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University of Florida Thesis Or Dissertation Formatting SEARCHING FOR THE ART-LIFE: EMBODYING WILDEAN AESTHETICS FROM THE LATE NINETEENTH TO THE EARLY TWENTY-FIRST CENTURY By SAMANTHA A. BANAL A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2018 © 2018 Samantha A. Banal To my parents ACKNOWLEDGMENTS Many people contributed to the completion of this project, and they each storm into mind as I contemplate who to mention here. I would first like to thank my professors from my undergraduate years at Florida International University. Meri-Jane Rochelson and Maneck Daruwala first taught me about Oscar Wilde, his essays, and The Picture of Dorian Gray. Through their courses and mentorship, I gained an incredible appreciation and passion for late Victorian culture and literature. I also would like to take this moment to pay my respects to the late Phillip L. Marcus. My peers and I were lucky enough to have him as a professor at FIU, and his influence upon my subsequent work, as both a scholar and teacher, cannot be understated. From my graduate years at the University of Florida, my friends and colleagues there are too numerous to name, but I do wish to thank a few people. Randi Gill-Sadler and Gareth Hadyk-DeLodder, we entered the program together and stuck together through the end, and I am proud to have come through this with them. Sarah Kniesler, simply put, I could not have done it without her. I finally wish to show my gratitude for the work my committee members—Marsha Bryant, Pamela Gilbert, Eric Kligerman, and Chris Snodgrass—put into making this project a success. I especially wish to thank Pamela Gilbert, for setting an incredible example of a mentor, professor, and scholar, and Chris Snodgrass, for his encouragement as my director, his patience with my verb tenses, and his awards-season movie discussions. My friends home in Miami were my rock throughout this process. I always knew I had a safe refuge a few hours away, and I now thank them for asking about my dissertation and supporting me through phone calls, visits, and summers back home. I especially want to thank Monica, Rebecca, Jaife, Bryant, Miryam, Laura, Annette, and Rosamary for their love, their conversations, and their continued interested in reading this thing. 4 Finally, the debt I owe to my family is immense. I thank my parents, Jesus and Debra, for being there every step of the way and reminding me of my own strength whenever I forgot it. And thanks to my partner, Jasmijn, for coaching me across the finish line. My final chapter is my favorite because of her. 5 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 LIST OF ABBREVIATIONS ..........................................................................................................7 ABSTRACT .....................................................................................................................................8 CHAPTER 1 INTRODUCTION .............................................................................................................10 2 THE FIN-DE-SIÈCLE’S LIVING MYTHS AND MONSTERS ......................................52 3 AESTHETIC MUSES, MOTHERS, AND LOVERS .......................................................89 4 MID-CENTURY ACTRESSES AND BALLERINAS, MANNEQUINS AND MODELS .........................................................................................................................133 5 THE HASHTAGGED LIVING AESTHETIC ICON .....................................................184 LIST OF REFERENCES .............................................................................................................235 BIOGRAPHICAL SKETCH .......................................................................................................242 6 LIST OF ABBREVIATIONS “CA” “The Critic as Artist” “DA” “The Decorative Arts “DL” “The Decay of Lying” DP De Profundis “HB” “The House Beautiful” PDG The Picture of Dorian Gray PML The Painter of Modern Life “PPP” “Pen, Pencil, Poison” R The Renaissance: Studies in Art and Poetry “SM” “The Soul of Man Under Socialism” “TM” “The Truth of Masks” 7 Abstract of Dissertation Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy SEARCHING FOR THE ART-LIFE: EMBODYING WILDEAN AESTHETICS FROM THE LATE NINETEENTH TO THE EARLY TWENTY-FIRST CENTURY By Samantha A. Banal May 2018 Chair: Chris Snodgrass Major: English In “The Decay of Lying,” Oscar Wilde argues, “Paradox though it may seem…it is none the less true that Life imitates art far more than Art imitates life.” Taking Wilde’s critical work as a starting point in my dissertation, I address how late Victorian critics began creating “living aesthetic objects,” which are living beings who transform themselves into art without losing their individuality or agency. From Wilde’s essays and his Dorian Gray, my project moves through the twentieth century, examining both canonical and non-canonical texts to reveal the pervasiveness of the living aesthetic object and to address how they evolve into the most provocative art and artists of the twenty-first century. Indeed, the living aesthetic object warrants the same critical analysis currently reserved for literature, film, and certain new media. Through my research, I answer how exactly a person transforms themselves into a living aesthetic object, and I develop strategies towards identifying and understanding this figure without objectifying them. My dissertation’s overarching framework draws from critical reevaluations of Oscar Wilde’s aesthetic essays and from the most recent trends in new media studies. Victorianist critics, such as Lawrence Danson and Julia Prewitt Brown, have revisited Oscar Wilde’s critical work and established his immense contributions to aesthetic theory. I draw from the work begun 8 by these scholars and begin applying Wilde’s theories to various artforms. Furthermore, I engage with groundbreaking queer theorists of the past decade and apply conversations regarding loss, performance, and queer history to my research. In so doing, close readings of Wilde’s continued relevance combine with a nuanced theoretical lens that connects these texts and their living aesthetic objects to larger cultural issues. Through this combination, I reveal how Victorian studies can contribute to contemporary criticism, beyond a discussion of neo-Victorian adaptations and reimaginings, by tapping into the era’s critical theories in aesthetics, memory, performance, and the individual within the community. 9 CHAPTER 1 INTRODUCTION In his essay, “The Decay of Lying” (1889; rev. 1891), Oscar Wilde utilizes the Classic Greek dialogue form to advance his own aesthetic theories, the most striking of which analyzes the relationship between life and art. Wilde, through the voice of his dandy stand-in Vivian, argues, “Literature always anticipates life. It does not copy it, but moulds it to its purpose” (“DL” 983). During the late-eighteenth and nineteenth centuries respectively, Immanuel Kant and Friedrich Nietzsche added art to the long list of subjects worthy of philosophical insight. In comparison to these thinkers, Wilde seems a mere satirist amongst sages, but his aesthetic essays and even his fictional works address an important shift that occurs in the relationship between life and art in the mid to late nineteenth century, a shift that places art above life. Wilde’s bold claims, along with those offered by other foundational aesthetic thinkers, start the process of theorizing a new art form, one in which living bodies present themselves as static-art objects. This paradox between life and art reveals how early twentieth through early twenty-first century art forms embody concepts first envisioned by nineteenth century theorists and philosophers. Rather than merely trace how life has imitated art from the late Victorian era on, I will show how, under new aesthetic models over this period, life has newly constructed itself to mimic and advance ideal art forms. Living aesthetic objects are the hybrid life-art texts that will be the focus throughout my dissertation. By living aesthetic objects, I refer to living figures, which are defined more by their relation to art than their relation to natural reality. Making contact with such figures forces viewers to confront the uncanny territory between life and art because these figures define themselves, their appearance, and their actions according to both life and art. Viewers can never be certain whether they are confronting a living person or an aesthetic object. In the first few 10 chapters of my dissertation, these figures usually come from fictional forms like the novel, film, and poetry. In the mid-twentieth century, the focus of Chapter 4, however, I locate a tilting point—especially through Diana Vreeland's models and mannequins—which brings us to the millennial fashion designers, pop artists, and performers that finally present themselves as living aesthetic objects in real life. Before aesthetic culture reaches this moment, there lies a progressive evolution from the late Victorians to the millennial artists. Each of my chapters focuses on a different phrase, in order to highlight specific stages in the development of the living aesthetic object. In its most basic form, a living aesthetic object embodies the greatest assets
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