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Wilde, Oscar

(Dublin 1854-1900 Paris) : Irischer Schriftsteller, Dramatiker, Dichter

Name Alternative(s)

Wilde, Oscar Fingal
O'Flahertie, Wills

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Index of Names : Occident / Literature : Occident : Ireland

Chronology Entries (48)

# Year Text Linked Data
1 1874-1878 Oscar Wilde was 1871 in Trinity College Dublin and tutored by J.P. Mahaffy. He travelled with Mahaffy to Italy in 1875 and Greece in 1877, and was considerably influences by his former tutor's aesthetic perception. The contention of Mahaffy about Chinese civilization is shown in Twelve lectures on primitive civilization and their physical conditions, in which Mahaffy discusses the development of various civilisations in world history. [Siehe Mahaffy].
As an undergraduate at Magdalen College, Oxford, Wilde had his considerable collection of blue-and-white porcelain housed on the shelves. His remark "I find it harder and harder every day to live up to my blue china" brought him fame in the university. Wilde's enthusiasm for blue-and-white was a confirmation of his identity as an aesthete.
2 1877 Brief von Oscar Wilde an William Ward.
Wilde saying "how can you, and aesthetic youth, dress yourself as a Chinaman and so exhibit yourself to some girl you are fond of ?" Wilde distinguished Ward and himself from the Chinese people who he thought had an inferior taste in beauty.
3 1882 Wilde, Oscar. House decoration. [Vortrag in Amerika]. = Wilde, Oscar. Art and the handicraftsman. In : Wilde, Oscar. Essays and lectures. (London : Methuen, 1911).
http://www.online-literature.com/wilde/2311/.
Er schreibt ; "When I was in San Francisco I used to visit the Chinese Quarter frequently. There I used to watch a great hulking Chinese workman at his task of digging, and used to see him every day drink his tea from a little cup as delicate in texture as the petal of a flower, whereas in all the grand hotels of the land, where thousands of dollars have been lavished on great gilt mirrors and gaudy columns, I have been given my coffee or my chocolate in cups an inch and a quarter thick. I think I have deserved something nicer."

Wilde, Oscar. The decorative arts : a lecture delivered on 3rd October, 1882 in the City Hall, Fredericton, N.B.
Er schreibt : "When I was in San Francisco… I saw rough Chinese navies, who did work that the ordinary Californian rightly might be disgusted with and refuse to do, sitting there drinking their tea out of tiny porcelain cups, which might be mistaken for the petals of a white rose, and handling them with care, fully appreciating the influence of their beauty."

Wilde, Oscar. The house beautiful. = Interior and exterior house decoration. [Vortrag 11 March 1882 in Chicago].
http://www.jstor.org/stable/pdfplus/3826289.pdf?acceptTC=true.
Er schreibt über zwei Räume von James Abbott McNeill Whistler in London : "The woodwork is all cane-yellow, with all the wall niches and brackets tinted a light yellow, and the shelves are filled with blue and white china… When the breakfast table is laid in this apartment, with its bright cloth and its dainty blue and white china, with a cluster of red and yellow chrysanthemums in an old Nanjing vase in the center, it is a charming room…"

Er schreibt : "As regards the floor : don't carpet it all over, as nothing is more unhealthy or inartistic than modern carpets ; carpets absorb the dust, and it is impossible to keep them as perfectly clean as anything about us should be. In this, as in all things, art and sanitary regulations go hand in hand. It is better to use a parquetry flooring around the sides and rugs in the center ; if inlaid or stained floors are not practical, have them laid with pretty matting and strewn with those very handsome and economical rugs from China, Persia, and Japan."
"In a restaurant in San Francisco I saw a Chinese navy drinking his tea out of a most beautiful cup as delicate as the petal of a flower…"

Chen Qi : Wilde's attitude towards the Chinese developed into a respectful stance. He demonstrates appreciation of the Chinese throughout some of his most representative essays and public lectures. The Chinese once being alienated by him because of their supposed inferior taste turned into his referential model of artistic lifestyle. This change in attitude happened after his visit to Chinatown in San Francisco. Escorted by the local mayor, Wilde watches operas in Chinese theatres and drank tea in Chinese restaurants. He wrote a letter to Norman Forbes-Robertson (27 March 1882) to share his excitement : 'tonight I am escorted by the Mayor of the city through the Chinese quarter, to their theatre and joss houses and rooms, which will be most interesting'. Richard Ellmann notes that Wilde even made a Chinese friend in San Francisco. He was invited by some local young artists to drink tea in a studio. A Chinese friend of these artists came to the party especially to prepare and serve the tea for them. It seems that Wilde enjoyed the experience of visiting Chinatown, because he frequently mentioned it in his lectures.
When Wilde made his American tour, a newspaper of the new world pictures him as a 'Chinaman' with a pigtail. In this grotesque cartoon, Wilde stands smugly between two Chinese vases, which contain a sunflower and a lily. The sunflower has rats for petals. The caption reads 'No like to call me John, call me Oscar'. This pictures contains the implication of racism against the Chinese, who were stereotyped as 'yellow peril' during the late nineteenth century by the white supremacists.
After experiencing Chinatown, Wilde as fascinated by Chineseness. He said : "I wish those people had a quarter in London. I should take pleasure in visiting it often". In California, Chinese communities were often harassed, attacked, or expelled. The Americans justified the anti-Chinese movement by denying the equal humanity of the Chinese people. Chinese labourers were recruited to work in the British Isles and the colonies of the empire through the 'Chinese coolie trade'. Londoners worried about the presence of the Chinese in the East End. The public feared that the Chinese, who were perceived as opium eaters and an inferior race, would bring 'racial degeracy' to the white Anglo-Sacons. Contrasting with this popular hostility to the Chinese, and considering that Chinatowns in the nineteenth century were usually squalid urban slumbs, Wilde's enthusiastic admiration for the Chinese people and Chinatown was obviously out of tune with the Victorian decent classes.
The American lecture tour inspired Wilde's deeper insight into his Irish identity, since then he no longer alienated the 'Chinaman' as he used to. Instead, he showed sympathy towards these 'common' and 'poor' Chinese labourers who were discriminated against and expelled by the white Americans, because he could see them as mirrors of the oppressed Irish under the British Empire's regime. Wild recognized that the humble Chinese people in poverty still possessed the aesthetic virtue of aristocracy that this old civilization once had. His admiration for the Chinese labourers in the San Francisco slum appeared eccentric among the general pejorative view of the Chinese during the Victorian period. It was the poverty and humiliation that the Chinese people suffered, which formed a strong contrast with the glory that China used to have, which made the Chinese a convenient reference point for Wilde to advocate his Irish identity and the necessity of reviving Celtic culture. In Wilde's logic, the Chinese could wash away their stigma caused by political, economical and military failures as long as they managed to keep their superiority in aesthetic taste. The experience in Chinatown influenced Wilde's ideas of life and aestheticism. The development of his literary career suggests that there was a positive correlation between his change of attitude towards the Chinese labourers and his sense of Irish cultural identity.
The American tour was a significant event in the development of Wilde's aestheticism. This was the first time that Wilde made profits from the commodification of the aeasthetic movement and the commodification of himself. In Chinatown in San Francisco he showed great admiration for Chinese artefacts and his interest in things Chinese was extensive, including blue-and-white porcelain, China tea, Chinese silks, and the textiles and costumes of Chinese theatre.
4 1883 Wilde, Oscar. Impressions of America. Ed., with an introduction, by Stuart Mason. (Sunderland : Keystone Press, 1906). (Library of American civilization ; LAC 40007). [Geschrieben 1883].
Er schreibt : "The people – strange, melancholy Orientals, whom many people would call common, and they are certainly very poor – have determined that they will have nothing about them that is not beautiful… When the Chinese bill was presented, it was made out on rice paper, the account being done in Indian ink as fantastically as if an artist had been etching little birds on a fan."
5 1883 The era (14 July 1883) reported that "the lecturer [Oscar Wilde] dwelt upon the beauties and peculiarities of Chinese theatricals in San Francisco, where the audiences show their approval, not by applause, but by taking a little cup of tea".
6 1885 Wilde, Oscar. The truth of masks : a note on illusion. In : Wilde, Oscar. Intentions : The decay of lying. Pen, pencil and poison. The critic as artist. The truth of masks. (London : J.R. Osgood, McIlvaine, 1891). = Wilde, Oscar. Shakespeare and stage costume. In : Nineteenth century ; vol. 17, no 99 (1885).
http://www.online-literature.com/wilde/1310/.
Blue also is too frequently used : it is not merely a dangerous colour to wear by gaslight, but it is really difficult in England to get a thoroughly good blue. The fine Chinese blue, which we all so much admire, takes two years to dye, and the English public will not wait so long for a colour.
7 1890 Wilde, Oscar. A Chinese sage [ID D27558].
A eminent Oxford theologian once remarked that his only objection to modern progress was that it progressed forward instead of backward--a view that so fascinated a certain artistic undergraduate that he promptly wrote an essay upon some unnoticed analogies between the development of ideas and the movements of the common sea-crab. I feel sure the Speaker will not be suspected even by its most enthusiastic friends of holding this dangerous heresy of retrogression. But I must candidly admit that I have come to the conclusion that the most caustic criticism of modern life I have met with for some time is that contained in the writings of the learned Chuang Tzu, recently translated into the vulgar tongue by Mr. Herbert Giles, Her Majesty's Consul at Tamsui.
The spread of popular education has no doubt made the name of this great thinker quite familiar to the general public, but, for the sake of the few and the over-cultured, I feel it my duty to state definitely who he was, and to give a brief outline of the character of his philosophy.
Chuang Tzu, whose name must carefully be pronounced as it is not written, was born in the fourth century before Christ, by the banks of the Yellow River, in the Flowery Land; and portraits of the wonderful sage seated on the flying dragon of contemplation may still be found on the simple tea- trays and pleasing screens of many of our most respectable suburban households. The honest ratepayer and his healthy family have no doubt often mocked at the dome-like forehead of the philosopher, and laughed over the strange perspective of the landscape that lies beneath him. If they really knew who he was, they would tremble. For Chuang Tzu spent his life in preaching the great creed of Inaction, and in pointing out the uselessness of all useful things. 'Do nothing, and everything will be done,' was the doctrine which he inherited from his great master Lao Tzu. To resolve action into thought, and thought into abstraction, was his wicked transcendental aim. Like the obscure philosopher of early Greek speculation, he believed in the identity of contraries; like Plato, he was an idealist, and had all the idealist's contempt for utilitarian systems; he was a mystic like Dionysius, and Scotus Erigena, and Jacob Bohme, and held, with them and with Philo, that the object of life was to get rid of self-consciousness, and to become the unconscious vehicle of a higher illumination. In fact, Chuang Tzu may be said to have summed up in himself almost every mood of European metaphysical or mystical thought, from Heraclitus down to Hegel. There was something in him of the Quietist also; and in his worship of Nothing he may be said to have in some measure anticipated those strange dreamers of mediaeval days who, like Tauler and Master Eckhart, adored the purum nihil and the Abyss. The great middle classes of this country, to whom, as we all know, our prosperity, if not our civilisation, is entirely due, may shrug their shoulders over all this and ask, with a certain amount of reason, what is the identity of contraries to them, and why they should get rid of that self-consciousness which is their chief characteristic. But Chuang Tzu was something more than a metaphysician and an illuminist. He sought to destroy society, as we know it, as the middle classes know it; and the sad thing is that he combines with the passionate eloquence of a Rousseau the scientific reasoning of a Herbert Spencer. There is nothing of the sentimentalist in him. He pities the rich more than the poor, if he ever pities at all, and prosperity seems to him as tragic a thing as suffering. He has nothing of the modern sympathy with failures, nor does he propose that the prizes should always be given on moral grounds to those who come in last in the race. It is the race itself that he objects to; and as for active sympathy, which has become the profession of so many worthy people in our own day, he thinks that trying to make others good is as silly an occupation as 'beating a drum in a forest in order to find a fugitive.' It is a mere waste of energy. That is all. While, as for a thoroughly sympathetic man, he is, in the eyes of Chuang Tzu, simply a man who is always trying to be somebody else, and so misses the only possible excuse for his own existence.
Yes; incredible as it may seem, this curious thinker looked back with a sigh of regret to a certain Golden Age when there were no competitive examinations, no wearisome educational systems, no missionaries, no penny dinners for the people, no Established Churches, no Humanitarian Societies, no dull lectures about one's duty to one's neighbour, and no tedious sermons about any subject at all. In those ideal days, he tells us, people loved each other without being conscious of charity, or writing to the newspapers about it. They were upright, and yet they never published books upon Altruism. As every man kept his knowledge to himself, the world escaped the curse of scepticism; and as every man kept his virtues to himself, nobody meddled in other people's business. They lived simple and peaceful lives, and were contented with such food and raiment as they could get. Neighbouring districts were in sight, and 'the cocks and dogs of one could be heard in the other,' yet the people grew old and died without ever interchanging visits. There was no chattering about clever men, and no laudation of good men. The intolerable sense of obligation was unknown. The deeds of humanity left no trace, and their affairs were not made a burden for posterity by foolish historians.
In an evil moment the Philanthropist made his appearance, and brought with him the mischievous idea of Government. 'There is such a thing,' says Chuang Tzu, 'as leaving mankind alone: there has never been such a thing as governing mankind.' All modes of government are wrong. They are unscientific, because they seek to alter the natural environment of man; they are immoral because, by interfering with the individual, they produce the most aggressive forms of egotism; they are ignorant, because they try to spread education; they are self-destructive, because they engender anarchy. 'Of old,' he tells us, 'the Yellow Emperor first caused charity and duty to one's neighbour to interfere with the natural goodness of the heart of man. In consequence of this, Yao and Shun wore the hair off their legs in endeavouring to feed their people. They disturbed their internal economy in order to find room for artificial virtues. They exhausted their energies in framing laws, and they were failures.' Man's heart, our philosopher goes on to say, may be 'forced down or stirred up,' and in either case the issue is fatal. Yao made the people too happy, so they were not satisfied. Chieh made them too wretched, so they grew discontented. Then every one began to argue about the best way of tinkering up society. 'It is quite clear that something must be done,' they said to each other, and there was a general rush for knowledge. The results were so dreadful that the Government of the day had to bring in Coercion, and as a consequence of this 'virtuous men sought refuge in mountain caves, while rulers of state sat trembling in ancestral halls.' Then, when everything was in a state of perfect chaos, the Social Reformers got up on platforms, and preached salvation from the ills that they and their system had caused. The poor Social Reformers! 'They know not shame, nor what it is to blush,' is the verdict of Chuang Tzu upon them.
The economic question, also, is discussed by this almond-eyed sage at great length, and he writes about the curse of capital as eloquently as Mr. Hyndman. The accumulation of wealth is to him the origin of evil. It makes the strong violent, and the weak dishonest. It creates the petty thief, and puts him in a bamboo cage. It creates the big thief, and sets him on a throne of white jade. It is the father of competition, and competition is the waste, as well as the destruction, of energy. The order of nature is rest, repetition, and peace. Weariness and war are the results of an artificial society based upon capital; and the richer this society gets, the more thoroughly bankrupt it really is, for it has neither sufficient rewards for the good nor sufficient punishments for the wicked. There is also this to be remembered--that the prizes of the world degrade a man as much as the world's punishments. The age is rotten with its worship of success. As for education, true wisdom can neither be learnt nor taught. It is a spiritual state, to which he who lives in harmony with nature attains. Knowledge is shallow if we compare it with the extent of the unknown, and only the unknowable is of value. Society produces rogues, and education makes one rogue cleverer than another. That is the only result of School Boards. Besides, of what possible philosophic importance can education be, when it serves simply to make each man differ from his neighbour? We arrive ultimately at a chaos of opinions, doubt everything, and fall into the vulgar habit of arguing; and it is only the intellectually lost who ever argue. Look at Hui Tzu. 'He was a man of many ideas. His works would fill five carts. But his doctrines were paradoxical.' He said that there were feathers in an egg, because there were feathers on a chicken; that a dog could be a sheep, because all names were arbitrary; that there was a moment when a swiftly-flying arrow was neither moving nor at rest; that if you took a stick a foot long, and cut it in half every day, you would never come to the end of it; and that a bay horse and a dun cow were three, because taken separately they were two, and taken together they were one, and one and two made up three. 'He was like a man running a race with his own shadow, and making a noise in order to drown the echo. He was a clever gadfly, that was all. What was the use of him?'
Morality is, of course, a different thing. It went out of fashion, says Chuang Tzu, when people began to moralise. Men ceased then to be spontaneous and to act on intuition. They became priggish and artificial, and were so blind as to have a definite purpose in life. Then came Governments and Philanthropists, those two pests of the age. The former tried to coerce people into being good, and so destroyed the natural goodness of man. The latter were a set of aggressive busybodies who caused confusion wherever they went. They were stupid enough to have principles, and unfortunate enough to act up to them. They all came to bad ends, and showed that universal altruism is as bad in its results as universal egotism. They 'tripped people up over charity, and fettered them with duties to their neighbours.' They gushed over music, and fussed over ceremonies. As a consequence of all this, the world lost its equilibrium, and has been staggering ever since.
Who, then, according to Chuang Tzu, is the perfect man? And what is his manner of life? The perfect man does nothing beyond gazing at the universe. He adopts no absolute position. 'In motion, he is like water. At rest, he is like a mirror. And, like Echo, he answers only when he is called upon.' He lets externals take care of themselves. Nothing material injures him; nothing spiritual punishes him. His mental equilibrium gives him the empire of the world. He is never the slave of objective existences. He knows that, 'just as the best language is that which is never spoken, so the best action is that which is never done.' He is passive, and accepts the laws of life. He rests in inactivity, and sees the world become virtuous of itself. He does not try to 'bring about his own good deeds.' He never wastes himself on effort. He is not troubled about moral distinctions. He knows that things are what they are, and that their consequences will be what they will be. His mind is the 'speculum of creation,' and he is ever at peace.
All this is of course excessively dangerous, but we must remember that Chuang Tzu lived more than two thousand years ago, and never had the opportunity of seeing our unrivalled civilisation. And yet it is possible that, were he to come back to earth and visit us, he might have something to say to Mr. Balfour about his coercion and active misgovernment in Ireland; he might smile at some of our philanthropic ardours, and shake his head over many of our organised charities; the School Board might not impress him, nor our race for wealth stir his admiration; he might wonder at our ideals, and grow sad over what we have realised. Perhaps it is well that Chuang Tzu cannot return.
Meanwhile, thanks to Mr. Giles and Mr. Quaritch, we have his book to console us, and certainly it is a most fascinating and delightful volume. Chuang Tzu is one of the Darwinians before Darwin. He traces man from the germ, and sees his unity with nature. As an anthropologist he is excessively interesting, and he describes our primitive arboreal ancestor living in trees through his terror of animals stronger than himself, and knowing only one parent, the mother, with all the accuracy of a lecturer at the Royal Society. Like Plato, he adopts the dialogue as his mode of expression, 'putting words into other people's mouths,' he tells us, 'in order to gain breadth of view.' As a story-teller he is charming. The account of the visit of the respectable Confucius to the great Robber Che is most vivid and brilliant, and it is impossible not to laugh over the ultimate discomfiture of the sage, the barrenness of whose moral platitudes is ruthlessly exposed by the successful brigand. Even in his metaphysics, Chuang Tzu is intensely humorous. He personifies his abstractions, and makes them act plays before us. The Spirit of the Clouds, when passing eastward through the expanse of air, happened to fall in with the Vital Principle. The latter was slapping his ribs and hopping about: whereupon the Spirit of the Clouds said, 'Who are you, old man, and what are you doing?' 'Strolling!' replied the Vital Principle, without stopping, for all activities are ceaseless. 'I want to _know_ something,' continued the Spirit of the Clouds. 'Ah!' cried the Vital Principle, in a tone of disapprobation, and a marvellous conversation follows, that is not unlike the dialogue between the Sphinx and the Chimera in Flaubert's curious drama. Talking animals, also, have their place in Chuang Tzu's parables and stories, and through myth and poetry and fancy his strange philosophy finds musical utterance.
Of course it is sad to be told that it is immoral to be consciously good, and that doing anything is the worst form of idleness. Thousands of excellent and really earnest philanthropists would be absolutely thrown upon the rates if we adopted the view that nobody should be allowed to meddle in what does not concern him. The doctrine of the uselessness of all useful things would not merely endanger our commercial supremacy as a nation, but might bring discredit upon many prosperous and serious-minded members of the shop-keeping classes. What would become of our popular preachers, our Exeter Hall orators, our drawing-room evangelists, if we said to them, in the words of Chuang Tzu, 'Mosquitoes will keep a man awake all night with their biting, and just in the same way this talk of charity and duty to one's neighbour drives us nearly crazy. Sirs, strive to keep the world to its own original simplicity, and, as the wind bloweth where it listeth, so let Virtue establish itself. Wherefore this undue energy?' And what would be the fate of governments and professional politicians if we came to the conclusion that there is no such thing as governing mankind at all? It is clear that Chuang Tzu is a very dangerous writer, and the publication of his book in English, two thousand years after his death, is obviously premature, and may cause a great deal of pain to many thoroughly respectable and industrious persons. It may be true that the ideal of self-culture and self-development, which is the aim of his scheme of life, and the basis of his scheme of philosophy, is an ideal somewhat needed by an age like ours, in which most people are so anxious to educate their neighbours that they have actually no time left in which to educate themselves. But would it be wise to say so? It seems to me that if we once admitted the force of any one of Chuang Tzu's destructive criticisms we should have to put some check on our national habit of self-glorification; and the only thing that ever consoles man for the stupid things he does is the praise he always gives himself for doing them. There may, however, be a few who have grown wearied of that strange modern tendency that sets enthusiasm to do the work of the intellect. To these, and such as these, Chuang Tzu will be welcome. But let them only read him. Let them not talk about him. He would be disturbing at dinner-parties, and impossible at afternoon teas, and his whole life was a protest against platform speaking. 'The perfect man ignores self; the divine man ignores action; the true sage ignores reputation.' These are the principles of Chuang Tzu.
Chuang Tzu: Mystic, Moralist, and Social Reformer. Translated from the Chinese by Herbert A. Giles, H.B.M.'s Consul at Tamsui. (Bernard Quaritch).

Günther Debon : Mit seiner Rezension reitet Oscar Wilde eine Attacke auf die englische Gesellschaft seiner Zeit, mit ihrer puritanischen Moral, die sich mit einem merkantilen und nationalen Egoismus verbinden konnte. Zielscheibe seines Spottes sind vor allem die aufdringlich-selbstgefälligen Philanthropen.
Der Einfluss, den der chinesische Weise Zhuangzi auf Wilde ausübte, wird ganz verschieden eingeschätzt. Vielleich am nachdrücklichsten betont ihn George Woodcock : "It is clear that the reading of Chuang Tzu's writings had a decisive influence on Wilde's own philosophy, confirming his natural tendencies toward non-action and philosophic anarchism. In two of his later works, The critic as artist and The soul of man under socialism, he makes prominent and appreciative references to the Chinese philosopher, and his moral outlook came to agree in many respects with Taoist ideas".
8 1890 Wilde, Oscar. The picture of Dorian Gray. In : Lippincott's monthly magazine ; vol. 46, no 271 (1890).
http://www.online-literature.com/wilde/dorian_gray/.
Er schreibt :
Chap. 2
Two globe-shaped china dishes were brought in by a page. Dorian Gray went over and poured out the tea.
Chap. 4
Some large blue china jars and parrot-tulips were ranged on the mantelshelf, and through the small leaded panes of the window streamed the apricot-coloured light of a summer day in London.
Chap. 8
Finally his bell sounded, and Victor came in softly with a cup of tea, and a pile of letters, on a small tray of old Sevres china, and drew back the olive-satin curtains, with their shimmering blue lining, that hung in front of the three tall windows.
Chap. 15
His fingers moved instinctively towards it, dipped in, and closed on something. It was a small Chinese box of black and gold-dust lacquer, elaborately wrought, the sides patterned with curved waves, and the silken cords hung with round crystals and tasselled in plaited metal threads. He opened it. Inside was a green paste, waxy in lustre, the odour curiously heavy and persistent. He hesitated for some moments, with a strangely immobile smile upon his face. Then shivering, though the atmosphere of the room was terribly hot, he drew himself up and glanced at the clock. It was twenty minutes to twelve. He put the box back, shutting the cabinet doors as he did so, and went into his bedroom.
Chap. 16
The hideous hunger for opium began to gnaw at him. His throat burned and his delicate hands twitched nervously together. He struck at the horse madly with his stick… At the end of the room there was a little staircase, leading to a darkened chamber. As Dorian hurried up its three rickety steps, the heavy odour of opium met him. He heaved a deep breath, and his nostrils quivered with pleasure.
Chap. 17
It was tea-time, and the mellow light of the huge, lace-covered lamp that stood on the table lit up the delicate china and hammered silver of the service at which the duchess was presiding.

Chen Qi : Dorian's acquisition of goods from China and other oriental nations secures his 'aristocratic' distinction. He creates an aesthetic consumption above the mass market. He consumes both the use-value in practical life and the symbolic value in social fashion of Chinese commodities and finalizes his self-definition of aesthetic identity through such consumption. Dorian's collection also serves as a recognition of temptations of commodity fetishism. The yellow Chinese hangings in Dorian's collection are pieces of art, but also commodities with practical use-value as furniture.
Dorian's thirst for opium is driven by the same psychology as that operating in the reconstruction of his collection. The opium addiction is the transmogrifying form of commodity fetishism. In the aestheticisation of opium, Wilde employs the symbol of 'China' to bridge consumerism and decadence.
9 1894 Wilde, Oscar. The sphinx. With decorations by Charles Ricketts. (London : E. Mathews and J. Lane, 1894). [Gedicht].
www.online-literature.com/wilde/2307/.
"Dawn follows Dawn and Nights grow old and all the while this curious cat
Lies couching on the Chinese mat with eyes of satin rimmed with gold."
10 1894 A drawing entitled 'A voluptuary' in the magazine Pick-me-up (14 July 1894) pictures Wilde as sterotyped Chinese – thin, slit-like eyes and prominent buckteeth – smoking opium in the chair.
A satirical review of a London Chinese restaurant in Illustrated sporting and dramatic news (9 Aug. 1894) was accompanied by a sketch 'Oscar in China', which depicts Wilde smoking a cigarette and taking a Chinese teacup in hand, as a pigtailed Chinese waiter watching aside.
11 1905 Wilde, Oscar. The rise of historical criticism. (Hartford : Privat Print, Sherwood Press, 1905).
http://www.online-literature.com/wilde/2309/.
Er schreibt : "The Chinese annals, ascending as they do to the barbarous forest life of the nation, are marked with a soberness of judgment, a freedom from invention, which is almost unparalleled in the writings of any people; but the protective spirit which is the characteristic of that people proved as fatal to their literature as to their commerce."
12 1909-1949 Oscar Wilde : Rezeption in China allgemein.
Bonnie S. McDougall : In the debates which took place in the early stages of the new movement in China, Oscar Wilde's name did not commonly appear, nor did he provide the major inspiration to any group of young writers. He did have some influence : the Xin yue she (Crescent Moon Society) writers acknowledged his theories on art.
Wilde's work had much to offer the creators and critics of China's new literature. On the social side, there is his defence of individualism and of feminism, his criticism of governments and politicians, his exposure of the moral poverty underlying conventional respectability and his contribution to libertarian socialism ; on the artistic side, apart from the actual example set by his own work, there is his stress on the importance of criticism in art, and on the importance of art in literature. If there were other aspects of his writing left unexplored or unappreciated, such as his ideas on abstract art, or his general theory of making an art of life, this is hardly to be wondered at, the violent prejudice which led most English and American critics to dismiss him as 'insincere' and 'frivolous', obscured Wilde's standing in his own country for many years. It is even possible that the initial enthusiasm for Wilde in China was dampened by the unfavourable remarks of these critics who had an undue influence among the intellectually impressionable young critics of the early twenties. Neither in China nor in England could censorious critics prevent the widespread popularity of Wilde's fairy-tales and plays.
For Chinese readers, less dazzled by the brilliance of Wilde's wit and remembering his persecution in England, the satire of the plays was sharp and powerful. Again, less aware of the luxury and artificiality of his personal life, they were able to believe in the sincerity of the fairy-tales and prose-poems, which describe the beauty of humility and simplicity.
Wilde's theories on art and literature were neglected in the early period of the new literary movement, though there is some evidence that the Crescent group took them up in the late twenties and early thirties. None of the critics seems to have said that he liked Wilde's plays simply because they were very funny.

Zhou Xiaoyi : The first half of the twentieth century witnessed a 'Wilde-mania' throughout China. After his tragic death in Paris in 1900, the English aesthete was introduced into China as the figure head of England's aesthetic movement. Chinese responses to his works, which adumbrate the principle of art for art's sage, were enthusiastic. A large number of Chinese writers were attracted to aestheticism and produced voluminous works in the aesthetic style. Wilde was regarded as the symbol of an artistic lifestyle and the major representative of those Western writers who lived cloistered away from the ordinary world and devoted themselves entirely to pure art.
Wilde was first introduced into China not simply as a writer of a Western literary genre entirely new to the Chinese, but mainly as an apostle of pure art or, to be more specific, a practitioner of a new way of life.
The aesthetic ideas of Wilde that attracted modern Chinese writers were in many ways simplified. Wilde's earlier thinking, which developed in his first 'aesthetic' period during the 1880s, was much emphasized by his Chinese audience. In the Chinese account of Wilde, his various ideas from that period, such as art as religion, art for art's sake , and pure form as the ultimate value of artistic creation, subtle impressions and feelings, the flamboyantly aesthetic mode of being and the severe critique of the existing social order, were regarded as basic principles of aestheticism and key concepts of Wilde's thinking. But the moral radical side of Wilde and his most radical conceptions which are presented in The picture of Dorian Gray and Intentions and other essays on life and art are pointedly ignored. In 1920s and 1930s, Wilde was better known for his literary works than for his critical essays.
The Chinese reception of Wilde's works was thus highly selective. If Wilde was not entirely misread, he was at least only partially received and interpreted. His aesthetic theory and literary practice were transfigured into the forms which conformed to the social realities and cultural dynamics of China at that time. He was regarded as an artistic symbol of the time surrounded by a mysterious aesthetic aura. His life and his thought on art were widely admired, and his arguments were frequently quoted as the most important sources for Chinese modernists defending their aesthetic approach to art.
Wilde represented an idealized image that rebellious May Fourth writers could identify with. It is not the Wilde of wit and paradox that fascinated the Chinese aesthetes, it is the flamboyant Wilde, the extravagant and self-fashioning Wild, that impressed the Chinese minds questing for a new and alluring way of life.

Linda Pui-ling Wong : The reception of Wilde in China in the 1920s and 1930s, new and modern modes from the West surfaced in various areas like fashion, general Westernized appearance, schools, establishment of different social and literary communities and journals.
The Chinese intellectuals' new perception of their social and personal positions in relation to Chinese traditions, in which a different and modern mentality emerged. Such consciousness warred against the conservative Confucian mode of thinking and engendered new, or anti-traditional, visions of the concept of self.
Wilde was widely known for his extravagant and eccentric clothes, which was a mark of his 'aesthetic dandyism'. Guo Moruo condemned such a movement which was entirely external and had nothing to do with inner problems.
The Chinese writers, as seen in their commentaries and essays, praised Wilde for being a phenomenal literary figure of the nineteenth-century, especially for his leading position in the aesthetic movement. Their reviews and comments on Wilde's work basically were consistent with those of the Victorian readers. Readers of both cultures, regardless of the time and cultural lapses and gaps, understood ideas like social satire, hypocrisy, conservatism, social injustice, and class discrimination shown in his plays.
  • Document: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Publication)
  • Document: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Publication)
  • Document: Wong, Linda Pui-ling. The initial reception of Oscar Wilde in modern China ; with special reference to Salome. In : Comparative literature & culture (Hong Kong), no 3 (1998). = The Oscholars Library : http://www.oscholars.com/TO/Appendix/Library/WONG.htm. (2012). (WilO5, Publication)
13 1909 Yu wai xiao shuo ji. Zhou Zuoren yi. [ID D12489].
Earliest translation of Oscar Wilde was The happy prince by Zhou Zuoren in classical Chinese. In his short introduction, Zhou argues that the key point of Wilde's aestheticism is to 'transform life into an art. He himself practiced it by wearing eccentric clothes of an extraordinary shape and walking down in the street with a sunflower in hand'. According to Zhou, Wilde was an artist with a will to transcend ordinary life and elevate himself to the higher level of the kingdom of art.
Zhou Zuoren's efforts to promote Western humanist writing were unsuccessful at that time. A re-issue of these translations in 1921 was soon out of print, this time presumably because classical Chinese was now superseded by the vernacular.
  • Document: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Publication)
  • Document: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Publication)
  • Person: Zhou, Zuoren
14 1915 Chen, Duxiu. Xian dai Ouzhou wen yi shi tan [ID D27627].
Zhou Xiaoyi : Chen says that Wilde was one of the 'four greatest modern writers' in European literature. The others are Ibsen, Turgenev, and Maeterlinck. Chen's praise is an example of the prevalent perception among Chinese writers of Wilde as a leading artist in world literature. Wilde's aesthetic practice – his way of dressing and other non-conformist behavior – further reinforces this image of Wilde as a unique artist. He was seen as the representative aesthete in England, whose reputation and achievements in art and aesthetic theory surpassed even Walter Pater and other aesthetes, although translations of Pater's works were also available in China at that time.
  • Document: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Publication)
  • Person: Chen, Duxiu
  • Person: Ibsen, Henrik
  • Person: Maeterlinck, Maurice
  • Person: Pater, Walter
  • Person: Turgenev, Ivan Sergeevich
15 1915 [Wilde, Oscar]. Li xiang zhang fu [ID D27628].
Hu Shi criticized the Chinese translation of An ideal husband by Oscar Wilde for its lack of artistry and its irrelevance to the Chinese situation.
  • Document: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Publication)
  • Person: Hu, Shi
16 1917 Chen, Duxiu. Wen xue ge ming lun [ID11258] :
Chen schreibt : "Die europäische Kultur hat freilich viel der Politik und der Wissenschaft zu verdanken, doch auch nicht weniger der Literatur. Ich habe das Frankreich von Rousseau und Pasteur lieb, aber noch mehr das von Goethe und Hauptmann ; ich liebe das England von Bacon und Darwin, aber noch mehr das von Dickens und Wilde. Ist unter unseren heldenhaften Literaten jemand da, der den Mut hat, ein Hugo oder Zola, ein Goethe oder Hauptmann, ein Dickens oder Wilde zu werden ?" = "European culture has benefited considerably from the many contributions of political thinkers and scientists, but the contribution of writers has not been small either. I love the France of Hugo and Zola ; I love the Germany of Kant and Hegel, but I love especially the Germany of Goethe and Hauptmann ; I love the England of Bacon and Darwin, but I love especially the England of Dickens and Wilde. Is there some outstanding writer in our own national literature who will take on the role of China's Hugo, Zola, Goethe, Hauptmann, Dickens or Wilde ? Is there anyone bold enough to make a public challenge to the 'eighteen demons', ignoring the criticism of reactionary scholars ? If so, I am willing to drag out the cannon to from his vanguard."
[Jean-Jacques Rousseau, Louis Pasteur, Johann Wolfgang von Goethe, Gerhart Hauptmann, Francis Bacon, Charles Galton Darwin, Victor Hugo, Charles Dickens, Oscar Wilde, Emile Zola].

Bonnie S. McDougall : Chen meant no more than a literature in which the material world is shown to affect people's lives, and in which concern is shown particularly for the sufferings of the poor. The demand for 'freshness' should be taken in the context of 'stale classicism' ; Chen was not opposed to rich and elaborate descriptions of scenery or emotions as such, he only rejected the euphuistic and allusive language typical of a great deal of classical Chinese poetry and essays. His final aim, to create a simple and popular literature to replace obscure scholarly or eremitic literature, shows the most obvious reason for classing Wilde among the literary giants.
  • Document: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Publication)
  • Document: Yang, Wuneng. Goethe in China (1889-1999). (Frankfurt a.M. : P. Lang, 2000). S. 29. (YanW1, Publication)
  • Person: Bacon, Francis
  • Person: Chen, Duxiu
  • Person: Darwin, Charles Robert
  • Person: Dickens, Charles
  • Person: Goethe, Johann Wolfgang von
  • Person: Hauptmann, Gerhart
  • Person: Hugo, Victor
  • Person: Pasteur, Louis
  • Person: Rousseau, Jean-Jacques
  • Person: Zola, Emile
17 1918 Song, Chunfang. Jin shi ming xi bai zhong. [One hundred well-known modern plays]. [ID D27913]. Erwähnung von Salomé, An ideal husband, Lady Windermere's fan von Oscar Wilde.
  • Document: Xin qing nian ; Nr. 4 (April 1918). Ed. by Hu Shi. [Sondernummer über die Reformierung des chinesischen Theaters].
    [Enthält] : Song, Chunfang. Jin shi ming xi bai zhong. [One hundred well-known modern plays].
    近世名戲百種 (SongC1, Publication)
18 1920 [Wilde, Oscar]. [Ye ying yu mei gui]. Hu Yuzhi yi. [ID D27629].
Hu Yuzhi argues that 'we have to study his poems and fairy tales if we want to know Wilde as an aesthete'. This is mainly because 'only in his poems and fairy tales, his vivid imagination of beauty, his rare gift in art, and his wonderful attractiveness are given full play'.
  • Document: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Publication)
  • Document: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Publication)
  • Person: Hu, Yuzhi
19 1920 [Matthews, Brandon]. Wen xue yu xi ju. Zhang Yugui yi. [ID D17630].
Oscar Wilde was regarded in this article as a brilliant comedy playwright.
20 1920 Tian Han had seen a Tokyo performance of Lady Windermere's fan by Oscar Wilde. On a meeting with Guo Moruo, he revealed his desire to introduce the work of Wilde to the Chinese public. In 1920 Tian Han thought of Wilde as primarily an aesthete.
  • Document: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Publication)
  • Person: Tian, Han
21 1920-1922 Mao Dun as editor of Xiao shuo yue bao chose Oscar Wilde as the prime example of a writer whose works were of no use in the present situation. He denounced both Western and Chinese aesthetic and decadent schools, among whom such practices as smoking opium, debating homosexuality, wearing strange clothes, regarding murder as a game and dyeing one's hair green were considered highly romantic. Wilde dyed his carnation green but not his hair. If Mao Dun disliked this side of Wilde's personal behavior and writing, he still acknowledged Wilde's more serious works.
  • Document: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Publication)
  • Person: Mao, Dun
22 1921 Shen, Zemin. Wangerde ping zhuan [ID D27631].
Shen Zemin schreibt : "Salomé is the symbol of Wilde himself, Salomé's passion is Wilde's passion. In writing Salomé, Wilde is actually writing about himself ; to write Salomé's doomed fate is to write his own fate. Salomé is a feverish nightmare which expresses a kind of degradation."
Shen Zemin focuses on Oscar Wilde's leading role in promoting aestheticism in England and America.
  • Document: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Publication)
  • Document: Wong, Linda Pui-ling. The initial reception of Oscar Wilde in modern China ; with special reference to Salome. In : Comparative literature & culture (Hong Kong), no 3 (1998). = The Oscholars Library : http://www.oscholars.com/TO/Appendix/Library/WONG.htm. (2012). (WilO5, Publication)
  • Person: Shen, Zemin
23 1921 [Wilde, Oscar]. Shalemei. Tian Han yi. [ID D12041].
Zhou Xiaoyi : Salomé is one of the most popular and influential foreign plays in modern Chinese literary history. The play went through seven translations in the first half of this century. Tian Han's translation is the best among the earliest ones. What fascinated Tian Han was the aesthetic art of dying shown in Salomé. For him, Salomé's fervent passion, her will to love, and her doomed death represent a certain spiritual consciousness. She never gives up, never makes compromises, and her will is unbeatable. Her kiss on the severed head of John is the shocking climax of this willfulness. In an essay on Salomé, Tian Han states : "My fellow men who love liberty and equality, you should learn from this single-minded and fearless spirit and pursue what you love bravely !" Salomé becomes a political symbol of rebellion. For Chinese artists, Salomé expressed the aesthetic principle that life should be transformed into an intensive, artistic moment.

Linda Pui-ling Wang : Salomé generated different reactions and debates among the Chinese intelligentsia. That the Chinese translators translated this play properly and faithfully, as they did his plays, showed that they understood it without any problems. They borrowed and re-defined Salomé to serve and support their causes. They appeared to politicize Salomé, albeit its sensuous elements, to suit their political purposes, thereby making it more exceptional than any of Wilde's plays. Tian Han had read the English translated version with illustrations by Aubrey Beardsley. To him and those who appreciated this play, Salomé was highly poetic, romantic and sensual in every aspect, both the text itself and its illustrations. He proclaimed, The characters have the same spirit. Their eyes are fixed upon on thing. Their ears are not distracted from any voices. They seek what they love with their own lives and die for it. You people who love freedom and equality should also learn from their focused and fearless spirit so as to pursue what you love. Each character in the play was seen to show the same spirit but for a different reason : for Iokanaan it was the love for God that sustained him to resist those in authority ; for Salomé, it was Iokanaan she desperately desired. The both at the end died for what they believed, Iokanaan for the sacred love (God) and Salomé for sensual love. Tian Han called the love of Salomé 'sexual love'.
Salomé was challenging a prohibited subject in the feudal Chinese society, especially the privileges of women. It concerned the freedom to love and realize an individual's physical passions and desires.
The highlight was, when Salomé held up the severed head of Iokanaan and kissed his mouth. It must have been stunning and shaking for the Chinese audience to see such an iconoclastic scene. What Tian Han encouraged the readers to appreciate most was the untamed yearning for love and beauty. In his view it was important that the intellectuals and the masses in China should understand what Salomé represented was suitable for China, because the people needed to have the courage and tenacity to express themselves and persist, just like the princess who often expressed her desire to kiss Iokanaan, even at the expense of both of their lives.
For Tian Han, it was a new play and appropriate to help launch China into a new era, which was particularly important to the long oppressed lower class. Salomé's outrageous behavior inspired Tian Han greatly to help the masses to pursue and stand for what was needed.
In Salomé, the theme of love, the dazzling and strongly assertive characters, and the stylistic diction and expression possibly overshadow any overt political meanings. Tian Han's emphasis on Salomé's kiss was misleading. Though love is an important part in life, it is disastrous when it gets possessive and manipulative. That Salomé was selfish and used her beauty to obtain power seemed to go unnoticed by Tian Han or other writers. The 'sexual passion' of Salomé, as written by Tian Han, should not be one's moral guide and the only means to achieve freedom. Those who plow evil and those who sow trouble reap it, goes the saying.
  • Document: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Publication)
  • Document: Wong, Linda Pui-ling. The initial reception of Oscar Wilde in modern China ; with special reference to Salome. In : Comparative literature & culture (Hong Kong), no 3 (1998). = The Oscholars Library : http://www.oscholars.com/TO/Appendix/Library/WONG.htm. (2012). (WilO5, Publication)
  • Person: Tian, Han
24 1921 Mao, Dun. Xin wen xue yan jiu zhe de ze ren ji nu li [ID D27632].
Mao Dun schreibt : “Our purpose in introducing Western literature is half for their literature and art and half for modern thoughts about the world… the latter should be more emphasized….we won't accept 'Art for Art's sake' literature… those modern works, like those of Wilde, the British aesthete, with the idea of 'life is decoration' should not be introduced without careful selection. Wilde's idea of art is the highest object; that life is only a decoration contradicts current cultural needs in China. If work like this is carelessly introduced….it will only undermine our new literature movement. Therefore, selective introduction is the foremost thing to consider when we discuss foreign literary works.”

Zhou Xiaoyi : Mao Dun regards Wilde as 'entirely a failure'. He calls him 'an individualist' and 'a hedonist' who 'has the gift to invent an 'airy castle' which is their paradise. He enters into this 'castle' to enjoy 'the fruits of the garden on the earth' and sees this as the meaning of life. For Wilde, 'to create beauty is to seek new sensations, self-enjoyment and self-indulgence. Yet what benefits and uses of this activity can be given to mankind ? The aesthetic wave moves higher above the sea of the life of human beings, but does this suggest any progress and advance in history ?'
  • Document: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Publication)
  • Document: Guo, Ting. Translating a foreign writer : a case study of Byron in China. In : Literature compass ; vol. 7, no 9 (2010).
    http://onlinelibrary.wiley.com/doi/10.1111/j.1741-4113.2010.00727.x/full. (Byr3, Publication)
  • Person: Mao, Dun
25 1922 Zhou, Zuoren. Zi ji de yuan di [ID D27657].
Bonnie S. McDougall : By 1922 the new literary movement was undergoing its first internal debate, 'art for art's sake' versus 'art for life's sake'. Zhou Zuoren was among those who objected to the false distinction being made, although ultimately he had to declare himself on the side of life : “'Art for art's sake' will separate art from life and make life an appendage of art, or even make an art out of life as Oscar Wilde proposed – of course, this would not be very proper ; 'art for life's sake' will make art an appendage of life or make art into a tool for changing life and not an end in itself – surely this is separating life from art”.
Despite this disapproving tone, Zhou strongly defended Wilde's dialogue The decay of lying, and even remonstrated with one of Wilde's translators for rendering 'lying' by the more innocuous Chinese word for 'fabrication' (jia kong). Zhou Zuoren regarded beauty of Language and a ready wit as the special qualities of Wilde's plays and essays, but his favourite pieces were The happy prince and The fisherman and his soul, the tales with a strong element of fantasy. Zhou noted the thread of social compassion which ran through the fairy-tales, but he also described them as 'unchildlike', 'a poet's poem', and their author as a 'decadent aesthete'. Zhous literary sensibilities enabled him to appreciate Wilde's literary work and attitudes, but his moral seriousness was offended by the dissipation in Wilde's personal life which he read about in Western criticism.
  • Document: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Publication)
  • Person: Zhou, Zuoren
26 1922 [Wilde, Oscar]. Yu zhong ji. Zhang Wentian, Wang Fuquan yi. [ID D12194].
Zhou Xiaoyi : Lu Xun, after reading the Chinese translation of Gide's biography of Wilde, noted that "his way of life is most interesting". He also noted Wilde's style of dress. In a paragraph discussing Wilde's appearance, he states : "look at his pictures, in which Wilde wears a flower in his button hole, taking a cane inlaid with ivory ; how handsome he is, everybody would love him, not to speak of women". Lu Xun used the phrase 'aesthetic costume' to describe Wilde's dress. Lu Xun is critical of Wilde's way of life, because, as a writer with a social mission and ideals, he is hostile to aestheticism and art for art's sake as universal principles for literature. He emphasizes the essentially social function of art. Yet no matter how critical he was, he had a clear image of Wilde as an aesthetic figure.
  • Document: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Publication)
  • Document: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Publication)
  • Person: Lu, Xun
  • Person: Wang, Fuquan
  • Person: Zhang, Wentian
27 1922 Zhang, Wentian ; Wang Fuquan. Wangerde jie shao [ID D12195]. [Introducing Oscar Wilde].
Zhou Xiaoyi : Zhang Wentian, an early important critic in Wilde studies, made a similar observation as Lu Xun on Wilde's aesthetic mode of being. He noted that Wilde "devoted his whole life to art, to the religion of beauty". He argues that Wilde did not merely advance an artistic principle, but also put his principle to practice. He practiced his aestheticism in everyday life soon after he graduated from Oxford : "He wears a velvet coat, a loose shirt with a turn-down collar, and a tie of some unusual shade tied in a lavalliere knot. He propagated his aestheticism everywhere, with a sunflower or a lily in hand. How enthusiastic he is ! How full-hearted, how brave !" Here Zhang also related Wilde's aesthetic principle to his eccentric lifestyle, and offered a vivid picture of Wilde as an artist. In his depiction, this artist, reinforced by his personal charm and mysterious character, worships art and condemns social reality.
  • Document: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Publication)
  • Person: Wang, Fuquan
  • Person: Zhang, Wentian
28 1922 [Wilde, Oscar]. [The picture of Dorian Gray : Preface]. Yu Dafu yi. [ID D27658].
Seine Übersetzung des Buches wurde nie publiziert.
Zhou Xiaoyi : Yu Dafu admired Wilde's work very much and cited him from time to time in his works, and treasured his aphorisms such as 'all art is quite useless, there is no such thing as moral or immoral art' and others. Yu's love of Wilde is fired in many ways as Wilde is also a social rebel and further, he is a rebel with some clear social and political ideas and artistic principles. He observes that 'the first rebellious spirit which is against the prevalent moralism and formalism in the Victorian age comes from aestheticism that Wilde proposed.

Bonnie S. McDougall : The Preface is a very abbreviated version of Wilde's aesthetic principles, but gives a fair view of that theory of art which was first elaborated in English by Walter Pater, that art is the record of an artist's appreciation or impression of nature or of other works of art, and that the artistic experience is a proper end in itself. Yu Dafu's views on poetry and art are quite different from these : he regarded poetry as the expression of emotion clothed in beauty, and believed that poetry should be an instrument of social change. Only at one point do Wild and his translator meet : both insisted on the irrelevance of moral judgments in and about art. It was probably for this reason that Yu Dafu translated the preface ; like Wilde, he was labeled a decadent by his contemporaries for his obsession with sexual aberrations, and he wrote admiringly of the 'decadents' who contributed to The yellow book.
  • Document: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Publication)
  • Document: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Publication)
  • Person: Yu, Dafu
29 1922 Zhao, Jingsheng. Tong hua de tao lun [ID D27659].
Zhao wrote about the difference between Hans Christian Andersen and Oscar Wilde by discussing that Andersen's writings were seen to be more understandable and approachable for children, while Wilde's were deep and abstract but had more literary values.
30 1923 Yu, Dafu. Ji zhong yu 'Huang mian zhi' de ren wu [ID D27660]. [Abhandlung über englische Autoren des The yellow book].
Yu Dafu traced the rise and fall of The yellow book and regarded the aestheticism of Wilde as a conscious reaction against the obstinate traditions in Victorian England. He believed, that Aubrey Beardsley was responsible for the reputation of this magazine. His special beautiful technique and imagination were unprecedented and the nudes in his paintings were appealing for they carried a message of nonconformity.
31 1923 Zheng, Zhenduo. Dao cao ren. In : Wen xue zhou bao ; 15 Oct. (1923). [Preface to 'The scarecrow'].
Zhou Xiaoyi : Zheng Zhenduo mentions Oscar Wilde in his preface to 'The scarecrow' of Ye Shengtao's fairy tales. Zheng argues that in Wilde's fairy tales The happy prince and The young king as well as in Ye's fairy tales, the 'perfect and detailed description of beauty' deserves special attention.
  • Document: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Publication)
  • Person: Zheng, Zhenduo
32 1923 Lu, Xun. Lu zhou [ID D27661].
In his response to Zhao Jingsheng (about fairy tales 1922), Lu Xun remarked that Hans Christian Andersen was more 'naive' than Oscar Wilde. He pointed out the simplicity and purity in Andersen but sophistication and wit in Wilde. He agreed with Zhao that Wilde's fairy tales were beautifully written and profound in insights. Lu Xun recalled that when he was young he liked reading Jing hua yuan, which is a famous Chinese novel about exotic adventures. As he read Wilde's fairy tales, was reminded of his love for this Chinese classic and saw the same kind of beauty and exoticism in both.
The strange combination of dreamland and reality, and the multi-layered meanings in Wilde's fairy tales were particularly appealing, aesthetically and philosophically, to intellectuals even like Lu Xun who was renowned for his unsympathetic position on the more sentimental writers in his day. The irony and literary depths in the fairy tales of Wilde certainly moved him.
33 1923 Hu, Yuzhi. Jin dai wen xue gai guan [ID D27215].
Bonnie S. McDougall : Hu Yuzhi described Oscar Wild as a major dramatist as well as a poet, novelist and writer of fairy-tales. He mentions that The picture of Dorian Gray had already been translated into Chinese, as well as some plays and many fine poems and fairy-tales. According to Hu Yuzhi, Wilde's main contribution to literature was in the theory and criticism, as the founder of the Aesthetic School and major advocate of the separation of art from life. Hu then went on to say that Wilde was a decadent writer who led a dissolute life and was sent to prison for committing an offence against the law. He avoids making explicit the nature of Wilde's offence, but it is unlikely that it would not be known to this group of professional writers. In the puritanical atmosphere of the May Fourth movement, Wilde's flamboyant homosexuality may have been a substantial factor in alienating the more serious-minded of the literary revolutionaries.
  • Document: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Publication)
  • Person: Hu, Yuzhi
34 1924 Guo, Zengai. Mang chu yu ai de gong guo. In : Chen bao fu kan ; 11 May (1924). [The common ending of blind touch and love].
Guo described the two sides of emotions in the world, indifference and love. He ended up wishing to be like Salomé [by Oscar Wilde] who passionately strived for love.
35 1924 Aufführung von Lady Windermere's fan von Oscar Wilde unter der Regie von Hong Shen für die Shanghai Drama Association.
36 1925 Lu, Xun. Lun zhao xiang zhi lei. [On photography]. 論照相之類
Er schreibt : "J'ai vu quelques dizaines de photos d'hommes célèbres, Tolstoï, Ibsen, Rodin, tous déjà âgés ; Schopenhauer, le visage tourmenté ; Wilde avec cet air un peu idiot qu'il avait déjà à l'époque où il porta des vêtements sophistiqués ; Romain Rolland un peu bizarre ; Gorki, un vrai clochard. Tous portaient sur leur visage les traces de souffrances et de luttes".
  • Document: Loi, Michelle. Romain Rolland et les chinois, Romain Rolland et Luxun. In : Europe ; vol. 60, no 633/634 (1982). (Rol5, Publication)
  • Person: Gorky, Maksim
  • Person: Ibsen, Henrik
  • Person: Lu, Xun
  • Person: Rolland, Romain
  • Person: Tolstoy, Leo
37 1925 Guo, Moruo. Sheng huo de yi shu hua. [The art of living]. In : Guo, Moruo. Moruo wen ji. (Beijing : Ren min wen xue chu ban she, 1959).
生活的艺术化
Bonnie S. McDougall : In this lecture, Guo Moruo begins with the disparaging remark, that Oscar Wilde's conception of making an art out of life was simply to stroll down the street wearing peculiar clothes and trying to attact people's attention. This is grossly unfair not only to Wilde's views on the proper influence of art on life, but even to his very sensible ideas on dress reform.
  • Document: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Publication)
  • Person: Guo, Moruo
38 1928 Film : Shao nai nai de shan zi = 少奶奶的扇子 [The young mistress's fan] in der Übersetzhung von Hong Shen, unter der Regie von Zhang Shichuan nach Wilde, Oscar. Lady Windermere's fan. (London : Elkin Mathews and John Lane, 1893). (Kline/Roethke collection). [Erstaufführung 1892 St. James Theatre London].
Hong Shen was not satisfied with the several versions of translation as 'they were not appropriate to the Chinese theatre'. He translated it again, and made many changes according to his own taste. As one critic observes, "All the place names and the names of persons are given in common Chinese names, and the details of everyday life are also adapted to Chinese custom and convention. Only the main theme and the general spirit of the play, plus the plot and setting, remained with the original style". Mao Dun : "Five hundred tickets were sold out immediately, and they had to issue two hundred extra tickets. After the first night personages of various circles in Shanghai strongly demanded extra performances."
39 1928 Liang, Shiqiu. Wang'erde de wei mei zhu yi [ID D27721].
Liang appraised Oscar Wilde, who had previously been his favorite writer, from a new perspective. He maintained that Wilde pursued 'absolute independence of the arts', in which the latter not only were isolated from the ordinary audience, but were also divorced from 'universal and common human nature'. This essay indicates that Liang had divorced himself from romanticism.
40 1929 Aufführung von Shalemei nach Wilde, Oscar. Salomé : drame en un acte. (Paris : Librairie de l'art indépendant, 1893). = Salome : a tragedy in one act. (London : E. Mathews & John Lane ; Boston : Copeland & Day, 1894). [Uraufführung Théâtre de l'oeuvre, Paris, 1896] in der Übersetzung von Tian Han in Nanjing und Shanghai.
Tian Han schreibt : "My translation of Salomé was successful when it was published in 1921. It has been seven or eight years now and it hasn't yet performed. And now we just have found very good actors playing the roles of Iokanaan, Salomé and Herodias. Rebelling against the standard social attitude is most obvious in this play. This is why we have chosen to perform this play."
Tian Han added social significance to the play in order to defend his aim of staging it, which was to him an artistic way to unite different classes together for a noble and national purpose. Even though he thought Salomé was not about individualism, his interpretation was indeed individualistic and questionable. Paradoxically, he was not so much politicizing the play as romanticizing it further. His choice of Salomé betrayed a strong sentiment undercurrent, albeit his claims of social interests. When the play was performed, the power of the socially-minded intellectuals was already quite strong.

Shi Jihan described the first night of the performance : "There are only three hundred seats in the theatre, yet the people who came to see the play numbered more than four hundred.” Salomé was acclaimed by the audience, who were fascinated by the emotional qualities of the female protagonist. The play left such an impression that it was soon imitated by several Chinese playwrights."

Xu, Zhimo. Guan yu nü zi. In : Xin yue yue kan ; vol. 2, no 8 (Oct. 1929).
Salomé incontestably presented a different, daring and outspoken image of woman for many Chinese intellectuals. Xi Zhimo expressed the tension between personal, artistic expression and social boundary as he recalled his impression on Yu Shan, the lady who played Salomé.
One night, during the performance, when Yu Shan was about to say, 'I will kiss thy mouth, Iokanaan', she caught a glimpse of her mother sitting in the front row and staring angrily at her. Instead of saying the line with might and passion, she was lowering her voice and slurring over the line. Xu commented that though in reality there were many objective obstacles preventing a 'new' or 'modern' woman to realize herself, the psychological barrier was less visible yet more destructive. The talented actress could have played her role more powerfully and dramatically but for the angry gaze of her mother, which represented a tacit censorship. That was the moment when the actress yielded to traditions at the expense of artistic expression. Salomé was then not so much a theatrical challenge as a psychological one since she embodied anti-traditional feminine qualities. To be a 'new' women, in the view of Xu, she needed to behave with psychological abandonment and be thoroughly courageous and persistent.

Linda Pui-ling Wang : In the interest of reading Salomé in the Chinese context, the Chinese writers were looking for a psychological outlet and model which spoke to their personal needs but not the genuine moral and humanitarian aspects. The Chinese writers who were more romantic and sentimental even saw Salomé as an essential resolution to the class problems in society. Salomé undeniably excited and inspired the young Chinese people who had personal and emotional dreams, albeit a small and 'selected' group. The play provided a romantic appeal to bourgeois intellectuals such as Tian Han, Xu Zhimo and Ye Lingfeng, who could afford to see the play and greatly praised the play, but mainly its aesthetic aspects. The Chinese writers were generally fascinated with Salomé who certainly looked radical, nonconformist, modern and exemplified a new mode of thinking and behavior. As such, there was more revision than imitation in terms of meaning and goal. The femme fatale was then turned into a super heroine.
The Chinese writers did not only discuss the play's literariness but also its social redefinitions affirms its significance to be a special product of that age. Salomé was a medium through which the Chinese writers voiced their romantic outcry and accumulated for themselves discourses in accordance to their desires and causes. Tian Han presented a more social and political defence for it.
In the discursive labyrinth of Salomé, there were decadence, entertainment and fascination for an exotic femme fatale and a modern city as a surrogate oryal court in which the Chinese intellectuals indulged in their own pursuit of romantic dreams.
  • Document: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Publication)
  • Document: Wong, Linda Pui-ling. The initial reception of Oscar Wilde in modern China ; with special reference to Salome. In : Comparative literature & culture (Hong Kong), no 3 (1998). = The Oscholars Library : http://www.oscholars.com/TO/Appendix/Library/WONG.htm. (2012). (WilO5, Publication)
  • Document: Qin, Liyan. Trans-media strategies of appropriation, narrativization, and visualization : adaptations of literature in a century of Chinese cinema. (Diss. Univ. of California, San Diego, 2007).
    http://escholarship.org/uc/item/5vd0s09p. S. 68. (QinL1, Publication)
  • Person: Shi, Jihan
  • Person: Tian, Han
  • Person: Xu, Zhimo
41 1929 Xu, Diaofu. Jin dai ming zhu bai zhong shu lue. In : Xiao shuo ye bao ; vol. 18, no 10 (Oct. 1929). [Synopses of one hundred masterpieces].
Xu Diafu gave not only a detailed synopsis of Salomé by Oscar Wilde, but also translated a few parts of the play. He thought Salomé's dance and her final kiss were the most passionate, provocative and iconoclastic feats, and the overriding sensuality and horror captivated the hearts of many Chinese writers.
42 1933 Yuan, Muzhi. Zhongguo ju zuo jia ji qi zuo pin. 中國劇作家及其作品 [Chinese Playwrights and Their Works].
Er schreibt : Ding Xilin's witticisms and his philosophy of relations between sexes are greatly reminiscent of the aestheticism of Oscar Wilde. His plays are all similarly set in beautiful drawing rooms, his characters chewing on tobacco pipes as they sit sunk in comfortable sofas. We call upon the author to move from aestheticism to materialism, out of the Salon and into society at larg.
  • Document: Herd, R.A. ; Zhang, Jian. Wildean echoes in the plays of Ding Xilin. In : Modern Chinese literature and culture ; vol. 22, no 1 (2010). (WilO9, Publication)
  • Person: Ding, Xilin
  • Person: Yuan, Muzhi
43 1939 Film : Shao nai nai de shan zi = 少奶奶的扇子 [The young mistress's fan] unter der Regie von Li Pingqian nach Wilde, Oscar. Lady Windermere's fan. (London : Elkin Mathews and John Lane, 1893). (Kline/Roethke collection). [Erstaufführung 1892 St. James Theatre London].
44 1947-1974 Ding Xilin was the only playwright of the modern period who concentrated solely on writing comedy. His genesis as a dramatist can be credited in large measure to the inspiration he drew from the British and Irish writers whose work he had become familiar with while a student in England between 1914 and 1920. Ding once commented that his works ought to be regarded more as translations of foreign plays than as original creations. In the work of Ding and Oscar Wilde, a range of subsidiary themes, including relations between the sexes, as well as marriage and th4e place of women in society generally, and relations between one generation and another, are embedded in one fundamental theme : morality.
  • Document: Herd, R.A. ; Zhang, Jian. Wildean echoes in the plays of Ding Xilin. In : Modern Chinese literature and culture ; vol. 22, no 1 (2010). (WilO9, Publication)
  • Person: Ding, Xilin
45 1977 [Wilde, Oscar]. Du Liankui. Wang Dahong yi xie. [ID D27684].
Leo Tak-Hung Chan : The most significant change in the translation involves the nature of Sibyl's job. As critics of The picture of Dorian Gray have pointed out, the key to understanding Dorian's sudden change of attitude toward Sibyl is that he was, in the first place, infatuated with her only because she played the role of Juliet so well, and not because of who she was ; this makes possible a homosexual interpretation of the whole novel, in line with what is known of Oscar Wilde's sexual orientation. That is rendered out of the question in Wang's version, where the repeated references to theatre and acting are removed, and Sibyl becomes a singe rat a dance-hall.
Wang Dahong himself regards Du Liankui as a translation is beyond all doubt : on its front cover the book announces itself unambiguously as a translation. On the level of language too, the linkage between the two novels is everywhere apparent.
Alterations in Du Liankui have not been made so extensively that the translator has lost sight of the texture of the source-text. But it is the shifts - the additions, deletions and substitutions – that throw into sharp relief the special features of the adaptive translation. Changes in plot constitute the most dramatic shifts, and are the most thematically relevant for any attempt at interpretation.
Wang Dahong and a friend of his, proposed his own reading of Du Liankui :
"[The novel] came a bit too early in 1977. Ordinary folk could not easily recognize the materialistic world that it depicted for what it was. Nor could they comprehend fully the orientation toward material possessions that characterizes a hedonistic lifestyle, the mental disarray created by an abandonment to the senses. Of course, they could not be induced to rethink the corruption and decline of civilizations or the evil distortions of human nature, which occurred in a materialistic society in Taiwan that was becoming more and more sophisticated."
Some of the key themes in The picture of Dorian Gray are still preserved in Du Liankui – the aesthetic ideal of turning one's life into a work of art, the pitfalls of narcissism, the dangers of personal influence, and so on – but they are combined with new ones. Religious and homosexual themes, on the other hand, are greatly weakened, if not altogether eliminated.
46 1980 Mao, Dun. "Foreign drama in China". In : Wai guo xi ju ; no 1 (Oct. 1980).
Er schreibt über die Aufführung von Lady Windermere's fan von Oscar Wilde von 1924 :
"At 2:00 p.m. on May 4th, 1924, the Drama Association organized by Hong Shen and his friends put on a public performance of Wilde's Lady Windermere's fan. On May 10th when it was again performed, all five hundred tickets were sold out in no time. Two hundred more tickets hat do be added. It was performed in the auditorium of the China Vocational School. At 2:00 p.m. on May 18th, the last performance was scheduled to take place. Seats were limited to five hundred. There were so many people who could not get in that they sent representatives to request another performance. At 5:30 p.m. that same day, one more perforance was arranged to meet the demand."
47 1985 Aufführung von Bu ke er xi = The importance of being Earnest = 不可兒戲 von Oscar Wilde, unter der Regie von Daniel S.P. Yang, Hong Kong Repertory Theatre, Friendship Theater, Guangzhou, 1985.
48 1990 Aufführung von Bu ke er xi = The importance of being Earnest = 不可兒戲 von Oscar Wilde, unter der Regie von Daniel S.P. Yang, National Theatre of Taiwan, 1990.

Bibliography (108)

# Year Bibliographical Data Type / Abbreviation Linked Data
1 1890 Wilde, Oscar. A Chinese sage. In : Speaker ; Febr. 8 (1890). [Zhuangzi].
http://www.readbookonline.net/read/9874/24074/. 		Publication / WilO2
2 1909 [Wilde, Oscar]. An le wang zi. Lu Xun yi. In : Yu wai xiao shuo ji (1909). Übersetzung von Wilde, Oscar. The happy prince. In : Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
安樂王子 		Publication / WilO125
  • Cited by: Yu wai xiao shuo ji = Wilde and other authors: foreign famous stories. Wei'erte zhu [et al.] ; Zhou Zuoren, Lu Xun yi. Vol. 1-2. (Tokyo : Shinten insatsujo, 1909). = Erw. Aufl. (Shanghai : Zhong hua shu ju,1920). [Übersetzungen von Kurzgeschichten].
    域外小說集
    Einzelne Autoren siehe unter Yu wai xiao shuo ji. (Zho4, Published)
  • Cited by: Worldcat/OCLC (WC, Web)
  • Person: Lu, Xun
3 1915 [Wilde, Oscar]. Li xiang zhang fu. Qing nian za zhi (1915). [Serie]. Übersetzung von Wilde, Oscar. An ideal husband. In : Wilde, Oscar. Salomé and other plays. (Harmondsworth : Penguin Books, 1894). [Uraufführung 3. Jan. 1895, Theatre Royal, London]. [Wilde's Porträt erscheint auf dem Einband von no 3 (1915)].
理想丈夫 		Publication / WilO19
  • Cited by: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Published)
4 1916 [Wilde, Oscar]. [A Florentine tragedy : a play in one act]. Chen Xia yi. In : Qing nian za zhi (1916). [Unvollendetes Manuskript 1893]. Publication / WilO26
  • Cited by: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Published)
  • Person: Chen, Xia
5 1918 [Wilde, Oscar]. Shao nai nai di shan zi. In : Xin qing nian (1918). Übersetzung von Wilde, Oscar. Lady Windermere's fan. (London : Elkin Mathews and John Lane, 1893). (Kline/Roethke collection). [Erstaufführung 1892 St. James Theatre London].
少奶奶的扇子 		Publication / WilO76
  • Cited by: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Published)
6 1919 [Wilde, Oscar]. Shao nai nai di shan zi. In : Xin chao ; March (1919). Übersetzung von Wilde, Oscar. Lady Windermere's fan. (London : Elkin Mathews and John Lane, 1893). (Kline/Roethke collection). [Erstaufführung 1892 St. James Theatre London].
少奶奶的扇子 		Publication / WilO77
  • Cited by: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Published)
7 1920 [Wilde, Oscar]. [Ye ying yu mei gui]. Hu Yuzhi yi. In : Dong fang za zhi ; vol. 17, no 8 (April 1920). Übersetzung von Wilde, Oscar. The nightingale and the rose. In : Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
夜莺与玫瑰 		Publication / WilO20
  • Cited by: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Published)
  • Person: Hu, Yuzhi
8 1921 [Wilde, Oscar]. Shalemei. Tian Han yi. (Shanghai : Zhonghua shu ju, 1921). Übersetzung von Wilde, Oscar. Salomé : drame en un acte. (Paris : Librairie de l'art indépendant, 1893). = Salome : a tragedy in one act. (London : E. Mathews & John Lane ; Boston : Copeland & Day, 1894). [Uraufführung Théâtre de l'oeuvre, Paris 1896].
沙樂美
 Publication / Tia1
9 1921 [Wilde, Oscar]. [Bu yao jin de nü ren]. Geng Shizhi yi. In : Xiao shuo yue bao (1921). Übersetzung von Wilde, Oscar. A woman of no importance. (London : J. Lane, 1894). [Uraufführung Haymarket Theatre, London 1893].
不要緊的女人 		Publication / WilO13
  • Cited by: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Published)
  • Cited by: Worldcat/OCLC (WC, Web)
  • Person: Geng, Shizhi
10 1921 [Wilde, Oscar]. [Zi si de ju ren]. Zhou Zuoren yi. In : Xin chao ; Sept. (1921). Übersetzung von Wilde, Oscar. The selfish giant. In : Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
自私的巨人 		Publication / WilO102
  • Cited by: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Published)
  • Person: Zhou, Zuoren
11 1922 [Wilde, Oscar]. Yu zhong ji. Wang'erde zhu ; Zhang Wentian, Wang Fuquan yi. In : Jue wu ; April-May (1922). = (Shanghai : Shang wu yin shu guan, 1932). (Wen xue yan jiu hui cong shu). Übersetzung von Wilde, Oscar. De profundis. (London : Methuen, 1905).
獄中記 		Publication / ZhaWe7
12 1922 [Wilde, Oscar]. [Five prose poems]. Liu Fu yi. In : Xiao shuo yue bao (1922). Publication / WilO14
  • Cited by: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Published)
13 1922 [Wilde, Oscar]. [Daolian Gelei de hua yiang : Preface]. Yu Dafu yi. In : Chuang zao ji kan ; no 1 (1922).
道连葛雷的画 		Publication / WilO48
  • Cited by: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Published)
  • Cited by: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Published)
  • Person: Yu, Dafu
14 1927 [Wilde, Oscar]. Shalemei. Xu Baoyan yi. (Shanghai : Guang hua shu ju, 1927). [Wilde, Oscar]. Übersetzung von Wilde, Oscar. Salomé : drame en un acte. (Paris : Librairie de l'art indépendant, 1893). = Salome : a tragedy in one act. (London : E. Mathews & John Lane ; Boston : Copeland & Day, 1894). [Uraufführung Théâtre de l'oeuvre, Paris, 1896].
莎樂美 		Publication / WilO63
15 1928 [Wilde, Oscar]. She hui zhu yi yu ge ren zhu yi. Wangerde zhu ; Yuan Zhenying fan yi. (Xianggang : Shou kuang chu ban bu, 1928). Übersetzung von Wilde, Oscar. Soul of man under socialism. In : Fortnightly review ; Febr. 1891).
社會主義与個人主義 / 王爾德著袁振英翻译 		Publication / WilO81
16 1928 Ou Mei xiao shuo. Anteliefu [et al.] zhu ; Zeng Xubai yi. (Shanghai : Zhen mei shan shu dian, 1928). [Übersetzung von europäischen und amerikanischen Short stories].
歐美小說
[Enthält] : Leonid Andreyev, Anton Chekhov, Thomas Hardy, H.G. Wells, James Stephens, Theodore Dreiser, Edgar Allan Poe, O. Henry, Hermann Sudermann, Leopoldo Alas, Karoly Kisfaludy, Sholem Asch, Oscar Wilde, Prosper Mérimée. 		Publication / And40
  • Cited by: Worldcat/OCLC (WC, Web)
  • Cited by: Gamsa, Mark. The Chinese translation of Russian literature : three studies. (Leiden : Brill, 2008). (Sinica Leidensia ; vol. 90). (Gam1, Published)
  • Person: Alas, Leopoldo
  • Person: Andreyev, Leonid Nikolaevich
  • Person: Asch, Sholem
  • Person: Chekhov, Anton Pavlovich
  • Person: Dreiser, Theodore
  • Person: Hardy, Thomas
  • Person: Henry, O.
  • Person: Kisfaludy, Karoly
  • Person: Mérimée, Prosper
  • Person: Poe, Edgar Allan
  • Person: Stephens, James
  • Person: Sudermann, Hermann
  • Person: Wells, H.G.
  • Person: Zeng, Xubai
17 1928 [Wilde, Oscar]. Yi ge li xiang de zhang fu. Wang'erde zhu ; Xu Peiren yi. (Shanghai : Jin wu shu dian, 1928). Übersetzung von Wilde, Oscar. An ideal husband. In : Wilde, Oscar. Salomé and other plays. (Harmondsworth : Penguin Books, 1894). [Uraufführung 3. Jan. 1895, Theatre Royal, London]
一個理想的丈夫 		Publication / WilO126
18 1930 Lu guan. Zhao Jingshen yi. (Shanghai : Shen zhou guo guang she, 1930). [Anthologie von Novellen von M. Prishvin, Marietta Shaginian, G. Delleda, Guy de Maupassant, Henri Barbusse, Oscar Wilde, Lord Dunsany, Henry Van Dyke, August Strindberg].
芦管
[Enthält] :
San jia zhi bu ji. Xie Jinglin.
Liang ge nan ren he yi ge nü ren. Dailidai.
Xiao jiu tong. Mobosang.
Bu kuai le di shen ti. Tangshannan.
Kuang feng. Tangshangnan.
Lan hua. Fandake.
Tian ran di zhang ai. Shitelinbao. 		Publication / Luguan1
19 1934 [Wilde, Oscar]. Shalemei : shi jie yu han wen dui zhao. Wang'erde zhu ; Zhong Linhan yi. (Chengdu : Zhong hua lü xin she, 1934). Übersetzung von Wilde, Oscar. Salomé : drame en un acte. (Paris : Librairie de l'art indépendant, 1893). = Salome : a tragedy in one act. (London : E. Mathews & John Lane ; Boston : Copeland & Day, 1894). [Uraufführung Théâtre de l'oeuvre, Paris, 1896].
莎樂美 : 世界語漢文對照 		Publication / WilO65
20 1936 [Wilde, Oscar]. Shao nai nai di shan zi. Zhang Youji yi. (Shanghai : Qi ming shu ju, 1936). (Shi jie wen xue ming zhu). Übersetzung von Wilde, Oscar. Lady Windermere's fan. (London : Elkin Mathews and John Lane, 1893). (Kline/Roethke collection). [Erstaufführung 1892 St. James Theatre London].
少奶奶的扇子 		Publication / WilO1
21 1936 [Wilde, Oscar]. Duoli'an Gelai de hua xiang. Wang'erde zhu ; Ling Biru yi. (Shanghai : Zhong hua shu ju, 1936). (Xian dai wen xue cong kan). Übersetzung von Wilde, Oscar. The picture of Dorian Gray. In : Lippincott's monthly magazine ; vol. 46, no 271 (1890). = (London : Ward, Lock, 1891).
朵連格萊 		Publication / WilO24
22 1937 [Wilde, Oscar]. Shalemei. Wang Hongsheng yi. (Shanghai : Qi ming shu ju, 1937). Übersetzung von Wilde, Oscar. Salomé : drame en un acte. (Paris : Librairie de l'art indépendant, 1893). = Salome : a tragedy in one act. (London : E. Mathews & John Lane ; Boston : Copeland & Day, 1894). [Uraufführung Théâtre de l'oeuvre, Paris, 1896].
莎樂美 		Publication / WilO66
23 1937 [Wilde, Oscar]. Shalemei. Wang'erde ; Shen Peiqiu yi. (Shanghai : Qi ming shu ju, 1937). (Shi jie xi ju ming zhu). Übersetzung von Wilde, Oscar. Salomé : drame en un acte. (Paris : Librairie de l'art indépendant, 1893). = Salome : a tragedy in one act. (London : E. Mathews & John Lane ; Boston : Copeland & Day, 1894). [Uraufführung Théâtre de l'oeuvre, Paris, 1896].
莎樂美 		Publication / WilO67
24 1937 [Wilde, Oscar]. Shao nai nai di shan zi. Huangerte yuan zhu ; Yang Yisheng yi shu. (Shanghai : Da tong tu shu she, 1937). Übersetzung von Wilde, Oscar. Lady Windermere's fan. (London : Elkin Mathews and John Lane, 1893). (Kline/Roethke collection). [Erstaufführung 1892 St. James Theatre London].
少奶奶的扇子 		Publication / WilO79
25 1940 [Wilde, Oscar]. Li xiang zhang fu. Huai Yun yi. (Shanghai : Qi ming shu ju, 1940). (Shi jie xi ju ming zhu). Übersetzung von Wilde, Oscar. An ideal husband. In : Wilde, Oscar. Salomé and other plays. (Harmondsworth : Penguin Books, 1894). [Uraufführung 3. Jan. 1895, Theatre Royal, London].
理想丈夫 		Publication / WilO55
26 1942 [Wilde, Oscar]. Zi si de ju ren. Ba Jin yi ; Yong Mei gai xie ; Huang Zonghai hua. In : Wen yi za zhi ; vol. 1, no 5 (July 1942). = (Nanning : Jie li chu ban she, 1997). (Xiao jiao ya tu hua shu. Jing dian tong hua gu shi. Übersetzung von Wilde, Oscar. The selfish giant. In : Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
自私的巨人 		Publication / WilO107
  • Cited by: Worldcat/OCLC (WC, Web)
  • Cited by: Modern China and the West : translation and cultural mediation. Ed. by Peng Hsiao-yen [Peng Xiaoyan] and Isabelle Rabut. (Leiden : Brill, 2014). (Peng2, Published)
  • Person: Ba, Jin
  • Person: Huang, Zonghai
  • Person: Yong, Mei
27 1943 [Wilde, Oscar]. Ye ying yu qiang wei. Wang'erde ; Ba Jin yi. In : Wen xue za zhi ; special issue (July 1, 1943). Übersetzung von Wilde, Oscar. The nightingale and the rose. In : Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888). Publication / WilO116
  • Cited by: Modern China and the West : translation and cultural mediation. Ed. by Peng Hsiao-yen [Peng Xiaoyan] and Isabelle Rabut. (Leiden : Brill, 2014). (Peng2, Published)
  • Person: Ba, Jin
28 1946 [Wilde, Oscar]. Shalemei. Wang'erde zhu ; Piyasilai [Aubrey Beardsley] hua ; Hu Shuangge yi. (Shanghai : Xing qun chu ban gong si, 1946). Übersetzung von Wilde, Oscar. Salomé : drame en un acte. (Paris : Librairie de l'art indépendant, 1893). = Salome : a tragedy in one act. (London : E. Mathews & John Lane ; Boston : Copeland & Day, 1894). [Uraufführung Théâtre de l'oeuvre, Paris, 1896].
莎樂美 		Publication / WilO68
29 1946 [Wilde, Oscar]. Shao nian guo wang. Wang'erde ; Ba Jin yi. In : Shao nian du wu ; vol. 2, no 1 (1946). Übersetzung von Wilde, Oscar. The young king. In : Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
少年国王 		Publication / WilO117
  • Cited by: Modern China and the West : translation and cultural mediation. Ed. by Peng Hsiao-yen [Peng Xiaoyan] and Isabelle Rabut. (Leiden : Brill, 2014). (Peng2, Published)
  • Person: Ba, Jin
30 1946 [Wilde, Oscar]. Zhong shi de peng you. Wang'erde ; Ba Jin yi. In : Shao nian du wu ; vol. 2, no 3 (1946). Übersetzung von Wilde, Oscar. The devoted friend. In : Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
忠實的朋友 		Publication / WilO118
  • Cited by: Modern China and the West : translation and cultural mediation. Ed. by Peng Hsiao-yen [Peng Xiaoyan] and Isabelle Rabut. (Leiden : Brill, 2014). (Peng2, Published)
  • Person: Ba, Jin
31 1946 [Wilde, Oscar]. Xing hai. Wang'erde ; Ba Jin yi. In : Shao nian du wu ; vol. 2, no 4 (1946). Übersetzung von Wilde, Oscar. The star-child. In : Wilde, Oscar. A house of pomegranates. (London : James R. Osgood, 1891).
星孩 		Publication / WilO119
  • Cited by: Modern China and the West : translation and cultural mediation. Ed. by Peng Hsiao-yen [Peng Xiaoyan] and Isabelle Rabut. (Leiden : Brill, 2014). (Peng2, Published)
  • Person: Ba, Jin
32 1946 [Wilde, Oscar]. Xibanya gong zhu de sheng ri. Wang'erde ; Ba Jin yi. In : Shao nian du wu ; vol. 2, nos 5-6 (1946). Übersetzung von Wilde, Oscar. The birthday of the infanta. In : Wilde, Oscar. A house of pomegranates. (London : James R. Osgood, 1891).
西班牙公主的生日 		Publication / WilO120
  • Cited by: Modern China and the West : translation and cultural mediation. Ed. by Peng Hsiao-yen [Peng Xiaoyan] and Isabelle Rabut. (Leiden : Brill, 2014). (Peng2, Published)
  • Person: Ba, Jin
33 1946 [Wilde, Oscar]. Liao bu qi de huo jian. Wang'erde ; Ba Jin yi. In : Shao nian du wu ; vol. 3, no 3 (1946). Übersetzung von Wilde, Oscar. The remarkable rocket. In : Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
了不起的火箭 		Publication / WilO121
  • Cited by: Modern China and the West : translation and cultural mediation. Ed. by Peng Hsiao-yen [Peng Xiaoyan] and Isabelle Rabut. (Leiden : Brill, 2014). (Peng2, Published)
  • Person: Ba, Jin
34 1948 [Wilde, Oscar]. Kuai le wang zi ji. Wang'erde ; Ba Jin yi. (Shanghai : Wen hua sheng huo chu ban she, 1948). Übersetzung von Wilde, Oscar. The happy prince, and other stories. Ill. by Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
快樂王子集 		Publication / WilO34
35 1948 [Wilde, Oscar]. Yu ren he ta de ling hun. Wang'erde ; Ba Jin yi. In : [Wilde, Oscar]. Kuai le wang zi ji. (Shanghai : Wen hua sheng huo chu ban she, 1948). Übersetzung von Wilde, Oscar. The fisherman and his soul. In : Wilde, Oscar. A house of pomegranates. (London : James R. Osgood, 1891).
漁人和他的靈魂 		Publication / WilO122
  • Cited by: Modern China and the West : translation and cultural mediation. Ed. by Peng Hsiao-yen [Peng Xiaoyan] and Isabelle Rabut. (Leiden : Brill, 2014). (Peng2, Published)
  • Person: Ba, Jin
36 1948 [Wilde, Oscar]. San wen shi si pian. Wang'erde ; Ba Jin yi. In : [Wilde, Oscar]. Kuai le wang zi ji. (Shanghai : Wen hua sheng huo chu ban she, 1948). [Übersetzung von Four poems in prose].
散文詩四篇 		Publication / WilO123
  • Cited by: Modern China and the West : translation and cultural mediation. Ed. by Peng Hsiao-yen [Peng Xiaoyan] and Isabelle Rabut. (Leiden : Brill, 2014). (Peng2, Published)
  • Person: Ba, Jin
37 1948 [Wilde, Oscar]. Cai pan suo ; Zhi hui de jiao shi ; Jiang gu shi de ren. Wang'erde ; Ba Jin yi. In : [Wilde, Oscar]. Kuai le wang zi ji. (Shanghai : Wen hua sheng huo chu ban she, 1948). Übersetzung von Wilde, Oscar. The house of judgment ; The reacher of wisdom ; The man who tells stories. In : Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
裁判所 ; 智慧的教師 ; 講故事的人 		Publication / WilO124
38 1953 Yingguo ming zhu duan pian xiao shuo xuan. Xu Zhimo yi. (Xianggang : Wen yuan shu dian, 1953). (Wen yuan shi jie duan pian ming zhu yi cong). [Enthält Übersetzungen von Novellen von Thomas Hardy, Aldous Huxley, David Herbert Lawrence, Katherine Mansfield, Oscar Wilde].
英国名著短篇小说选 		Publication / Ying7
39 1958 [Wilde, Oscar]. Li xiang zhang fu. Wangerde zhuan. (Taibei : Qi ming shu ju bian yi chu ban, 1958). (Shi jie xi ju ming zhu ; 12). Übersetzung von Wilde, Oscar. An ideal husband. In : Wilde, Oscar. Salomé and other plays. (Harmondsworth : Penguin Books, 1894). [Uraufführung 3. Jan. 1895, Theatre Royal, London].
理想丈夫 		Publication / WilO56
40 1958 [Wilde, Oscar]. Shalemei. Qi ming shu ju bian yi suo bian yi. (Taibei : Qi ming shu ju, 1958). (Shi jie xi ju ming zhu ; 11). Übersetzung von Wilde, Oscar. Salomé : drame en un acte. (Paris : Librairie de l'art indépendant, 1893). = Salome : a tragedy in one act. (London : E. Mathews & John Lane ; Boston : Copeland & Day, 1894). [Uraufführung Théâtre de l'oeuvre, Paris, 1896].
莎樂美 		Publication / WilO64
41 1958 [Wilde, Oscar]. Shalemei. Wangerde. (Taibei : Taiwan qi ming, 1958). (Shi jie xi ju ming zhu). Übersetzung von Wilde, Oscar. Salomé : drame en un acte. (Paris : Librairie de l'art indépendant, 1893). = Salome : a tragedy in one act. (London : E. Mathews & John Lane ; Boston : Copeland & Day, 1894). [Uraufführung Théâtre de l'oeuvre, Paris, 1896].
莎樂美 		Publication / WilO69
42 1958 [Wilde, Oscar]. Shao nai nai di shan zi. Wang Erde yuan zhu ; Lei Haoran ju ben zheng li. (Xianggang : [s.n.], 1958). Übersetzung von Wilde, Oscar. Lady Windermere's fan. (London : Elkin Mathews and John Lane, 1893). (Kline/Roethke collection). [Erstaufführung 1892 St. James Theatre London].
少奶奶的扇子 		Publication / WilO78
43 1958 [Wilde, Oscar]. Shao nai nai di shan zi. Wangerde zhuan. (Taibei : Taiwan qi ming, 1958). (Shi jie xi ju ming zhu). Übersetzung von Wilde, Oscar. Lady Windermere's fan. (London : Elkin Mathews and John Lane, 1893). (Kline/Roethke collection). [Erstaufführung 1892 St. James Theatre London].
少奶奶的扇子 		Publication / WilO80
44 1962 [Wilde, Oscar]. Wangerde tong hua quan ji. Wangerde zhuan ; Li Lifang bian yi. (Taibei : Da zhong, 1962). (Shao nian cong shu). [Übersetzun der Märchen von Wilde].
王爾德童話全集 		Publication / WilO90
45 1970 [Wilde, Oscar]. Kuai le wang zi ji. Wangerde zhuan, Bu Zhu yi. (Taizhong : Yi shan, 1970). (Wangerde ming zhu xuan). Übersetzung von Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
快樂王子集 		Publication / WilO35
46 1970 [Wilde, Oscar]. Xun mei. Wangerde zhuan ; Bu Zhu yi zhe. (Taizong : Yi shan, 1970). (Chuang yi wen ku ; 25).
殉美
[Enthält] :
Übersetzung von Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
Übersetzung von Wilde, Oscar. A house of pomegranates. (London : James R. Osgood, 1891).
Übersetzung von sechs Erzählungen von Oscar Wilde aus Fortnightly review (1894). 		Publication / WilO100
  • Cited by: Worldcat/OCLC (WC, Web)
  • Cited by: National Central Library, Taipei. (NCL, Organisation)
  • Person: Bu, Zhu
47 2012 [Wilde, Oscar]. Gelei de hua xiang. Wangerde zhuan ; Xu Jinfu yi. (Taibei : Chen zhong, 1972). (Xiang ri kui xin kan ; 22). Übersetzung von Wilde, Oscar. The picture of Dorian Gray. In : Lippincott's monthly magazine ; vol. 46, no 271 (1890). = (London : Ward, Lock, 1891).
格雷的畫像 		Publication / WilO27
48 1975 Ying wen duan pian jie zuo xuan. = Outstanding short stories. Wang'erde [deng] zhu ; Zhuang Hongrong yi. (Taibei : Zheng wen shu ju, 1975). (Ying Han dui zhao ming zhu ; 152).
英文短篇傑作選
[Enthält] :
Wells, H.G. The man who could work miracles.
Wilde, Oscar. The model millionaire.
Wodehouse, P.G. Lord Emsworth and the girl friend.
Mansfield, Katherine. The doll's house.
Poe, Edgar Allen. X-ing a paragraph.
Trollope, Anthony. The courtship of Susan Bell. 		Publication / Ying8
49 1976 [Wilde, Oscar]. Shalemei. Wangerde zhuan ; Guo Zhenchun yi. (Tainan : Feng sheng, 1976). Übersetzung von Wilde, Oscar. Salomé : drame en un acte. (Paris : Librairie de l'art indépendant, 1893). = Salome : a tragedy in one act. (London : E. Mathews & John Lane ; Boston : Copeland & Day, 1894). [Uraufführung Théâtre de l'oeuvre, Paris, 1896].
莎樂美 		Publication / WilO70
50 1977 [Wilde, Oscar]. Du Liankui. Wang'erde yuan zhu. Wang Dahong yi xie. (Taibei : Jiu ge chu ban she, 1977 / 1993). (Jiu ge wen ku ; 902. Shi jie wen xue jing dian ; 2). Adaptation und Übersetzung von Wilde, Oscar. The picture of Dorian Gray. In : Lippincott's monthly magazine ; vol. 46, no 271 (1890). = (London : Ward, Lock, 1891).
杜連魁 : 王爾德原著 		Publication / WilO74
51 1979 [Wilde, Oscar]. Kuai le wang zi ji. (Taibei : Jing heng chu ban she, 1979). (Min i you tong shu ji ; 12). Übersetzung von Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
快樂王子集 		Publication / WilO36
52 1979 [Wilde, Oscar]. Kuai le wang zi ji. (Gaoxiong : Da zhong shu ju, 1979). Übersetzung von Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
快樂王子集 		Publication / WilO37
53 1980 [Wilde, Oscar]. Zi si de ju ren. Wang'erde yuan zhu ; Luo Lan bian. (Macau : Xin qi ye tu shu chu ban she, um 1980). (Shi jie wen xue ming zhu xuan du). Übersetzung von Wilde, Oscar. The selfish giant. = Übersetzung von Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
自私的巨人 		Publication / WilO103
54 1980 [Wilde, Oscar]. Zi si de ju ren. Hao Mingyi yi zhu. (Taibei : Chang jiao chu ban she, 1980). (Shi jie wen xue ming zhu xuan du ; B3). Übersetzung von Wilde, Oscar. The selfish giant. = Übersetzung von Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
自私的巨人 		Publication / WilO104
55 1981 [Wilde, Oscar]. Wangerde tong hua ji. Michael West gai xie ; Zhu Weifang, Qian Chaoyang yi. (Beijing : Wai yu jiao xue yu yan jiu chu ban she, 1981). (Zhong xue sheng qian yi Ying Han dui zhao du wu ; 12). Übersetzung von Wilde, Oscar. The young king. (Boston : J. Knight, 1895) [and other stories].
王尔德童话集 		Publication / WilO91
56 1982 [Wilde, Oscar]. Kuai le wang zi. Wang'erde yuan zhu ; Jin Jingwei bian xie ; Liu Zhaoyuan cha tu. (Hong Kong : Xin ya wen hua gong si, 1982). (Shi jie tong hua ka tong hua ce ; 6). Übersetzung von Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
快樂王子 		Publication / WilO39
57 1982 [Wilde, Oscar]. Wang'erde tong hua. Ba Jin yi. (Xianggang : San bian she, 1982). [Übersetzung der Märchen von Wilde].
王爾德童話 		Publication / WilO89
58 1983 [Wilde, Oscar]. Bu ke er xi. Wang'erde zhu ; Yu Guangzhong yi. (Taibei : Da di chu ban she fa xing, 1983). (Wan juan wen ku ; 127). Übersetzung von Wilde, Oscar. The importance of being earnest : a trivial comedy for serious people. (London : S. French, 1893). [Uraufführung 14. Febr. 1895 St. James's Theatre, London].
不可兒戯 : 三幕喜劇 		Publication / WilO12
59 1983 [Wilde, Oscar]. Kuai le wang zi. Cheng Shurong bian yi. (Jiulong : Ya yuan chu ban she, 1983). (Shi jie ming zhu fan yi). Übersetzung von Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
快樂王子 		Publication / WilO40
60 1986 [Wilde, Oscar]. Kuai le wang zi. Wangerde yuan zhu. (Xinjiapo : Liang banb chu ban she, 1986). (Shao nian wen xue cong shu). Übersetzung von Wilde, Oscar. The happy prince. In : Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
快樂王子 		Publication / WilO41
61 1987 [Wilde, Oscar]. Gelei de hua xiang. Aosika Wangerde zhu ; Liu Pinhua yi. (Taibei : Xi dai shu ban, 1987). (Xi dai shu xi ; 16. Shi jie wen xue gui bao ; 2). Übersetzung von Wilde, Oscar. The picture of Dorian Gray. In : Lippincott's monthly magazine ; vol. 46, no 271 (1890). = (London : Ward, Lock, 1891).
格雷的畫像 		Publication / WilOP28
62 1988 [Wilde, Oscar]. Kuai le wang zi. Zheng Meixiu bian yi. (Tainan : Wen guo shu ju, 1988). (Xue sheng Ying yu jie ti cong shu). Übersetzung von Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888). [Text in Englisch und Chinesisch].
快樂王子集 		Publication / WilO38
63 1988 [Wilde, Oscar]. Ling hun de hui mie. Aosika Wangerde zhu ; Jiang Yunlin yi. (Hamibin : Heilongjiang chu ban she, 1988). Übersetzung von Wilde, Oscar. The picture of Dorian Gray. In : Lippincott's monthly magazine ; vol. 46, no 271 (1890). = (London : Ward, Lock, 1891).
灵魂的毀灭 		Publication / WilO59
64 1988 [Wilde, Oscar]. Zi si de ju ren. Aosika Wangerde yuan zhu ; Gu Ying gai bian ; Zheng xiaojuan hui hua. (Changsha : Hunan shao nian er tong chu ban she, 1988). (Shi jie zhu ming tong hua he gu shi lian huan hua cong shu). Übersetzung von Wilde, Oscar. The selfish giant. = Übersetzung von Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
自私的巨人
[Enthält] :
[Andersen, Hans Christian]. Da huo xia. Antusheng yuan zhu ; Xiao Wei gai bian ; He Datian hui hua. Übersetzung von Andersen, Hans Christian. Fyrtojet.
[Andersen, Hans Christian]. Ye ying. Antusheng yuan zhu ; Xiao Wei gai bian ; He Datian hui hua. Übersetzung von Andersen, Hans Christian. Nattergalen.
[Andersen, Hans Christian]. Ye tian e. Antusheng yuan zhu ; Xiao Wei gai bian ; Huang Jiancheng hui hua. Übersetzung von Andersen, Hans Christian. Vilde svaner. 		Publication / WilO108
65 1989 [Wilde, Oscar]. Shi jie tong hua gu shi jing xuan. Aosika Wangerde deng zhu ; Niu Jinglai, Xia Chunli yi. Beijing : Zhongguo guo ji guang bo chu ban she, 1989). (Shao nian er tong zhi li kai fa cong shu). [Übersetzung der Märchen von Wilde].
世界童话故事精选 		Publication / WilO82
66 1989 [Wilde, Oscar]. Zi si de ju ren. Wang'erde yun zhu ; Fang Suzhen gai xie ; Lin Huanzhang jian xiu. (Taibei : Guang fus hu ju fu fen you xian gong si, 1989). (21 shi ji shi jie tong hua jing xuan ; 1). Übersetzung von Wilde, Oscar. The selfish giant. In : Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
自私的巨人 		Publication / WilO105
67 1990 [Wilde, Oscar]. Tong hua gu shi da wang. Wangerde ; Li Dongping, Qian Yunling yi. (Jinan : Ming tian chu ban she, 1990). (Shao nan shao nü cong shu). [Übersetzung der Märchen und Volkserzählungen von Wilde].
童话故事大王 		Publication / WilO83
68 1990 [Wilde, Oscar]. Tong hua yu san wen shi. Wangerde zhu ; Ba Jin yi zhe. (Xianggang : San lian shu dian you xian gong si, 1990). (Ba Jin yi wen xuan ji). [Übersetzung der gesamten Märchen von Wilde].
童話與散文詩 		Publication / WilO84
69 1990 [Wilde, Oscar]. Wang'erde xi ju xuan. Aosiqia Wang'erde zhu ; Zhang Nanfeng yi. (Fuzhou : Hai xia wen yi chu ban she, 1990). [Übersetzung der Theaterstücke von Wilde].
王爾德喜劇選 		Publication / WilO96
70 1991 [Wilde, Oscar]. Wangerde tong hua. Wangerde ; Zhou Weilin yi. (Changsha : Hunan shao nian er tong chu ban she, 1991). [Übersetzung der Märchen von Wilde].
王尔德童话 		Publication / WilO92
71 1991 [Wilde, Oscar]. Zi si de ju ren. Lisbeth Zwerger tu ; Wu Chanxia yi. (Taibei : Lian Jing, 1991). ). Übersetzung von Wilde, Oscar. The selfish giant. In : Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
自私的巨人 		Publication / WilO106
72 1992 [Wilde, Oscar]. Kuai le wang zi. Wangerde yuan zhu ; Luo Wanci yi zhu. (Tainan : Da xia chu ban she, 1992). (Ta-shia English-Chinese library ; 31). Übersetzung von Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888). [Text in Englisch und Chinesisch].
快樂王子 		Publication / WilO42
73 1992 [Wilde, Oscar]. Wang'erde gu shi ji. Zhong Ming yi zhu. (Tainan : Da xia, 1992). (Ta-shia English-Chinese library ; 53). (Ta-shia English Chinese library ; 53). Übersetzung von Wilde, Oscar. The fisherman and his soul ; The young king. In : Wilde, Oscar. A house of pomegranates. (London : James R. Osgood, 1891). [Text in English und Chinesisch].
王爾德故事集 		Publication / WilO86
74 1992 [Wilde, Oscar]. Wen fu ren de shan zi. Wangerde zhu ; Yu Guangzhong yi. (Taibei : Da di chu ban she, 1992). (Wan juan wen ku ; 206). Übersetzung von Wilde, Oscar. Lady Windermere's fan. (London : Elkin Mathews and John Lane, 1893). (Kline/Roethke collection). [Erstaufführung 1892 St. James Theatre London].
温夫人的扇子 		Publication / WilO98
75 1994 [Wilde, Oscar]. Ju ren he chun tian. Retold by Kuang-ts'ai Hao [Hao Guangcai] ; illustrated by Eva Wang ; English translation by Susan Hou. (Union City, Calif. : Pan Asian Publications, 1994). Übersetzung von Wilde, Oscar. The selfish giant. In : Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888). [Text in Englisch und Chinesisch].
巨人和春天 		Publication / WilO31
76 1994 [Wilde, Oscar], Kuai le wang zi. Yuan Decheng yi. (Chengdu : Sichuan ren min chu ban she, 1994). (Ying han dui zhao shi jie ming zhu jing xuan). Übersetzung von Wilde, Oscar. The happy prince. In : Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888). [Text in Englisch und Chinesisch].
快樂王子 		Publication / WilO43
77 1995 [Wilde, Oscar]. Hua zhong ren. Wang'erde ; Aigenisi [Agnes Indre] hui tu ; Hu Fangfang yi xie. (Taibei : Taiwan mai ke gu fen you xian gong si, 1995). Übersetzung von Wilde, Oscar. The picture of Dorian Gray. In : Lippincott's monthly magazine ; vol. 46, no 271 (1890). = (London : Ward, Lock, 1891).
畫中人 		Publication / WilO30
  • Cited by: Internet (Wichtige Adressen werden separat aufgeführt) (Int, Web)
  • Cited by: Worldcat/OCLC (WC, Web)
  • Person: Hu, Fangfang
  • Person: Indre, Agnes
78 1995 [Wilde, Oscar]. Li xiang zhang fu. Wang'erde zhu ; Yu Guangzhong yi. (Taibei : Da di chu ban she, 1995). (Wan juan wen ku ; 217). Übersetzung von Wilde, Oscar. An ideal husband. In : Wilde, Oscar. Salomé and other plays. (Harmondsworth : Penguin Books, 1894). [Uraufführung 3. Jan. 1895, Theatre Royal, London].
理想丈夫 		Publication / WilO57
79 1995 [Wilde, Oscar]. Wang'erde gu shi ji. Wang'erde zhu ; Cheng Qi yi. (Taizhong : San jiu chu ban she, 1995). (Shi jie wen xue jing dian ku ; 6). Übersetzung von Wilde, Oscar. The fisherman and his soul ; The young king. In : Wilde, Oscar. A house of pomegranates. (London : James R. Osgood, 1891).
王爾德故事集 		Publication / WilO87
80 1996 [Swift, Jonathan ; Wilde, Oscar]. Da ren guo he xiao ren guo. Kuai le wang zi. Chen Bochui zhu bian. (Shanghai : Shanghai ke ji jiao yu chu ban she, 1996). (Shi jie tong hua jing xuan). Übersetzung von Swift, Jonathan. Travels into several remote nations of the world. By Lemuel Gulliver, first a surgeon, and then a captain of several ships. Pt. 1-4. (London : Printed for Benj. Motte, 1726). [Gulliver's travels]. Übersetzung von Wilde, Oscar. The happy prince. In : Wilde, Oscar. The happy prince, and other tales. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888). [Enthält] : The happy prince ; The nightingale and the rose ; The selfish giant ; The devoted friend ; The remarkable rocket.
大人國和小人國 / 快乐王子 		Publication / SwiJ7
81 1996 [Wilde, Oscar]. Kuai le wang zi. Wangerde zhu ; He Jia yi. (Beijing : Zhongguo fu nu chu ban she, 1996). (Shi jie wen xue ming zhu bai bu). Übersetzung von Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888). [Text in Englisch und Chinesisch].
快樂王子 		Publication / WilO44
82 1996 [Wilde, Oscar]. Shalemei. Wangerde yuan zuo ; Chen Shuyang yi. (Nanning : Jie li chu ban she, 1996). (Man hua shi jie wen xue ming zhu ; 8). Übersetzung von Wilde, Oscar. Salomé : drame en un acte. (Paris : Librairie de l'art indépendant, 1893). = Salome : a tragedy in one act. (London : E. Mathews & John Lane ; Boston : Copeland & Day, 1894). [Uraufführung Théâtre de l'oeuvre, Paris, 1896].
莎樂美 		Publication / WilO71
83 1996 [Wilde, Oscar]. Wangerde tong hua. Wangerde ; Zhou Weilin yi. (Changsha : Hunan shao nian er tong chu ban she, 1991). [Übersetzung der Märchen von Wilde].
王尔德童话 		Publication / WilO93
84 1996 [Wilde, Oscar]. Wangerde tong hua. Wangerde ; Zhou Weilin yi. (Changsha : Hunan shao nian er tong chu ban she, 1991). [Übersetzung der Märchen von Wilde].
王尔德童话 		Publication / WilO94
85 1996 [Wilde, Oscar]. Wang'erde xi ju xuan. Qian Zhide yi. (Guangzhou : Hua cheng chu ban she, 1983). [Übersetzung der Theaterstücke von Wilde].
王尔德戏剧选 		Publication / WilO95
86 1997 [Perrault, Charles ; Wilde, Oscar]. Beiluo, Wangerde tong hua. Peiluo ; Wangerde ; Dai Wangshu, Ba Jin yi. (Shanghai : Shao nian er tong chu ban she, 1997). (Shi jie ming zhu jin ku. Jing dian tong hua juan. [Übersetzung von Märchen von Perrault und Wilde].
贝洛王尔德童话 		Publication / WilO11
87 1997 [Wilde, Oscar]. Kantewei'er de gui. Wangerde. (Beijing : Zhongguo dui wai fan yi chu ban gong si, 1997). (Ying mei wen xue jing pin xiang zhui cong shu ; 4). Übersetzung von Wilde, Oscar. The Canterwille ghost. In : The court and society review ; Febr. (1887).
坎特维尔的鬼 		Publication / WilO32
88 1997 [Wilde, Oscar]. Kuai le wang zi. Wangerde zhu ; Zhao Wenxue, Bai Li dao du. (Changchun : Jil in ke xue ji shu chu ban she, 1997). (AAAjing shi ying yu yue du xi lie ; 4). Übersetzung von Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888). [Text in Englisch und Chinesisch].
快樂王子 		Publication / WilO45
89 1997 [Wilde, Oscar]. Shalemei. Wangerde. (Beijing : Zhongguo dui wai fan yi chu ban gong si, 1997). (Ying mei wen xue jing pin xiang zhu cong shu ; 1,5). Übersetzung von Wilde, Oscar. Salomé : drame en un acte. (Paris : Librairie de l'art indépendant, 1893). = Salome : a tragedy in one act. (London : E. Mathews & John Lane ; Boston : Copeland & Day, 1894). [Uraufführung Théâtre de l'oeuvre, Paris, 1896].
莎樂美 		Publication / WilO72
90 1998 [Wilde, Oscar]. Deruian Gelei de hua xing. Wang'erde zhu ; Cai Qunya yi. Vol. 1-2. (Taibei : Wan xiang tu shu gu fen you xian gong si, 1998). Gu ai wu lie zhuan ; 8). Übersetzung von Wilde, Oscar. The picture of Dorian Gray. In : Lippincott's monthly magazine ; vol. 46, no 271 (1890). = (London : Ward, Lock, 1891).
德瑞安葛雷的畫像 		Publication / WilO16
91 1998 [Wilde, Oscar]. Duoli'an Gelei de hua xiang. Jill Nevile gai xie ; Wang Ling yi. (Beijing : Wai yu jiao xue yu yan jiu chu, 1998). (Shu chong, Niujin Ying Han dui zhao du wu). Übersetzung von Wilde, Oscar. The picture of Dorian Gray. Retold by Jill Nevile. (Oxford : Oxfor University Press, 1987). = Übersetzung von Wilde, Oscar. The picture of Dorian Gray. In : Lippincott's monthly magazine ; vol. 46, no 271 (1890). = (London : Ward, Lock, 1891). [Text in Englisch und Chinesisch].
多里安格雷的画像 		Publication / WilO25
92 1998 [Hauff, Wilhelm ; Wilde, Oscar ; Perrault, Charles]. Haofu, Wangerde, Beiluo tong hua. Haofu ; Wangerde ; Peilu ; Gao Wei deng bian yi. (Beijing : Da zhong wen yi chu ban she, 1998). (Shi jie zhu ming tong hua zuo pin ji). [Übersetzung der Märchen von Hauff, Wilde, Perrault].
豪夫王尔德贝洛童话 		Publication / WilO29
93 1998 [Wilde, Oscar]. Kuai le wang zi. Wangerde ; Aigenisi [Agnes Indre] tu ; Guo Enhui yi. (Taibei : Taiwan mai ke gu fen you xian gong si fa xing, 1998). (Hui ben shi jie shi da tong hua ; 13). Übersetzung von Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888). [Text in Englisch und Chinesisch].
快樂王子 		Publication / WilO46
94 1998 [Wilde, Oscar]. Li xiang zhang fu yu Bu ke er xi : Wangerde de liang chu xi ju. Wangerde zhu ; Yu Guangzhong yi. (Shenyang : Liaoning jiao yu chu ban she, 1998. (Xin shi ji wan you wen ku. Wai guo wen hua shu xi). Übersetzung von Wilde, Oscar. An ideal husband. In : Wilde, Oscar. Salomé and other plays. (Harmondsworth : Penguin Books, 1894). [Uraufführung 3. Jan. 1895, Theatre Royal, London]. Übersetzung von Wilde, Oscar. The importance of being earnest : a trivial comedy for serious people. (London : S. French, 1893). [Uraufführung 14. Febr. 1895 St. James's Theatre, London].
理想丈夫与不可儿戏 : 王尓德的两出喜剧 		Publication / WilO58
95 1998 [Wilde, Oscar]. Shalemei ; Daolin Gelei de hua xiang. Wang'erde zhu ; Sun Fali yi. (Nanjing : Yilin chu ban she, 1998). (Yilin shi jie wen xue ming zhu). Übersetzung von Wilde, Oscar. Salomé : drame en un acte. (Paris : Librairie de l'art indépendant, 1893). = Salome : a tragedy in one act. (London : E. Mathews & John Lane ; Boston : Copeland & Day, 1894). [Uraufführung Théâtre de l'oeuvre, Paris, 1896]. Übersetzung von Wilde, Oscar. The picture of Dorian Gray. In : Lippincott's monthly magazine ; vol. 46, no 271 (1890). = (London : Ward, Lock, 1891).
莎乐美道林 ; 格雷的画像 		Publication / WilO75
96 1998 [Wilde, Oscar]. Yu zhong ji. Wangerde zhu ; Sun Yixue yi. (Taibei : Ye qiang chu ban she, 1998). (Shi jie wen xue ming zhu jing hua ben ; 32). Übersetzung von Wilde, Oscar. De profundis. (London : Methuen, 1905).
獄中記 		Publication / WilO101
97 1999 [Wilde, Oscar]. Daolian Gelei de hua xiang. Wang'erde zhu ; Rong Rude yi. (Jinan : Shandong wen yi chu ban she, 1999). (Chang jing lu cong shu. Wai guo you xiu xiao shuo xuan cui). Übersetzung von Wilde, Oscar. The picture of Dorian Gray. In : Lippincott's monthly magazine ; vol. 46, no 271 (1890). = (London : Ward, Lock, 1891).
道连葛雷的画像 		Publication / WilO15
98 1999 [Wilde, Oscar ; France, Anatole]. Kuai le wang zi. Wangerde zhu ; He Jia yi. Mi feng gong zhu. Falangshi zhu ; Yi Bing yi. (Beijing : Da zhong wen yi chu ban she, 1999). (Shi jie wen xue ming zhu bai bu). Übersetzung von Wilde, Oscar. The happy prince. In : Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888). Übersetzung von France, Anatole. L'abeille : conte. In : Revue politique et littéraire, 8 juillet-29 juillet 1882.
快樂王子 / 蜜蜂公主 		Publication / WilO47
99 1999 [Wilde, Oscar]. Nian qing de guo wang : Wang mi de gu shi ji : jian xie ben. Wangerde yuan zhu ; D.K. Siwang [D.K. Swan], Maikemi Weisite [Michael West] gai xie ; Wang Minhua yi. (Shanghai : Shanghai yi wen chu ban she, 1999). (Lang wen ying han dui zhao jie ti yue du cong shu ; 3). Übersetzung von Wilde, Oscar. The young king and other stories. Ill. By Georg Ehrlich. (London : A. Wingate, 1946). [Enthält] : The young king, The star child, The happy prince].
年轻的国王 : 王尔德故事集 : 简写本 		Publication / WilO61
100 1999 [Wilde, Oscar]. Wang'erde du shu sui bi. Wangerde zhu ; Zhang Jieming yi. (Shanghai : Shanghai san lian shu dien, 1999). (Shi jie ming ren shu hua xi lie). [Übersetzung der Essays von Wilde].
王尔德读书随笔 		Publication / WilO85
101 2000 [Wilde, Oscar]. Wang'erde quan ji. Vol. 1-6. (Beijing : Zhongguo wen xue chu ban she, 2000).
王尔德全集
[Enthält] :
Vol. 1 : Xiao shuo tong hua juan. Rong Rude, Ba Jin deng yi. [Übersetzung der Märchen von Wilde]. 小说童话卷
Vol. 2 : Xi ju juan. Yang Lie, Huang Gao deng yi. [Übersetzung der Theaterstücke von Wilde]. 戏剧卷
Vol. 3 : Shi ge juan. Yang Lie, Huang Gao deng yi. [Übersetzung der Gedichte von Wilde]. 诗歌卷
Vol. 4 : Ping lun sui bi juan. Yang Dongxia, Yang Lie deng yi. [Übersetzung der Essays von Wilde]. 书信卷
Vol. 5 : Shu xin juan. Su Fuzhong, Gao Xing deng yi. [Übersetzung der Briefe von Wilde]. 书信卷
Vol. 6 : Xhu xin juan. Chang Shaomin, Shen Hong deng yi. [Übersetzung der Briefe von Wilde]. 书信卷 		Publication / WilO17
102 2000 [Wilde, Oscar]. Kantewei'er you ling gu shi xuan. Aosika Wangerde yuan zhu ; D.K. Siwang [D.K. Swan] gai xie ; Zhu Yan, Zhang Yongjun yi. (Shanghai : Shanghai yi wen chu ban she, 2000). (Lang wen ying han dui zhao jie ti yue du cong shu). Übersetzung von Wilde, Oscar. The Canterwille ghost (In : The court and society review ; Febr. 1887) and other stories.
坎特维尔幽灵故事选 		Publication / WilO33
103 2000 [Wilde, Oscar]. Kuai le wang zi. Aosika Wang'erde zuo zhe ; Li Huang, Liu Yuhong, Tang Huang yi zhe. (Xi'an : Shanxi lü you chu ban she, 2000). (Yingguo tong hua; B juan. Tang ke wen cong). Übersetzung von Wilde, Oscar. The happy prince. In : Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
快樂王子 		Publication / WilO53
104 2000 [Wilde, Oscar]. Mei shao nian Gelei de hu xiang. Wangerde zhu ; Guo Enhui yi. (Taibei : You mu zu wen hua chu ban, 2000). Übersetzung von Wilde, Oscar. The picture of Dorian Gray. In : Lippincott's monthly magazine ; vol. 46, no 271 (1890). = (London : Ward, Lock, 1891).
美少年格雷的畫像 		Publication / WilO60
105 2000 [Wilde, Oscar]. Ru guo ni ai wo bi jiao shen. Wang'erde wen ; Li Huina yi. (Taibei : Gelin wen hua shi ye gu fen you xian gong si, 2000). (Sui shen y ice). [Übersetzung der Gedichte von Wilde]. [Text in Englisch und Chinesisch].
如果你愛我比較深 : 王爾德詩選 		Publication / WilO62
106 2000 [Wilde, Oscar]. Wang'erde gu shi ji. Wangerde zhu ; Wan Falong bian yi. (Taibei : Da bu wen hua chu ban, 2000). [Übersetzung der Märchen von Wilde].
王爾德的故事集 		Publication / WilO88
107 2000 [Wilde, Oscar]. Wang'erde zuo pin ji. Wangerde ; Huang Yuanshen yi. (Beijing : Ren min wen xue chu ban she, 2000). [Übersetzung der Werke von Wilde].
王尔德作品集 		Publication / WilO97
108 2000 [Wilde, Oscar]. Xing fu wang zi. Aosika Wangerde zhu ; Su Fuzong, Zhang Min yi. (Beijing : Zhongguo dui wai fan yi chu ban gong si, 2000). (Wen xin xi lie ying han dui zhao du wu). Übersetzung von Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
幸福王子 		Publication / WilO99

Secondary Literature (26)

# Year Bibliographical Data Type / Abbreviation Linked Data
1 1920 [Matthews, Brandon]. Wen xue yu xi ju. Zhang Yugui yi. In : Dong fang za zhi ; vol. 17 (Sept. 1920). [Literature and drama ; Enthält einen Eintrag über Oscar Wilde]. Publication / WilO21
2 1921 [Henderson, Archibald]. Wangerde ping zhuan. Shen Zemin yi. In : Xiao shuo yue bao ; vol. 12, no 5 (May 1921). [A critical introduction to Oscar Wilde].
王爾德評傳 		Publication / WilO22
  • Cited by: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Published)
  • Person: Henderson, Archibald
  • Person: Shen, Zemin
3 1921 Mao, Dun. Xin wen xue yan jiu zhe de ze ren ji nu li. In : Xiao shuo yue bao ; vol. 12, no 2 (1921). [Betr. u.a. Oscar Wilde]. Publication / WilO23
  • Cited by: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Published)
  • Cited by: Guo, Ting. Translating a foreign writer : a case study of Byron in China. In : Literature compass ; vol. 7, no 9 (2010).
    http://onlinelibrary.wiley.com/doi/10.1111/j.1741-4113.2010.00727.x/full. (Byr3, Published)
  • Person: Mao, Dun
4 1922 Zhang, Wentian ; Wang, Fuquan. Wangerde jie shao. In Jue wu ; 3-18 April ( (1922). [Introducing Wilde]. Publication / ZhaWe8
5 1922 Zhou, Zuoren. Zi ji de yuan di. In : Chen bao fu kan ; Jan.-Oct. (1922). = (Beijing : Chen bao she chu ban bu, 1923). (Chen bao she cong shu ; 11). [One's own garden]. [Enthält Eintragungen über Oscar Wilde].
自己的園地 		Publication / ZhouZ10
  • Cited by: Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). (WilO7, Published)
  • Person: Zhou, Zuoren
6 1922 Zhao, Jingshen. Tong hua de tao lun. In : Chen bao fu kan ; 9th April (1922). [Discussion on fairy tales]. [Betr. u.a. Hans Christian Andersen und Oscar Wilde]. Publication / WilO50
7 1922 Lu, Xun. Lu zhou. In : Chen bao fu kan ; 31th April (1922). [The oasis]. [Betr. Hans Christian Andersen und Oscar Wilde]. Publication / WilO52
8 1923 Yu, Dafu. Ji zhong yu 'Huang mian zhi' de ren wu. In : Chuang zao zhou bao ; no 20-21 (1923). The yellow book. (London : E. Mathews & J. Lane, 1894-1897). [Abhandlung über englische Autoren des The yellow book]. Publication / WilO51
9 1928 Liang, Shiqiu. Wang'erde de wei mei zhu yi. (1928). In : Zhongguo xian dai wen lun xuan. Wang Yongsheng bian xuan zhe. (Guizhou : Guizhou ren min chu ban she, 1984). [Oscar Wilde's aestheticism]. Publication / WilO111
  • Cited by: Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). (WilO4, Published)
  • Person: Liang, Shiqiu
10 1929 Wang, Gulu. Wang'erde sheng huo. (Shanghai : Shi jie shu ju, 1929). (Sheng huo cong shu). [Abhandlung über Oscar Wilde].
王爾德生活 		Publication / WilO114
11 1946 Ye, Lingfeng. Du shu sui bi. (Shanghai : Shanghai za zhi gong si, 1946). [Abhandlung über Marcel Proust, André Gide, James Joyce, John Dos Passos, Aubrey Beardsley, Oscar Wilde].
讀書嫈筆 		Publication / Prou40
  • Cited by: Zhang, Yinde. Eléments nouveaux de la réception de Proust en Chine. In : Bulletin Marcel-Proust ; no 54 (2004). (Prou1, Published)
  • Person: Beardsley, Aubrey
  • Person: Dos Passos, John
  • Person: Gide, André
  • Person: Joyce, James
  • Person: Proust, Marcel
  • Person: Ye, Lingfeng
12 1970 Ou mei zuo jia lun. Jide deng zhu [et al.] ; Bai Sha bian zhu. (Taibei : Ju ren chu ban she, 1970). (Ju ren cong kan ; 10). [Enthält 8 Essays von westlichen und taiwanesischen Autoren oder Übersetzern].
[Enthält] :
[Gide, André]. Wei mei de wang er de. Übersetzung von Gide, André. Oscar Wilde : "in memoriam" (souvenirs), le "De profundis". (Paris : Mercure de France, 1910). 唯美的王爾德
[Gide, André]. Gede lun. Übersetzung von Gide, André. Goethe. (Paris : Nouvelle revue française, 1932). 哥德論
歐美作家論 		Publication / Gide18
13 1972-1973 Dougall, Bonny S. Fictional authors, imagery audiences : "The importance of being earnest" in China. = McDougall, Bonnie S. The importance of being earnest in China : early Chinese attitudes towards Oscar Wilde. In : Journal of the Oriental Society of Australia, vol. 9 (1972/73). Publication / WilO7
  • Source: [Wilde, Oscar]. Shao nai nai di shan zi. In : Xin qing nian (1918). Übersetzung von Wilde, Oscar. Lady Windermere's fan. (London : Elkin Mathews and John Lane, 1893). (Kline/Roethke collection). [Erstaufführung 1892 St. James Theatre London].
    少奶奶的扇子 (WilO76, Publication)
  • Source: [Wilde, Oscar]. Shao nai nai di shan zi. In : Xin chao ; March (1919). Übersetzung von Wilde, Oscar. Lady Windermere's fan. (London : Elkin Mathews and John Lane, 1893). (Kline/Roethke collection). [Erstaufführung 1892 St. James Theatre London].
    少奶奶的扇子 (WilO77, Publication)
  • Source: [Wilde, Oscar]. [Bu yao jin de nü ren]. Geng Shizhi yi. In : Xiao shuo yue bao (1921). Übersetzung von Wilde, Oscar. A woman of no importance. (London : J. Lane, 1894). [Uraufführung Haymarket Theatre, London 1893].
    不要緊的女人 (WilO13, Publication)
  • Source: [Wilde, Oscar]. [Zi si de ju ren]. Zhou Zuoren yi. In : Xin chao ; Sept. (1921). Übersetzung von Wilde, Oscar. The selfish giant. In : Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888).
    自私的巨人 (WilO102, Publication)
  • Source: [Wilde, Oscar]. [Five prose poems]. Liu Fu yi. In : Xiao shuo yue bao (1922). (WilO14, Publication)
  • Source: Zhou, Zuoren. Zi ji de yuan di. In : Chen bao fu kan ; Jan.-Oct. (1922). = (Beijing : Chen bao she chu ban bu, 1923). (Chen bao she cong shu ; 11). [One's own garden]. [Enthält Eintragungen über Oscar Wilde].
    自己的園地 (ZhouZ10, Publication)
  • Source: [Wilde, Oscar]. [Daolian Gelei de hua yiang : Preface]. Yu Dafu yi. In : Chuang zao ji kan ; no 1 (1922).
    道连葛雷的画 (WilO48, Publication)
  • Cited by: Asien-Orient-Institut Universität Zürich (AOI, Organisation)
14 1982 [Morley, Sheridan]. Wang'erde. Liang Shiqiu zhu bian ; Xuelüdeng Moli zuo zhe ; Lan Fangkai yi zhe. (Taibei : Ming ren chu ban shi ye gu fen you xian gong si, 1982). (Ming ren wei ren zhuan ji quan ji ; 66). Übersetzung von Morley, Sheridan. Oscar Wilde. (New York, N.Y. : Holt, Rinehart and Winston, 1976).
王爾德 		Publication / LiaS10
15 1983 Debon, Günther. Oscar Wilde und der Taoismus = Oscar Wilde and taoism. (Bern : Lang, 1986). (Euro-sinica ; Bd. 2). Publication / DG14
16 1983 [Montgomery Hyde, Harford]. Wang'erde di huang jin shi dai. Haide zhu ; Zhang Shiyin yi. (Taibei : Jiu ge chu ban she, 1983). (Jiu ge wen ku ; 128). Übersetzung von Montgomery Hyde, H[arford]. Oscar Wilde. (Harmondsworth : Penguin Books, 1962).
王爾德的黃金時代 		Publication / WilO113
17 1987 Chang, Nam-fung. A critical study of the Chinese translations of Oscar Wilde's comedies with special reference to Lady Windermere's fan and The importance of being earnest. = Wangerde xi ju han yi yan jie : "Wendemei fur en de shan zi" ji “Ren zhen wei shang” yi li zi xi. (Hong Kong : Hong Kong University, 1987). Diss. Hong Kong Univ., 1987).
王爾德喜劇漢譯硏究 		Publication / WilO109
18 1996 [Harris, Frank]. Aosika Wangerde zhuan. Halisi zhu ; Cai Xinle, Zhang Ning yi. (Zhengzhou : Henan ren min chu ban she, 1996). Übersetzung von Harris, Frank. Oscar Wilde : his life and confessions. (New York, N.Y. : Printed and publ. by the author, 1916).
奥斯卡王尔德传 		Publication / WilO110
19 1996 Zhou, Xiaoyi. Chao yue wie mei zhu yi. (Beijing : Beijing da xue chu ban she, 1996). [Beyond aestheticism : Oscar Wilde and consumer society].
超越唯美主义 		Publication / WilO115
20 1997 Zhou, Xiaoyi. Oscar Wilde : an image of artistic self-fashioning in modern China, 1909-1949. In : Images of Westerners in Chinese and Japanese literature : proceedings of the XVth Congress of the International Comparative Literature Association‚ Literature as cultural memory, Leiden 1997. Ed. by Hua Meng, Sukehiro Hirakawa. (Amsterdam : Rodopi, 2000). Publication / WilO4
  • Source: Chen, Duxiu. Xian dai ou zhou wen yi shi tan. In : Qing nian za zhi ; vol. 1, no 3 (Nov. 1915). [A brief history of modern European literature and art]. (WilO18, Publication)
  • Source: [Wilde, Oscar]. Li xiang zhang fu. Qing nian za zhi (1915). [Serie]. Übersetzung von Wilde, Oscar. An ideal husband. In : Wilde, Oscar. Salomé and other plays. (Harmondsworth : Penguin Books, 1894). [Uraufführung 3. Jan. 1895, Theatre Royal, London]. [Wilde's Porträt erscheint auf dem Einband von no 3 (1915)].
    理想丈夫 (WilO19, Publication)
  • Source: [Wilde, Oscar]. [A Florentine tragedy : a play in one act]. Chen Xia yi. In : Qing nian za zhi (1916). [Unvollendetes Manuskript 1893]. (WilO26, Publication)
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21 1998 Wong, Linda Pui-ling. The initial reception of Oscar Wilde in modern China ; with special reference to Salome. In : Comparative literature & culture (Hong Kong), no 3 (1998). = The Oscholars Library : http://www.oscholars.com/TO/Appendix/Library/WONG.htm. (2012). Publication / WilO5
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22 1999 [Holland, Vyvyan Beresford]. Wang'erde. Weiwei'an Helan zhu ; Li Fenfang yi. (Taibei : Cheng bang wen hua shi ye gu fen you xian gong si, 1999). Übersetzung von Holland, Vyvyan. Oscar Wilde : a pictorial biography. (London : Thames and Hudson, 1960).
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23 2004 Chan, Leo Tak-hung. The poetics of recontextualization : intertextuality in a Chinese adaptive translation of The picture of Dorian Gray. In : Comparative literature studies ; vol. 41, no 4 (2004).
http://muse.jhu.edu/journals/comparative_literature_studies/v041/41.4chan.html. 		Publication / WilO3
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  • Cited by: Asien-Orient-Institut Universität Zürich (AOI, Organisation)
24 2009 Chen, Qi. Aristocracy for the common people : Chinese commodities in Oscar Wilde's aestheticism. In : Victorian network ; vol. 1, no 1 (2009).
http://www.victoriannetwork.org/index.php/vn/article/view/6/6. 		Publication / WilO8
  • Cited by: Asien-Orient-Institut Universität Zürich (AOI, Organisation)
25 2010 Herd, R.A. ; Zhang, Jian. Wildean echoes in the plays of Ding Xilin. In : Modern Chinese literature and culture ; vol. 22, no 1 (2010). Publication / WilO9
  • Cited by: Asien-Orient-Institut Universität Zürich (AOI, Organisation)
  • Person: Ding, Xilin
26 2011 Chen, Qi. Mirror of self-consciousness : the 'Chinaman' in Oscar Wilde's identity politics. In : Irish studies review ; vol. 19, no 2 (2011).
http://www.ingentaconnect.com/content/routledg/cisr/2011/00000019/00000002/art00003. 		Publication / WilO6