'Little Porcelain Cup in Which Biting Acids Could Be Mixed': Wilde's Sons as the Audience for 'The Young King'

KAYLOR, Michael Matthew. 'Little Porcelain Cup in Which Biting Acids Could Be Mixed': Wilde's Sons as the Audience for 'The Young King'. In New Interpretations of Cultural Phenomena. Pardubice: University of Pardubice, 2004, s. 23-32. ISBN 80-7194-710-5.

Základní údaje

Originální název

'Little Porcelain Cup in Which Biting Acids Could Be Mixed': Wilde's Sons as the Audience for 'The Young King'

Název česky

'Little Porcelain Cup in Which Biting Acids Could Be Mixed': Wilde's Sons as the Audience for 'The Young King'

Autoři

KAYLOR, Michael Matthew (840 Spojené státy, garant)

Vydání

Pardubice, New Interpretations of Cultural Phenomena, od s. 23-32, 10 s. 2004

Nakladatel

University of Pardubice

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Další údaje

Jazyk

angličtina

Typ výsledku

Stať ve sborníku

Obor

Písemnictví, masmedia, audiovize

Stát vydavatele

Česká republika

Utajení

není předmětem státního či obchodního tajemství

Kód RIV

RIV/00216224:14210/04:00031325

Organizační jednotka

Filozofická fakulta

ISBN

80-7194-710-5

Klíčová slova česky

Henry James; Oscar Wilde; fairy tales

Klíčová slova anglicky

Henry James; Oscar Wilde; fairy tales

Štítky

fairy tales, Henry James, Oscar Wilde

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Anotace

V originále

By way of a close reading of Oscar Wilde's short story 'The Young King', this paper reveals the pederastic playfulness only barely disguised in his House of Pomegranates, a collection of fairy tales that Wilde dubiously claimed had not been written with children as its intended audience, though biographical evidence suggests that he had specifically chosen this genre - traditionally rather innocuous in its English variety - as a vehicle for what can be dubbed 'Paedobapistry'.

Česky

By way of a close reading of Oscar Wilde's short story 'The Young King', this paper reveals the pederastic playfulness only barely disguised in his House of Pomegranates, a collection of fairy tales that Wilde dubiously claimed had not been written with children as its intended audience, though biographical evidence suggests that he had specifically chosen this genre - traditionally rather innocuous in its English variety - as a vehicle for what can be dubbed 'Paedobapistry'.