De "The Picture of Dorian Gray" de Oscar Wilde al "Dorian Gray" de Corominas: Análisis de una transducción interartística, ¿lograda?

Partiendo del concepto de transducción interartística de Wellek, este artículo se propone llevar a la práctica el caso de The Picture of Dorian Gray de Oscar Wilde adaptado por Corominas. Un ejemplo de transducción interartística de lo más interesante y arriesgado tanto más cuanto que se trata de ofrecer un clásico literario de la Inglaterra del siglo XIX a un público visual, y no forzosamente de letras, en los albores del siglo XXI, mediante el Noveno Arte. Por otra parte, este álbum presenta otra originalidad y es que fue publicado y, de hecho, traducido al francés antes de ser editado en España, lo que duplica su transducción, en este caso, lingüística: Todo un reto, tanto para el dibujante y guionista Corominas como para la traductora Carole Rattclif.

Second-Hand Risk Health Tragedies and Human Right Violations due to Ethanol Consumption. Biochemical basis for metabolic and behavioral Tragedies due to Ethanol Consumption

Everywhere a nonsmoker who is an alcohol consumer, complains of secondhand smoke, without being aware of second-hand risk health tragedies and human rights violations provoked by alcohol consumption. Here we analyze the concept, mainly unexplored, of dramatic adverse health effects and of human rights violations against third parties generated for alcohol consumption by others; and also, the harm due to the chemical transient prefrontal lobotomy generated by alcohol consumption. Alcohol consumption has been a part of the everyday human diet for centuries, especially because of the fact that alcoholic beverages are a safe means of hydration wherever clear water has not been available [1]. Old patients could, simultaneously be part of the alcohol consumers and/or secondhand victims. Before deciding to analyze the geriatric problems, we propose the allegorical model, based on Scott, Ellison, and Sinclair, as it was published in Nature Aging, in July 2021. We divide the theoretical analysis with four fundamental alternatives [2]: The extension of life (Struldbrug case). In Jonathan Swift's 1726 novel “Gulliver's Travels”, the struldbrugs were humans born apparently normal. The Struldbruggs, however immortal however they age normally, live in continuously deteriorating health. This takes us to the philosophical alternative of: “living or lasting” [2]. To lower morbidity (Dorian Gray case). Narratively, in “The Picture of Dorian Gray” a philosophical novel by Oscar Wilde, Dorian Gray owns a portrait of himself and while the picture ages, Dorian Gray does not change, maintaining his health and appearance until death [2]. Slowing aging (Peter Pan case), In this extreme case, where aging is not just slowed but canceled, the mortality and the health become independent of the age, and thus the individual is ‘forever young’. This constitutes the ‘Peter Pan’ case, after the play and novel about a boy who never grows old. This closely corresponds to the Hypocaloric diet claiming that it slows aging [2]. To reverse aging physical damage is repaired instead of slowed. This is a close analogy to the “Theseus Boat” as well as the regeneration of salamanders and lizards and transplants from donors. Desiderative, this is the future of organoids and the engineering of the pluripotent cell [2].

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

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.

A comparison of the motifs of artist's obsession in „The Tattooer“ by Tanizaki Jun'ichirō and „Tale of a Mad Painter“ by Kim Dong-in

This paper discusses similarities in the choices of plots and motifs in the short stories The Tattooer (1910) by Japanese writer Tanizaki Jun'ichirō and Tale of a Mad Painter (1935) by Korean writer Kim Dong-in, and hypothesizes a possible connection between them. In order to find out whether these works are really connected, common literary influences on both stories and analyzed stories’ structures and motifs were compared in this thesis. Results revealed that these two works were written under the influence of the same literary works: the theme of the relationship between art and violence and the motif of the artist obsessed with the desire to create an artistic masterpiece in The Tattooer and Tale of a Mad Painter are most likely inspired by Oscar Wilde's novel The Picture of Dorian Gray and Edgar Allan Poe's short story The Oval Portrait, while motifs of sexual perversions are inspired by Psychopathia Sexualis by Richard Freiherr von Krafft-Ebing. Not only two stories were written under the same influences, but the story Tale of a Mad Painter itself intertextually reworked Tanizaki’s The Tattooer adjusting motifs to Korean realities and making the structure more complex.

PENNY DREADFUL: NOS LIMITES DA TRANSGRESSÃO DO GÓTICO

Do ponto de vista narrativo e estético, muitas séries televisivas da atualidade vêm ganhando reconhecimento crítico e acadêmico. O aperfeiçoamento na criação de personagens, gêneros e inovações nas formas de narrar são alguns dos motivos da persistência cultural nas formas seriais audiovisuais. Nessa perspectiva inserimos Penny dreadful, adaptação seriada para a televisão que utiliza personagens da literatura como metáforas para discutir temas-tabu, como o corpo feminino como via demoníaca, sexo e sexualidade, pecados e monstruosidades. Sendo assim, esse artigo tem por objetivo discutir como esse seriado televisivo retrata os variados níveis de transgressão sexual e psicanalítica. O estudo embasou-se primordialmente na análise do personagem Dorian Gray criado por John Logan para a série. Os crimes, pecados e violação de leis tornam-se evidentes ao longo do seriado e através desses diversos atos de transgressão, o personagem materializa algumas convenções do gótico. Como um ser sobrenatural cujas ações refletem a monstruosidade, o personagem da série televisiva adiciona inúmeros outros sentidos ao texto literário do qual se originou, o romance O retrato de Dorian Gray, de Oscar Wilde. Para esse estudo, recorremos às contribuições dos estudos do cinema, de Marcel Martin (2011) sobre a linguagem cinematográfica, Botting (1996, 2005), Powell e Smith (2006), Hughes e Spooner (2006) e Wheatley (2006), para discutir sobre o gótico e sobre discussões sobre adaptação recorremos à Hutcheon (2013) e Stam (1992) e (2003).