scholarly journals Dorian Gray from the page to the screen. A comparative semiotic analysis of The Picture of Dorian Gray (Oscar Wilde, 1891) and The Picture of Dorian Gray (Albert Lewin, 1945)

2016 ◽  
pp. 47
Author(s):  
Tomás Costal Criado
Keyword(s):  
Oscar Wilde ◽  
Film Adaptation ◽  
Semiotic Analysis ◽  
Picture Of Dorian Gray ◽  
Dorian Gray ◽  
Selection Of

Oscar Wilde’s only novel, The Picture of Dorian Gray (1891), and its homonymous screen adaptation which dates back to the period immediately following WWII, The Picture of Dorian Gray (1945), directed by Albert Lewin, constitute an interesting example of semiotic transference from the page to the screen. As an audiovisual product, the film will allow the researcher to perceive the ways in which words become alive and add an enormous symbolic and significant wealth to the already abundant information that is conveyed through the connotative and allusive language of the text. This work tries to analyse meticulously a selection of key scenes taken from the film adaptation to later determine with the highest degree of accuracy possible what has been omitted, what has been added, and what has been deemed worthy of modification in the new version of Wilde’s work, where both Lewin and his cast of characters play the role of mediators.

Wilde’s New Republic

2017 ◽  
Author(s):  
Marylu Hill
Keyword(s):  
Oscar Wilde ◽  
Specific Focus ◽  
Classical Training ◽  
Picture Of Dorian Gray ◽  
New Republic ◽  
Dorian Gray ◽  
Definition Of ◽  
Philosophical Questions

As a result of his classical training in the Honours School of Literæ Humaniores at Oxford, Oscar Wilde drew frequently on the works of Plato for inspiration, especially the Republic. The idea of a New Republic and its philosophy resonated profoundly with Wilde—so much so that the philosophical questions raised in Plato’s Republic become the central problems of The Picture of Dorian Gray. This chapter maps the parallels between the Republic and Dorian Gray, with specific focus on several of Plato’s most striking images from the Republic. In particular, the depiction of Lord Henry suggests not only the philosophical soul gone corrupt, but also the ‘drone’ who seduces the oligarchic young man into a life of ‘unprincipled freedom’, according to Plato’s definition of democracy. By invoking the Socratic lens, Wilde critiques Lord Henry’s anti-philosophy of the ‘New Hedonism’ and contrasts it with the Socratic eros.

scholarly journals Art, the Artist and Ethics in Wilde's Picture of Dorian Gray

2017 ◽  
Vol 3 (4) ◽  
pp. 18
Author(s):  
Zrinka Frleta
Keyword(s):  
The Novel ◽  
Work Of Art ◽  
Picture Of Dorian Gray ◽  
Dorian Gray ◽  
Art For Art's Sake ◽  
Art And Ethics

This paper examines ideological and philosophical premises of aestheticism, presented in Wilde's critical essays (The Critic as Artist and The Decay of Lying), and epigrams in the preface to the novel The Picture of Dorian Gray, which both offer a philosophical context to the novel. Aestheticism emphasized that art can not be subordinated to moral, social, religious and didactic goals, because its ultimate goal is art itself, l'art pour l'art (art for art's sake). „Art never expresses anything but itself.“ „All bad art comes from returning to Life and Nature, and elevating them into ideals.“ „Life imitates Art far more than Art imitates Life.“ „Lying, the telling of beautiful untrue things, is the proper aim of Art.“ (Wilde, 1891). The relations between art and reality (concealment of reality) and art and ethics (an ethical function of art) have been explored through the interaction of the characters of Basil Hallward and Sibyl Vane with Dorian Gray. The paper also examines the role of the artist, his morality in the process of creating and experiencing the work, and the influence of the work of art on the artist himself/herself.

scholarly journals Standardisation in translated language

2021 ◽  
pp. 178-209
Author(s):  
María Victoria Valencia Giraldo
Keyword(s):  
Oscar Wilde ◽  
Literary Work ◽  
Spanish Translation ◽  
Picture Of Dorian Gray ◽  
Colombian Spanish ◽  
The Law ◽  
Dorian Gray

The law of growing standardisation (Toury 1995) appears to be particularly at play in diatopy, and more specifically in the case of transnational languages. Some studies have revealed the tendency to standardise the diatopic varieties of Spanish in translated language (Corpas Pastor 2015a, 2015b, 2017, 2018). However, to our knowledge, no work has studied this tendency in the Spanish translations of a literary work. This paper focuses on verb + noun (object) collocations of Spanish translations of The Picture of Dorian Gray by Oscar Wilde. Two different varieties have been chosen (Peninsular and Colombian Spanish). The techniques used to translate this type of collocations in both Spanish translations will be analysed. Further, the diatopic distribution of these collocations will be studied by means of large corpora. Based on the results, it is argued that the Colombian Spanish translation is actually closer to general or standard Spanish than to the variety of this country.

Ein anderer Pygmalion – Techniken der Kunstbelebung in Joseph von Eichendorffs Das Marmorbild, Oscar Wildes The Picture of Dorian Gray und Georg Heyms Der Dieb

2013 ◽  
Vol 48 (2) ◽  
Author(s):  
Julia Genz
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Oscar Wilde ◽  
Main Issue ◽  
Crucial Point ◽  
Joseph Von Eichendorff ◽  
Picture Of Dorian Gray ◽  
Dorian Gray ◽  
Narrative Techniques

AbstractThe main issue of the Pygmalion myth is the vitalisation of an artificial woman. In Ovid’s Metamorphoses it is motivated by the intervention of Venus. This article deals with Pygmalion-like protagonists since 1800, in which the crucial point of vitalisation is no longer based on divine volition but on semiotic theories that Winckelmann, Lessing, Goethe and others used in the eighteenth century. In these cases, the protagonist’s perspective gives rise to the impression of vivification. The examples of Joseph von Eichendorff, Oscar Wilde and Georg Heym show that this shift also had an impact on the narrative techniques, for their concreteness allows the reader to retrace the vivification of the figures himself. In the twentieth century Georg Heym modernised the techniques of the eighteenth century by connecting them with associations of the new medium film. In the course of time the pygmalionic observer turns into a pygmalionic narrator, whose narration obtains with the aid of the reader an enormous vitality.

Sign in / Sign up

Export Citation Format

Share Document