The Life of Oscar Wilde (1854-1900)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
El Retrato De Dorian Gray ~ Oscar Wilde ~
EL RETRATO DE DORIAN GRAY ~ OSCAR WILDE ~ HISTORIA 1 CÁTEDRA MARINO ALUMNAS GIANINNA JARA - VIVIANA ABIGAIL LEE ~ PÁG.1 ~ CONTEXTO LONDRES 1890 EL LIBRO NOS SITÚA EN LA CIUDAD DE LONDRES, INGLATERRA A FINALES DEL SIGLO XIX: “El ruido de Londres era como la larga nota de un lejano órgano”. “He prometido ver a una persona al Orleáns. Adios Mister Gray. Venga a verme alguna vez a Curzon Street.” “A las doce y cuarto del día siguiente lord Henry Wotton se dirigió desde Curzon Street hacia Albany...” “ Lord Henry pasó por los arcos de Burlington Street y, volviendo sobre sus pasos, se dirigió hacia Berkeley Square.” “Cuando estaba amaneciendo se encontró en Covent Garden.” “En la esquina de Grosvenor Square y South Audleyy Street...” Puente y abadía de Westminster y el Big Ben, en 1890. LONDON STEREOSCOPIC COMPANY GETTY. Royal Exchange, London, England] 1890-1900, Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print Abadía en estilo gótico, porque era condescendiente con la época de la fé. Royal Exchange con estilo Neoclasico, griego para referir a una época de majestuosidad, armonía, racionalidad, ideal. Las imágenes hacen alusión a la arquitectura de la época. Una Inglaterra que vivía desde principios de siglo una expansión de las Ciudades, con mucha actividad com - ercial debido a las fábricas e industrias y gran cantidad de personas que llegaban a las ciudades para trabajar “...que convirtió campos enteros en áreas de construc - ción. Pero esta actividad constructora ilimitada carecía de estilo propio... Las iglesias se construían más a menudo en estilo gótico, porque éste había sido el predominate en la llamada época de la fe. -
The Life of Oscar Wilde
Dixon 1 The late 19 th century was an exceptional time for literature in both Europe and the Americas. Arguably, some of the greatest minds in the history of Western literature actively published during this period. Twain, Melville, Dickens, Verne, Wilde and many others were widely circulated among both literary factions and laypersons. Through their fiction, their collective reach was enormous. For most of these writers, their fictive works have eclipsed their personal lives. Until recently, historians have focused only on these writers’ contributions to literature, rather than their intriguing personal histories as a whole. With the emergence of new types of historical inquiry, the study of literary figures has begun a paradigm shift toward examining the impact of their entire lives, rather than simply their works. In following that trend, this study will shine a unique light on not only the works, but also the life of one of the 19 th century’s most controversial authors: Oscar Wilde. Wilde saw himself as a brilliant Aesthetic artist, proclaiming during his 1882 American book tour, “I have nothing to declare but my genius.” 1 Early in his career the Victorian public viewed Wilde as an eccentric Aesthete whose plays delighted but often left the public feeling somewhat left out. Later, as Wilde’s now infamous trial approached, the public formed new ideas about homosexuality and began to develop tropes out of the mannerisms and dress of the Aesthetic movement to which Wilde belonged. The ways in which Oscar Wilde envisioned himself ran counter to the expectations of Victorian England; the mantle of homosexuality was thrust upon Wilde based on the narrow ideas of the society in which he lived – the public was simply ill- 1 Wilde, Oscar. -
On the Rejection of Oscar Wilde's the Picture of Dorian Gray by W. H. Smith
humanities Article On the Rejection of Oscar Wilde’s The Picture of Dorian Gray by W. H. Smith Satoru Fukamachi Faculty of Humanities, Doho University, Nagoya 453-8540, Japan; [email protected] Received: 1 September 2020; Accepted: 26 October 2020; Published: 29 October 2020 Abstract: Wilde’s only novel, The Picture of Dorian Gray, is widely said to have been rejected by W. H. Smith, but there is no doubt that this did not happen. The letter sent to Wilde by the publisher strongly indicates that W. H. Smith contemplated removing the July issue of Lippincott’s Magazine, but does not go so far as to say that the bookstore did. This letter is the only evidence, however, that this is not absolute. The refusal to sell is mere speculation. The fact that none of Wilde’s contemporaries mentioned the incident of The Picture of Dorian Gray that supposedly happened, while the boycott of George Moore’s Esther Waters, which was much less topical than this one, was widely reported and discussed, provides further evidence that Wilde’s work was not rejected. Given that the censorship of literary works by private enterprises was still topical in the 1890s, it is unbelievable that the rejection of Wilde’s novel would not have been covered by any newspaper. It makes no sense, except to think that such a thing did not exist at all. It is also clear that this was not the case in the 1895 Wilde trial. Wilde’s lawyer argued that the piece was not a social evil because it was sold uninterruptedly, and the other side, which would have liked to take advantage of it in any way, never once touched on the boycott. -
Research Study on the Novel: the Picture of Dorian Gray
Grao en Inglés: Estudios Ligüísticos e literarios Research study on the novel: the Picture of Dorian Gray Traballo Fin de Grao María Villar Lourido 2013 Index 1. Summary...........................................................................................................................................2 2. Introduction...................................................................................................................................... 3 2.1. Aim ..........................................................................................................................................3 2.2 Structure.....................................................................................................................................3 2.3 Methodology .............................................................................................................................4 2.4 Election criteria .........................................................................................................................4 3. Case Study........................................................................................................................................ 6 3.1 The Picture of Dorian Gray........................................................................................................6 3.2 Evil and the search of eternal youth ..........................................................................................8 3.3 The creation of personality .................................................................................................... -
The Changes of Dorian's Personality to Be Narcissistic Caused by His
The Changes of Dorian’s Personality to be Narcissistic Caused by His Environment Reflected in Oscar Wilde’s Novel The Picture of Dorian Gray SCIENTIFIC ARTICLE BY IRMA OEMAYA NIM 0811110048 STUDY PROGRAM OF ENGLISH DEPARTMENT OF LANGUAGES AND LITERATURE FACULTY OF CULTURAL STUDIES UNIVERSITAS BRAWIJAYA MALANG 2013 This is to certify that the Sarjana thesis of Irma Oemaya has been approved by the Board of Supervisors. Malang, 1 Agustus 2013 Supervisor Juliati, M.Hum. NIP. Malang, 21 June 2013 Co-supervisor Fredy Nugroho S, M.Hum The Changes of Dorian’s Personality to be Narcissistic Caused by His Environment Reflected in Oscar Wilde’s Novel The Picture of Dorian Gray Irma Oemaya Study Program of English, Faculty of Culture Studies, Universitas Brawijaya Abstract God creates human with the biological aspect as the foundation that build someone from the body, personality, character, etc, and biological is not the only factor that build some one’s character. There are some key factors, which provoke particular changes in human character, and these aspects can be divided into two groups, internal and external. Everyone has different personality and character, and they also have bad side and good side inside them, which is the most strongest side will be seen clearly as they wants. The Picture of Dorian Gray is a novel with uncommon theme or supernatural thing. Yet the real theme which is going to be analyzed deal with the change Dorian’s character a handsome young man from innocent nature into an evily selfish person. Dorian Gray was a pure man until his meeting with Lord Henry brought him to realize that beauty is everything. -
Psychographic Persona Development in the Picture of Dorian Gray
University of San Diego Digital USD Undergraduate Honors Theses Theses and Dissertations Fall 12-18-2019 Psychographic Persona Development in the Picture of Dorian Gray Melody Day University of San Diego Follow this and additional works at: https://digital.sandiego.edu/honors_theses Part of the Literature in English, British Isles Commons, and the Marketing Commons Digital USD Citation Day, Melody, "Psychographic Persona Development in the Picture of Dorian Gray" (2019). Undergraduate Honors Theses. 64. https://digital.sandiego.edu/honors_theses/64 This Undergraduate Honors Thesis is brought to you for free and open access by the Theses and Dissertations at Digital USD. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital USD. For more information, please contact [email protected]. Psychographic Persona Development in The Picture of Dorian Gray ______________________________________ A Thesis Presented to The Faculty and the Honors Program Of the University of San Diego ______________________________________ By Melody Mai Day Marketing & English 2019 When interviewed about his Victorian Gothic masterpiece, The Picture of Dorian Gray, Oscar Wilde once observed that “Basil Hallward is what I think I am: Lord Henry is what the world thinks of me: Dorian is what I would like to be—in other ages, perhaps” (Oscar Wilde). These three characters represent widely different personas; in light of Wilde’s words, then, what does it truly mean to be Basil Hallward, Lord Henry Wotton, or Dorian Gray? And how can you properly define their personalities based upon psychographic measures?1 In order to answer the first question and to unravel these three characters’ opinions, interests, and values, their words and actions must be closely analyzed within the text. -
Oscar Wilde, 1891) and the Picture of Dorian Gray (Albert Lewin, 1945)
Alicante Journal of English Studies 29 (2016): 47-67 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) Tomás Costal Criado UNED [email protected] ABSTRACT 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. Keywords : Oscar Wilde, The Picture of Dorian Gray , semiotics, audiovisual translation 48 Alicante Journal of English Studies 1. Refashioning Wilde: Albert Lewin’s adaptation of The Picture of Dorian Gray (1945) The fate of literary works, as occurs with various other forms of artistic expression, is often uncertain. Some behave just like shooting stars and after a period during which they are adored by the public and the critics alike they vanish and become imperceptible. -
The Battle of Good and Evil in the Picture of Dorian Gray
University of Iceland School of Humanities Department of English The Battle of Good and Evil in The Picture of Dorian Gray B.A Essay Svanhvít Helga Magnúsdóttir 0507922429 Supervisor: Ingibjörg Ágústsdóttir September 2015 1!! Abstract The Picture of Dorian Gray is the only novel published by Oscar Wilde. The novel is considered to be one of the most controversial literary works of the 19th century. In his novel Wilde uses his three main characters to reflect the battle of good and evil that exists in every man. The conflict of choosing between good and evil exists in every human with free will. This essay explores how the battle between good and evil is represented in the characters of Basil Hallward and Lord Henry Wotton in The Picture of Dorian Gray. It also discusses how Dorian Gray represents the everyman that deals with the battle of having to choose a side between good and evil. The Picture of Dorian Gray is a story about the spiritual journey of Dorian Gray, a beautiful young man tempted by the concept of eternal youth and beauty. Wilde uses personal experience and different literary themes to create his novel. In the novel there are elements of gothic fiction, aestheticism and the Faustian bargain. Faust and The Picture of Dorian Gray have many similarities, both in the structure of the stories, as well as in themes and plot. This essay looks at the similarities and differences between the corresponding representatives of good and evil, Lord Henry and Mephistopheles, Basil, the Lord and the three angels and Dorian Gray and Faust. -
Critique and Contradiction in the Picture of Dorian Gray
Papers & Publications: Interdisciplinary Journal of Undergraduate Research Volume 6 Article 16 2017 The selesU sness of Art: Critique and Contradiction in The icP ture of Dorian Gray Chelsea E. Kidd Florida Southern College Follow this and additional works at: https://digitalcommons.northgeorgia.edu/papersandpubs Part of the Cultural History Commons, Literature in English, British Isles Commons, and the Social History Commons Recommended Citation Kidd, Chelsea E. (2017) "The sU elessness of Art: Critique and Contradiction in The icturP e of Dorian Gray," Papers & Publications: Interdisciplinary Journal of Undergraduate Research: Vol. 6 , Article 16. Available at: https://digitalcommons.northgeorgia.edu/papersandpubs/vol6/iss1/16 This Article is brought to you for free and open access by the Center for Undergraduate Research and Creative Activities (CURCA) at Nighthawks Open Institutional Repository. It has been accepted for inclusion in Papers & Publications: Interdisciplinary Journal of Undergraduate Research by an authorized editor of Nighthawks Open Institutional Repository. Papers & Publications, vol. 6 The Uselessness of Art: Critique and Contradiction in The Picture of Dorian Gray ll art is quite useless,” Oscar Wilde wrote in the preface Chelsea Kidd to The Picture of Dorian Gray (1890), strategically making Florida Southern College the statement the last line one reads before diving into the text of his novel (Wilde, The Picture of Dorian Gray, 2). “AA self-proclaimed aesthete, Wilde argued that art is simply meant to be beautiful or to create a mood and that “[i]t is not meant to instruct, or to influence action in any way” (“Art is Useless Because,” 1). Wilde was known for his sarcastic wit, and when reading the book, the quote can likely be seen as just another one of his satirical gibes for The Picture of Dorian Gray is quite the opposite of socially useless. -
O Retrato De Dorian Gray: Uma Possível Análise Junguiana a Partir Do Arquétipo Do Puer Aeternus
Página 1 de 14 Bonfatti, P. F. O retrato de Dorian Gray: uma possível análise junguiana a partir do arquétipo do Puer aeternus O retrato de Dorian Gray: uma possível análise junguiana a partir do arquétipo do Puer aeternus The picture of Dorian Gray: a possible Jungian analysis from the archetype of Puer aeternus El retrato de Dorian Gray: una posible análisis junguiana a partir del arquetipo de Puer aeternus Paulo Ferreira Bonfatti1 Resumo O objetivo deste artigo é contribuir para a compreensão da dinâmica psicológica de Dorian Gray, protagonista do romance O retrato de Dorian Gray, de Oscar Wilde, a partir da teoria junguiana. Na trama da obra, tenciona-se depreender esse personagem com base no conceito do arquétipo do Puer aeternus – entendido como o adulto que quer ser uma eterna criança, permanecendo para sempre jovem e não querendo crescer. Essa perspectiva considera que o arquétipo do Puer e suas manifestações podem ser vistos não só na Psicologia Clínica contemporânea como também em diversas outras expressões arquetípicas, como a Literatura. Na análise do drama desse personagem, perceber-se-á o caráter inescapável de seu fim trágico, considerando-o capturado por essa dinâmica psíquica do Puer aeternus ao tentar negar a passagem do tempo, o envelhecimento, o amadurecimento, os estabelecimentos de vínculos afetivos e suas relações com o mundo. Palavras-chave: Psicologia junguiana. Puer aeternus. Dorian Gray. Literatura. Oscar Wilde. Abstract The purpose of this article is to contribute to the understanding of the psychological dynamics of Dorian Gray, protagonist of Oscar Wilde 's novel The picture of Dorian Gray from Jungian theory. -
The Many Lives of Dorian Gray
The Many Lives of Dorian Gray An Analysis of the Lasting Appeal of The Picture of Dorian Gray Through its Adaptations Bachelor Thesis English Language and Culture, Utrecht University Supervisor: Dr. Paul Franssen Second Reader: Prof. Dr. Ton Hoenselaars 11.598 words 20 Apr 2012 Bob Boogaerdt 3509710 Troubadour 14 3161 LT Rhoon 2 Contents Contents ............................................................................................................... 2 Introduction: Immortal Dorian..............................................................................3 Chapter 1: Different Shades of Gray.....................................................................6 Chapter 2: The Motion Pictures of Dorian Gray.................................................18 Chapter 3: Dorian 2.0..........................................................................................29 Conclusion: The Basic Appeal and Many Dimensions of Dorian Gray.............43 Works Cited.........................................................................................................47 List of Images Used on Cover.............................................................................49 3 Introduction: Immortal Dorian When Dorian Gray, the protagonist of Oscar Wilde's only novel, The Picture of Dorian Gray, looks upon his portrait for the first time, he cries out: "How sad it is! I shall grow old, and horrible, and dreadful. But this picture will remain always young" (Wilde 1891 25). He goes on to wish that this process was the other way around, -
Fuerte Como La Muerte Y El Retrato De Dorian Gray
FUERTE COMO LA MUERTE Y EL RETRATO DE DORIAN GRAY Daniel MORTIER Profesor en la Universidad de Rouen Fuerte como la muerte de Maupassant y El retrato de Dorian Gray de Oscar Wilde son dos novelas, que hoy en día parecen muy distantes la una de la otra. La primera, escrita por un autor francés, célebre sobre todo por sus relatos y cuentos, y víctima del descrédito vinculado a las novelas psicológicas de finales del siglo XIX, es poco leída. La segunda, se ha beneficiado de la fortuna y seguridad del género fantástico en nuestros días, añadiendo a ello la gloria de su autor inglés, que ya conoció en vida el éxito con obras teatrales y fue noticia de actualidad por un escándalo relacionado con su vida privada. Las fechas de publicación son muy próximas. Fuerte como la muerte apareció en folletín, del 1 de febrero de 1889 al 16 de mayo de 1889, luego en volumen en mayo de 1889. El retrato de Dorian Gray fue publicada en forma de relato el 20 de junio de 1890, luego bajo su estado actual en abril de 1891. Ambas además ponen en escena un ambiente mundano, aun cuando Oscar Wilde no se resiste completamente a la “bajofondomanía”, a la que Maupassant consideraba ya en 1882 una reacción demasiada violenta contra el idealismo exagerado que adelanta” 1. Tanto una como la otra tratan del rechazo a envejecer. En la novela de Maupassant, Olivier Bertin descubre, viendo a la hija, las pulsiones de la pasión que le inspiraba la madre. Aquella, que “desearía la vejez para (…) descansar en una afección fría y tranquila” 2 se da cuenta de que eso es una quimera.