Thesis (M.A.)--Georgia State University, 2009. / Title from title page (Digital Archive@GSU, viewed June 17, 2010) LeeAnne Richardson, committee chair; Margaret Mills Harper, Tanya Caldwell, committee members. Includes bibliographical references (p. 48-49).

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This thesis examines Oscar Wilde’s theories of art in connection with specific debates ongoing in Victorian psychology as it emerged in the periodical press. By cross examining Wilde’s periodical contributions with psychological theories, concepts and discussions disseminated through periodicals this thesis offers a contextual account of Wilde’s creativity. Scholars generally look to Wilde’s Oxford Notebooks to gain an insight into his interaction with scientific culture. While the notebooks are an invaluable source to scholars they only cover Wilde’s learning in the 1870s and therefore exclude the influential context of the 1880s when he was engaged as a journalist for numerous periodicals and newspapers. Chapter one will demonstrate how reading Wilde’s The Picture of Dorian Gray alongside neighbouring articles in the Lippincott’s Monthly Magazine reveals the hidden context of psychology in which the editors of the issue attempted to establish the text. The second chapter explores Wilde’s engagement in the disputes over psychological nomenclature alongside the psychology of George Henry Lewes, James Sully and other contributors. The third chapter will investigate the network in which Wilde’s reviewing for the Pall Mall Gazette established him. Wilde’s exchanges with aesthetic theorists and fellow reviewers Sully and Grant Allen will also be documented. The fourth chapter will demonstrate how Wilde creatively engaged with theories of atomism, emotionalist psychology and physiological aesthetics. The final chapter will examine the ethical questions posed by Wildean aesthetics in relation to scientific naturalism. Wilde originally communicated his theories through periodicals but also delivered lectures (which were reported in magazines), as well as eventually transforming his periodical articles into book publications. While this thesis places the onus on the periodical formats of Wilde’s texts, his lectures and revised editions of his writings will also be examined where relevant.

Thesis (M. Phil.)--University of Hong Kong, 2000. / Includes bibliographical references (leaves 254-264).

The preface to The Picture of Dorian Gray is often dismissed as merely an addendum to the novel intended to detract hostile readers and absolve the text itself of any accusations of immorality. When coupled with the narrative itself, however, the novel shows both the impossibility of producing the new through traditional notions of revolution, as well as the way in which the Deleuzian conception of judgment inhibits Dorian from ever viewing the portrait as insignificantly amoral, as not symbolic of his sins. Yet the preface, coupled with the various aesthetic objects in the text, is productive of a new form of judgment, one that does not reproduce the same moral order. This takes the form of a "useless" judgment. When Lord Henry claims he wishes to change nothing in England but the "weather," this is the same as the portrait, returned to its original form, hanging over Dorian's body at the novel's end: neither is a judgment with a use, but rather a judgment of a work of art that produces nothing in the work of art. Lord Henry cannot change the weather, and the portrait's changes do not help or affect Dorian in any way. Thus we see the answer to Deleuze's question of what the "refusal of work" would look like. Art is "quite useless" in that it is both extremely removed from any and all spheres concerned with moral order, and also fairly indifferent to this fact and Dorian's concern with maintaining a world organized by useful symbols.

M.A. / The life and work of Oscar Wilde are characterised by ambivalence and paradox. In certain of his works he identifies with the moral codes pertaining to the Victorian era and in others he satirizes, and even rejects, the existing morality. The translator of Wilde’s literary works is confronted with numerous contextual and textual challenges, for example how to translate the moral codes of the Victorian era in a manner that will be relevant to an Afrikaans readership and how to do justice to his specific style of writing. This study aims to identify procedures and strategies to meet these challenges successfully. In the first instance, a translator needs to familiarize herself with the historical and cultural context in which Wilde’s literary works found their origin. This would necessitate a closer look at the Victorian era in order to understand the dynamics and the moral and ethical codes and dominant influences that shaped Wilde’s writings. Finally, the target culture’s attitudes and feelings concerning the moral issues at stake are analysed to determine the impact and relevance of Wilde’s works in a contemporary Afrikaans society. Certain translation strategies, that also prove the timeless appeal of certain of his works, are suggested and demonstrated. The translation of Wilde’s work appears to be justified as it may also enhance and benefit Afrikaans in its struggle for renewed recognition and identity and in so doing will further the cause of the other nine official languages. The ultimate challenge for the translator, however, is to strive to capture the unique essence of Wilde’s works. The timeless appeal of his work can be attributed to the ‘multi-voicedness’ with which he challenged the Victorians. A successful translation in Afrikaans would therefore need to ‘translate’ this ‘multi-voicedness’ so that an Afrikaans reader is challenged in much the same way as his Victorian counterpart.

Esta dissertação apresenta uma proposta tradutória do metro de balada inglês, exemplificada pela tradução de parte do poema The Ballad of Reading Gaol, escrito por Oscar Wilde no referido metro. Para tal proposta, adota-se um procedimento formal diverso dos seguidos pelas cinco traduções do poema existentes em português. São utilizadas, para fundamentação da proposta, algumas abordagens teóricas da tradução, como o conceito de retradução segundo Antoine Berman, a teoria dos skopos segundo Katharina Reiss & Hans J. Vermeer, a ideia de temporalidade segundo John Milton e Gideon Toury e de fidelidade baseada em Friedrich E. D. Schleiermacher. Faz-se, em seguida, uma leitura crítica do poema de Wilde, para que sejam levantados os aspectos formais e os efeitos estilísticos nele observados. Também são estudadas as traduções do poema já publicadas em português, para que sejam observados os aspectos formais e efeitos estilísticos que caracterizam cada uma delas. É feita, então, a proposta própria para a tradução do metro de balada, seguida de uma discussão acerca do atingimento dos objetivos propostos. / This dissertation proposes a translation for the English ballad meter, exemplified by the translation to Portuguese of part of the poem The Ballad of Reading Gaol written by Oscar Wilde with this meter. For such, a formal procedure, different from the ones followed by the existent five translations of the poem to Portuguese, was used. For justifying this proposal, theoretical approaches to translation will be considered, such as retranslation, by Antoine Berman, skopos, by Katharina Reiss & Hans J. Vermeer, temporality, by John Milton and Gideon Toury, and fidelity, by Friedrich E. D. Schleiermacher. Afterward, a critical study of The Ballad of Reading Gaol will be conducted in order to describe its formal aspects and style. Translations of the poem to Portuguese will also be studied, to analyze their formal and stylistic distinguishes. Finally, the translation proposal for the ballad meter will be demonstrated, followed by a discussion regarding the fulfillment of the research objectives will be conducted.

Oscar Wilde overshadows the German reception of <I>Salome</I> (1891), yet his text is a problematic one. Wilde's one-act drama is a mosaic text, influenced by the abundance of literary and artistic treatments of the Salome figure during the <I>fin de si??cle</I>. Moreover, Wilde did not write <I>Salome</I> in his native tongue, but rather in French, and allowed it to be edited by a number of French poets. Furthermore, the translation of the text proved problematic, resulting in a flawed English rendering dubiously ascribed to Lord Alfred Douglas. <br /><br /> However, there is a German mediator whose translation of Wilde's play is less problematic than the original. Hedwig Lachmann produced a translation of <I>Salome</I> in 1900 that found success despite having to compete with other German translations. Lachmann's translation alters, expands, and improves on Wilde's French original. In contrast to Wilde's underlexicalised original, Lachmann's translation displays an impressive lexical diversity. <br /><br /> In 1903 Insel Verlag published her translation accompanied by ten illustrations by Marcus Behmer. Behmer's illustrations have been dismissed as being derivative of the works of Aubrey Beardsley, but they speak to Lachmann's version of <I>Salome</I> rather than to Beardsley's or Wilde's. Indeed, the illustrations create their own vision of <I>Salome</I>, recasting the story of a <I>femme fatale</I> into a redemption narrative. <br /><br /> In Germany the play proved quite successful, and Lachmann's translation was staged at Max Reinhardt's Kleines Theater in Berlin. It was here that Richard Strauss saw Lachmann's version of the play performed and adapted it for use as a libretto for his music drama <I>Salome</I>. Despite being adapted from Lachmann's translation, Strauss' music drama is often cited as being based directly on Wilde's play, without mentioning the important role of Lachmann's mediation. Moreover, the libretto is often praised as an exact replica of the play put to music. Neither of these assertions is, indeed, the case. Strauss excised forty percent of the text, altered lines, and changed the gender of one of the characters. <br /><br /> I employ G??rard Genette's theory of transtextuality as it is delineated in <I>Palimpsests</I> (1982) to discuss the interrelatedness of texts and the substantial shift that can occur from subtle changes, or transpositions, of a text. Translation, shift in media, excision, the inclusion of extra-textual features including illustrations, and regendering of characters are all means by which a text can be transformed as Lachmann, Behmer, and Strauss transform <I>Salome</I>. Additionally, I will be using Lorraine Janzen Kooistra's term bitextuality, as described in <I>The Artist as Critic: Bitextuality in Fin de Si??cle Illustrated Books</I> (1995) to reinforce Genette's notion that extra-textual elements are also significant to a text as a whole. Finally, I employ Jacques Lacan's theory of gaze as outlined in "Seminar on 'The Purloined Letter'" (1956) and "The Mirror Stage as Formative of the <I>I</I> Function as Revealed in Psychoanalytic Experience" (1949) to discuss the function of gaze within the three texts. <br /><br /> In this thesis, I will be addressing these three German intermedial re-envisionings of <I>Salome</I> and arguing for their uniqueness as three distinct representations of <I>Salome</I>. In this thesis, I will argue that Wilde's text is a problematic precursor and that Hedwig Lachmann's text not only alters, but also improves on the original. Additionally, I will argue that Marcus Behmer's images, while influenced by Beardsley, focus more closely on the text they are illustrating and thus provide a less problematic visual rendering of the play. Finally, I will argue that Strauss' libretto for <I>Salome</I> is mediated through Lachmann's translation and that it is further substantially altered. <br /><br /> In order to show the ways in which the texts differ from one another, I have chosen to focus predominantly on the motifs of the moon and gaze. By analysing the way in which each text represents these motifs it is possible to track changes in characterisation, motivation, and various other salient features of the text.

This study analyzes the themes of victimization and self-sacrifice as they appear in the life and works of Oscar Wilde. "Victimization" is defined as an instance in which one character disregards, damages, or destroys another's well-being; "self-sacrifice" is an instance in which one character acts to his own detriment in order to help another or through dedication to a cause or belief. Chapter I discusses the way in which these concepts affected Wilde's personal life. Chapters II-VI discuss their inclusion in his romantic/decadent dramas, social comedies, various stories and tales, novel, and final poem; and Chapter VII concludes by demonstrating the overall tone of charitable morality that these two themes create in Wilde's work as a whole.

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