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.

Towards an Ethical Aestheticism: Christianity, Christhood and Martyrdom in the Fiction of Oscar Wilde

<p>Oscar Wilde is part of our world. With his dandyish witticisms and decadent demeanour, he continues to serve as a model of subversive grace, an aesthetic beacon drawing his readers towards a lighthouse of beauty, even more than a century after his death. Few would suspect that Wilde’s work should offer any ethical guidance, given the tendency of fin-de-siècle aestheticism to place artistic beauty above ethical concerns. It is the purpose of this thesis to argue otherwise. The aim of this thesis is twofold. First, it intends to show that Wilde’s fiction, from his early fairy stories to his only novel, The Picture of Dorian Gray, is connected by a common interest in Christian ethics. Second, and more ambitiously, it intends to disprove the notion that aestheticism and ethics are irreconcilable. Throughout his work, Wilde develops an image of an aesthetic Jesus Christ, a martyr of beauty. Wilde dedicates much of his fictional oeuvre to illustrating this vision of Christ, usually through martyrdom and the relinquishment of selfhood. In doing so, this thesis argues that he connects artistic beauty with Christian ethics, synthesising an ethical aestheticism, only achievable through self-sacrifice in service of love – the aesthetic ideal. This kind of aesthetic martyrdom is present throughout Wilde’s fiction, the most commonly cited examples coming from two of his early fairy stories, “The Happy Prince” and “The Nightingale and the Rose” respectively. In these stories, the titular characters work to realise the vision of the aesthetic Christ – what this thesis calls his ‘aesthetic ideal’ – and achieve a higher appreciation of beauty, both bodily and immaterial. Christianity, this thesis finally argues, is the basis for Wilde’s ethical aestheticism and it is Christian ethics that Wilde uses to orientate his readers towards aesthetic Christhood, not with the cold, judging hand of a Victorian preacher but the warm, caring shoulder-pat of an aesthetic father-figure.</p>

Towards an Ethical Aestheticism: Christianity, Christhood and Martyrdom in the Fiction of Oscar Wilde

<p>Oscar Wilde is part of our world. With his dandyish witticisms and decadent demeanour, he continues to serve as a model of subversive grace, an aesthetic beacon drawing his readers towards a lighthouse of beauty, even more than a century after his death. Few would suspect that Wilde’s work should offer any ethical guidance, given the tendency of fin-de-siècle aestheticism to place artistic beauty above ethical concerns. It is the purpose of this thesis to argue otherwise. The aim of this thesis is twofold. First, it intends to show that Wilde’s fiction, from his early fairy stories to his only novel, The Picture of Dorian Gray, is connected by a common interest in Christian ethics. Second, and more ambitiously, it intends to disprove the notion that aestheticism and ethics are irreconcilable. Throughout his work, Wilde develops an image of an aesthetic Jesus Christ, a martyr of beauty. Wilde dedicates much of his fictional oeuvre to illustrating this vision of Christ, usually through martyrdom and the relinquishment of selfhood. In doing so, this thesis argues that he connects artistic beauty with Christian ethics, synthesising an ethical aestheticism, only achievable through self-sacrifice in service of love – the aesthetic ideal. This kind of aesthetic martyrdom is present throughout Wilde’s fiction, the most commonly cited examples coming from two of his early fairy stories, “The Happy Prince” and “The Nightingale and the Rose” respectively. In these stories, the titular characters work to realise the vision of the aesthetic Christ – what this thesis calls his ‘aesthetic ideal’ – and achieve a higher appreciation of beauty, both bodily and immaterial. Christianity, this thesis finally argues, is the basis for Wilde’s ethical aestheticism and it is Christian ethics that Wilde uses to orientate his readers towards aesthetic Christhood, not with the cold, judging hand of a Victorian preacher but the warm, caring shoulder-pat of an aesthetic father-figure.</p>

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.

An Ecocritical Perspective on the Vital Forces of Decay

The modern decadent tradition began to form around the same time that ecology emerged as a recognized scientific field. The essentialist biologism at the historical root of decadence meshed with the interest that cultural theorists and artists of the nineteenth century had in models of society as an organically coherent, self-regulating system. Turning to conceptions of decay in Charles Baudelaire’s poetry and Oscar Wilde’s novel The Picture of Dorian Gray (1890/1891), this article addresses the authors’ ecological understanding of themselves as humans and as artists, and of the place of decadent aesthetics within the biological world itself. This essay foregrounds not the scientific knowledge the authors had regarding decay, fungi, or rot, but the ontological perspective through which ecological models of engagement and influence permeate their decadent works.

DOPPELGANGERS SIBLINGS IN THE KITE RUNNER

Purpose of the study: This study analyses the novel The Kite Runner (2007) of Khaled Hosseini in the light of the concept of mirror images given by Sigmund Freud in The Uncanny (1919). Bearing in mind Freud's conjecture, this inquiry enroots some personalities who have similar features and qualities. Methodology: This study is qualitative in nature. The Kite Runner is the first hand and chief source. While the second hand include easy and magazines about The Kite Runner. By concentrating on the notion of mirroring as given by Freud in The Uncanny. The study applies the concept of doppelganger siblings on Amir and Hassan, two main characters in the novel. Main Findings: The findings show that Amir and Hassan are shown as doppelgangers of one another in this study. The two personalities have some same and some different qualities like a mirror image. This study sets Amir as Heimlich and Hassan is portrayed as Unhelmlich because Amir is rich and Hassan is poor. Applications of this study: This research contributes to the field of doppelganger literature. Novelty/Originality of this study: This study analyzes the doppelgangers in the kite runner and thus contributes to the long tradition of doppelganger in literature: The Picture of Dorian Gray, The Strange Case of Dr Jekyll and Mr Hyde and Frankenstein.