the picture of dorian gray essay pdf

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The picture of Dorian Gray essay by GERSA RRUDHA

2020, An essay over "The picture of Dorian Gray".

An essay over "The picture of Dorian Gray".Pater’s aestheticism and Wilde’s Preface to the novel; Wilde’s ambiguous positon.

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anna kerekes

Rihan Jawich

A focus on Oscar Wilde's contribution to the Aesthetic Movement and the impact of Aesthetic ideasin his only novel The Picture of Dorian Gray. In this paper, the function of art and the fatality of Aestheticism are analysed and discussed.

Georgia Small

This dissertation aims to explore the works of Oscar Wilde through the dialectical dichotomy of depth and surface. The predominant focus will be on The Picture of Dorian Gray, The Importance of Being Ernest, his essays in Intentions; The Critic as Artist and The Decay of Lying, and some reference will also be made to his posthumous work De Profundis. Within these works we will begin to see how Wilde inverts the privileging of one aspect of a dichotomy over another, specifically by favouring surface over depth. This concept of privileging one value over another is realized later in the century by Jacques Derrida, who acutely observes that ‘the suppositions of stable structures depends on the privileging of a fixed center or given origin’. Wilde, like Derrida, attempts to destabilize these structures by favouring the inferior value. He does this through the use of the paradox that enables him to uproot social and textual authorities by shaking the premises on which universal truths are founded.

Hansel Raphael

According to Nils Clausson, the “two most favored candidates for the Dorian Gray’s controlling genre have remained fable and parable” – modes whose moral lesson would have been self-evident (341). While this paper does not claim to have found the true genre of Dorian Gray, it proposes to read the text in conjunction with Wilde’s philosophy of art, i.e. his New Hellenism. This aesthetic philosophy expressed in his critical writing will serve, as it were, as the foundations of yet another genre – one that may provisionally be termed a Hellenic Bildungsroman. As the term Bildungsroman implies, the theme of self-creation is the focus of this genre. Such readings of Dorian Gray are not new; Clausson relates the story “to the novel of self-development” (343), while Murray describes Dorian’s life as “the growth, education and development of an exceptional youth, who through personalities, a book, a picture, is moulded or moulds himself, discovering himself what he believes in” (viii). This paper builds on these established perspectives, but reframes and evaluates Dorian’s growth through a genre that expresses Wilde’s New Hellenism. In so doing, it argues for revised interpretations of the novel’s ‘moral,’ and of an ending so often understood as his retributive punishment for sinning. The argument also attempts to make sense of its mixed critical reception by proceeding from the premise that the text may be read disjunctively, between the opposing literary and cultural discourses introduced by Matthew Arnold in Culture and Anarchy (1869), viz. Hebraism and Hellenism. It contends that the common ‘moral’ reading of Dorian Gray as a generic parabolic text is affliated to the Hebraic sentiments that dominated the Victorian period, while suggesting that to understand Wilde’s ‘aesthetic’ meaning, the antithetical Hellenic perspective is required.

This thesis aims to show how the conflict between art and morality is portrayed in Oscar Wilde’s The Picture of Dorian Gray. It will explore this conflict in general terms, how it is rooted in the values of Victorian society, and how artists of the time reacted to it. In what way the different moral and artistic views of Wilde’s mentors, John Ruskin and Walter Pater, influenced his views, and how his aesthetic principles represented in his critical essays are portrayed in his single novel, The Picture of Dorian Gray. Finally, this thesis will introduce the literary reception of the moral issues of Oscar Wilde’s writings.

Nilay Güney

Ilona Urquhart

The means by which the portrait of Dorian Gray gains its supernatural power is concealed in Oscar Wilde’s The Picture of Dorian Gray, but the insinuation that Dorian has made a deal with the devil remains. This article demonstrates that in the absence of a devil character the devil function is taken on by art, which tempts Dorian to act in transgressive and ultimately destructive ways. When Wilde is read in the light of Matthew Arnold’s essays on literature and criticism, this characterisation of art and particularly literature can be understood as a reaction to the latter’s overvaluation of poetry and prediction that it would come to replace religion as a moral guide. The Picture of Dorian Gray, conversely, puts forward the view that art should only ever be enjoyed superficially, and that the only guide for conduct should be one’s soul—Wilde’s poetic representation of the individualist ideal.

John Inglett

Critics have long substantiated the modernity of Oscar Wilde and his one novel,

Azer Banu Kemaloğlu

The Picture of Dorian Gray (1891) manifests the aesthetic perception of Oscar Wilde in terms of a choice between objective reality and subjective sensing. Wilde privileges the subjective over the objective modes of experience since he believes in the power of knowing through impulses. The novella continuously calls for the intuitive world of pleasure through subjective experience. In this world of detached reality, Dorian experiences the world non-purposively through subjective sensing. Non-purposive experience coincides with Immanuel Kant's concept of disinterested free beauty which is perceived subjectively as discussed in the Critique of Judgement (1790). Hence, free beauty and the way of knowing through the senses in Kantian terms seems to be the model for Wilde's protagonist as Dorian's judgements arise spontaneously. Such purposeless perceptions dominate Wilde's novella and Dorian's world of senses as aesthetic pleasure becomes a necessary supplement for Dorian's life. Within this scope, this study aims to elucidate Kant's theories in the Critique of Judgement (1790) as reflected in Wilde's novella. However, Kant's idea of a mutual agreement between rationally knowing and subjectively sensing seems to be disregarded by the novelist, as Wilde perceives reality and objectivity as antagonists. It is with this critique in mind that I have pursued the aesthetic aspect of Wilde's novella. In this respect, this paper attempts to analyse Wilde's sensing the world as opposed to knowing it. Taking from Kant's judgement, Wilde's attempts to separate two ways of knowing is elucidated through the depiction of inner and outer spaces, Dorian's attachment to his portrait and artistic objects, and detachment from reality as exemplified by the deaths of Sibyl Vane, the actress and, Basil Hallward, the artist. Öz: The Picture of Dorian Gray (1891), Oscar Wilde'ın estetik algısını göstermekte ve Wilde'in nesnel ve öznel algı arasındaki seçimini ortaya çıkarmaktadır. Wilde dürtüler vasıtasıyla edinilen bilgilerin gücüne inandığı için öznel deneyim otonomisini kurarken nesnel gerçekliği yok eder. Kısa romanı sürekli olarak öznel deneyimlerle sezgisel bir zevk dünyası arayışındadır. Gerçeklikten uzaklaştığı bu dünyada, Dorian dünyayı öznel deneyimlerle bir amaç gütmeden deneyimler. Dorian'in bu deneyimi Immanuel Kant'ın Critique of Judgement (1790) adlı kitabındaki duyularla algılanan başka bir şeye bağlı olmayan güzellik kavramıyla örtüşmektedir. Bu sebeple Kant'ın bağımsız güzellik kavramı ve duyular yoluyla bilme teorisi, Dorian'ın dünyayı algılayış şekliyle örtüştüğünden Wilde'ın romanında örnek alınmış gibi görünmektedir. Estetik nesnelerden alınan keyif Dorian'ın hayati için zaruri olmaya başladıkça, belli bir amaç gütmeden duyularla karara varma Wilde'ın kısa romanında ve Dorian'ın duyularla algıladığı dünyasında baskın olmaktadır. Bu makale bu çerçevede Kant'ın Critique of Judgement (1790) kitabında savunduğu teorilerini Wilde'ın kısa romanında görüldüğü şekliyle açıklamayı amaçlamaktadır. Ancak Kant'ın rasyonel bilme ve öznel algı arasında oluşturduğu uzlaşı kısa romanında Wilde tarafından göz ardı edilmiş gibi görülmektedir çünkü Wilde gerçek ve nesnelliği düşman olarak algılamaktadır. Wilde'in kısa romanının estetik duruşu bu mantıkla araştırılacaktır. Bu çalışma, Wilde'ın dünyayı bilmek yerine hissetme tercihini analiz edecektir. İç ve dış mekânların romanda temsili, Dorian'in portresine ve sanatsal nesnelere bağlılığı ve aktris Sibyl Vane ve sanatçı Basil Hallward'ın ölümleri ile örneklendirilen gerçekten uzaklaşma çabaları temel alınarak Wilde'ın iki farklı algılama yöntemi irdelenecektir.

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