Welcome to Francis Academic Press

Academic Journal of Humanities & Social Sciences, 2023, 6(5); doi: 10.25236/AJHSS.2023.060518.

Impact of Salome on Chinese Literature & Response to its Imagery in Early Twentieth-century China and Britain


Peijin Li

Corresponding Author:
Peijin Li

The Geely University of China, Chengdu, China


Salomé, a classic one-act play created by Oscar Wilde born in the Victorian era, was adapted from Bible but given a new meaning under Wilde's secondary production. This richness of imagery contributes to a deeper understanding of the texts the exploration of the imagery in Salomé from different perspectives and in different historical and cultural contexts is an important way to expand the content and spiritual richness of the play, which offers an opportunity to explore both the characteristics of Victorian literature and the literary values derived from Salome over time. At the same time, Salomé’s one-act play was also well received in China in the early twentieth century, influencing many Chinese audiences. In short, Salomé has become popular around the world because the imagery in Salomé and its main themes have been able to give birth to different critical understandings and cultural values in different cultures and from different perspectives. This approach will facilitate the research and investigation about the similarities and differences in the cultural connotations of the work from different perspectives in the future.


Salomé; The Dance of the Seven Veils; Orientalism

Cite This Paper

Peijin Li. Impact of Salome on Chinese Literature & Response to its Imagery in Early Twentieth-century China and Britain. Academic Journal of Humanities & Social Sciences (2023) Vol. 6, Issue 5: 111-116. https://doi.org/10.25236/AJHSS.2023.060518.


[1] Girdwood M. (2021). ‘That Invisible Dance’: Symbolism, Salomé and Oscar Wilde’S Choreographic Aesthetics. In Modernism and the Choreographic Imagination: Salome’s Dance after 1890. Edinburgh University Press, 73–110.  

[2] MALIK S. (2008). ″She freed and floated on the air″: Salome and Her Dance of the Seven Veils. In J. Heath (Ed.), The Veil: Women Writers on Its History, Lore, and Politics .1st ed.University of California Press, 139–159.  

[3] Li Y. (2020). The Reception and Influence of Salome in Contemporary Chinese Literature.  Nanjing Normal University.

[4] Liu Z. (2008). “The Spirit of May Fourth” and New Chinese Literature. . Jilin University. 

[5] Walkowitz J. R. (2003). The “Vision of Salome”: Cosmopolitanism and Erotic Dancing in Central London, 1908-1918. The American Historical Review, 108(2), 337–376.  

[6] Riquelme J. P. (1995). SHALOM/SOLOMON/SALOMÉ: MODERNISM AND WILDE’S AESTHETIC POLITICS. The Centennial Review, 39(3), 575–610. 

[7] Dierkes-Thrun P. (2011). Dancing on the Threshold: Wilde’s Salomé between Symbolist, Decadent, and Modernist Aesthetics. In Salome’s Modernity: Oscar Wilde and the Aesthetics of Transgression. University of Michigan Press, 15–55.  

[8] Zhou X. (2001). Salome's Kiss: Aestheticism, Consumerism and Chinese Enlightenment Modernity. Peking University.

[9] Liu N. (2018). An Introduction to the ‘Death of Salome’ Complex in the Nanguo Theatrical Group. WuHan University. 

[10] Xia J. (1988). On Wilde's Influence on the Development of Chinese Drama. Shanghai Theatre Ac

[11] Wang G. (1997). The Seduction and Mutation of Beauty - Aestheticism in the New Chinese Literature. Shandong Writers Association Literature Institute.   

[12] Zhou X. (2003). Salomé in China: The Aesthetic Art of Dying. In J. Bristow (Ed.), Wilde Writings: Contextual Conditions .University of Toronto Press, 295–316.  

[13] Xia J. (1988). On Wilde's Influence on the Development of Chinese Drama. Shanghai Theatre Academy.

[14] Yan H. (1994). Theatre and Society: Reflections on Research Needs in Chinese Theatre Studies. Asian Theatre Journal, 11(1), 104–113.  

[15] Liang X. "Thunderstorm" Descends on England--Chinese Original Opera "Thunderstorm". Retrieved August 12, 2016, from https://world.huanqiu.com/article/9CaKrnJX1FB

[16] Kaplan R. B. (1988). Planting the Seeds of Theatrical Realism in China: Tian Han’s Contributions to Modern Chinese Drama, 1920-1929. World Literature Today, 62(1), 55–61.