scholarly journals Encoding Queer Erasure in Oscar Wilde’s "The Picture of Dorian Gray"

2021 ◽  
Author(s):  
Filipa da Gama Calado
Keyword(s):  
Formal Language ◽  
Text Encoding ◽  
Revision Process ◽  
Textual Scholarship ◽  
Digital Space ◽  
Electronic Editing ◽  
Picture Of Dorian Gray ◽  
Dorian Gray ◽  
The Aesthetic

Literary scholars generally agree that the aesthetic qualities of Oscar Wilde’s influential text, The Picture of Dorian Gray (1891) classify it as a modernist work. At the same time, textual scholars have long speculated over the role of aesthetics in Wilde’s revision process in an apparent effort to reduce or obscure the homoerotic themes in the manuscript. Electronic editing standards such as the Text Encoding Initiative (TEI) enable scholars to trace in detail the development of homoerotic themes within a digital space. Using the TEI standard, my project transcribes and encodes the first chapter of this manuscript, which introduces the story’s three main characters, Basil Hallward, Lord Henry Wooten, and Dorian Gray. In analyzing Wilde’s suppression of the homoerotic elements, I draw from debates in Textual Scholarship and Queer Historiography to explore how electronic editing might restore or "rescue" queer subjects and themes. I end with proposing a method for electronic editing that marks Wilde's alterations and deletions in TEI formal language in a way that probes the potential of TEI's “queerability.” My method examines how TEI might work as a tool of containment that suggests elusiveness through constraint. My work here manifests the intricate handling of homoerotic elements within a distinctly queer ethos.

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 Culture and corruption in The Picture of Dorian Gray

Em Tese ◽  
2011 ◽  
Vol 17 (1) ◽  
pp. 78
Author(s):  
Paulo Augusto de Melo Wagatsuma
Keyword(s):  
Fin De Siecle ◽  
Fin De Siècle ◽  
Picture Of Dorian Gray ◽  
Dorian Gray ◽  
The Aesthetic

This article analyses the supposed moral decadence in Oscar Wilde's novel<br />based on the aesthetic trends of his time as well as his writings on the same<br />topic and politics. It is argued that behind the horror tale of Dorian Gray's<br />life lies a veiled critique to fin-de-siècle Victorian society.

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.

The Picture of Dorian Gray: A Portrait of the ‘Wild Reader’

2021 ◽  
Vol 11 (1) ◽  
pp. 58-76
Author(s):  
Sunggyung Jo
Keyword(s):  
Symbiotic Relationship ◽  
The Novel ◽  
Everyday Experience ◽  
Picture Of Dorian Gray ◽  
Violent Acts ◽  
Dorian Gray ◽  
The Aesthetic ◽  
As If ◽  
Reading Texts

Paul Jay claims that we need to pay renewed attention to the aesthetic to address and incorporate everyday experience into our academic discussions. Clearly, at stake here is the opportunity to reconceptualise the symbiotic relationship between literature and ordinary readers. In this essay, I propose a concept that I call ‘wild reading’ through which to understand sensuous, and potentially violent, acts of reading texts, as represented in Oscar Wilde's The Picture of Dorian Gray (1890). The novel repeatedly portrays reading as an act of wild, sensual submission to seductive ‘texts’, as if one were succumbing to the charms of an irresistible lover. I am going to focus on, and analyse, particular scenes in the novel, by means of which I will conceptualise and discuss the notion of ‘wild reading’ as performed by Wilde's characters. Ultimately, I suggest ‘wild reading’ as a useful aesthetic category for our own everyday experience of reading and as a vehicle through which we might understand actual readers’ desire-driven acts of imagination triggered by a seductive text.

scholarly journals Hedonism as Seen in Oscar Wilde’s "The Picture of Dorian Gray"

Lexicon ◽  
2018 ◽  
Vol 4 (1) ◽  
Author(s):  
Anastasia Intan Kurnia Saputri
Keyword(s):  
Industrial Revolution ◽  
Internet Research ◽  
Main Character ◽  
The Real ◽  
Picture Of Dorian Gray ◽  
Dorian Gray

This article discusses hedonism in Oscar Wilde’s The Picture of Dorian Gray through the main character’s actions and lifestyle. The Picture of Dorian Gray (1890) was published in the era where aestheticism movement was flourishing. Aestheticism is an arts movement that promoted art for the sake of its beauty alone. This movement is believed to be existed as a protest against the machine-made products in the Industrial Revolution which were regarded to be ugly. Therefore, the whole story of The Picture of Dorian Gray concerns about beauty. By analyzing the main character, this article aims to find out the role of the supporting characters, the similarity of Dorian’s lifestyle with the real Victorian gentlemen, and the role of beauty and art in Dorian Gray’s changing behavior. This study is conducted through library and internet research. It concludes that the main character Dorian Gray has undergone a process that changes his behavior which is involving the role of the supporting characters, the similarity of gentlemen’s lifestyle in the story with the real Victorian society, and the role of beauty and art which overall have changed Dorian’s behavior and lifestyle to the point where it can be regarded as hedonic.

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

2017 ◽  
Vol 9 (1) ◽  
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 WAYS TO EXPRESS THE AUTHOR'S MODALITY IN KAZAKH, KYRGYZ AND ENGLISH FICTION WORKS

HOMEROS ◽  
2021 ◽  
pp. 97-117
Author(s):  
Gulgul ISKAKOVA ◽  
Peter KOSTA ◽  
Berdibay SHALABAY ◽  
Shapauov Alibi KABYKENOVICH ◽  
Raushan KIYAKOVA
Keyword(s):  
Subjective Assessment ◽  
Literary Text ◽  
Text Linguistics ◽  
Linguistic Research ◽  
Picture Of Dorian Gray ◽  
History Of ◽  
Similarities And Differences ◽  
Dorian Gray ◽  
Jennie Gerhardt

The article widely describes the concept of author's modality in the context of linguistic research and provides a brief history of the study of the category of modality in modern linguo-stylistics and text linguistics. Author's modality is considered as a category that plays the role of compiler, organizer of the literary text. The author's modality was also studied as a communicative-pragmatic and subjective assessment category. In such works as Kazakh writer A. Kekilbayev's novel "Aṅızdıṅ aqırı" and Kyrgyz writer Sh. Aitmatov's novel "Kıyamat", famous American writers Theodore Dreiser's novel "Jennie Gerhardt", Oscar Wilde's "The Picture of Dorian Gray" the different ways of expression the category of author's modality were studied, and similarities and differences were identified.

scholarly journals Aesthetic Moral Metaphor in The Picture of Dorian Gray and Its Influence on Modern Chinese Aesthetic Literature

2018 ◽  
Vol 8 (2) ◽  
pp. 77
Author(s):  
Fang Yang
Keyword(s):  
Oscar Wilde ◽  
The Novel ◽  
Social Morality ◽  
Modern Chinese ◽  
The Social ◽  
Picture Of Dorian Gray ◽  
Dorian Gray ◽  
The Aesthetic ◽  
Art For Art's Sake ◽  
The Devil

In “The Picture of Dorian Gray” Oscar Wilde displays his artistic pursuit on art, life and society. Although he advocates “art for art’s sake”, yet his works could not be isloated from the social morality. In the novel, as Dorian sells his soul to the devil for his eternal beauty in appearance, the portait burdens the change of his ugliness. In some respect, the portait is a moral metaphor of Dorian himself. Basil Hallward, the painter of the protait, can be regarded as an artist metaphor to Wilde himself. Lord Henry Wotton, a famous dandy in the novel, manifests Wilde’s aestheic belief in lifestyle. So by analyzing the three main characters, this paper probes into the aesthetic moral metaphors involved in the novel, and talks about its influence on the modern Chinese aesthetic literature.

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