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- W4206114462 abstract "Years before Oscar Wilde was involved with men, and years before he wrote a modern, typical “Oscar Wilde play,”2 he was famous, or infamous, as a queer, modern performer on the stage of public life. And from his earliest emergence as a cultural figure, parodic doubles arose to match him. Richest and most complex of these is the effete aesthete Gabriel Nash in Henry James’s The Tragic Muse. Although many critics have approached James’s grand novel of the theater, the significance of the Wilde figure within it remains markedly under-investigated. As I will argue, Nash, while playing what may appear on the surface only a supporting, or even cameo, role in the novel’s events, nonetheless functions as key to its central concerns. Along the way, I will also examine works by two far lesser known, woman authors: Mirage, by Julia Constance Fletcher—originally publishing under the nom de plume George Fleming—and Second Thoughts, by Rhoda Broughton.3 From these works, as I will demonstrate, a remarkable amount of material—including erotic plots— was appropriated for The Tragic Muse by James. Together, the three novels illuminate highly fraught issues of difference, decadence, representation, theatricality, performance, and performativity, not only in Fletcher, Broughton, and James, but in Wilde’s world at large, where anxieties over these issues would pivotally locate themselves in Wilde as cultural figure." @default.
- W4206114462 created "2022-01-25" @default.
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- W4206114462 date "2012-01-01" @default.
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- W4206114462 title "Wilde Ways" @default.
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- W4206114462 doi "https://doi.org/10.1057/9781137011886_2" @default.
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