DOCSLIB.ORG

Oscar Wilde and His Legacy: British Commercial Comedy 1892-1930

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Oscar Wilde and His Legacy: British Commercial Comedy 1892-1930 Oscar Wilde and His Legacy: British Commercial Comedy 1892-1930 by Sharon Louise Klassen A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Drama, Theatre and Performance Studies University of Toronto © Copyright by Sharon Louise Klassen, 2019 Oscar Wilde and His Legacy: British Commercial Comedy 1892-1930 Sharon Louise Klassen Doctor of Philosphy Centre for Drama, Theatre and Performance Studies University of Toronto 2019 Abstract Oscar Wilde’s successful 1890s works were something new within Victorian comedy. He reinvents a theatrical comedy tradition dominated by a combination of farce and French-inspired well-made plays, creating more psychologically complex characters than the usual stage types, repeatedly adjusting or blending comic forms to disrupt audience expectations, and emphasizing forgiveness and reconciliation over revenge or poetic justice. This dissertation considers how Wilde’s unique approach to comic writing is both reflected and adapted in plays from 1900-1930 by St. John Hankin, Somerset Maugham and Noel Coward, revealing shifts in what it means to behave badly when values are rapidly changing. The analysis considers how these plays were affected by contemporary conditions of theatrical production, which are often neglected in scholarship on the plays as texts. The first chapter considers Wilde’s shrewd assessment of the consequences of courtship practices and the double standard beneath a veneer of manners and cleverness in Lady Windermere’s Fan , A Woman of No Importance and An Ideal Husband. The work continues with an examination of The Importance of Being Earnest , particularly its ii connections to Wilde’s stories for children, the form of farce and recent scholarship about play. The third chapter considers how Hankin reworks comic expectations in a Wildean way to build layered characters, accurately portray their actions, and provide satisfactory, unconventional endings through plays such as The Return of the Prodigal and The Charity That Began at Home. In the fourth chapter, the connections between Wilde and several of Maugham’s better known comedies is examined, as Maugham continues Wilde’s witty discussion of the place of women, the requirements for a good marriage, and the effects of too much leisure time. This work concludes by contemplating the influence of Wilde’s comedies on early plays by Coward, revealing how his characters reject not only etiquette and decorum, but the need for any manners at all. iii Acknowledgments After such a long road, there are many people I would like to thank. A number of U of T faculty have contributed to this project, including Frederick Marker, Leslie Thomson, Edward Chamberlin, Stephen Johnson and Nancy Copeland. In particular, I would like to acknowledge Ronald Bryden, who introduced me to a number of the plays and playwrights, and Alexander Leggatt, who guided me through the early part of the project. I am exceptionally grateful to Lawrence Switzky, who patiently advised and encouraged me through the final years of this work, shaping it into a coherent package. I would like to thank Dorothy Hadfield, Douglas Loney and Michel Pharand, who read and edited later drafts. Their contributions were invaluable. Redeemer University College has assisted this project, not only by providing time, funds and materials, but also by providing me with the opportunity to teach a number of these plays. I feel beholden to the Shaw Festival, which has produced so many of these plays over the years, enabling me to not just read about but enter the world of Victorian and Edwardian drama. I want to acknowledge my extended family and friends, who have steadfastly believed and prayed that I would someday finish. There will be a party. To my wonderful daughter Miranda and my longsuffering husband Bruce – it’s done. Thank you for your patience, for going away on trips so I could work, for doing chores, for loving me when my mind was more on Wilde, Hankin, Coward and Maugham than on dinner. I regret that my parents, Walter and Cathleen Klassen, did not live to see me complete this work. Without their belief in me, and their years of financial and emotional support, I would have given up long ago. Thank you, Mom and Dad. Finally, I would like to acknowledge The Book of Lists , which piqued my interest in Oscar Wilde while I was still in high school because so many celebrities included him on lists of people from history they would like to have at a dinner party. iv Table of Contents Acknowledgments.......................................................................................................................... iv Table of Contents .............................................................................................................................v Introduction. ................................................................................................................................1 1.1 Why Wilde? .........................................................................................................................1 1.2 The Social Backdrop ............................................................................................................3 1.3 Wilde’s Times ......................................................................................................................5 1.4 Wilde’s Surprising Legacy ..................................................................................................6 1.5 Defining Influence ...............................................................................................................7 1.6 Wilde and Homosexuality....................................................................................................8 1.7 Trends in Oscar Wilde Studies ............................................................................................9 Wilde’s Social Comedies: Setting the Stage Through Lady Windermere’s Fan, A Woman of No Importance and An Ideal Husband ..................................................................................15 2.1 Introduction ........................................................................................................................15 2.2 Wilde’s Popularity .............................................................................................................16 2.3 Wilde and the Actor-Managers ..........................................................................................17 2.4 Reworking the Past ............................................................................................................18 2.5 Wilde’s Comic Innovations ...............................................................................................22 2.6 Conversation as Action ......................................................................................................25 2.7 Using Staging to Develop Character..................................................................................27 2.8 Wildean Women: Puritans, Dowagers and Fallen Women ..............................................31 2.9 Dandies and their Masks ....................................................................................................39 2.10 Gender Roles and Marriage ...............................................................................................45 2.11 Parents and Children ..........................................................................................................48 2.12 Change and Forgiveness ....................................................................................................50 2.13 Consequences and Endings ................................................................................................52 v 2.14 Conclusion .........................................................................................................................55 The Importance of Being Earnest : Adults at Play .....................................................................57 3.1 Introduction ........................................................................................................................57 3.2 Wilde’s Stories for Children ..............................................................................................59 3.3 Farce and Play ....................................................................................................................60 3.4 Defining Farce ...................................................................................................................61 3.5 Earnest as Farce .................................................................................................................64 Oscar Wilde and St. John Hankin: Truly Happy Endings .......................................................73 4.1 Introduction ........................................................................................................................73 4.2 Hankin and Wilde ..............................................................................................................74 4.3 Hankin’s Technique ...........................................................................................................77 4.4 The Two Mr. Wetherbys .....................................................................................................80 4.5 The Return of the Prodigal ................................................................................................86 4.6 The Charity that Began at Home .......................................................................................95
Load more

Recommended publications
  • Annual Report and Accounts 2004/2005
    THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to
    [Show full text]
  • Surrealist Documentary As a Mode of Confrontation
    2021 THE PROVOCATIVE SCREEN: Surrealist Documentary as a Mode of Confrontation BY MACY MEYER Senior Honors Thesis Department of English & Comparative Literature University of North Carolina at Chapel Hill 03/29/2021 APPROVED: ____________ Acknowledgments I would like to start by thanking my thesis advisor, Rick Warner, for encouraging me to write this thesis and for supporting me every step of the way. Writing this thesis has been extremely difficult as I navigated both my senior year and the global pandemic, so I can only say that I finished this thesis thanks to Rick. I also must thank him for being such a significant influence on my ungraduated experience as a film major – through the six courses I have taken with him – from my first-year to my last. I also must thank Martin Johnson and Richard Langston for reading and evaluating my thesis, and providing support along the way. I must acknowledge that it is only with Dr. Langston’s instruction that I fell in love with experimental films after taking his course studying avant-garde cinema. I will forever appreciate my first introduction to surreal cinema. I have to thank my parents, Todd and Kathy, who have given me everything and beyond. Your love and guidance has been instrumental in accomplishing this thesis. Lastly, I must also thank my sister, Meredith, and my dear friend, Meg, for always taking my phone calls and providing moral support through all of the moments I was on the verge of quitting, or perhaps, insanity. This thesis is dedicated to my parents who simply said, “OK, great” when I told them I want to be a film major, who always believed I was capable of anything, and for being my biggest cheerleaders in life.
    [Show full text]
  • Scanned Using Scannx OS15000 PC
    OHIO NEWS BUREAU INC. CLEVELAND, OHIO 44115 216/241-0675 COLUMBUS DISPBTCH COLUMBUS, OH, HM CIRC, 284,796 flPR-30-99 ^Night Music’ at ^^lOtterbein a lavish, lovely production By Midiael Grossberg Dispatch Theater Critic Shimmering with beauty, melody Theater review wit, A Little Night Music be­ A UWb NlgM HibIc, Otterbein comes a jeweled music box in the College's student production of deft hands of Otterbein College’s composer-lyricist Stephen Sondheim theater and music departments. ard author Hugh Wheeler’s musical. ' Lavish but unerringly tasteful, Directed by Dennis Romer. lovely but not gaudy, comically .................. Allison Sattinger broad but often delightfully subtle, Madame Armfeldt..... ...... Unda Dorff. the 'co-production ranks with Otter- Fredrik Egeiman ........Christopher Sloan'7 heir’s best spring musicals. Anne Egerman------ Ainanda Wheeler} ■ ■ Night Music is one of the most Cart-Magnus... .............. .Ayler Evan', ■challenging Stephen Sondheim Charlotte...... —... chrisi Carter ij “shows. Yet, Otterbein brings the ™ta............ ........... .... Jen Minter ,1973 Tony winner for best musical to Hennk................ Matthew DeVrienrt ^ftering life with grace, sophistica­ tion md seemingly effortless ease. Send In the bouquets - ..Director Dennis Romer and music Being performed at 8 tonight and ; director Kevin Purcell enhance the Saturday and 2 p.m. Sunday—and 7 wistful romanticism of Sondheim’s 8 p.m. May 6-8—in Cowan Hall, 30 ■< gorgeous score and author Hugh S. Grove Westerville. if. ,\yheeler’s portrait
    [Show full text]
  • Worms, Shadows and Whirlpools: Science in the Early Childhood Classroom
    DOCUMENT RESUME ED 481 899 PS 031 648 AUTHOR Worth, Karen; Grollman, Sharon TITLE Worms, Shadows and Whirlpools: Science in theEarly Childhood Classroom. INSTITUTION Education Development Center, Inc., Newton,MA. SPONS AGENCY National Science Foundation, Washington, DC. ISBN ISBN-0-325-00573-7 PUB DATE 2003-00-00 NOTE 183p.; Foreword by Gretchen Owocki. CONTRACT ESI-9818737 AVAILABLE FROM Heinemann, Orders/Customer Service, P.O. Box6926, Portsmouth, NH 03802-6926 ($21) . Tel: 800-225-5800 (Toll Free); Fax: 603-431-2214; Web site:http://www.heinemann.com. PUB TYPE Guides Classroom Teacher (052) EDRS PRICE EDRS Price MF01/PC08 Plus Postage. DESCRIPTORS Academic Standards; Biological Sciences; ChildCare; Developmentally Appropriate Practices; *EarlyChildhood Education; Earth Science; Educational Practices; Kindergarten; National Standards; Physical Sciences; *Preschool Curriculum; Preschool Education; Science Curriculum; *Science Education; ScientificAttitudes; Scientific Concepts; Teacher Role; TeacherStudent Relationship; Teaching Methods; *Young Children IDENTIFIERS Content Learning; Project Head Start ABSTRACT Young children develop science knowledgeas they observe and act on the world, asking questions, making predictions,testing those predictions, and reflecting on their experiences. Thisbook offers guidance in integrating inquiry-based science into the earlychildhood curriculum, focusing on content and providing examples ofthe work of children and teachers from a variety of early childhood settings,including Head Start, kindergarten, day care, and preschoolprograms. Part 1 of the book provides an overview of important characteristics of a high-qualityscience program for children ages 3 to 5 and some of the importanttasks teachers perform to make it a reality. Part 2 concerns the content ofscience education for young children and begins with a chapteron inquiry, describing the important skills, ways of thinking, and attitudes thatare at the heart of scientific understanding and at the core of an effective early childhoodscience program.
    [Show full text]
  • Medieval Arabic Shadow Plays: Ibn Dāniyāl and Others
    chapter 7 Medieval Arabic Shadow Plays: Ibn Dāniyāl and Others Of the vast territories of the premodern Islamicate world, from Central Asia to Muslim Spain, Egypt is the only region that boasts an un-interrupted tradi- tion of shadow play production and performance. This chapter and the next two present an analytical documentation of all known Egyptian shadow plays. To begin: in many ways, the Mosul born and Cairo based Ibn Dāniyāl remains the sole representative figure of the entire history of Arabic shadow theatre in the pre-Ottoman time. The study of Ibn Dāniyāl has also largely been the primary focal point of modern scholarship on Arabic shadow theatre and has been summarized in the previous part of this book (especially chapters 2 and 3). This chapter is devoted to the documentation of his texts. As far as medieval Arabic shadow plays are concerned, an unconfirmed self-claimed “Mamluk era play” that was published in the 1960s will be briefly mentioned just for the record. 1 Ibn Dāniyāl’s Three Plays These plays depict the life and mores of Mamluk Cairo, with an outrageous comic flavor, featuring naïve storylines, caricatured characters, and foul lan- guage. A rare textual reservoir, they retain the special traits of the living lan- guage of the time, with elements of the so-called “tongue of the Banū Sāsān,” a hybrid of slangs and argot, a fusion of Arabic, Persian, and Turkic, attributed to a confederation of itinerant shysters. The title of each play contains the name(s) of the protagonist(s), and also alludes to the implied meanings of the words and the metaphorical significance of the subject of the play.
    [Show full text]
  • Desperate Housewives a Lot Goes on in the Strange Neighborhood of Wisteria Lane
    Desperate Housewives A lot goes on in the strange neighborhood of Wisteria Lane. Sneak into the lives of five women: Susan, a single mother; Lynette, a woman desperately trying to b alance family and career; Gabrielle, an exmodel who has everything but a good m arriage; Bree, a perfect housewife with an imperfect relationship and Edie Britt , a real estate agent with a rocking love life. These are the famous five of Des perate Housewives, a primetime TV show. Get an insight into these popular charac ters with these Desperate Housewives quotes. Susan Yeah, well, my heart wants to hurt you, but I'm able to control myself! How would you feel if I used your child support payments for plastic surgery? Every time we went out for pizza you could have said, "Hey, I once killed a man. " Okay, yes I am closer to your father than I have been in the past, the bitter ha tred has now settled to a respectful disgust. Lynette Please hear me out this is important. Today I have a chance to join the human rac e for a few hours there are actual adults waiting for me with margaritas. Loo k, I'm in a dress, I have makeup on. We didn't exactly forget. It's just usually when the hostess dies, the party is off. And I love you because you find ways to compliment me when you could just say, " I told you so." Gabrielle I want a sexy little convertible! And I want to buy one, right now! Why are all rich men such jerks? The way I see it is that good friends support each other after something bad has happened, great friends act as if nothing has happened.
    [Show full text]
  • GOLDENHURST Lunech Wnith Cjuoliaun Cnlatry Eatr Geodldenhurst and a Review of His Recently-Published Novel ‘Briefs Encountered’
    A MAGAZINE ABOUT THE LIFE AND WORK OF SIR NOËL COWARD • MAY 2012 News and views of the Star Quality exhibition - and the ‘Noël Coward in New York’ festival. GOLDENHURST LunEch wnith cJuoliaun Cnlatry eatr Geodldenhurst and a review of his recently-published novel ‘Briefs Encountered’. Noël Coward at ‘Look Out’ - Firefly, Jamaica PRODUCED AND PUBLISHED BY THE INTERNATIONAL NOËL COWARD SOCIETY - 1- www.noëlcoward.net hat an amazing month March was! Apart from reasonable weather, two of the most significant events for me marked an early opening of Spring EDITORIAL long before an Easter chick was a wink in a cockerel’s eye. Out of the blue came a charming invitation from Julian Clary for the officers of the Society to visit The Old Manor - but forever Goldenhurst in the eye of the Coward faithful - for lunch and a celebration of the completed renovation of Noël’s country retreat in Kent and the publication of Julian’s novel Briefs Encountered. As Daniel Massey said once about an invitation to Noël’s for lunch, “Well, you don’t turn that down!” And we didn’t! More on the visit in this edition. The climax of the month was the opening of Star Quality - The World of Noël Coward at the Lincoln Center in New York. This exhibition has been rightly trumpeted in Home Chat for the past few editions and the result did not let the herald down. This really is an impressive achievement. As a result of an initial partnership between the New York Public Library for the Performing Arts (NYPL) and The Noël Coward Foundation (NCF) the idea was born - and together with other partners - the exhibition was created.
    [Show full text]
  • Oscar Wilde Against the Marquess of Bannard, 1899
    CHAPTER 5 ‘I HAVE GOT AS FAR AS THE HOUSE OF DETENTION’ LEFT: The Boulevard from Quelques On 5 April 1895, the jury at the Old Bailey returned a verdict of ‘not aspects de la vie de Paris, by Pierre guilty’ in the libel trial brought by Oscar Wilde against the Marquess of Bannard, 1899. On his release from prison Queensberry. The verdict indicated that Queensberry had been justified in in May 1897, Oscar Wilde settled for a calling Wilde a sodomite in the public interest. The packed court room time in Berneval-sur-Mer, claiming: ‘If I had cheered and the judge passed Queensberry’s counsel, Edward Carson, live in Paris I may be doomed to things I a note congratulating him on his ‘searching crossXam’ and having ‘escaped don’t desire. I am afraid of big towns.’ Less the rest of the filth’. Within minutes of the collapse of the case, the trial than a year later, however, a letter to the papers had been sent to the Director of Public Prosecutions. publisher Leonard Smithers from Naples The press almost universally crowed at the result: announced ‘I shall be in Paris on Sunday next. It is my only chance of working. I There is not a man or woman in the English-speaking world possessed of the miss an intellectual atmosphere, and I am treasure of a wholesome mind…not under a deep debt of gratitude to the tired of Greek bronzes...My life has gone to Marquess of Queensberry for destroying the High Priest of the Decadents.
    [Show full text]
  • I SUGGESTIVE SILENCES: SEXUALITY and the AESTHETIC
    i SUGGESTIVE SILENCES: SEXUALITY AND THE AESTHETIC NOVEL A Dissertation Submitted to The Temple University Graduate Board In Partial Fulfillment Of the Requirements for the Degree Ph. D. in English by Meredith L. Collins Examining Committee Members: Dr. Peter Logan, Advisor Temple University Department of English Dr. Priya Joshi Temple University Department of English Dr. Steven Newman Temple University Department of English Dr. Teresa Dolan Temple University Department of Art History Dr. Kate Thomas Bryn Mawr College, Department of English ii ABSTRACT This dissertation addresses how the philosophy, subculture, and sexuality of aestheticism interact with the form of the nineteenth-century novel. One primary result of this exploration is a nuanced delineation of the aesthetic novel in its formal characteristics, its content, and most notably, in the sexually charged silences that both this form and content reveal—silences made audible to invested aesthetic readers through coded doubleness. Through thus defining the aesthetic novel and seeking to articulate the unspoken sexual transgressions that are, as is argued, requisite therein, this project sheds new light both on the partially submerged sexuality of aestheticism as a movement, and on why novels account for so small a portion of the aesthetic movement’s output—topics first raised in part by Linda Dowling, Dennis Denisoff, and Talia Schaffer. By engaging Oscar Wilde’s The Picture of Dorian Gray (1891), Vernon Lee’s Miss Brown (1884), Walter Pater’s Marius the Epicurean (1885), Robert Hichens' The Green Carnation (1894), John Meade Falkner’s The Lost Stradivarius (1895), and Aubrey Beardsley’s Venus and Tannhäuser (1895), this dissertation demonstrates that, whether politically engaged as affirmation or using sexuality as a way to communicate rejection of middle-class morality and its own fascination with the unusual, aestheticism defines itself by its inclusion of unusual sexual situations.
    [Show full text]
  • Determining Stephen Sondheim's
    “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS BY ©2011 PETER CHARLES LANDIS PURIN Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ___________________________ Chairperson Dr. Scott Murphy ___________________________ Dr. Deron McGee ___________________________ Dr. Paul Laird ___________________________ Dr. John Staniunas ___________________________ Dr. William Everett Date Defended: August 29, 2011 ii The Dissertation Committee for PETER PURIN Certifies that this is the approved version of the following dissertation: “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS ___________________________ Chairperson Dr. Scott Murphy Date approved: August 29, 2011 iii Abstract This dissertation offers a music-theoretic analysis of the musical style of Stephen Sondheim, as surveyed through his fourteen musicals that have appeared on Broadway. The analysis begins with dramatic concerns, where musico-dramatic intensity analysis graphs show the relationship between music and drama, and how one may affect the interpretation of events in the other. These graphs also show hierarchical recursion in both music and drama. The focus of the analysis then switches to how Sondheim uses traditional accompaniment schemata, but also stretches the schemata into patterns that are distinctly of his voice; particularly in the use of the waltz in four, developing accompaniment, and emerging meter. Sondheim shows his harmonic voice in how he juxtaposes treble and bass lines, creating diagonal dissonances.
    [Show full text]
  • Directed by Michael Donald Edwards, OUR BETTERS Opens March 13 at Asolo Rep
    Directed by Michael Donald Edwards, OUR BETTERS Opens March 13 at Asolo Rep "A more devious Downton Abbey." – NowToronto.com (SARASOTA, February 5, 2015) — Before there was Downton Abbey, there was Our Betters, W. Somerset Maugham's fiery romantic dramedy about the invasion of sly social-climbing American heiresses into British society. The fifth play in the third season of Asolo Rep's five-year American Character Project illuminates a sect of wealthy, early 20th-century American women who yearned for the pomp and circumstance – and parties – of the British nobility. Directed by Asolo Rep's producing artistic director Michael Donald Edwards, Our Betters opens Friday, March 13, 2015 at 8pm and runs through Sunday, April 19 at Asolo Rep, with previews Wednesday, March 11 and Thursday, March 12 at 8pm. In early 20th-century England, broke British aristocrats desperately needed money to maintain their ornate estates, and wealthy American women desperately wanted -more- Our Betters Page 2 of 7 the prestige of marrying well. After marrying a baronet, American hardware heiress Lady Pearl Grayston appears to have everything a girl could want – a posh title, a throng of adoring lovers, and the crème de la crème of British society, including a princess and a duchesse, at her beck and call – but she wants more. When Pearl's little sister, Bessie, crosses the pond to join her sister's enviably glamorous life and find a noble husband of her own, she is unprepared for the scandal that is about to erupt behind closed manor doors. “Brimming with dynamic and passionate women of position, prestige and wealth, Our Betters reveals how they prevailed in a society with limited options for women," said Michael Donald Edwards.
    [Show full text]
  • Durham E-Theses
    Durham E-Theses The century guild hobby horse and Oscar Wilde: a study of British little magazines, 1884-1897 Tildesley, Matthew Brinton How to cite: Tildesley, Matthew Brinton (2007) The century guild hobby horse and Oscar Wilde: a study of British little magazines, 1884-1897, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2449/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 The Century Guild Hobby Horse and Oscar Wilde: A Study of British Little Magazines, 1884-1897. Matthew Brinton Tildesley. The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged.
    [Show full text]