scholarly journals A PAISAGEM SONORA NA NARRATIVA GÓTICA: UM PANORAMA.

Organon ◽  
2021 ◽  
Vol 35 (69) ◽  
pp. 1-15
Author(s):  
Gérson Werlang
Keyword(s):  
Horace Walpole ◽  
Dorian Gray

O surgimento do romance gótico em meados do século XVIII provocou uma pequena revolução literária, não reconhecida imediatamente pela crítica, mas que traria inumeráveis frutos nos dois séculos e meio seguintes. A publicação do seminal Castelo de Otranto, de Horace Walpole, provocaria e desequilibraria a balança literária do período, mexendo com a imaginação do público e de escritores que seguiriam a tradição do gênero. A maquinaria gótica incluía, a princípio, castelos medievais, torres fantasmagóricas, fantasmas reais ou imaginados, e toda uma figuração que seria seguida e transformada posteriormente. Este ensaio propõe-se a fazer um voo panorâmico por um aspecto muitas vezes negligenciado na narrativa gótica: o som, analisado aqui desde O Castelo de Otranto até O Retrato de Dorian Gray. Assim como o aspecto visual incluía elementos peculiares, também os aspectos sonoros possuíam características bem definidas, posteriormente imitadas, modificadas e ampliadas de acordo com a gênese de cada obra.

Promoting Dorian Gray

1987 ◽  
Vol 9 (1) ◽  
pp. 147-164 ◽  
Author(s):  
Rachel Bowlby
Keyword(s):  
Dorian Gray

Dandis, cínicos e céticos: patologias do decadentismo em Wilde, Huysmans e Houellebecq

Gragoatá ◽  
2020 ◽  
Vol 25 ◽  
pp. 455-472
Author(s):  
Angela Maria Dias
Keyword(s):  
Oscar Wilde ◽  
Michel Houellebecq ◽  
Dorian Gray

O presente ensaio busca apresentar, numa perspectiva comparatista e atualizadora, duas diferentes leituras de temas cruciais ao século XIX, como o dandismo e o decadentismo. Nesse sentido, aproxima, respectivamente, O retrato de Dorian Gray (1890), de Oscar Wilde, e Submissão (2015), de Michel Houellebecq, do romance emblemático À rebours (1884) de Joris-Karl Huysmans. Tanto a obra de Wilde, quanto a de Houellebecq, de maneiras distintas, interpretam tais questões em chaves inusitadas. O primeiro desloca seu refinamento, pelo apetite da crueldade melodramática ao explorar a margem monstruosa de sua época. O segundo desvia-se da melancolia desencantada do seu clima crepuscular, numa deriva satírica e cínica, por reconhecer a convergência entre o decadentismo novecentista e a nossa atualidade distópica e aviltada pelo avanço da desterritorialização do humano.

Dandies and Decadents

2017 ◽  
Author(s):  
Catherine Maxwell
Keyword(s):  
Sexual Identity ◽  
Oscar Wilde ◽  
Lyric Poetry ◽  
Literary Texts ◽  
Dorian Gray ◽  
With Memory

This chapter examines the decadent olfactif as represented by Oscar Wilde and the poet and critic Arthur Symons, who understood how perfume helped shape their identities as dandies and sophisticated men about town, with both of them alluding to new synthetic scents. Wilde’s use of perfume as a sign of decadent sexual identity, explored in Dorian Gray, is rudely interrupted by his imprisonment in 1895, but the idea of perfume abides with him during his incarceration as an important ideal and consolation. In Symons’s poetry and prose strong or recognizable perfumes of the period are evoked for scrutiny or contemplation or permeate the memory, calling attention to themselves as markers of decadent modernity. For Symons, perfume identified with memory does not fade, an idea borne out by his critical appreciation of the perfume of particular literary texts, lyric poetry especially, and celebrated in his own verse.

The Criminal Emperors of Ancient Rome and Wilde’s ‘true historical sense’

2017 ◽  
Author(s):  
Shushma Malik
Keyword(s):  
Ancient Rome ◽  
Historical Criticism ◽  
The Past ◽  
Picture Of Dorian Gray ◽  
Dorian Gray ◽  
Definition Of

This chapter explores how Wilde uses ‘historic sense’ (the intuition of a learned historian and the antecedent of historical criticism) as a tool with which to analyse the past, particularly the criminal emperors of ancient Rome. In his essay ‘Pen, Pencil, and Poison’, Wilde claims that ‘true historical sense’ in relation to the past allows us to ignore the crimes of Nero and Tiberius, and instead to recognize and appreciate them as artists. His decadent reading of the past is undermined, however, when we compare this version of historically guided intuition with his definition of the phrase in other works. By examining ‘Pen, Pencil, and Poison’ alongside The Picture of Dorian Gray and ‘Epistola: In Carcere et Vinculis’, we can see how Wilde manipulates his readings of the criminal emperors of Rome in order to fit his own changing relationship with Decadence and the (im)morality of crime.

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.

Ancestral Piles

2018 ◽  
pp. 519-541
Author(s):  
Sean Moreland
Keyword(s):  
Eighteenth Century ◽  
Mary Shelley ◽  
Sir Walter Scott ◽  
Charles Brockden Brown ◽  
William Godwin ◽  
Ann Radcliffe ◽  
Horace Walpole ◽  
Architectural Model ◽  
Walter Scott

This essay examines Poe’s conception and use of the Gothic via his engagements with the work of earlier writers from Horace Walpole through Ann Radcliffe, William Godwin, Charles Brockden Brown, Mary Shelley, and E. T. A. Hoffmann. Poe’s uses of the Gothic, and his relationship with the work of these writers, was informed by his philosophical materialism and framed by his dialogue with the writings of Sir Walter Scott. Tracing these associations reveals Poe’s transformation of the idea of “Gothic structure” from an architectural model, the ancestral pile of the eighteenth-century Gothic, to one of energetic transformation, the electric pile featured in many of Poe’s tales.

Horace Walpole

1869 ◽  
Vol s4-IV (87) ◽  
pp. 175-175
Author(s):  
J. Yeowell
Keyword(s):  
Horace Walpole

Letter from Horace Walpole

1863 ◽  
Vol s3-IV (93) ◽  
pp. 284-284
Author(s):  
S. H.
Keyword(s):  
Horace Walpole
Sign in / Sign up

Export Citation Format

Share Document