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Culture and musical hermeneutics: The Salome complex

Published online by Cambridge University Press:  27 August 2008

Lawrence Kramer
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Extract

From Flaubert to Richard Strauss, male artists in late nineteenth-century Europe were fascinated by the figure of Salome. This fascination, indeed, amounted to a genuine craze. One representation sparked another: J.-K. Huysmans fantasised about paintings by Gustave Moreau; Oscar Wilde expanded on Huysmans; Aubrey Beardsley illustrated Wilde. Fine editions of Wilde's Salome with Beardsley's illustrations remained cult objects well into the twentieth century. In general, the Salome craze, like the science and medicine of its day, sought to legitimise new forms of control by men over the bodies and behaviour of women. The present paper revisits this well-known episode in cultural history with two distinct aims in mind, one interpretative, the other methodological. The interpretative aim is to offer a feminist approach to the fin-de-sièclecompulsion to retell the Salome story with lavish attention to misogynist imagery - those quivering female bodies and gory male heads. The methodological aim is to find a meeting ground for literary criticism and musicology as both disciplines aspire to become vehicles of a more comprehensive criticism of culture.

Type
Research Article
Information
Cambridge Opera Journal , Volume 2 , Issue 3 , November 1990 , pp. 269 - 294
Copyright
Copyright © Cambridge University Press 1990

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References

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37 I am referring to the moment at which the dance enters C# major. The significance of this key will soon become evident.

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