Epigramas e vozes: as autoconsciências em O retrato de Dorian Gray
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Tipo
Tese
Data de publicação
2016-08-26
Periódico
Citações (Scopus)
Autores
Fratric, Glauco Correa da Cruz Bacic
Orientador
Alvarez, Aurora Gedra Ruiz
Título da Revista
ISSN da Revista
Título de Volume
Membros da banca
Amaral, Gloria Carneiro do
Corrêa, Lilian Cristina
Ribeiro, Raquel de Sousa
Philippov, Renata
Corrêa, Lilian Cristina
Ribeiro, Raquel de Sousa
Philippov, Renata
Programa
Letras
Resumo
This study aims to analyze the second version of Oscar Wilde's The picture of Dorian Gray, published in 1891, from the perspective of its three main characters (Dorian Gray, Basil Hallward, and lord Henry Wotton). Based on the voices within the utterances that make up the characters' dialogs, our aim is to interpret their self-consciousness, their views on art itself, and to what extent they stand in relation to Victorian England, the space and the time of the narrative; Dorian Gray, as a disciple of Lord Henry Wotton in the implementation of the ideas of a socalled new Hedonism, and as a Doppelgänger materialized by his picture; Basil Hallward, as a conservative individual, in favor of moral values, yet as an artist refracting the Realism of his days, by pursuing the perfect aesthetic representation in a combination of Antiquity and Renaissance forms and the Romantic soul, which preceded Realism; and lord Henry Wotton, 'the illusionist of words', who makes his point by refracting the views of his time and space by resorting to the irony and the maxims of epigrams. The latter are also resorted to by Wilde in the whole preface of 1891's version of The picture of Dorian Gray, so as to stand against the myriad of critical reviews which considered his only novel as 'immoral'. We will address Mikhail Bakhtin's self-consciousness theory, as well as Walter Pater's and Karl Beckson's in regard to the
Aesthetic movement. Last, but no least, Munira Mutran's and Richard Elmann's writings on
Wilde's autobiographical works related to his position as an aesthete and a dandy, yet by no means do we intend to affirm that The picture of Dorian Gray is mainly an autobiography, but an expression "of the self as having multiple possibilities", in Elmann's words. As a conclusion, we will aim to identify the characters' cosmovision, in a never-ending process of reflecting and / or refracting their time and space values.
Descrição
Palavras-chave
epigramas , autoconsciência , Gray , Hallward , Wotton
Assuntos Scopus
Citação
FRATRIC, Glauco Correa da Cruz Bacic. Epigramas e vozes: as autoconsciências em O retrato de Dorian Gray. 2016. 138 f. Tese (Letras) - Universidade Presbiteriana Mackenzie, São Paulo.