Bücher von Oscar Wilde

"Intentions" is a collection of essays and dialogues written by the Irish playwright and author Oscar Wilde. First published in 1891, this work reflects Wilde's thoughts on various aspects of art, criticism, and aesthetics, and it plays a significant role in shaping his aesthetic philosophy.Wilde argues that art should exist for its own sake rather than having a moral or didactic purpose. He champions the idea that art and beauty should not be constrained by utilitarian concerns. In one of the essays, "The Critic as Artist," Wilde explores the dynamic relationship between the artist, the critic, and the public. He suggests that the critic, rather than merely interpreting art, has a creative role in understanding and reshaping it.The collection contains several other essays, including "The Decay of Lying," where Wilde famously champions the notion that "Life imitates Art far more than Art imitates Life." He challenges conventional ideas about realism in art and advocates for a more imaginative and idealized representation of life.Wilde's wit and paradoxical thinking are prominent throughout "Intentions," making it not only a collection of aesthetic principles but also a delightful exploration of the relationships between art and society. These essays were highly influential in the late 19th century and continue to be studied for their insights into aesthetics, art, and the creative process.In summary, "Intentions" by Oscar Wilde is a collection of essays and dialogues that expound Wilde's aesthetic philosophy, emphasizing the importance of art for art's sake and the creative role of the critic. It challenges conventional notions of realism in art and explores the interplay between art and life. Wilde's eloquent and paradoxical writing style adds a layer of intellectual and literary richness to the collection.

Oscar Wilde: Bunbury oder Die Bedeutung des Ernstseins. Eine triviale Komödie für ernsthafte LeuteLesefreundlicher Großdruck in 16-pt-SchriftGroßformat, 210 x 297 mmBerliner Ausgabe, 2023Durchgesehener Neusatz bearbeitet und eingerichtet von Theodor Borken»The Importance of Being Earnest«, Uraufführung: St. James Theatre, London, 1895. Erstdruck: 1899. Hier nach der Übersetzung von Felix Paul Greve (Frederick Philip Grove), Erstdruck in »Oscar Wildes sämtliche Werke in deutscher Sprache«, Band 10, Wien und Leipzig, 1906-1908, überarbeitet 1922. Auch erschienen unter den deutschen Titeln »Die Bedeutung, Ernst zu sein«, »Ernst sein ist alles«, »Bunbury oder wie wichtig es ist, ernst zu sein« und »Ernst sein ist wichtig«.Der Text dieser Ausgabe wurde behutsam an die neue deutsche Rechtschreibung angepasst.Umschlaggestaltung von Thomas Schultz-Overhage.Gesetzt aus der Minion Pro, 16 pt.Henricus - Edition Deutsche Klassik GmbHÜber den Autor:1854 in Dublin als zweites von drei Kindern eines bekannten Augenarztes und einer Schriftstellerin geboren, lässt sich Oscar Fingal O'Flahertie Wills Wilde nach dem Literaturstudium in Dublin und Oxford in London nieder. Der schlagfertig humorvolle Freimaurer entwickelt sich zu einem berühmt berüchtigten Skandalautor, genießt seinen schlechten Ruf als Dandy und pflegt einen extravaganten Auftritt in samtenen Kniebundhosen mit Seidenstrümpfen. Er wird gehässig karikiert und zugleich für seine Bonmots gefeiert. 30-jährig heiratet der inzwischen weltberühmte Dichter die wohlhabende und bildschöne Kinderautorin Constance Mary Loyd, mit der er zwei Söhne haben wird. 1895 zettelt der Vater seines langjährigen Liebhabers Lord Alfred Douglas einen Prozess wegen der damals schwer bestraften Homosexualität gegen ihn an, der ihn für zwei Jahre ins Zuchthaus bringt. Die menschenverachtenden Haftbedingungen in Isolation und Dunkelheit mit harter Zwangsarbeit ruinieren seine Gesundheit. Nach seiner Entlassung lebt er verarmt, vereinsamt und krank in Paris. Am 30. November 1900 stirbt mit Oscar Wilde ein charismatischer Repräsentant der Dekadenz und eine der schillerndsten Figuren des viktorianischen Englands. 1917 schreibt Alfred Kerr über Oscar Wilde »Seine langsame Hinrichtung bleibt der letzte Akt des Mittelalters.«

Dorian Gray pose pour le peintre Basil Hallward, qui souhaite immortaliser son éblouissante beauté et la fraîcheur de sa jeunesse. Une fois l'oeuvre terminée, le modèle formule le voeu que ce soit son portrait, et non lui, qui subisse les outrages du temps et de la vieillesse. Hélas, sous l'influence de son ami Lord Henry Wotton et sa philosophie hédoniste, Dorian s'abandonne à ses penchants les plus sombres et se laisse emporter dans un tourbillon de plaisirs et d'excès. Au fil de sa déchéance, le tableau se métamorphose pour refléter sa véritable nature.Découvrez ou redécouvrez Le Portrait de Dorian Gray, un chef-d'oeuvre intemporel qui explore avec finesse et audace le Londres vibrant, opulent et décadent du XIXe siècle, dans une traduction inédite et commentée qui restaure les passages censurés à l'époque.Entre esthétisme exquis et explorations philosophiques ou psychologiques, l'unique roman d'Oscar Wilde interroge les limites de la moralité, les conséquences de nos choix et l'essence même de la beauté. Et si nos vies elles-mêmes étaient des oeuvres d'art ?

2023 Reprint of the 1915 Edition. Full facsimile of the original edition and not reproduced with Optical Recognition Software. The Importance of Being Earnest is celebrated not only for the lighthearted ingenuity of its plot, but for its inspired dialogue, rich with scintillating epigrams still savored by all who enjoy artful conversation. Rich in humor, and memorable characters, Wilde offers a captivating satire of Victorian society and its repressive values and traditions, particularly in the pursuit of love and marriage. To recapture their freedom, the characters liberate themselves by leading double lives. From the play's effervescent beginnings in Algernon Moncrieff's London flat to its hilarious dénouement in the drawing room of Jack Worthing's country manor in Hertfordshire, this comic masterpiece keeps audiences breathlessly anticipating a new bon mot or a fresh twist of plot moment to moment.

"A Critic in Pall Mall" is not a work by Oscar Wilde. Instead, it is a collection of essays and reviews written by Oscar Wilde that was published in 1885 under the title "The Critic As Artist." This collection includes two dialogues: "The Critic As Artist: With Some Remarks on the Importance of Doing Nothing" and "The Decay of Lying: An Observation."In "The Critic As Artist," Wilde explores the role of the critic and the artist in society, arguing that the critic plays an essential role in shaping public opinion about art. He discusses the importance of individualism, aesthetics, and the idea that the critic's subjective response to art is as valuable as objective analysis.In "The Decay of Lying," Wilde satirically examines the relationship between art and reality. He argues that life imitates art far more than art imitates life, advocating for the value of artistic expression and imagination over strict adherence to reality.Both essays are known for their wit, humor, and paradoxical statements, which are characteristic of Wilde's writing style. These essays are considered significant contributions to the fields of literary criticism and aesthetics.

Selected Prose of Oscar Wilde, a classical book, has been considered essential throughout the human history, and so that this work is never forgotten we at Alpha Editions have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and designed. These books are not made of scanned copies of their original work and hence the text is clear and readable.

Selected Poems of Oscar Wilde, a classical book, has been considered essential throughout the human history, and so that this work is never forgotten we at Alpha Editions have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and designed. These books are not made of scanned copies of their original work and hence the text is clear and readable.

Son âme l'appelaHis Soul called out to him J'ai habité avec toi pendant toutes ces années "I have dwelt with thee for all these years" et j'ai été ton serviteur "and I have been thy servant" Ne m'éloigne pas de toi "Don't send me away from thee" Quel mal t'ai-je fait ? "what evil have I done thee?"Et le jeune pêcheur ritAnd the young Fisherman laughed Tu ne m'as fait aucun mal "Thou has done me no evil" mais je n'ai pas besoin de toi "but I have no need of thee"

La Sua Anima lo chiamòHis Soul called out to him"Ho abitato con te per tutti questi anni""I have dwelt with thee for all these years""e io sono stato tuo servo""and I have been thy servant""Non mandarmi via da te""Don't send me away from thee""Che male ti ho fatto?""what evil have I done thee?"E il giovane pescatore riseAnd the young Fisherman laughed"Non mi hai fatto alcun male""Thou has done me no evil""ma io non ho bisogno di te""but I have no need of thee"

Su Alma lo llamóHis Soul called out to him"He habitado contigo durante todos estos años""I have dwelt with thee for all these years""y yo he sido tu siervo""and I have been thy servant""No me envíes lejos de ti""Don't send me away from thee""¿Qué mal te he hecho?""what evil have I done thee?"Y el joven pescador se rióAnd the young Fisherman laughed"No me has hecho ningún mal""Thou has done me no evil""pero no tengo necesidad de ti""but I have no need of thee"

Reviews, a classical book, has been considered essential throughout the human history, and so that this work is never forgotten we at Alpha Editions have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and designed. These books are not made of scanned copies of their original work and hence the text is clear and readable.

"Ha detto che avrebbe ballato con me se avessi portato le sue rose rosse""She said that she would dance with me if I brought her red roses""ma in tutto il mio giardino non c'è una rosa rossa" gridò il giovane studente"but in all my garden there is no red rose" cried the young StudentDal suo nido nel leccio l'usignolo lo udìfrom her nest in the holm-oak tree the nightingale heard hime guardò attraverso le foglie, e si meravigliòand she looked out through the leaves, and wondered "Nessuna rosa rossa in tutto il mio giardino!" gridò."No red rose in all my garden!" he criede i suoi bellissimi occhi pieni di lacrimeand his beautiful eyes filled with tears"Da quali piccole cose dipende la felicità!""On what little things does happiness depend!"

Elle a dit qu'elle danserait avec moi si je lui apportais des roses rouges'She said that she would dance with me if I brought her red roses'mais dans tout mon jardin il n'y a pas de rose rouge s'écria le jeune Etudiant.'but in all my garden there is no red rose' cried the young StudentDe son nid dans le chêne vert, le rossignol l'entenditfrom her nest in the holm-oak tree the nightingale heard himet elle regarda à travers les feuilles, et se demandaand she looked out through the leaves, and wondered Pas de rose rouge dans tout mon jardin ! s'écria-t-il'No red rose in all my garden!' he criedet ses beaux yeux remplis de larmesand his beautiful eyes filled with tearsDe quelles petites choses dépend le bonheur !'On what little things does happiness depend!'

"Ella dijo que bailaría conmigo si le traía rosas rojas"'She said that she would dance with me if I brought her red roses'"Pero en todo mi jardín no hay rosa roja", gritó el joven estudiante'but in all my garden there is no red rose' cried the young StudentDesde su nido en la encina el ruiseñor lo oyófrom her nest in the holm-oak tree the nightingale heard himy miró a través de las hojas, y se preguntó.and she looked out through the leaves, and wondered "¡No hay rosa roja en todo mi jardín!", gritó.'No red rose in all my garden!' he criedy sus hermosos ojos llenos de lágrimasand his beautiful eyes filled with tears'¡De qué pequeñas cosas depende la felicidad!''On what little things does happiness depend!'

IEra l'ultimo ricevimento di lady Windermere, alla vigilia della primavera. Bentink House, più dell'usato, brulicava di visitatori. Sei membri del ministero eran venuti direttamente dopo l'udienza dello speaker, con tutti gli ordini e le decorazioni. Le belle donne indossavano i più eleganti costumi e, in fondo alla sala dei quadri, la principessa Sofia di Carlsrühe, grossa dama del tipo tartaro, con occhietti neri e stupendi smeraldi, parlava con voce stridente un pessimo francese e rideva senza ritegno di quanto le si dicesse.