Tame Passions of Wilde: The styles of manageable desire

Tame Passions of Wilde: The Styles of Manageable Desire

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  Nunokawa, Jeff ^a  

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References (143)

1. "Out of the unreal shadows of the night comes back the real life that we had known. We have to resume it where we left off, and there steals over us a terrible sense of the necessity for the continuance of energy in the same wearisome round of stereotyped habits, or a wild longing, it may be, that our eyelids might open some morning upon a world that had been refashioned anew in the darkness for our pleasure": Oscar Wilde, The Picture of Dorian Gray (1891), edited by Donald Lawler (New York: Norton, 1988) p. 102. All subsequent citations of this text refer to this edition. On Wilde's proclivity for writing his name in his work.
2. Karl Beckson, "The Autobiographical Signature in The Picture of Dorian Gray," Victorian Newsletter 69 (Spring 1986): 30-32.
3. William A. Cohen, "IndeterminateWilde," in Sex Scandal: The Private Parts of Victorian Fiction, p. 208.
4. "People thought it dreadful of me to have entertained at dinner the evil things of life, and to have found pleasure in their company. But they... were delightful and stimulating. It was like feasting with panthers. The danger was half the excitement".
5. Oscar Wilde, "De Profundis" (1897), in his Soul of Man and Prison Writings, edited with an Introduction and Notes by Isobel Murray (New York: Oxford University Press, 1999), p. 132.
6. All subsequent citations of this text refer to this edition. "Douglas was fascinated by young men who for a few pounds and a good dinner would prostitute themselves. He introduced Wilde to this world.... Wilde lavished money and cigarette cases and other gifts upon these boys, and cultivated a reputation for generosity and good will of which they took shameless advantage. This was the 'feasting with panthers' of which he spoke later".
7. Richard Ellmann, OscarWilde (New York: Random House, 1988), p. 389. All subsequent citations of this text refer to this edition.
8. "The Soul of Man" (1895), in The Soul of Man, p. 3.
9. Oscar Wilde, The Importance of Being Earnest, inThe MajorWorks, edited with an Introduction and Notes by Isobel Murray (New York: Oxford University Press, 1989), p. 490. All subsequent citations of this text refer to this edition.
10. "The Soul of Man," p. 10. "As his supreme artist Wilde ingeniously named Christ. For Christ urged others to live artistically, and lived artistically himself. 'His entire life is the most wonderful of poems,' Wilde said. He is just like a work of art himself".
11. Ellmann, Oscar Wilde, p. 359.
12. "Phrases and Philosophies for the Use of the Young," in Major Works, p. 572.
13. On the specific relation between Hellenism and homosexuality in nineteenth-century England, see Linda Dowling, Hellenism and Homosexuality in Victorian Oxford (Ithaca: Cornell University Press, 1994).
14. Richard Jenkyns, The Victorians and Ancient Greece (Oxford: Oxford University Press, 1980). For an important consideration of this association in Wilde, see Lawrence Danson, "The Portrait ofMrW. H.," inWilde's Intentions: The Artist in his Criticism, pp. 102-26. On the general subject of the legacy of ancient Greece in Victorian England.
15. Frank M. Turner, The Greek Heritage in Victorian Britain, (New Haven: Yale University Press, 1981). On other modes of Victorian asceticism.
16. James Eli Adams, Dandies and Desert Saints (Ithaca: Cornell University Press, 1995).
17. "On The Genealogy of Ethics: An Overview of Work in Progress" (1983), in The Essential Works of Foucault 1954-1984, Volume I: Ethics, edited by Paul Reuben. (New York: The New Press, 1997). p. 259. All subsequent citations of this text refer to this edition.
18. Michel Foucault, The History of Sexuality: An Introduction-Volume I, translated by Robert Hurley (New York: Vintage Books, 1978), p. 159. All subsequent citations of this text refer to this edition.
19. "Sex, Power, and the Politics of Identity," interview in The Advocate 400 (7 August 1984); republished in Foucault, Ethics, p. 163. David Halperin quotes Foucault on the celebration of Sadomasochism as something analogous to the ethics of ancient Greece. Both, according to a sentence Halperin quotes from an interview of Foucault in Gai pied, are a "purposeful art of freedom perceived as a power game." Quoted by Halperin in Saint Foucault: Towards a Gay Hagiography (New York: Oxford University Press, 1995), p. 111.
20. Michel Foucault, The Use of Pleasure: Volume 2 of The History of Sexuality, translated by Robert Hurley (New York: Vintage Books, 1990), pp. 138-39. All subsequent citations of this text refer to this edition. For another recent encounter with the spirit and material in ancient philosophy that Foucault takes up in the second two volumes of The History of Sexuality.
21. Martha Nussbaum, The Therapy of Desire: Theory and Practice in Hellenistic Ethics (Princeton: Princeton University Press, 1994).
22. Roland Barthes, A Lover's Discourse: Fragments, translated by Richard Howard (New York: Farrar, Straus and Giroux, 1978), p. 188-89.
23. Sigmund Freud, "The Unconscious," in General Psychological Theory: Papers on Metapsychology, edited with an Introduction by Phillip Rieff (New York: Macmillan, 1963), p. 126.
24. "In the course of centuries the naive self-love of men has had to submit to two major blows at the hands of science. The first was when they learnt that our earth was not the center of the universe but only a tiny fragment of a cosmic system of scarcely imaginable vastness. This is associated in our minds with the name of Copernicus.... The second blow fell when biological research destroyed man's supposedly privileged place in creation and proved his descent from the animal kingdom and his ineradicable animal nature. This revaluation has been accomplished in our own days by Darwin, Wallace and their predecessors, though not without the most violent contemporary opposition. But human megalomania will have suffered its third and most wounding blow from the psychological research of the present time which seeks to prove to the ego that it is not even master of its own house, but must content itself with scanty information of what is going on unconsciously in its mind"; Lecture XVIII in Sigmund Freud, Introductory Lectures on Psychoanalysis (1917), edited and translated by James Strachey (New York: Norton, 1966), p. 284-85. In the years since Freud wrote, the gap between the will of the self and the determination of what he wants has only seemed to widen as the shadow of the conscious ego that can be discerned in Freud's account of the unconscious agency charged with the conduct of desire dissolves into structures even more aloof fromthe subject-the inhumanmechanisms of the linguistic, according to a well-known train of thought within psychoanalysis itself. See Jacques Lacan, The Four Fundamental Concepts of Psycho-Analysis, edited by Jacques-AlainMiller, translated by Alan Sheridan (New York: Norton, 1978); Ecrits, translated by Alan Sheridan (New York: Norton, 1977).
25. "A steady course of Balzac reduces our living friends to shadows, and our acquaintances to the shadows of shades. His characters have a kind of fervent fiery-coloured existence. They dominate us, and defy scepticism. One of the great tragedies of my life is the death of Lucien de Rubempre. It is a grief from which I have never been able to completely rid myself. It haunts me in my moments of pleasure. I remember it when I laugh." Wilde, "The Decay of Lying," in The Artist as Critic: Critical Writings of Oscar Wilde, edited by Richard Ellmann (Chicago: University of Chicago Press, 1969), p. 299.
26. Georg Simmel, "The Style of Life," in The Philosophy of Money (1900), edited by David Frisby, translated by Tom Bottomore and David Frisby (New York: Routledge: 1991).
27. Friedrich Nietzsche, Basic Writings of Nietzsche (New York: Modern Library, 1968).
28. Georg Simmel, Schopenhauer and Nietzsche (1907), translated by Helmut Loiskandl (Amherst: University of Massachusetts Press, 1986).
29. Alexander Nehamas, Nietzsche: Life as Literature (Cambridge: Harvard University Press, 1985). On the general relation of modernity and personal autonomy.
30. Emile Durkheim, The Division of Labor in Society (1893) (New York: Free Press, 1984).
31. On flirtation as a performance determined by the conscious labor of the subject who performs it, see Simmel on "Sociability," in The Sociology of Georg Simmel, translated, edited, and with an Introduction by Kurt H. Wolff (New York: Free Press, 1950), pp. 40-57. All subsequent citations of this text are from this edition.
32. Freud, "Repression," in General Psychological Theory, p. 108.
33. "There come [occasions]... from time to time... in which the thoughts of men draw nearer together than is their wont.... Here, artists and philosophers and those whom the action of the world has elevated and made keen, do not live in isolation, but breathe a common air, and catch light and heat from each other's thoughts";Walter Pater, The Renaissance (1873), edited with an Introduction and Notes by Adam Phillips (Oxford: Oxford University Press, 1998), p. xxxiii.
34. Wilde, Dorian Gray, p. 20.
35. Wilde, Lady Windermere's Fan, inMajor Works, p. 367.
36. This is a sentence from Wilde's famous speech on the "love that dare not speak its name" at the first trial. Quoted in Ellmann, Oscar Wilde, p. 463.
37. On the implications of homosexuality attached to the "passionate celibacy" of Pater and Newman, see Richard Ellmann and Ellis Hanson, Decadence and Catholicism, (Cambridge: Harvard University Press, 1997).
38. D. A. Miller, "Anal Rope," Representations 32 (Fall 1990) (Berkeley: University of California Press), p. 119.
39. Christopher Craft, "Alias Bunbury: Desire and Termination in The Importance of Being Earnest," in Another Kind of Love: Male Homosexual Desire in English Discourse, 1850-1920 (Berkeley: University of California Press, 1994), p. 4. See also Jonathan Dollimore, Sexual Dissidence: Augustine to Wilde, Freud to Foucault (Oxford: Oxford University Press, 1991). For an especially precise and persuasive reading of the association of indeterminacy and sexuality inWilde, seeWilliam A. Cohen, "IndeterminateWilde," in Sex Scandal (Durham: Duke University Press, 1996).
40. Oscar Wilde, Salome (1894), in Major Works, p. 302.
41. Erving Goffman, The Presentation of Self in Everyday Life (New York: Anchor Books, 1959).
42. Goffman's remarks on "passing" in Stigma: Notes on the Management of Spoiled Identity (New York: Simon & Schuster, 1963), pp. 73-90.
43. Foucault, Uses of Pleasure, pp. 10-11.
44. Albert O. Hirschman, The Passions and the Interests: Political Arguments for Capitalism Before its Triumph (Princeton: Princeton University Press, 1977), pp. 11, 59. For a depressing coda to the conception of economic interest as a calm and calming passion, see the conclusion to Max Weber's The Protestant Ethic and the Spirit of Capitalism, where he remarks its transformation into another form of drive: "In Baxter's view the care for external goods should only lie on the shoulders of the 'saint like a light cloak, which can be thrown aside at any moment.' But fate decreed that the cloak should become an iron cage." According to Weber's influential history, the irresistible urge for acquisition thus merges with the compelling passions they were once slated to contain and counteract. See his The Protestant Ethic and The Spirit of Capitalism, translated by Talcott Parsons (Los Angeles: Roxbury Publications, 1995), p. 181. Subsequent citations of this text refer to this edition.
45. "The Critic as Artist," in Critical Writings, pp. 341-407.
46. Weber, The Protestant Ethic, p. 159.
47. The phrase is from The Times is review of In Memoriam (quoted in Christopher Ricks, Tennyson [New York: Macmillan, 1972], p. 219). See also Benjamin Jowett's remark that Tennyson's affection for Shakespeare's sonnets stopped just short of an alarming "sympathy with Hellenism"(quoted by Ricks, p. 215).
48. See Lawrence Birken, Consuming Desire: Sexual Science and the Emergence of a Culture of Abundance 1871-1914 (Ithaca: Cornell University Press, 1988). See also Regenia Gagnier, The Insatiability of Human Wants: Economics and Aesthetics in Market Society (Chicago: University of Chicago Press, 2000); for an account of Wilde that places him generally in a critical relation to market capitalism while also engaging its forms, see Regenia Gagnier, Idylls of the Marketplace: OscarWilde and the Victorian Marketplace (Stanford: Stanford University Press, 1986).
49. Georg Simmel, "The Metropolis and Mental Life," in Sociology, p. 420.
50. Michel Foucault, Discipline and Punish (New York: Pantheon, 1977); See also Weber, The Protestant Ethic.
51. Simmel, The Philosophy of Money, p. 298.
52. Durkheim, Division of Labor.
53. Simmel, The Philosophy of Money, p. 256.
54. As we will see, Wilde borrows and bends the conception of the aesthetic promulgated most significantly by Kant. See Immanuel Kant, The Critique of Judgment, translated with Analytical Indexes by James Creed Meredith (Oxford: Oxford University Press, 1952). See also Adam Smith, The Theory of Moral Sentiments, or, An Essay Towards an Analysis of the Principles by Which Men Naturally Judge Concerning the Conduct and Character, First of Their Neighbors, and Afterwards of Themselves (Edinburgh: Printed by J. Hay & Co. for W. Creech, 1813).
55. Walter Pater, The Renaissance, edited by Adam Phillips (Oxford: Oxford University Press, 1990), p. 80.
56. Foucault, The History of Sexuality: Volume I, p. 45.
57. Alexander Nehamas, "Subject and Abject," The New Republic, 15 February 1993, p. 35.
58. Foucault, History of Sexuality, Volume I., p. 91.
59. OscarWilde, The Importance of Being Earnest [1899], Act 1, in Complete Plays (London: Methuen, 1988), p. 224. All subsequent quotations of Earnest will refer to this edition and will be cited parenthetically.
60. William Gilbert and Arthur Sullivan, Patience, inComplete Plays (New York: Norton, 1976), p. 168.
61. Carole-Anne Tyler, "Boys Will Be Girls: The Politics of Gay Drag," in Inside/Out: Lesbian Theories, Gay Theories, edited by Diana Fuss (New York: Routledge, 1991), p. 54.
62. Frantz Fanon, Black Skin, White Masks (London: Paladin, 1970), p. 120 (emphasis in original).
63. Oscar Wilde, The Picture of Dorian Gray, edited by Donald Lawler (New York: Norton, 1988), pp. 224-25.
64. "The Critic as Artist" (1891), in The Artist as Critic: Critical Writings of Oscar Wilde, edited by Richard Ellmann (Chicago: University of Chicago Press, 1968), p. 359.
65. "The Decay of Lying" (1891), in Critical Writings, p. 315.
66. The Story of the Mikado, told byWilliam Gilbert with intro, by G. K. Chesterton (1921).
67. Rudyard Kipling, From Sea to Sea (London, 1900) vol. I, p. 455.
68. William Gilbert and Arthur Sullivan, The Mikado in Complete Plays, p. 312. All subsequent quotations of The Mikado refer to this edition.
69. Roland Barthes, Empire of Signs, translated by Richard Howard (New York: Farrar, Straus, and Giroux, 1982), p. 4.
70. Oscar Wilde, The Picture of Dorian Gray (1891), edited by Donald L. Lawler (New York: Norton, 1988), pp. 25-26. All subsequent citations will refer to this edition.
71. Oscar Wilde, An Ideal Husband, Act 3 in The Oxford Critical Edition of Oscar Wilde (Oxford: Oxford University Press, 1989), p. 439. All subsequent citations of An Ideal Husband refer to this edition and page numbers will be cited parenthetically in the text.
72. Erving Goffman, The Presentation of Self in Everyday Life (New York: Doubleday, 1959), p. 41. All citations of The Presentation of Self will refer to this edition.
73. Erving Goffman, Behavior in Public Places: Notes on the Social Organization of Gatherings (New York: The Free Press, 1963), p. 60. All citations Behavior in Public Places will refer to this edition.
74. Judith Butler, Bodies That Matter: On the Discursive Limits of "Sex" (New York: Routledge, 1993), p. 232.
75. Goffman, Behavior in Public Places, pp. 54-55.
76. Erving Goffman, Stigma: Notes on the Management of Spoiled Identity (New York: Simon & Schuster, 1963), p. 73.
77. Oscar Wilde, Lady Windermere's Fan, Act 3, in Collected Plays (London: Methuen, 1988) p. 77.
78. Goffman, Behavior in Public Places, p. 28.
79. F. Macgregor et al., Facial Deformities and Plastic Surgery (Springfield, Ill.: C. Thomas, 1953), quoted in Goffman, Stigma, p. 12.
80. Eve Kosofsky Sedgwick, "Nationalisms and Sexualities: As Opposed to What?" in Tendencies (Durham: Duke University Press, 1993), p. 151.
81. Oscar Wilde, "Lord Arthur Savile's Crime," in Complete Shorter Fiction, edited by Isobel Murray (New York: Oxford University Press, 1995), p. 26. All citations of "Lord Arthur Savile's Crime" refer to this edition.
82. Oscar Wilde, "Pen, Pencil and Poison," in Complete Works of Oscar Wilde (New York: Harper & Row, 1989), p. 1006.
83. Oscar Wilde, "Lord Arthur Savile's Crime," pp. 50-51.
84. Goffman, Behavior in Public Places, p. 14.
85. Richard Ellmann, Oscar Wilde (New York: Randon House, 1988), p. 38.
86. Oscar Wilde, The Picture of Dorian Gray (1891), edited by Donald Lawler (New York: Norton, 1988), p. 28. All subsequent citations of The Picture of Dorian Gray refer to this edition.
87. Adam Phillips, "On Being Bored," in On Kissing, Tickling and Being Bored: Psychoanalytic Essays on the Unexamined Life (Cambridge: Harvard University Press, 1993), p. 76.
88. Oscar Wilde, "The Portrait of Mr. W. H.," in The Artist as Critic: Critical Writings of Oscar Wilde, edited by Richard Ellmann (Chicago: University of Chicago, 1982), p. 212-13.
89. This is Wilde's famous speech at his first trial, in response to cross-examination; quoted by Richard Ellman in Oscar Wilde (New York: Vintage Books, 1988), p. 463.
90. Oscar Wilde, Lady Windermere's Fan, Act 1, in The Complete Plays (London: Methuen, 1989), p. 47.
91. Rachel Bowlby, "Promoting Dorian Gray," in Shopping with Freud (London: Routledge, 1993), p. 13.
92. Georg Simmel, "The Metropolis and Mental Life," in The Sociology of Georg Simmel, translated, edited, and with an Introduction by Kurt H. Wolff (New York: The Free Press, 1950), p. 420.
93. The Picture of Dorian Gray in The Major Works, edited with an Introduction and Notes by Isobel Murray (Oxford: Oxford University Press, 1989), p. 194. All subsequent citations of Dorian Gray refer to this edition.
94. Lee Edelman, Homographesis (New York: Routledge, 1994), p. 17.
95. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 1990), for an inaugural situation of de-essentializing apprehension as an instrument of resistance to heterosexual hegemony.
96. For elaborations of Wilde's status as avatar of a queer theory, which identifies the announcement and apprehension of deessentialism as an instrument of resistance to heterosexual hegemony, see Christopher Craft, "Alias Bunbury: Desire and Termination in The Importance of Being Earnest," in Representations 31 (Summer 1990): 19-46.
97. Jonathan Dollimore, Sexual Dissidence: Augustine to Wilde, Freud to Foucault (Oxford: Oxford University Press, 1991). For a skeptical account of this affiliation, see Eve Kosofsky Sedgwick, "Tales of the Avunculate: Queer Tutelage in The Importance of Being Earnest" in Tendencies (Durham: Duke University Press, 1993): 52-72, "each of these readings traces and affirms the gay possibility in Wilde's writing by identifying it-feature by feature, as if from a Most Wanted poster-with the perfect fulfillment of a modernist or post-modern project of meaning-destablization and identity-destabilization.".
98. Judith Butler, Bodies That Matter: On the Discursive Limits of "Sex" (New York: Routledge, 1993). See especially chapter 8.
99. OscarWilde, "The Soul ofMan under Socialism," in TheWorks of OscarWilde (London: Blitz Editions, 1990), p. 1021. All subsequent citations of the essay refer to this edition.
100. The Importance of Being Earnest in The Major Works, p. 481. All subsequent citations of this play refer to this edition.
101. An Ideal Husband, inThe Major Works, p. 401. All subsequent citations of this play refer to this edition.
102. Thorstein Veblen, The Theory of the Leisure Class (1899, 1912), introduction by C. Wright Mills (New York: New American Library, 1953), p. 43.
103. "The Birthday of the Infanta," in Oscar Wilde: Complete Shorter Fiction, edited with an Introduction by Isobel Murray (New York: Oxford University Press, 1980), pp. 185-202.
104. Dorian Gray, pp. 71-72; "The Model Millionaire" in Complete Shorter Fiction, p. 88.
105. Veblen, Theory of the Leisure Class, p. 43.
106. A Woman of No Importance, inThe Collected Plays (London: Methuen, 1988), p. 304.
107. Georg Simmel, "Superordination and Subordination," in The Sociology of Georg Simmel, translated, edited, and with an Introduction by Kurt H. Wolff (New York: The Free Press, 1950), p. 254.
108. Pierre Bourdieu, Outline of a Theory of Practice, translated by Richard Nice (Cambridge: Cambridge University Press, 1977); Language and Symbolic Power, translated by Gino Raymond and Matthew Adamson, edited and with an Introduction by John B. Thompson (Cambridge: Harvard University Press, 1991).
109. See Pierre Bourdieu, Distinction: A Social Critique of the Judgment of Taste, translated by Richard Nice (Cambridge: Harvard University Press, 1984).
110. "The Critic as Artist," in The Artist as Critic: Critical Writings of Oscar Wilde, edited by Richard Ellmann (Chicago: University of Chicago Press, 1969), pp. 256, 275, 278. My reading of "The Critic as Artist" emphasizes one element of its historical situation. For an account of other elements of this situation, taking up some of the sexual and professional pressures that form a crucial part of the essay's social context, see Lawrence Danson's Wilde's Intentions: The Artist in his Criticism, chapter 6 (Oxford: Clarendon Press, 1997).
111. Karl Marx, "Alienated Labour," in "Economic and Philosophical Manuscripts," from Early Writings, translated and edited by T. B. Bottomore (New York: McGraw Hill, 1963), pp. 122-27 (emphasis added).
112. Georg Lukacs, "Reification and the Consciousness of the Proletariat," in History and Class Consciousness: Studies in Marxist Dialectics, translated by Rodney Livingstone (Cambridge: MIT Press, 1971), pp. 88-90.
113. Arendt, The Human Condition, p. 234.
114. "The Critic as Artist," pp. 275, 277-78.
115. Henri Lefebvre, Critique of Everyday Life: Volume One, translated by John Moore (New York: Verso, 1991), p. 33 (emphasis added).
116. Wilde alludes in this passage to 1 Kings 22:34, in which Ahab is killed in battle: "And a certain man drew a bow at a venture, and smote the king of Israel between the joints of the harness.".
117. Michel Foucault, The History of Sexuality: Volume I: An Introduction, translated by Robert Hurley (New York: Vintage Books, 1978), p. 159.
118. Walter Benjamin, "TheWork of Art in the Age of Mechanical Reproduction," Illuminations, edited and with an Introduction by Hannah Arendt, translated by Harry Zohn (New York: Schocken Books, 1969), p. 242.
119. Max Weber, The Protestant Ethic and the Spirit of Capitalism, translated by Talcott Parsons (Los Angeles: Roxbury Publishing Company, 1995), p. 159. Subsequent citations of this work refer to this edition. On the weight of the Irish Famine onWilde's mind.
120. Owen Dudley Edwards, "Impressions of an Irish Sphinx," inWilde The Irishman, edited by Jerusha McCormack (New Haven: Yale University Press, 1998), pp. 47-70.
121. Davis Coakley, Oscar Wilde: The Importance of Being Irish (Dublin: Town House, 1995), pp. 10, 19, 21, 109.
122. Thomas Carlyle, Chartism in Critical and Miscellaneous Essays (London: Chapman and Hall, 1896-1899), p. 133.
123. "Phrases and Philosophies for the Use of the Young," in The Major Works, p. 573. All citations of this text refer to the Oxford edition.
124. Immanuel Kant, "Analytic of the Beautiful: First Moment." The Critique of Judgment, translated with Analytical Indexes by James Creed Meredith (Oxford: Oxford University Press, 1952), p. 42. The immunity that Wilde awards to aesthetic experience differs from disinterestedness in another way, as well. Where Kant identifies disinterestedness as the character that defines the relation between the subject and object of the aesthetic, the soft desire in Wilde's account, as good as disinterestedness, is an affect passed from the aesthetic object to the subject.
125. See for example, Theodor Adorno, "On the Fetish Character in Music and the Regression of Listening" in The Essential Frankfurt School Reader, edited with Introductions by Andrew Arato and Eike Gebhardt (New York: Urizen Books, 1978), pp. 270-299.
126. Walter Pater, The Renaissance, edited by Adam Phillips (Oxford: Oxford University Press, 1990), pp. 79-80.
127. Oscar Wilde, Salome, [1894], in The Major Works, edited and with an Introduction and Notes by Isobel Murray (Oxford: Oxford University Press, 1989), p. 302. All subsequent citations of this text refer to this edition. Due to the large number of quotations in this chapter, page references will be cited in the endnotes, not in the text as in previous chapters.
128. Oscar Wilde, The Picture of Dorian Gray [1891], in The Major Works, edited with an Introduction and Notes by Isobel Murray (Oxford: Oxford University Press, 1989), p. 109. All subsequent citations of this text refer to this edition.
129. Benedict Anderson, The Spectre of Comparisons: Nationalism, Southeast Asia, and the World (New York: Verso, 1998), p. 29.
130. Georg Simmel, The Philosophy of Money, edited by David Frisby, translated by Tom Bottomore and David Frisby (London: Routledge and Kegan Paul, 1978), p. 256.
131. Oscar Wilde, "De Profundis" [1897], in The Soul of Man and Prison Writings, edited with an Introduction and Notes by Isobel Murray (Oxford: Oxford University Press, 1999).
132. Oscar Wilde, letter to Lily Langtry, Circa 16 December 1883. The Letters of Oscar Wilde, edited by Rupert Hart-Davis (New York: Harcourt, Brace & World, 1962), p. 154.
133. Walter Benjamin, "On Some Motifs in Baudelaire," in Illuminations, translated by H. Zohn (New York: Schocken, 1969), pp. 167-68.
134. Wilde, "A Few Maxims for the Instruction of the Over-Educated," in Major Works, p. 571.
135. Jean Paul Sartre, "The Existence of Others," in Being and Nothingness, translated and with an Introduction by Hazel E. Barnes (New York: Washington Square Press, 1956) p. 347 (emphasis added).
136. Oscar Wilde, "The Young King," in Complete Shorter Fiction, edited with an Introduction by Isobel Murray (Oxford: Oxford University Press, 1995), pp. 172, 175.
137. Georg Simmel, "The Isolated Individual and the Dyad," in The Sociology of Georg Simmel, translated, edited, and with an Introduction by Kurt H. Wolff (New York: The Free Press, 1950), p. 127.
138. Oscar Wilde, The Importance of Being Earnest, inMajor Works, p. 505.
139. Oscar Wilde, "The Critic as Artist," in Major Works, p. 270-71.
140. Joni Mitchell, "Trouble Child" from Court and Spark [1973] (Crazy Crow Music).
141. Siegfried Kracauer, "The Mass Ornament," in The Mass Ornament: Weimar Essays, translated, edited, and with an Introduction by Thomas Y. Levin (Cambridge: Harvard University Press, 1995), p. 76.
142. The story to be discerned in the drift away from the field of the visual in this passage is a brief but telling instance of the "ocularphobic discourse" that Martin Jay has located at the center of modern French thought. See Martin Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California, 1993), p. 15.
143. Henry James, The Golden Bowl [1904] (New York: Penquin, 1985), p. 43.