
Трагедия Оскара Уайльда «Саломея» рассматривается в данной статье как музыкальное произведение со своей системой лейтмотивов. Музыкальность текста пьесы представлена в качестве одного из ключевых звеньев «философии нереального» английского драматурга.
The article maintains that O.Wilde’s tragedy “Salome” is very rhythmic. Music, which is manifested through the rhythm and the language itself, is paramount in the works of this unbelievable English playwright.
АНГЛИЙСКАЯ ЛИТЕРАТУРА, АНГЛИЙСКАЯ ДРАМАТУРГИЯ КОНЦА XIX – НАЧАЛА XX ВЕКА, О. УАЙЛЬД, Н. БЕРДЯЕВ, "САЛОМЕЯ", «КРИТИК КАК ХУДОЖНИК», ЛЕЙТМОТИВ, ФИЛОСОФИЯ НЕРЕАЛЬНОГО, FIN DE SIèCLE, ENGLISH DRAMA OF THE EARLY 19 TH – LATE 20 TH CENTURIES, O. WILDE, N. BERDYAEV, «SALOME», «THE CRITIC AS ARTIST»
АНГЛИЙСКАЯ ЛИТЕРАТУРА, АНГЛИЙСКАЯ ДРАМАТУРГИЯ КОНЦА XIX – НАЧАЛА XX ВЕКА, О. УАЙЛЬД, Н. БЕРДЯЕВ, "САЛОМЕЯ", «КРИТИК КАК ХУДОЖНИК», ЛЕЙТМОТИВ, ФИЛОСОФИЯ НЕРЕАЛЬНОГО, FIN DE SIèCLE, ENGLISH DRAMA OF THE EARLY 19 TH – LATE 20 TH CENTURIES, O. WILDE, N. BERDYAEV, «SALOME», «THE CRITIC AS ARTIST»
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