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Salome: a fin de siècle legend

Published online by Cambridge University Press:  13 July 2009

Barbara Wright
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Abstract

The Salome legend developed as John the Baptist became the object of increased veneration. It was profoundly modified in the medieval and Renaissance periods. Well suited to Schopenhauerian misogyny and to the burgeoning interest in Freudian psychoanalysis, it became central to the fin de siècle in Western Europe. An instrument of self-reflection as well as of parody, the Salome legend has shown itself, in both the 19th and the 20th centuries, to be capable of ironic criticism and fertile pastiche, as well as of enigmatic mystery and deep psychological exploration.

Type
FOCUS—Two Fin de Siècles
Information
European Review , Volume 2 , Issue 3 , July 1994 , pp. 233 - 238
Copyright
Copyright © Academia Europaea 1994

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References

REFERENCES

1. For an overall survey, see Zagona, H. G. (1960) The Legend of Salome and the Principle of Art for Art's Sake, Geneva, Paris, Droz & Minard.Google Scholar
2.Kaplan, J. (1982) The Art of Gustave Moreau: Theory, Style and Content, Ann Arbor, UMI Research Press, 58.Google Scholar
3.Kaplan, J. (1982) The Art of Gustave Moreau: Theory, Style and Content, Ann Arbor, UMI Research Press, 59.Google Scholar
4. See Hannoosh, M. (1989) Parody and Decadence: Laforgue's ‘Moralités légendaires’, Columbus, Ohio State University Press, 148–169.Google Scholar
5.Wilde, O. (1993) Salome, Aquien, P. (Ed), Paris, GF-Flammarion 649, 95.Google Scholar
6.Leiris, M. (1981) Le Ruban au cou d'Olympia, Paris, Gallimard, 268.Google Scholar
7.Fin de siécle/Fin du globe (1992) Stokes, J. (Ed), Basingstoke, Macmillan, 12.CrossRefGoogle Scholar