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Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Social Sciences Institute / Sosyal Bilimler Enstitüsü Dergisi is the property of Bingol University / Rectorate and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Artist Brendan Neiland's art is exuberant. It rejoices in the world and in beautiful juxtapositions of the manmade and the natural, revelling in anything from the blooms of flowers to the neon nights of the city, high‐speed trains and the sensuous lines of some cars. He likes high‐code aesthetics conjoined with the low, all of which he renders in a palette of vivacious, spray‐painted colour. It is not possible to pass a Neiland without admiring it. Paul Finch, founder of the World Architecture Festival, tracks his recent work and preoccupations. [ABSTRACT FROM AUTHOR]

One of the most prominent novels of the Victorian era, The Picture of Dorian Gray has been a focus of both literary and philosophical studies since its publication. Oscar Wilde not only criticizes Victorian society through unique characters of the novel but also investigates ethics. This study will explore Wilde’s The Picture of Dorian Gray under the light of Immanuel Kant’s moral philosophy. Wild grounds much of his understanding of morals upon the concept of “good will”, which is also the foundation of Kant’s “duty”. According to his idea, the actions that are done in accordance with “good will” are supposed to be done with the maxims that can be universalized. These actions must develop humanity and lives of people, as well. Contrary to this view, gradual changes of Dorian’s character, as he follows his desires and passions, leads to deterioration and loss of his “good will” and moral sentiment. This study sights to explore the incongruences of Dorian’s fluctuant character with Immanuel Kant’s moral philosophy.

Introduction: The purpose of the current research is to study the psychological and less branched aspects of one of the most prominent novels of the late nineteenth-century England, namely, The Picture of Dorian by Oscar Wilde. Regardless of its Gothic aspect and its moral and artistic aesthetics, this novel is a work with psychological approaches that can be interpreted and analyzed based on psychologist theories such as Freud, so after expressing Freud’s concepts and theories about personality structure, descriptively way – an analysis was done to analyze and explain their relationship with different dimensions of characters in the novel. The findings of the research showed that the main essence of the story is the combination of different aspects of the human personality structure and their conflict, which leads to the dominance of the id over ego and the ignored super-ego due to the destructive emotional relationship that is formed between id and ego. Nevertheless, the ultimate superiority is with the super-ego. Based on this, the characters of the novel are in a way the embodiment of Freud’s personality structure theory; Dorian Gray is id, Henry is ego, Basil is super-ego, the painting is another representation of super-ego and the dark room where Gray hides the painting is a symbol of Gray’s subconscious mind. The most used defense mechanisms are projection, rationalization, and suppression Background of study: Sigmund Freud’s views on the recognition of personality and the structure of the human mind are outstanding. His ideas in this field have also influenced literature and caused psychological criticism of literary works. Psychological criticism is one of the widely used criticisms that is used in the review and evaluation of literary texts and has a special place in literature. Freud’s theories on the structure of the human mind and personality are among his most important views, which were very influential in the development and evolution of literary criticism and gave it direction. According to this view, the mind and personality of each person consist of three parts: Conscious, semi-conscious, and unconscious. Based on the unconscious, Freud divided the human mind and personality into three parts: id, ego, and superego. Oscar Wilde (1854-1900) is one of the outstanding figures of English literature, who portrayed a new and rare subject with precision and artistry in his only novel, The Picture of Dorian Gray. The basic point in the field of analysis of literary texts with the approach of psychological criticism is that the work must have the context and capability of psychoanalytical criticism so that the researcher can properly criticize it. In addition to mixing the human desire for immortality with moral and artistic values and scary themes, this work is a psychological work in which the author has depicted the human psyche and the conflict of internal forces in the form of different characters. Literary criticism from the perspective of psychology examines the work from various aspects such as the author’s personality, content and text, the effect on the reader, and how the work was created; But what is most important in literature is the study of the work itself from any point of view. In other words, the most use of psychoanalytic criticism in literature and art is the application of psychological principles in the work itself Methodology: The current research is based on the psychoanalytical analysis of characters and events related to them by adopting a descriptiveanalytical approach and using the method of data collection using library sources and authentic documents. Conclusion: Spreading the psychological parts of a character in the form of multiple characters has made the novel The Picture of Dorian Gray capable of psychological criticism and analysis. The three structures of a person’s existence: id, ego, and superego., which were Freud’s intellectual achievements, exert their influence on the personality; id and superego are constantly struggling and trying to overcome each other. Ego tries to establish a balance between these two, if this effort is successful, the person will enjoy mental health; otherwise, one will prevail over the other and lead to personality disorders. The tension between three conflicting characters in the novel is a vehicle for visualizing the tension between three powerful human instincts. The controversial relationship between Henry and Basil is a diagram of the conflict between the two opposite poles of id and superego. Personality of Gray is the embodiment of all human beings who are constantly in the tension between the id and superego. Since the power of the Gray ego structure is weak, his personality system is exposed to damage with absolute desire towards the id and in a gradual collapse, the arena of the union of the ego and the id becomes As a result, the two symbols of the superego, namely Basil and picture, are ignored, one by being killed and the other by hiding in a room that is the concrete manifestation of the unconscious mind, and its darkness and special space are parallel to the dark side of Gray psychosis. [ABSTRACT FROM AUTHOR]

The present paper aims at investigating possible points of contact between Oscar Wilde's novel, The Picture of Dorian Gray (1891), and Arthur Conan Doyle's "The Adventure of the Illustrious Client" (1924), narrating one of Sherlock Holmes's final exploits. When considering the portrait motif and its metaphorical meanings, it is clear that, in Wilde's novel, Dorian's picture is imbued with connotations that are deeply associated with the author's aesthetic beliefs as well as with a decadent parable. In the case of Holmes's adventure, a detailed narrative characterisation of Baron Adelbert Gruner, the evil antagonist, seems to similarly work as a kind of portrait where 'surface' and 'inner truth' are strictly interconnected. In line with fin-de-siècle theories such as those of degeneration and criminal anthropology, the villain exhibits blatant physical marks that soon denounce his inner corruption (as does Dorian's picture). Moreover, in the final resolution of the case, the criminal's face, deformed by vitriol, is explicitly described as a painting losing its original shapes and colours. This 'liquefaction process' further highlights the increasingly pervading link between inner and outer decadence, in a way that lets us envisage similarities between Dorian and Baron Gruner, the two corrupt aesthetes. [ABSTRACT FROM AUTHOR]

Anhydrobiosis is induced by loss of water and indicates dehydration tolerance. Survival of dehydration is possible through changes at different levels of organism organization, including a remarkable reduction in metabolic activity at the cellular level. Thus, anhydrobiosis may be regarded as an anti-aging strategy. Accordingly, two hypotheses named after popular stories, "Sleeping Beauty" and "The Picture of Dorian Gray", were proposed to explain the effect of anhydrobiosis on aging. The two hypotheses predict the presence (The Picture of Dorian Gray) or absence (Sleeping Beauty) of observable aging symptoms for animals undergoing anhydrobiosis. Predictions of these hypotheses have rarely been tested, and the cellular level has not been addressed. Tardigrades appear to be a useful model for studying the effect of anhydrobiosis on aging, as they are able to enter and survive anhydrobiosis at any stage of life, although not with the same success for all species. In this review, we discuss anhydrobiosis and aging mechanisms as well as tardigrade diversity and indicate possible multilevel markers that can be used to study the impact of anhydrobiosis on tardigrade aging. This review provides data on tardigrade diversity that may also be useful for human aging studies. [ABSTRACT FROM AUTHOR]

Art-aided novels that make references to visual images like painting open up the possibility of examining artwork or fiction as transitive and performative because such novels have the potential to act beyond the plane of confinement to perform and bring into effect what they describe. Though there have been many studies and plenty of research on performance, performance art and the application of the theory of performativity to texts and cultural practices, their application to novels and artistic works remains largely underexplored. This paper is an attempt to apply the concept of performativity to the reading of Oscar Wilde's The Picture of Dorian Gray, a novel which embodies painting as its focal theme. The study largely draws upon theoretical insights from J. L Austin's "speech act theory" to analyze performativity under three different heads namely, the text, the painting and the reader by using textual evidence to substantiate the theoretical argument. This approach informed by performativity directs attention to what visual art or texts can do, that is, its function apart from just focusing on the content or plot. The analysis challenges the long-held assumption that painting is representative and non-performative as it is complete in itself. Since a painting is a "trace structure", that is, since it carries traces of multiple factors which are suffused into its making, it acquires a dynamic quality by which it can assert and re-assert itself upon the consciousness of the subject with which it interacts and initiate strange transformations in them, thereby altering reality. [ABSTRACT FROM AUTHOR]

Oscar Wilde’s only novel, The Picture of Dorian Gray has been the subject of analysis from a wide variety of theoretical and thematic perspectives. This study endeavours to conduct a philosophical interpretation of the renowned Wildean work of fiction. In specific, the article aims to carry out a dialectic reading of The Picture of Dorian Gray by concentrating on the protagonist and the path he takes throughout the narrative. To this end, the novel is discussed through the framework of GWF. Hegel’s dialectic triad of the thesis, antithesis and synthesis. The theoretical section of the study focuses on the Hegelian dialectic system and scrutinises the three stages with references to various texts and sources. The second part of the study contemplates to establish a dialectic reading of Wilde’s The Picture of Dorian Gray, identifying these three stages within the story and exposing the vital dialectic choices the protagonist makes along his quest to preserve youth and beauty forever. The article concludes that Dorian Gray exposes the dialectic nature of human beings and highlights the significance of making the right choices through a rational and moral state of mind. In particular, it has been concluded that Dorian experiences the thesis and the antithesis but ultimately gets caught up in the antithesis and does not manage to achieve the synthesis stage, causing his early self-destruction. [ABSTRACT FROM AUTHOR]

This article analyzes the reception of the figure of O. Wilde, the 19th-century English writer, and his works in the prose and criticism of Alexandra Mikhailovna Moiseeva (1874-1913), who entered the history of Russian literature of the Silver Age by the name of “Mire”. The study focuses mainly on her story Black Panther (1909), in which the author provides an original perspective on the tragic love episode in Wilde’s life. Attention is also paid to the thematic similarities between the works of Wilde and Mire in terms of genre, plot and literary image, as well as Mire’s interpretation of Wilde’s works in her critical reviews.

Copyright of Literature / Literatura is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article will outline the aspects of influence and allusion in the novel, with reference to Victorian Gothic, classical mythology, the psychological double, monster theory, the Faustian bargain, the mask and a prominent memento mori in Huysmans’ A Rebours, his description of Rodolphe Bresdin’s lithograph, ‘The Comedy of Death’. Wilde’s novel is a complex, multi-layered text, and a richer, more profound understanding of it becomes possible when it is situated within this context of influence and allusion.

Copyright of Journal of Academic Social Science Studies is the property of Journal of Academic Social Science Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article will outline the aspects of influence and allusion in the novel, with reference to Victorian Gothic, classical mythology, the psychological double, monster theory, the Faustian bargain, the mask and a prominent memento mori in Huysmans' A Rebours , his description of Rodolphe Bresdin's lithograph, 'The Comedy of Death'. Wilde's novel is a complex, multi-layered text, and a richer, more profound understanding of it becomes possible when it is situated within this context of influence and allusion. [ABSTRACT FROM AUTHOR]

Part I of this article was originally written as a Foreword to William B. Dillingham's edition of the children's fiction writer Juliana Horatia Ewing, Artistic Duplicity: The Fiction and Poetry of Juliana Horatia Ewing. (2020). Part II uses this occasion, the final volume of ELT , to reflect on the internal complexities of the Transition Period: humanitarianism and empire; Aesthetes, Naturalists, realists; micro and macro; Christian chivalry and race domination; moralism and immorality. [72 words] [ABSTRACT FROM AUTHOR]

A difficulty in approaching Wilde's theory of aesthetics is that it has sometimes been set aside as simply another example of his penchant for clever turns of phrase and paradox, critics thinking his criticism a form of public entertainment. Wilde is partially to blame for people overlooking the depth of his aesthetic theory, since he was sometimes guilty of saying something just because it was clever. Masked behind Wilde's façade of flippancy and wit, however, is an aesthetic theory steeped in philosophical tradition and hinting at the powerful problem of perception. Wilde's aesthetic theory and his views of perception evolved over time. He conceived of a wide-ranging, subversive aesthetic theory that reached not only across the arts but also across the entire social fabric of the nineteenth century and caused him to look at the world in a radically different way from most of his contemporaries. [146 words] [ABSTRACT FROM AUTHOR]

What is the so-called "Irish dimension" in Wilde's The Picture of Dorian Gray ? This article evaluates three recent searches for Irish meanings in novel and situates the authors' methodologies within a broader debate about intersections between contemporary literary-critical techniques and the post-truth era. The argument here is that allegorizing interpretation, which treats literary texts as if they were parables about their historical contexts, obstructs not only the accurate identification of The Picture of Dorian Gray 's "Irish dimension[s]" but also the methodological and pedagogical strategies needed to dispel the inadvertent replication of post-truth techniques in current Wildean scholarship. [97 words] [ABSTRACT FROM AUTHOR]

"The Portrait of Mr W. H." was published in Blackwood's Edinburgh Magazine in 1889 and a second "version," as it is often termed, was written at various points between then and 1893, but it did not appear until 1921 and then only in a limited edition. This second text, first tentatively titled The Incomparable and ingenious history of Mr W. H. and here called the Rosenbach manuscript, is twice the length of the earlier piece, and in its tone, tenor, and range of reference very different. This article argues why it is important to distinguish carefully between Blackwood's "Mr W. H" and the Rosenbach manuscript. There is much to learn about Wilde's compositional practices and developing interest in doing so. [120 words] [ABSTRACT FROM AUTHOR]

Among others, Hester Travers Smith (1923) and Leslie Flint (1962) claimed to have communicated with the spirit of Oscar Wilde. These and lesser-known instances cannot be entirely explained as the inevitable result of Wilde's continuing notoriety nor even as the mediums' desire to produce a few witty epigrams to sway the incredulous. Wilde's interest in the otherworldly is expressed most explicitly in terms of his literary output in The Picture of Dorian Gray , though the ties between it and spiritualism have gone unexplored. This article fills this lacuna by establishing Wilde's position within the fin-de-siècle magical revival, investigating Wilde's engagement with phenomena associated with spiritualism and the supernatural, paying particular attention to his encounters with the photographic medium, the connections between his experiences of photographic and painted portraits and occult activities in order to illuminate spiritually inflected traces in his writings. [ABSTRACT FROM AUTHOR]

This article explains the founding of the ELT Period, also called the Transition Era, 1880-1920. The many "minor" authors discussed here, whom Samuel Butler referred to as the "hewers of wood and tillers of the soil," played an important role in preparing the ground for Yeats, Eliot, James Joyce and other moderns. The period from 1880 until about 1920 seems like Walter Pater's late twelfth and early thirteenth centuries, "a brilliant but in part abortive effort" to revitalize Art and Life, a "little renaissance" but a renaissance nevertheless. The article directs its attention to the energy in quest for newness, a new life in the arts and a new artistic temperament in life, concentrating on two kinds of evidence: that which bears on the language and form of art; that which bears on the content of art. [137 words] [ABSTRACT FROM AUTHOR]

Wilde's The Chatterton Notebook is a manuscript of cut-and-paste composition, snippets from printed books interspersed with marginal notations, uncited quotations, and original observations. Many see this document as damning evidence of Wilde's plagiarism. Joseph Bristow and Rebecca N. Mitchell argue that it is not evidence of plagiarism but a commonplace book, its cut-and-paste form note taking, not an effort to construct a unified work. This article provides an alternative to this account, delving into The Chatterton Notebook's history and thematic unity. It is not plagiarism or a collection of research: it is an experimental patchwork draft of an essay/lecture dealing with the complex legacy of aesthetic influence and forgery in the Romantic tradition. For Wilde, Chatterton was an icon of the unity of imagination and deception. [126 words] [ABSTRACT FROM AUTHOR]

"The world is my home." With these five words Oscar Wilde succinctly defined his fin-de-siecle cosmopolitanism. As an intriguing example of this cosmopolitanism, The Picture of Dorian Gray celebrates an aesthetic detached from locality and morality, and criticizes contemporaneous British Philistinism. By translating and rewriting Dorian Gray as Du Liankui (tt^SM), Taiwanese architect-novelist Wang Dahong transformed the Wildean fin-de-si Scle aesthetic cosmopolitanism, replacing it with his own cosmopolitan and metropolitan visions. Wang's manipulative modification of the novel's tempo-spatial settings serves as a key to this transformation: Wilde's focus on the London-Paris relationship in the source text is ingeniously rendered into Taipei's relationships with other cities, including New York, Washington, San Francisco, and Paris. Wang's rewriting can be seen as the product of a kind of global imagination emphasizing the superiority of cosmopolitan urban aesthetics, its main tenet being that Taiwanese provincialism should be replaced by an openness, a desire to learn from other cultures. Though Wilde's aesthetic cosmopolitanism is lost in the process of Wang's rewriting, the translation gives us what the original novel could not have possibly provided-an urban cosmopolitanism which predicts the problems of today's Taipei. [ABSTRACT FROM AUTHOR]

The article discusses various architectural installation by architects including the space-defining garden wall is erected from extruded fibreglass frames stacked on top of each other, an assembly associated with the digital Discrete by Bjarke Ingels Group; a transitional scale between the large forest and small architecture by the Kengo Kuma and Associates; and a masterpiece in stainless steel create an ambiguous, inner reflective space within the elegant silhouetted piece by Ron Arad.

Wilde and Chesterton may seem an unlikely pair. The overlap in critical diction between those who discuss modernist difficulty as playing tricks and those who discuss Chesterton's and Wilde's work as playing tricks is not coincidental. This article argues that the essay as practiced by both offers a new way to discern and articulate what it means for a text to be understood and to fashion itself as difficult. Both Chesterton and Wilde write form-visible, self-consciously stylized essays, provoking questions that parallel those surrounding modernist difficulty. Through their essays both coerce a critical posture of constant uncertainty as to whether what one is encountering is illusory, substantive, or somehow both. To differing degrees they leave readers with a sense of the substantive being made possible by the illusory. They caricature, magnify, and distend comprehensibility, making it if not less comprehensible less invisible. [142 words] [ABSTRACT FROM AUTHOR]

The fin de siècle, the heyday of aestheticism, was a period of uncertainty and rapid change. It was also a period of clash of various ideological stances and world views, and this atmosphere of crisis gave emergence to various, usually conflicting literary and sociological developments. It should be noted, however, that while the distinctive mood of the fin de siècle was a feeling of failure and doom, this crisis was also capable of producing hope from within. Although the representative figures of aestheticism and the decadent movement laid no claim to any ideological stance, their works were subversive and utopian. This paper proposes to discuss the movements as expressions of this hope that provided an implicit commentary on that crisis, and it explores this utopian element focusing on Wilde's The Picture of Dorian Gray as well as some of his well-known essays. [ABSTRACT FROM AUTHOR]

This article aims to present a brief history of the press and reading practices in the Victorian Age. In this research we analyze some volumes of Lippincott's Monthly Magazine, an American publication which for nearly fifty years was responsible for disseminating scientific, social, political, and artistic issues among the middle-class readers of the United Stated and England. Thus, we point out considerations about how some social and cultural issues addressed in this magazine may relate to Oscar Wilde's novel The Picture of Dorian Gray, published in Issue 46. In this context, we mention the contributions of Bourdieu (2009) Chartier (1997), Pykett (1990), Brake (1997), Lorang (2010) among other authors who discuss the literary cultural industry and the importance of historical sources in the ideological and discursive formation of the literary work. [ABSTRACT FROM AUTHOR]

This article discusses the films The League of Extraordinary Gentlemen (2003) and Van Helsing (2004), as well as the television series Penny Dreadful (2014-2016), as neo- Victorian adaptations, particularly in terms of how these works adapt characters from Bram Stoker's Dracula (1897), Oscar Wilde's The Picture of Dorian Gray (1891), Robert Louis Stevenson's The Strange Case of Dr Jekyll and Mr Hyde (1886), and Mary Shelley's Frankenstein (1818). The ways in which those texts and characters are reworked reveal Victorian - as well as more recent - ideas of isolation and collaboration, Gothicism, visuality, science and technology, and morality. Such revelations appear to argue that the darker, more isolated 'evil' apparent in these Victorian Gothic source texts is quite capable of openly building its own collaborative network, consistent with Nazism, Fascism, and even ISIS. Similar to ISIS, these contemporary Gothic and neo-Victorian adaptations use science, technology, and hypervisuality in significant ways, often complicating the perception of 'good' and 'evil'. This form of complication has consistently been fundamental to the Gothic, particularly in relation to recent neo-Victorian Gothic adaptations. [ABSTRACT FROM AUTHOR]

As we wander around universal literature and some central ideas in Physics, we present a transdisciplinary reading of the novel The Picture of Dorian Gray, by Oscar Wilde, and Quantum Mechanics, thus, pointing out to the importance of inter and transdisciplinary looks into contemporary studies in diverse areas of knowledge. [ABSTRACT FROM AUTHOR]

This essay responds to Julian Wolfreys's suggestion that Oscar Wilde's London is primarily psycho-geographical by seeking to read his texts within the historical and spatial context of late nineteenth-century London. Taking as a test the short story 'Lord Arthur Saville's Crime', this essay deploys the critical insights of Henri Lefebvre to suggest that Wilde's city writing engages more closely with London life than has been hitherto suggested. Following Lord Arthur on his three perambulations across the city, from Hyde Park and Piccadilly to Covent Garden, through Soho, and finally from St James's to the Embankment, the article focuses particularly on the ways in which Wilde's use of what might easily be assumed to be an incidental location, namely Cleopatra's Needle, invites us to reread the text's revolutionary politics within the context of the French Revolution. Concluding with a discussion of Wilde's treatment of London's 'cosmopolitan space', the essay shows that the way in which seemingly stock imagery deployed in Wilde's representation of the city may in fact be read as part of a wider and complex engagement with both the politics and the aesthetics of space. [ABSTRACT FROM AUTHOR]

While Oscar Wilde's attraction to Pre-Raphaelite art has been well documented, surprisingly little attention has been paid to his career-long fascination with Elizabeth Siddall (1829-62). This essay will demonstrate that Wilde's deep and abiding interest in Siddall reverberates across his only novel, The Picture of Dorian Gray (1891), to an extent that has not been considered. I will specifically argue that the suicide of Dorian Gray's lover Sibyl Vane was inspired by Elizabeth Siddall's untimely overdose. The very name Sibyl echoes Siddall, who is best known as the model for John Everett Millais's Ophelia and Dante Gabriel Rossetti's Beata Beatrix. I want to suggest that Siddall, long dead by the 1890s, may have been coded as Celtic across turn-of-the-century Irish literature in ways not hitherto considered. Although Siddall was not born of Irish parents, she served 'as a model for 'a fair Celt with red hair'' for the Pre-Raphaelite painter William Holman Hunt, perhaps owing to the fact that she was copper-haired, ivory-skinned, Welsh, and working class. As such, Siddall ­- who has not previously been read in a Celtic context - might serve as a signifier of the young, pale, passive, red-haired Irish maiden romanticised across popular culture as a symbol of the Irish nation. Indeed, it is plausible that the Dublin-born Wilde was attracted to Siddall because of her resemblance to the aisling figure derived from the eighteenth-century Gaelic tradition and popular in turn-of-the-century Irish culture. The essay will examine closely the nods to Elizabeth Siddall in The Picture of Dorian Gray and ultimately will propose that the Pre-Raphaelite musings in Wilde - whose engagement with feminism and with his native Ireland have always been complicated - effectively, if not intentionally, silence the figure of the fin-de-siècle New Woman as she appeared across the British and Irish Isles. [ABSTRACT FROM AUTHOR]

This paper aims to investigate how the linguistic elements of appraisal construe the evaluative representations of (gay) literary characters in the novel The Picture of Dorian Gray and in its Brazilian translation and adaptations. The centrality of the investigation is the narrator's voice, imprinted in the projecting verbal processes and the content of the message that constitute either the narrative point of view or the dialogues performed by the characters. To pursue this objective, we have adopted Martin's and White's (2005) appraisal model, employed to uncover linguistic resources that express attitudes towards events and people, with more or less intensity or graduation, and with different forms of commitment or engagement. The software program WordSmith Tools, more specifically the Aligner utility, served as the basis for selecting and organizing some extracts of the original novel comparatively with the same extracts of the translation and adaptations. The analyses have indicated that the narrator offered the vast majority of evaluative descriptions of femininity, which points to the importance of narrative point of view for the construing of the plot and for the establishment of ideological standpoints. The discussion has also shown several differences of evaluative linguistic choices in the translation and adaptations when compared to the original, demonstrating that the corpora do not fall within the boundaries of a strict linguistic correspondence, but rather within the limits of text recreation or rewriting.Este artigo tem como objetivo investigar como os elementos linguísticos de avaliatividade constroem os personagens (gays) no romance The Picture of Dorian Gray e em sua tradução e adaptações para o português brasileiro. A base da análise localiza-se na voz narrativa, presente nos processos verbais projetantes e no conteúdo da mensagem que constitui tanto o ponto de vista narrativo quanto os diálogos dos personagens. Para a realização desse objetivo, adotamos o modelo de avaliatividade de Martin e White (2005), empregado para revelar os recursos linguísticos que expressam atitude para com os eventos e as pessoas, com maior ou menor intensidade ou gradação, e com formas diferentes de comprometimento ou engajamento. O programa computacional WordSmith Tools, especificamente o utilitário Aligner, foi usado para selecionar e organizar alguns excertos da obra original em comparação com os mesmos excertos da tradução e das adaptações. As análises indicaram que o narrador foi o responsável por oferecer a maioria das descrições avaliativas de feminilidade, indicando a importância do ponto de vista narrativo para a construção de significados do enredo e para o estabelecimento de ideologias. A discussão também mostrou que várias diferenças de escolhas linguísticas de avaliação na tradução e nas adaptações, quando comparadas ao original, revelam que os dados encontram-se nos limites da criação textual ou reescrita, e não nos limites da correspondência estrita.

Oscar Wilde’s novel The Picture of Dorian Gray has the rare distinction of having not only controversial content, but a controversial textual history as well. In fact, the two are inseparable. The prosecutors in Wilde’s trials made use of the fact that Wilde had changed—or ‘purged’, as they put it—many aspects of the novel after its first appearance in Lippincott’s Monthly Magazine. But neither they nor the majority of Wilde readers knew that his original typescript had already undergone a great deal of censorship without Wilde’s permission before the novel found its way into print. In this paper I investigate these three texts—the typescript, the magazine version, and the first edition—using both the methods of textual studies and the methods of social and literary history, showing that the various texts of The Picture of Dorian Gray actually embody different arguments about the status of material objects themselves. Wilde’s only novel has long been recognized as a critique of Victorian society, but only by understanding it as social in its material instantiations can we come to understand the full scale and shape of that critique today.

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. [ABSTRACT FROM AUTHOR]

On 25 May 1895, Oscar Wilde went to jail after three humiliating trials – the first was Wilde’s failed suit against the Marquess of Queensberry who libelled him for ‘posing as a sodomite’; and the subsequent two involved the Crown’s prosecution of Wilde for committing acts of gross indecency with other men. This article revisits the trials by looking at sources that paint a rather different picture from the influential one that Ed Cohen and Alan Sinfield established in the 1990s. First, it shows that the prosecution persuaded the jury that it was far worse for Wilde to have committed sodomy on two young blackmailers (who also engaged in male prostitution) than the kinds of extortion of which, as they freely admitted, they were culpable. Secondly, the discussion suggests that it is unreasonable to claim that the trials defined the modern identity of the male homosexual. [ABSTRACT FROM AUTHOR]