Epigramas e vozes: as autoconsciências em O retrato de Dorian Gray

dc.contributor.advisorAlvarez, Aurora Gedra Ruiz
dc.contributor.advisor1Latteshttp://lattes.cnpq.br/6477705977816776por
dc.contributor.authorFratric, Glauco Correa da Cruz Bacic
dc.creator.Latteshttp://lattes.cnpq.br/5572424523203491por
dc.date.accessioned2017-02-07T18:08:51Z
dc.date.accessioned2020-05-28T18:12:13Z
dc.date.available2020-05-28T18:12:13Z
dc.date.issued2016-08-26
dc.description.abstractThis 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.eng
dc.formatapplication/pdf*
dc.identifier.citationFRATRIC, 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.por
dc.identifier.urihttp://dspace.mackenzie.br/handle/10899/25165
dc.keywordsepigramseng
dc.keywordsvoiceseng
dc.keywordsself-consciousnesseng
dc.keywordsGrayeng
dc.keywordsHallwardeng
dc.keywordsWottoneng
dc.languageporpor
dc.publisherUniversidade Presbiteriana Mackenziepor
dc.rightsAcesso Abertopor
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/
dc.subjectepigramaspor
dc.subjectautoconsciênciapor
dc.subjectGraypor
dc.subjectHallwardpor
dc.subjectWottonpor
dc.subject.cnpqCNPQ::OUTROSpor
dc.thumbnail.urlhttp://tede.mackenzie.br/jspui/retrieve/12900/Glauco%20Corr%c3%aaa%20da%20Cruz%20Bacic%20Fratric.pdf.jpg*
dc.titleEpigramas e vozes: as autoconsciências em O retrato de Dorian Graypor
dc.typeTesepor
local.contributor.board1Amaral, Gloria Carneiro do
local.contributor.board1Latteshttp://lattes.cnpq.br/2120597822999751por
local.contributor.board2Corrêa, Lilian Cristina
local.contributor.board2Latteshttp://lattes.cnpq.br/0868074104171290por
local.contributor.board3Ribeiro, Raquel de Sousa
local.contributor.board3Latteshttp://lattes.cnpq.br/2888116991342044por
local.contributor.board4Philippov, Renata
local.contributor.board4Latteshttp://lattes.cnpq.br/9950264048329182por
local.publisher.countryBrasilpor
local.publisher.departmentCentro de Comunicação e Letras (CCL)por
local.publisher.initialsUPMpor
local.publisher.programLetraspor
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