and lustful
Herod, who murdered his own brother and robbed him of his wife, finds her crime abominable and orders her killed. In Salome, Wilde finally reached the heart of darkness, going
beyond Dorian, Huysmans, Pater, Mallarme, and even Jack the Ripper within the framework of literature."4 The theme of sexuality is a strong one
in the play, but works such as Beardsleys Peacock Woman depict a woman of culture, one who appears to be above the baseness that the rich and idle bored could
find for amusement. Certainly the Peacock Woman could be hiding a sordid past or even perhaps a sordid present. However, she does not appear to be harboring murderous
intent or immorality of the highest nature imaginable in Victorian England.5 In whether Beardsleys depiction of Salome reflect a true representation of her
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