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Oscar Wilde est l\u2019auteur d\u2019une \u0153uvre abondante qui illustre tous les genres litt\u00e9raires.

\n

Parfois mal compris, sans doute en raison de la confidence qu\u2019il aurait faite \u00e0 Andr\u00e9 Gide (\u00ab J\u2019ai mis tout mon g\u00e9nie dans ma vie; je n\u2019ai mis que mon talent dans mon \u0153uvre \u00bb) dont tout invite \u00e0 penser qu\u2019elle n\u2019est pas authentique, Wilde, souvent per\u00e7u comme un esth\u00e8te brillant ancr\u00e9 dans son si\u00e8cle, \u00e9tait au contraire un \u00e9crivain innovant qui a bel et bien mis son g\u00e9nie dans son \u0153uvre.

\n

Si sa culture \u00e9tait immense, il a su l\u2019utiliser pour cr\u00e9er une \u0153uvre profond\u00e9ment originale qui s\u2019interroge en permanence sur le pouvoir, ou sur l\u2019impuissance, du langage.

\n

Wilde avait \u00e9galement une pens\u00e9e politique qui remettait en cause les pr\u00e9suppos\u00e9s de son temps, et son th\u00e9\u00e2tre, notamment, rend compte de sa capacit\u00e9 \u00e0 d\u00e9stabiliser les cat\u00e9gories \u00e9tablies, par exemple celles du \u00ab masculin \u00bb et du \u00ab f\u00e9minin \u00bb, avec les implications id\u00e9ologiques que cela suppose.

\n

Ce MOOC s\u2019int\u00e9resse aussi, par cons\u00e9quent, \u00e0 sa post\u00e9rit\u00e9 qui montre bien que son \u0153uvre fait sens pour les lecteurs contemporains.

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\n1\u00e8re s\u00e9quence : Wilde, l\u2019Irlandais
\n2\u00e8me s\u00e9quence : Oxford, John Ruskin et Walter Pater
\n3\u00e8me s\u00e9quence : Cr\u00e9ation d\u2019une r\u00e9putation : Oscar Wilde en Am\u00e9rique
\n4\u00e8me s\u00e9quence : La conqu\u00eate de Londres, succ\u00e8s litt\u00e9raires
\n5\u00e8me s\u00e9quence : Les proc\u00e8s et la prison
\n6\u00e8me s\u00e9quence : Mort et transfiguration\nS\u00e9ance II : Oscar Wilde, po\u00e8te
\n1\u00e8re s\u00e9quence : Wilde, lecteur
\n2\u00e8me s\u00e9quence : Wilde, jeune po\u00e8te
\n3\u00e8me s\u00e9quence : \u00ab La Sphinge \u00bb
\n4\u00e8me s\u00e9quence : Les po\u00e8mes en prose
\n5\u00e8me s\u00e9quence : La Ballade de la Ge\u00f4le de Reading (I)
\n6\u00e8me s\u00e9quence : La Ballade de la Ge\u00f4le de Reading (II)\nS\u00e9ance III : Les essais critiques et De profundis
\n1\u00e8re s\u00e9quence : Conf\u00e9rences en Am\u00e9rique (1882)
\n2\u00e8me s\u00e9quence : \u00ab L'\u00c2me de l'homme sous le socialisme \u00bb (1891)
\n3\u00e8me s\u00e9quence : Intentions I
\n4\u00e8me s\u00e9quence : Intentions II
\n5\u00e8me s\u00e9quence : De profundis I. R\u00e9daction et r\u00e9ception
\n6\u00e8me s\u00e9quence : De profundis II. Analyse de l\u2019\u0153uvre\nS\u00e9ance IV : Le Portrait de Dorian Gray
\n1\u00e8re s\u00e9quence : Gen\u00e8se du roman
\n2\u00e8me s\u00e9quence : R\u00e9daction, parution et r\u00e9ception du roman
\n3\u00e8me s\u00e9quence : Les noms des deux personnages principaux
\n4\u00e8me s\u00e9quence : \u00c1 quel genre litt\u00e9raire le roman appartient-il ?
\n5\u00e8me s\u00e9quence : Un roman psychologique
\n6\u00e8me s\u00e9quence : Le Portrait de Dorian Gray et la musique\nS\u00e9ance V : Le th\u00e9\u00e2tre d\u2019Oscar Wilde
\n1\u00e8re s\u00e9quence : Oscar Wilde, homme de th\u00e9\u00e2tre
\n2\u00e8me s\u00e9quence : Les influences I
\n3\u00e8me s\u00e9quence : Les influences II
\n4\u00e8me s\u00e9quence : Les premi\u00e8res pi\u00e8ces (V\u00e9ra, ou les Nihilistes, La Duchesse de Padoue, L\u2019\u00c9ventail de lady Windermere)
\n5\u00e8me s\u00e9quence : Salom\u00e9 (1892)
\n6\u00e8me s\u00e9quence : Une femme sans importance, Un mari id\u00e9al et L\u2019importance d\u2019\u00eatre Constant\nS\u00e9ance VI : Oscar Wilde, penseur et pr\u00e9curseur (philosophie, psychanalyse et th\u00e9orie du genre). Conclusion : sa post\u00e9rit\u00e9 litt\u00e9raire (6 s\u00e9quences)
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\n2\u00e8me s\u00e9quence : Wilde et Nietzsche: un rapprochement
\n3\u00e8me s\u00e9quence : Le langage selon Wilde et Nietzsche
\n4\u00e8me s\u00e9quence : Oscar Wilde et la psychanalyse
\n5\u00e8me s\u00e9quence : Oscar Wilde et la th\u00e9orie du genre
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