Salome

When Richard Strauss saw Oscar Wilde's play Salome in Max Reinhardt's 1901 production, he felt that it "cried out for music". Indeed, the insistent repetition of dramatic phrases, incantatory dialogue, fashionable orientalism and stark emotional contrasts all lent themselves very well to iconic representation through music, as became abundantly clear in Strauss' famous opera, first performed in 1905. This paper examines the various semiotic resources that Strauss used to effectively "translate" Wilde's play into music. They include an exploitation of the possibilities for signification inherent in musical genre, traditional tonality and operatic convention, as well as the use of Wagnerian leitmotif and musical quotation. The result is a musical portrait of world teetering on the brink of moral bankruptcy-an effective rendering of Wilde's fin-de-siècle spirit, which also offers a subtle comment upon Strauss' own times.

Çeviren: Murat Erşen

ARKA KAPAK

Senin bedenine âşığım, Yahya! Bedenin tırpancıların hiç biçmediği bir zambak tarlası kadar beyaz. Bedenin Judaea’nın dağlarında yatan ve vadilere dökülen karlar gibi beyaz. Arap Kraliçesi’nin bahçesindeki güller bile senin bedenin kadar beyaz değildir. Ne Arap Kraliçesi’nin bahçesinin gülleri ne de Arap Kraliçesi’nin baharat bahçesi; ne yaprakların üstünde parlayan gün ışığının ayakları ne de denizin gönlünde yatan ayın yüreği; dünyada senin bedenin kadar beyaz başka hiçbir şey yoktur. Bedenine dokunmama izin ver.”

Oscar Wilde’ın Fransızca yazdığı tek eseri olan Salomé’nin hikâyesinin ana kaynağı elbette İncil’dir. Sonra, Flaubert’in Hérodias’ı, Heine’nin Atta Troll adlı şiiri, Mallarmé’nin Hérodiade’ı ve Huysmans’ın A rebours’unda büyüleyici şekilde tasvir ettiği Gustave Moreau’nun L’Apparition adlı tablosu... Kutsal Kitap içinde anlatılan bir ‘femme fatale’in, ölüm fermanları verdirtecek kadar baştan çıkarıcı, ölüm fermanları isteyecek kadar ihtiraslı bir Doğu prensesinin tehlikeli, günahkâr ve dramatik öyküsüne Wilde’ın kayıtsız kalması imkânsızdır.

Salome, modern tiyatro tekniğinde bir ‘devrim’ yaratmış ve Ionesco, Beckett, Pinter gibi ustaları etkilemiştir. Ayrıca 1905’te Richard Strauss bu metni kendi Salomé operasında kullanmıştır



Sayfa Sayısı: 84

Baskı Yılı: 2014


Dili: Türkçe
Yayınevi: İmge Kitabevi
ISBN: 9789755334585

A paper done for my 19th Century Philosophy class at Indiana University Southeast in 2014.  Paper applies Nietzsche's Apollonian and Dionysian dichotomy from "The Birth of Tragedy Out of the Spirit of Music" to the 2014 animated film "The Lego Movie", Oscar Wilde's "Salome", and other aspects of art and culture.  My overall idea is that the tragedy that Nietzsche describes in "The Birth of Tragedy" is not dead as he believed it to be and is in the process of being resurrected.  The film "The Lego Movie" is an example of how the Apollonian and Dionysian dichotomy and tragedy are still alive and surviving, but that people must delve into their culture to make more tragedies.

Author: Angela Ravin-Anderson
Publisher: CBE International

A popular question has been posed for a while now in contemporary American society: “What would Jesus do?” The theology behind the question suggests that, perhaps, in the absence of explicit teaching, or as further explanation thereof, if one were to discern how Jesus reacts or handles a situation, because of the utter consistency of Jesus’s character and mission, one might find instruction for how to do likewise in one’s own life. It is based on the simple call and invitation that Jesus gives to his disciples: “Follow me” (e.g., Matt 4:19; Mark 2:14; Luke 9:59; John 1:43). Jesus proclaims good news: the kingdom of God is at hand. And, with that, a new world order is established. Those who follow him are called to demonstrate and embody the values, tenets, and principles of the kingdom. His followers often represent those who, transformed by the healing and restorative ministry of Jesus, then choose to commit their own lives to faithful service of Jesus Christ. These followers are also known as disciples. They not only learn the teachings of Jesus, but also fully embrace his teachings by applying them in their daily walk.

Abstract. — The aim of this paper is to revisit the story of ‘the dancing daughter’
in the gospels from an interdisciplinary approach. I interpret de text from a narrative
point of view, from an iconological point of view, from a gender point of view, and
finally from an anthropological point of view. The figures of Salome and John the
Baptist have had an incalculable impact on both exegesis and art history. Furthermore,
the motif cluster of ‘beheading’ and ‘dancing’ is freighted with anthropological
gender archetypes. This essay proposes an interdisciplinary hermeneutic of ‘interstitial
spaces’. This method releases new energy and new interpretations, enriched by the
most recent textual, visual, gender and anthropological paradigms.

Resumen
La escritora de origen ruso Lou Andreas-Salomé es considerada una figura legendaria por la controvertida relación que mantuvo en su juventud con el filósofo Friedrich Nietzsche.
Tal vez sea menos conocido el hecho de que Salomé constituyó una presencia destacada en el desarrollo del movimiento psicoanalítico. Desde comienzos del siglo XX y hasta su muerte en 1937 mantuvo un estrecho vínculo con Sigmund Freud. El maestro vienés la consideró con agudeza “una entendedora par excellence”, cualidad que explica el efecto estimulante que causaba sobre el pensamiento de sus interlocutores.
El estudio de la obra psicoanalítica de Salomé y de su contrapunto intelectual con Freud brinda una perspectiva privilegiada sobre la importancia que el pensamiento metafísico monista, de origen romántico, tuvo en la obra de este último. La sencilla coherencia de Salomé en este punto es un espejo en el que se refleja el carácter complejo y dramático del pensamiento de Freud, siempre en tensión por una doble inspiración metafísica.


Abstract
The Russian-born writer Lou Andreas-Salome is considered a legendary figure because of the controversial relationship she had in his youth with the philosopher Friedrich Nietzsche.
Perhaps less well known is the fact that Salome was a personality in the development of the psychoanalytic movement. Since the early twentieth century until his death in 1937 she maintained a close relationship with Sigmund Freud. The Viennese master found her “an understander par excellence”, quality that explains the stimulating effect on the thinking of its partners.
The study of the psychoanalytic work of Salome and her intellectual counterpoint to Freud provides an insider's perspective on the importance that monistic metaphysical thought, originated in Romanticism, took in the work of the latter. The simple consistency of Salome at this point is a mirror that reflects the complex and dramatic character of Freud's thought, always in tension due to a double metaphysical inspiration.

Mark 6:14-29 and Matthew 14:1-12 recount the death of John the Baptist. Herod had him imprisoned for denouncing as incestuous his marriage to Herodias, the former wife of his brother. During a banquet, Herodias’ daughter dances before Herod, who is so enchanted that he promises her a favour. At her mother’s behest, she asks for the head of John the Baptist. The king honours her request and has the head delivered to her on a plate (in disco), which she gives to her mother. When John’s disciples discover his death, they bury his headless body. In this essay I revisit the iconographic motif of the dancing girl from an interdisciplinary perspective involving exegesis, gender, anthropology, ritual performance, psycho-energetics, Pathosformeln and paragone.

In the Renaissance, the bodies of individuals were understood as guides to their internal
identities, which influenced the public understanding of the figure represented in art—be it in terms of politics, personal life, or legacy. The classicizing and religious paintings by Titian (c. 1488/90-1576) show the subject’s state of being, at a particular moment in a story, through the use of body language. The body is a vehicle for narrative that demonstrates the sitter’s identity, relating the intricacies of the body to both the mind and the story. By exploring the humanist combination of philosophical theories regarding the relationship between the soul and the body, it is clear that Titian used these concepts to elevate the human figures in his narrative paintings. Formal analysis and Renaissance artistic theories by Alberti and others suggest that Renaissance artists operated under the assumption that how their sitters appeared was tantamount to representing their identities. Current scholarship has not yet considered this particular relationship in Titian’s works. Analysis of several of Titian’s depictions of female subjects— such as Mary Magdalene, Salome, Callisto, and Ariadne—suggests that while Titian fulfilled Alberti’s guidelines for figural narrative depictions, he went further, giving the women in his paintings identities and thus agency. In this way, Titian makes it clear that Alberti’s emphasis on the role of figures in a painted narrative does not do enough to give figures identity. By representing these females, not only through flesh, but also with identity, Titian creates paintings that act as equalizers for the female gender during the Renaissance.

My doctoral thesis. The main theme is the conflict between aesthetics and religious sense in Oscar Wilde literature.
I study fairy tales, the Picture of Dorian Gray, Salome, and comedies.
in all of there works, Wilde wrote both of aesthetics and religious sense, even though his works are very decadent.

This paper explores androcentric symbolism of the heretical woman as a literary topos to justify male superiority via the biblical interpretation of John the Baptist’s beheading and the purported influence of Herodias and Salomé, wife and stepdaughter of Herod Antipas. The gospels allege that this mother and daughter manipulated Antipas to execute John, which does not align with the historicity regarding the pragmatic, political motives Antipas likely had. Nevertheless, the circumstances under which Herodias and Salomé appear in the Christian Testament have consequently framed their portrait, which church tradition has preserved as an example of sinful, deviant, and heretical behavior. This paper argues that the degree of influence these women had in the execution of John the Baptist may have been deliberately constructed to convey the “dangers” of womanly influence and unorthodox behavior.

This case study provides an analysis of extrabiblical primary source literature—including the writings of Tertullian, Justin Martyr, Josephus Flavius, Suetonius, and Bernard of Cluny—alongside the gospel narratives of Mark, Matthew, and Luke. This paper also incorporates the necessary secondary historical source material, with a special emphasis on the various perspectives from modern feminist scholars of the Bible and early Church history. Additionally, this research will briefly address this particular biblical narrative’s contribution to the femme fatale complex in art and literature and its relative feminist interpretations. Ultimately, this methodology will reveal a constructive use of Herodias, Salomé, and their alleged role in John the Baptist’s execution as a paradigm for understanding how the topos of the heretical woman developed throughout the different phases of this religious tradition, as well as within the context of Western patriarchal culture.

Before defining and analysing the decadent (re)interpretations of the myth of Salomé, it is necessary to summarize its historical development and determine its structural components (mythemes). Having appeared in Antiquity (Flavius Josephus, New Testament), the myth acquired a strongly moralizing meaning in the Middle Ages, which was subsequently adopted by the classicism and completely “deconstructed” by romantic authors in the 19th century. The symbolist and decadent readings of Salomé are characterized by their rejection of origin, a disintegration of all traditional “sacred couples” (Herod/Herodias, Salomé/John the Baptizer), frequent initiatic journeys accomplished by an egocentric protagonist dreaming of self-knowledge and, last but not least, an incredibly open structure, which leads to a real decomposition of the heroine: Salomé turns from a woman to an image, a gesture or even an incarnation of the decadence itself.

Mark 6:14-29 and Matthew 14:1-12 recount the death of John the Baptist. Herod had him imprisoned for denouncing as incestuous his marriage to Herodias, the former wife of his brother. During a banquet, Herodias’ daughter dances before Herod, who is so enchanted that he promises her a favour. At her mother’s behest, she asks for the head of John the Baptist. The king honours her request and has the head delivered to her on a plate (in disco), which she gives to her mother. When John’s disciples discover his death, they bury his headless body. In this essay I revisit the iconographic motif of the dancing girl from an interdisciplinary perspective involving exegesis, gender, anthropology, ritual performance, psycho-energetics, Pathosformeln and paragone.

Cumque introisset filia ipsius Herodiadis et saltasset et placuisset Herodi. “When the daughter came in and danced, she pleased Herod and his dinner guests” (Mark 6:22).  In the original Greek text, the daughter is called korasion, a term usually used for a young girl not yet a woman.  In verse 28, when the head is given to the daughter, the Latin Vulgate uses the word puella. For comparison, in Mark 5:23-35 Jairus’ daughter is likewise called korasion and puella.  The daughter is hence a child with no name (the name Salome  will be deduced later from accounts by Flavius Josephus; yet I will use this name throughout this article).  Her persona comprises only a few words – the girl danced: Filia saltasset. Due to the soberness of this phrase, she is reduced to her own medium of dance. A dance, furthermore, that is not a dance of praise for the Lord, but a dance that is perverted and fatal.

The work of Carmelo Bene is widely interpreted as a radical questioning of the notion of representation and of any conciliatory conception of artistic practice. If stories coming from Bene’s movie sets tell of his procedures expressly aimed at damaging his own films, on the other hand he often hinted at the frugality of those film projects, which were unwilling to ‘rischiare la pellicola’. Beyond anecdotes, this paper investigates Salomè (1972) as a central moment for understanding the constructive and deconstructive processes that characterise Bene’s work. By reading Oscar Wilde’s play in parallel with Bene’s movie, the decapitation of John the Baptist and the Dance of the Seven Veils are viewed as gestures rife with aesthetic, moral, and political implications. What emerges is the film’s theoretical and critical status. More than any of his occasional statements on the filmic medium, Salomè is Bene’s essay on the birth of montage and the end of cinema.

In 1906, the Greek writer Nikolaos Poriotis translated Oscar Wilde’s 'Salomé'.  It was the first play by Wilde to be translated into Greek, and was published in the periodical 'Panathinaia' in 1907.8  In the following year, Thomas Oikonomou, the first stage director of the Greek theatre, undertook the play’s stage representation.  He was followed much later by his pupil Marika Kotopouli in 1922, and then by the playwright and journalist Spyros Melas in 1925.  The article examines those three productions of Salomé, and will attempts an analysis of the factors that prompted its selection, as well as an interpretation of the performances styles, in relation to both the specific aims of the creators and the wider social and cultural framework.

Lecturas del concepto clásico de destino en tres obras (dramática, narrativa y lírica) de Oscar Wilde como reflejo de la formación e inquietudes del autor.

While reading Oscar Wilde's works, one is bound to be struck by a vision of the author's position regards his
characters' lot. In several texts, this viewpoint is most pronounced. We will posit that the said viewpoint is inspired
by a classical conceptualisation of Fate, which Wilde seems to have supported ever since he became acquainted
with  classical  literature,  during  his  school  days,  and  which  powerfully  influences  the  plot  and  character
development  in  many  of  his  works.  We  will  attempt  to  exemplify  this  by  looking  at  the  dynamics  of  this
phenomenon as evidenced in three different texts: Salome (1893), "Lord Arthur Savile's Crime" (1887), and The
Ballad of Reading Gaol (1898).

Primeras Jornadas de Cultura y Literatura en Lengua Inglesa, organizadas por la Universidad Nacional de La Plata, Facultad de Humanidades y Ciencias de la Educación. Publicado en Actas de las Primeras Jornadas de Cultura y Literatura en Lengua Inglesa (ISSN 1668-8449; 2004).

It has become a common trope to speak of Ken Russell's films as somehow 'baroque'. But what does that really mean? This article seeks to clarify this question by looking at one of Russell's most overlooked films, Salome's Last Dance. This is a play-within-the-film adaptation of Oscar Wilde's decadent play, which calls to mind similar approaches to the theatre that are associated primarily with the baroque stage of the seventeenth century (play-within-the-play, mise-en-abîme). By looking at the way Russell uses these structural devices we will gain insight in a deeper baroque structure in his work. But in the course of the analysis we will also debunk some myths that have accrued to the figure of Salome and her dance of the seven veils. Although Russell's films are most commonly classified as baroque on account of their excessive visual style, this article shows that the real baroque is happening inside, in the way the film (and Russell's work in general) is structured. Résumé On appelle les films de Ken Russell 'baroques' presque par habitude. Mais qu'est-ce que cette

В своей Повести «О безумии Иродиадином, как на земле зародился вихорь»  (1906) А.М. Ремизов использовал неканоническую версию сюжета о Саломее / Иродиаде, согласно которой падчерица царя Ирода влюбилась в Иоканаана / Иоанна Предтечу и потребовала подать его голову, чтобы поцеловать ее в губы. Версия Ремизова напоминает сюжет пьесы О. Уайльда «Саломея», популярной в России начала ХХ в., и может быть рассмотрена как своеобразная пародия на нее. Вслед за О. Уайльдом Ремизов использовал библейскую «Песнь песней» как источник поэтических образов.

Both ritual studies and masculinity studies are relative newcomers to the field of New Testament studies. This article endeavours to combine insights from both of these fields and to show how such a combination can be heuristically helpful. In particular, it explores how the respective masculinities of "king" Herod and Jesus are narratively constructed in Mark 6 through the presentation of their behaviour during their participation in rituals, meals to be exact. The two key female characters are also discussed and analysed, in relation to ritual failure. In doing so, new light is shed on this chapter of the Gospel of Mark. In addition, and experimentally, a new matrix for the analysis of the masculinity/religion interface is presented and tested. 1

This thesis won the 2011 Best Thesis Award from the Bowling Green State University College of Musical Arts.

Richard Strauss’s Salome constitutes an operatic adaptation of Oscar Wilde’s 1891 play. The popularity of this biblical account spans several hundred years with portrayals in mediums including folk tales, poetry and musical adaptations. The identities of the characters evolved over time, with emphasis on different personalities and relationships with each variation. Beginning with Gustave Flaubert’s short story Hérodias (1877), retellings dramatized the exoticism of the characters by virtue of their ethnicities and geographical location. By the end of the nineteenth century, Salome had developed into the Oriental femme fatale of Wilde’s and Strauss’s renderings.


Early twentieth-century audiences became familiar with Salome’s story through a multitude of interpretations including Strauss’s opera. In this thesis, I examine the identities of the main characters of the tale. The characteristics of previous realizations betray the origins and meanings of these identities. Although the characters differed in each interpretation, audiences always saw them as part of a faraway time and place. The Orientalist underpinnings of early twentieth-century interpretations demanded that the characters be constructed to conform to exotic stereotypes.


Chapter 1 reveals the development of the story, with an emphasis on Salome’s identity and her relationships with John the Baptist and Herod. Chapter 2 compares the Salomes of modern dancer Maud Allan and composer Richard Strauss. Chapter 3 demonstrates that the characters in Salome were understood mainly through contrasts of identity.

TABLE OF CONTENTS
1. ENNO POPPE – INTERZONE : LEADER UND BILDER – LIVE PERFORMANCE,CITÉ DE LA MUSIQUE, PARIS, DECEMBER 3, 2009
2. JOHANN STRAUSS – DIE FLEDERMAUS
3. JAN WILLEM DE VRIEND – EVA BUCHMANN – HANDEL – AGRIPPINA
4. ILDEBRANDO PIZZETTI – ASSASSINIO NELLA CATTEDRALE
5. PAUL MCCREESH – GABRIELI CONSORT – JEPHTE – JUDICIUM SALOMONIS – JONAS
6. SERGEY EISENSTEIN – SERGEY PROKOFIEV – IVAN THE TERRIBLE
7. JANACEK – BOULEZ – CHEREAU – FROM THE HOUSE OF THE DEAD
8. HANDEL – NIKOLAUS HARNONCOURT – JEPHTHA
9. HANDEL - JEPHTHA
10. HANDEL – ISAREL IN EGYPT
11. DELLER CONSORT – PURCELL – KING ARTHUR
12. ALBAN BERG – LULU – PIERRE BOULEZ
13. JEAN-CLAUDE MALGOIRE – PHIIPPE JAROUSSKY – FRIEDRICH HANDEL – AGRIPPINA
14. GEORG FRIEDRICH HANDEL – NICHOLAS MCGEGAN – JUDAS MACCABAEUS
15. VIVALDI – JUDITHA TRIUMPHANS
16. MOZART  LA FINTA GIARDINIERA
17. MOZART - MITHRIDATE
18. MENDELSSOHN – A MIDSUMMER NIGHT’S DREAM
19. MOZART – ASCANIO IN ALBA
20. MOZART – LA FINTA SEMPLICE
21. PIZZETTI – KARAJAN – MORD IN DER CATHEDRALE – 1998
22. CLAUDIO MONTEVERDI – L’INCORONARIONE DI POPPEA – GABRIEL GARRIDO
23. HERVÉ NIQUET – HENRY PURCELLE – KING ARTHUR
24. GABRIEL GARRIDO – MONTEVERDI – LA FAVOLA D’ORFEO
25. GEORG FRIEDRICH HANDEL – ARNOLD OSTMAN – AGRIPPINA
26. RICHARD STRAUSS – DER ROSENKAVALIER – PHILIPPE JORDAN – ANNE SCHWANEWLIMS
27. RICHARD STRAUSS – SALOME – SIR GEORG SOLTI
28. GIUSEPPE VERDI – RIGOLETTO STORY
29. RACHMANINOV – ALEKO
30. SHOSTAKOVICH – THE NOSE
31. CLAUDIO MONTEVERDI – IL RITORNO D’ULISSE IN PATRIA – GABRIEL GARRIDO – ENSEMBLE ELYMA
32. PHILIPPE JORDAN – DAVID MCVICAR – RICHARD STRAUSS – SALOME
33. VERDI – OTELLO – PLACIDO DOMINGO
34. JOHN BLOW – VENUS AND ADONIS
35. BENJAMIN BRITTEN – CURLEW RIVER
36. BENJAMIN BRITTEN – PETER GRIMES
37. BENJAMIN BRITTEN – PETER PEARS – BILLY BUDD

W niniejszym szkicu autorka przybliża postać Františka Drtikola – czeskiego fotografa, malarza, a przede wszystkim filozofa, który całą swoją pracę twórczą opierał na wyrażeniu mistycznego połączenia ciała i duszy. Nagość ciała i duszy miała wyrażać pokonanie granicy między tym, co fizyczne, widzialne, a tym, co duchowe, mistyczne, transcendentne. Twórczość Drtikola podzielić można na trzy okresy:
pierwszy obejmował lata od 1901 r., kiedy zaczął fotografować, do 1930 r. – tu dominują zdjęcia kobiet fatalnych, motywy Salome i Judyty, wyrażające niepokoje duszy i ciała, drugi okres – twórczość spirytualna,
natomiast po 1935 r. Drtikol przestał fotografować i zajął się przede wszystkim medytacją, pogłębianiem swojej wiedzy duchowej oraz malarstwem mistycznym.

Monografia "O literaturze w fotografii. Infrazy czeskie" poświęcona została analizie wybranych dzieł przedstawicieli czeskiej fotografii artystycznej XX i XXI wieku. Jej celem jest przybliżenie pewnych (literackich) aspektów twórczości takich artystów jak František Drtikol,  Petr Šálek, Ivan Pinkava, Martin Faltejsek, Jan Faukner, Barbora Bálková czy Tereza Zelenková. W książce przeanalizowane i omówione zostały infrazy fotograficzne, czyli motywy literackie wybrane przez czeskich artystów z tekstów kultury i przekształcone przez nich w wersje wizualne. Mamy tu więc cały wachlarz infrastycznych przedstawień: od piktorialnych wyobrażeń tańczącej Salome autorstwa Františka Drtikola po popkulturowe przedstawienia śmierci Szekspirowskiej Ofelii ujęte w kadrze współczesnej artystki Barbory Bálkovej.

The paper offers a comparative study of Turgenev’s novel Smoke (1867) and Eliot’s Love Song of J. Alfred Prufrock (1915). Eliot's poem has been thoroughly studied in this context for the first time; the research aims to state some important analogies between two texts and reveal new semantic contents and conceptual substances. The parallel analysis of the novel and the poem also helps to clarify their historical-literary significance and to understand why these works continue to attract attention of readers and critics. The choice of the two works for the research has been determined by the literary texts themselves and a number of typological parallels. Eliot highly appreciated Turgenev's literary genius, and expressed his admiration for Turgenev’s works in his letters and literary criticism (“Turgenev”, “In Memory of Henry James”). Particular attention is paid to the Europeanism of Turgenev and Eliot, whose aesthetic positions can be defined as “an incarnation of European culture” (T.S. Eliot). One of the central characters of both texts is a femme fatale considered in mythological (Gorgon Medusa, Helen of Troy) and cultural-historical (“the epoch of Salome”) aspects. Such figurative concepts as “crab”, “dead head”, “smoke”, etc. were examined through comparative perspective. The study suggests that Smoke and The Love Song of J. Alfred Prufrock largely correspond to the aesthetics and style of the modernity being marginal works in Turgenev’s and Eliot’s heritage thus reflecting the borderline character of the turn of the centuries – and of the cultural eras.

Among the most enigmatic compositions in Lucas Cranach’s oeuvre are his Biblical decapitations of the 1530s. In 1531, he executed a pair of panels depicting the story of Judith and Holofernes; between 1531 and 1539, he and his workshop produced four paintings of the Feast of Herod of nearly identical composition and size. Through the decade, Cranach and his shop painted half- to full-length images of the princess Salome alone that are almost indistinguishable from his contemporaneous half-length paintings of Judith. I propose that Cranach’s narrative paintings should be understood as allegories; they were veiled references to the tyranny of the imperial court and were intended for the Lutheran prince-electors in the years following the Diet of Augsburg. His half-length images of Judith and Salome proliferated because both subjects connoted the downfall of tyrannical forces. Cranach thus skillfully adapted rarefied political iconography to imagery that served a broad Reformation audience.

The great painter Lucas Cranach the Elder, painted two of the best well known biblical stories Salomé and Judith. In his paintings the muse used might even be considered the same as well as the heads on the  plateau. What drives a painter to paint in this violent way?

Surviving  in  a  single  manuscript  of  the  15th  century,  the Defensorium  Annae  (edited  and published in the 1930s) has long been recognised  for its singular importance to debates about St. Anne, mother of the Virgin Mary. In particular, the Defensorium has been identified as a key  text  harnessed  by  both  sides  of  the  debate  about  Anne's  three  marriages  which  arose  in the 16th century after the French humanist Jacques Lefèvre d'Étaples published his De tribus et unica Magdalena (1519), that criticised a  number of devotional traditions associated with veneration  of  St.  Anne.  The Defensorium,  penned  by  an  anonymous  Dominican  friar  who identifies  himself  only  as  "Johannes  lector  exiguus",  is  generally  attributed  to  John  of Freiburg  (following  a  tentative  suggestion  by  the  treatise's original  editors),  who  is  most famous  for  championing  Thomism  after  the  condemnations of  1277,  and  for  composing  the influential  pastoral  manual,  the Summa  Confessorum. By  examining  the Defensorium's reliance  on  the Contra  Salomitas  of  Maurice  of  Kirkham  (composed  c.  1170s  and  known only  from  English  manuscript  witnesses),  however,  and  acknowledging  the  fact  that  the treatise only survives in a manuscript that preserves an abridged version of a letter by Herbert of Bosham about the so-called Salomite issue, I shall argue that "Johannes lector" cannot be John of Freiburg. Instead, the author of the Defensorium is likely an English Dominican friar (possibly of the 14th or 15th centuries) with an interest in defending the chastity of Anne and debunking certain traditions that viewed the biblical Salome as a man, rather than a woman.

In a group of drawings accompanying the first English edition of Oscar Wilde’s one-act play Salome, Aubrey Beardsley invented a grotesque imagery of complex symbolism that interjected the text of the play, exacerbating the latter’s thematic association of female libido with death and destruction. When analyzed against the background of contemporaneous scientific discourses on evolution, sexual differentiation and pathological female atavism, the world as imagined by Beardsley can be shown to have been in alignment with a novel definition of nature that established the disquieting alterity of the female as its foundation. In this essay I demonstrate that depicting the Biblical Judean princess Salomé as harbinger of pathological atavism and degeneration, Beardsley selectively drew his inspiration from nineteenth-century scientific texts and illustrations by naturalists, embryologists, criminal anthropologists and others, a discourse which increasingly defined the woman as an uncanny agent of nature, and a symptom of evolutionary reversion.

TABLE OF CONTENTS
I. JERUSALEM CITY OF THE TWO PEACES: HEAVENLY PEACE AND EARTHLY PEACE
II. JERUSALEM LA VILLE DES DEUX PAIX : LA PAIX CELESTE ET LA PAIX TERRESTRE
III. ROSSI – SALADIN – GROSSI – MUSIQUE JUDEO-BAROQUE – JUDEO-BAROQUE MUSIC
IV. ROLAND DE LASSUS – HIEREMIAE PROPHETAE LAMENTATIONES – PHILIPPE HERREWEGHE
V. JORDIS SAVALL – LE ROYAUME O8UBLIÉ, La Tragédie Cathare – THE FORGOTTEN KINGDOM, The Tragedy of the Cathars
VI. GUILLAUME DE MACHAUT – LE VRAY REMÈDE D’AMOUR
VII. GUILLAUME DE MACHAUT – LE JUGEMENT DU ROI DE NAVARRE
VIII. GUILLAUME DE MACHAUT – MESSE DE NOSTRE DAME
IX. LES TRES RICHES HEURES DU MOYEN AGE – A MEDIEVAL JOURNEY – HARMONIA MUNDI FRANCE
1- LES TRES RICHES HEURES DU MOYEN AGE – A MEDIEVAL JOURNEY – HARMONIA MUNDI France - LES PREMIERES HEURES DE L’ERE CHRETIENNE : DE L’ORIENT A L’OCCIDENT – THE DAWN OF THE CHRISTIAN ERA : FROM EAST TO WEST
2- LES TRES RICHES HEURES DU MOYEN AGE – A MEDIEVAL JOURNEY – HARMONIA MUNDI France - LE REGNE DU CHANT GREGORIEN – THE REIGN OF GREGORIAN CHANT
3- LES TRES RICHES HEURES DU MOYEN AGE – A MEDIEVAL JOURNEY – HARMONIA MUNDI France - LE TEMPS DE L’AMOUR COURTOIS – THE AGE OF COURTLY LOVE
4- LES TRES RICHES HEURES DU MOYEN AGE – A MEDIEVAL JOURNEY – HARMONIA MUNDI France -  LES PREMIERES POLYPHONIES (XII-XIIIe SIECLES) – THE BIRTH OF POLYPHONY
5- LES TRES RICHES HEURES DU MOYEN AGE – A MEDIEVAL JOURNEY – HARMONIA MUNDI France - LE SIECLE DE L’ARS NOVA (XIVe SIECLE) – ARS NOVA AND THE 14th CENTURY
6- LES TRES RICHES HEURES DU MOYEN AGE – A MEDIEVAL JOURNEY – HARMONIA MUNDI France - A L’AUBE DE LA RENAISSANCE (XVe SIECLE) – THE DAWN OF THE RENAISSANCE (15th CENTURY)
AMAZON.CO.UK – AMAZON.COM
A good tool but short on explanations, 30 Mar 2008
Jacques COULARDEAU "A soul doctor, so to say" (OLLIERGUES France)
This review is from: The Richest Hours of the Medieval Age - A Medieval Journey (Audio CD)
AMAZON.FR
Vaste panorama qui pèche du côté explication, 30 mars 2008
Jacques COULARDEAU "A soul doctor, so to say" (OLLIERGUES France)
Ce commentaire fait référence à cette édition : Les très riches heures du Moyen Age - A Medieval Journey (CD)
X. SUZANNE HAIK VANTOURA - CD - LA MUSIQUE DE LA BIBLE REVELEE
XI. OCKEGHEM – REQUIEM – ENSEMBLE ORGANUM – MARCEL PERES – HARMONIA MUNDI
XII. PUERTA DE VELUNTAD – ALIA MUSICA – MIGUEL SANCHEZ
XIII. SCHÜTZ – DIE SIEBEN WORTE JESU CHRISTI AM KREUZ
XIV. CHANTS DE LA LITURGIE SLAVONE – SLAVONIC LITURGY – CHŒURS DES MOINES DE CHEVETOGNE
XV. CARLOS MENA ALTO – STABAT MATER
XVI. SIR GEORG SOLTI – RICHARD STRAUSS – SALOME
XVII. KAREL ANCERL – GOLD EDITION – IGOR STRAVINSKY – LES NOCES – CANTATA – MASS
XVIII. PAUL McCREESH – GABRIELI CONSORT CHOIR AND PLAYERS – VENETIAN VESPERS
XIX. VIVALDI – CONCERTI PER FLAUTINO E ARCHI

Wilde avec Lacan
This essay explores connections between Lacan’s statements on the ethics of psychoanalysis, beauty, and desire in Seminar VII: The Ethics of Psychoanalysis (1959-60) and the aesthetic philosophy of Oscar Wilde. Lacan’s thinking about ethics echoes in remarkable ways Wilde’s position with respect to aesthetics and representation, while Wilde’s work evinces an ethics similar to Lacan’s (though it does so without an explicit mention of psychoanalysis, the beginning stages of which were roughly contemporaneous with Wilde’s work).1
Lacan’s contention that it is an error to separate the concrete from the figurative, which, tellingly, appears in the seventh seminar dedicated to ethics, is similar to Wilde’s insistence on the primacy of form and the ethics of style. Conversely, Wilde’s emphasis on following a desire that is distinct from what we define either as personal happiness or as communal good invites a comparison to Lacan’s call, issued famously in Seminar VII, to “act in conformity with [one’s] desire” (1992, 311). This ethics of desire stands in contrast to the constraining and oppressive “service of the goods,” the locus of power. Finally, attempting to go beyond a Lacanian reading of Wilde, or a Wildean reading of Lacan, I will focus on Wilde’s one-act tragedy Salomé (1891) and suggest that viewing the play through the lens of Lacan’s [End Page 259] interpretation of Sophocles’ tragedy Antigone opens up a possibility for reading the titular character’s desire not as heterosexual or encoded same-sex one, but, rather, as object-less.2