The main object of my dissertation, focused on aesthetics of Oscar Wilde, includes: transparent recapitulation of thoughts presented in Wilde's theoretically principal texts and further interpretation of Wilde's aesthetics in its complexity and up-to-dateness as well. The key importance for the Wilde's aesthetics, for the main texts capturing his aesthetical thinking, is partly superiority of art over reality, partly the program "life as art". Let's encapsulate individual texts from this perspective: In The Decay of Lying the art - a beautiful lie serves as a paradigm for life and nature. In the essay The Critic as Artist the criticism-art is an example of how people should live: either to escape to beauty, to imagination or to escape to a dissociated, aestheticized view of life. This aesthetically-ethical choice is one of the substantial aspects in the novel The Picture of Dorian Gray: art as an example of how to manage to live a hedonic and sensual live as much as possible - in contrast to a certain extent - how to live a "dissociated, spectatorial life". In The Soul of Man Under Socialism the art has its revolutionary-political dimension: it represents a model of a real individualism; maximum self- development. Finally, in De Profundis Wilde includes in his "artistic life", which is a matter of...

京都大学 / 0048 / 新制・論文博士 / 博士(人間・環境学) / 乙第12939号 / 論人博第41号 / 新制||人||177(附属図書館) / 27||論人博||41(吉田南総合図書館) / 32149 / 京都大学大学院人間・環境学研究科環境相関研究専攻 / (主査)教授 丸橋 良雄, 教授 前川 玲子, 教授 水野 眞理, 教授 廣野 由美子, 教授 松田 英男 / 学位規則第4条第2項該当 / Doctor of Human and Environmental Studies / Kyoto University / DGAM

This dissertation explores the subject of heredity and its novelistic treatment c. 1850-1900. Though hereditary phenomena had long been incorporated into literary works, heredity acquired an unprecedented significance with Darwin’s theory of evolution. It became a central fact of life, generating both fascination and fear, but its exact workings remained unknown until the turn of the century. This left novelists some experimental leeway in creating fictional universes and characters in accordance with the nascent naturalistic worldview and in struggling with its philosophical implications. While work on nineteenth-century literature and science has focused significantly on evolution, I demonstrate that heredity is a more immediate human concern and is more intuitive to the form of the novel. The works considered here by George Eliot, Oscar Wilde, and Thomas Hardy grapple with an increasingly deterministic view of biology but also with other forms of inheritance, for most of the conditions that constitute and determine our lives are inherited. Chapter one discusses how the metaphor of inheritance became a powerful tool for portraying the complexities of life in a post-theological age. This dissertation is grounded in the history of science, and, beyond the common language shared between science, philosophy, and literature, I examine the role of narrative in the study of heredity, particularly in medical case histories, which formed an early point of contact with the novel. Chapter two is on Eliot’s treatment of the inextricable workings of legal, cultural, and biological inheritance in The Mill on the Floss, showing how the mismatch between theory and reality regarding these matters demoralizes the novel’s protagonists and inhibits their development. Chapter three contextualizes The Picture of Dorian Gray in the history of art and science, reading Dorian’s portrait as a device suggestive of metaphysical inheritance and the disruption of personal development, and the ancestral portraits in Dorian’s gallery as indications of the biological heredity that drives his self-destruction. Chapter four looks at Hardy’s technique of genealogical narrative and overdetermination in Tess of the d’Urbervilles and the novel’s engagement with debates over the value of pedigree and the pessimistic view of determinism at the century’s end. / 2020-09-29T00:00:00Z

This dissertation examines Irish characters, themes and literary affinities in modern and contemporary Spanish American literature (1944-2011), focusing on novels and short stories by eight authors: El otro Joyce by Roberto Ferro, “Dublín al sur” by Isidoro Blaisten, El sueño del celta by Mario Vargas Llosa, selections from Ficciones by Jorge Luis Borges, Entre gringos y criollos and Quema su memoria by Eduardo Cormick, selected stories by Viviana O’Connell, La importancia de llamarse Daniel Santos by Luis Rafael Sánchez, and The Brief Wondrous Life of Oscar Wao by Junot Díaz. As the above list of authors suggests, Irish themes, characters, and intertextualities are present throughout the region’s Spanish-language literature, from some of its most celebrated writers like Borges and Vargas Llosa to contemporary authors such as O’Connell and Cormick. The prologue introduces the historical context of the Irish in Latin America as well as a theoretical framework to support the analyses in subsequent chapters. Each chapter is then dedicated to a different facet of the Irish-Latin American literary connection. Chapter 1 explores the translation of James Joyce into Spanish and the way in which contemporary Argentine writers dialogue with Joyce, problematizing the act of translation. Chapter 2 focuses on the ambiguous nature of Irish characters in Borges’s Ficciones and Vargas Llosa’s historical fiction El sueño del celta. Chapter 3 is dedicated to Latin American writers of direct Irish descendance and their expression of Irishness in the Americas. Finally, Chapter 4 analyzes echoes of Oscar Wilde in Caribbean Latino literature. The central question is how and why these Irish connections manifest themselves in contemporary Spanish American narrative. Ultimately, this dissertation argues that Irish characters and themes present a broader, more hybrid vision of Latin American identity, recognizing the multiplicity of languages, narratives, and selves. / Spanish

Cette thèse s'attache à mettre en lumière une véritable continuité littéraire de Wilde à Beckett, tissée par une poétique de la présence qui maintient leurs oeuvres dans une permanente instabilité, aux frontières de l'ininterprétable, tout en soulignant les particularités des voies poétiques qu'ils empruntent. L'absence est une présence étrangement dense chez ces auteurs qui captent des persistances fantomatiques, interrogeant la possibilité de la représentation, de la perception et de l'altérité. Entre présence et absence, la mort est au coeur d'oeuvres qui réinventent l'héritage gothique pour exprimer l'horreur de la dégradation du moi, l'angoisse du devenir-Objet, processus de hantise qui conduit à deux esthétiques croisées de la décomposiiton. Le texte wildien est un jalon menant à la représentation beckettienne de la disparition des frontières entre vie et mort. la présence structure aussi sur le mode métatextuel : par la mise en abyme et la métathéâtralité, la représentation se fait fragmentaire pour montrer les failles d'une présence paradoxale au coeur d'un théâtre de la revenance. la suprématie de l'art sur le réel et du style sur la substance apparaissent : entre épuisement et emballement, leurs écritures sont caractérisées par la précision et la cohérence tout en décrivant le vacillement des certitudes et des conventions. De leur rapport ambivalent à l'Irlande naît un texte se déployant dans un "entre-Trois" linguistique (anglais, français, et gaélique). Les oeuvres permettent de faire l'expérience de la présence à la limite de la disparition, menant à une écriture de l'entre-Deux pour défaire les frontières, trouver des passages, inventer de nouvelles voies. / This thesis aims at highlighting a deep literary continuity from Wilde to Beckett, through a poetic of the presence which keeps their works in a permanent instability, verging on the impossibility of interpreting, while underlining the specificities of the poetic ways they undertake. The absence is a strangely dense presence in the works of those two writers who get ghostly remainings, questioning the possibility of representation, of perception and otherness. Between presence and absence, death is at the core of works which reinvent the gothic legacy to express which leads to two crossed aesthetics of decomposition. The Wildean text is a hinge leading to the Beckettian representation of the disappearance of the frontiers between life and death. The presence also structures on a metatextual mode : through mise en abyme and metatheatricality, the representation becomes fragmentary in order to show the weaknesses of a paradoxical presence at the heart of a spectral theatre. The supremacy of art over reality and of style over substance appear : between exhaustion and profusion, their writings are characterized by precision and consistency while describing the wavering of certainties and conventions. Their ambivalent relationship to Ireland brings forth a text existing in the intermediary space between English, French and Gaelic. Their works foster the experience of presence verging on disapppearence, leading to an in-Between writing to dismiss frontiers, to find new passages and invent new ways.

Critics and audiences alike have neglected the idea of Wilde as a precursor to Beckett. But I contend that a closer look at each writer's aesthetic and philosophic tendencies-for instance, their interest in the fluid nature of self, their understanding of identity as a performance, and their belief in language as both a way in and a way out of stagnancy -will connect them in surprising and highly significant ways. This thesis will focus on the ways in which Wilde prefigures Beckett as a dramatist. Indeed, many of the themes that Beckett, free from the constraints of a censor and from the societal restrictions of Victorian England, unabashedly details in his drama are to be found residing obscurely in Wilde. Understanding Beckett's major dramatic themes and motifs therefore yields new strategies for reading Wilde.

Made available in DSpace on 2016-04-28T20:38:58Z (GMT). No. of bitstreams: 1 Marcus Rodrigues Jacobina Vieira.pdf: 1160437 bytes, checksum: 442a325aeb410a9a2ce12e8ce617c63a (MD5) Previous issue date: 2014-12-12 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This is a research on mourning and melancholy, the challenges of going through a mourning process and the refusal to accept aging and the passage of time.The research was inspired in psychoanalytic theory and on the reading of the novel The portrait of Dorian Gray, by Oscar Wilde, whose main character, Dorian Gray refused to grow old. Some aspects of Oscar Wilde´s life history were extracted from his biograpy by Daniel Salvatore Schiffer and from Tzvetan Todorov´s book Les Aventuriers de la Absolu to illuminate the the same problematic of the difficulty to enter in the work of mourning, leading to melancholy and to the empoverishment of creativity. The mourning ellaboration process and the kleinian theory of the depressive position were closely related to symbolization and to creativity, through the kleinian theory of positions and through the work of Hanna Segal and Ronald Britton / Esta é uma pesquisa a respeito dos processos de luto e melancolia, dos desafios que surgem à elaboração de lutos e perdas, e da resistência ao envelhecimento e a passagem do tempo. Foi inspirada na teoria psicanalítica e na leitura do romance O Retrato de Dorian Gray de Oscar Wilde, e de seu personagem principal, Dorian Gray, que não aceitava envelhecer. Alguns aspectos da vida de Oscar Wilde foram extraídos de sua biografia, escrita por Daniel Salvatore Schiffer e do livro de Tzvetan Todorov, A beleza salvará o mundo: Wilde, Rilke e Tsvetaeva: os aventureiros do absoluto, para iluminar a mesma problemática de inibição do luto, conduzindo à melancolia e ao empobrecimento da criatividade. Os processos de luto e a teoria desenvolvida por Melanie Klein da posição depressiva foram intimamente relacionados à simbolização e à criatividade, através da teoria kleiniana das posições, e do trabalho de Hanna Segal e Ronald Britton

Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-09-26T20:27:29Z No. of bitstreams: 2 Cesaro, Patrícia Souza Silva-2012-dissertação.pdf: 2464854 bytes, checksum: 532712a329cd48a09f59cb655120e2a6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-09-26T21:15:48Z (GMT) No. of bitstreams: 2 Cesaro, Patrícia Souza Silva-2012-dissertação.pdf: 2464854 bytes, checksum: 532712a329cd48a09f59cb655120e2a6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-09-26T21:15:48Z (GMT). No. of bitstreams: 2 Cesaro, Patrícia Souza Silva-2012-dissertação.pdf: 2464854 bytes, checksum: 532712a329cd48a09f59cb655120e2a6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2012-12-14 / The myth of the double is part of a set of the most antique human myths which permeate man`s imaginary since his own existence. It has as its main manifestations the cases of persons resembling one another, identical twins, the fact that someone sees himself in another one, the duality. The term used to designate the double, coined by German writer Jean-Paul Richter, is doppelgänger, and it means the one who walks by the side or close by, the travelling companion or fellow traveler. It has to do with one‘s experience of him/her in alterity or otherness. Some examples of occurrences of the myth of the double in literatures can be, among other: Shakespeare‘s A Comedy of Errors, Plato`s The Banquet, Robert Louis Stevenson‘s Dr. Jekyll and Mr. Hyde, Mary Shelley‘s Frankenstein, Dostoyevsky‘s The Double. This thesis has as the object of its analysis the recurrence (and reoccurrence) of the myth of the double in literature and in order to do that it concentrates on the examination of four works which are similar through the manifestation of the double in portraits. Three of them are short stories and the last one is a novel: Nathaniel Hawthorne‘s ―The Prophetic Pictures,‖ Edgar Allan Poe‘s ―The Oval Portrait,‖ Nikolai Gogol‘s ―The Portrait [Портрет],‖ and Oscar Wilde‘s The Picture of Dorian Gray. The theoretical support for the thesis concentrates on a larger use or presence of the idea of the double, as in the Romanticism, and in the development of some themes dear to the 19th Century, such as the fragmentation of the self, the new notions of myth, the idea of the double and specifically the myth of the double. The main theoreticians or theorists used where, among others, are Sigmund Freud, Otto Rank, Arnold Hauser, Anatol Rosenfeld, J. Guinsburg, and Jean-Pierre Vernant. / O mito do duplo faz parte de um conjunto de mitos dos mais antigos, que permeiam o imaginário do homem desde a sua própria existência. Tem por principais manifestações os casos de sósias, gêmeos idênticos, o ver a si mesmo em outro, a dualidade. O termo consagrado para designar o duplo, cunhado pelo escritor alemão Jean-Paul Richter, é doppelgänger, e significa aquele que caminha ao lado, o companheiro de estrada. Tem a ver com uma experiência de si na alteridade. Alguns exemplos de recorrência ao mito do duplo na literatura, entre outros, podem ser: A comédia dos erros, de Shakespeare, O banquete, de Platão, O médico e o monstro, de Stevenson, Frankenstein, de Mary Shelley, O duplo, de Dostoiévski. Esta dissertação tem o objetivo estudar a recorrência do mito do duplo na literatura e, para isso, foram selecionadas quatro obras, que se assemelham pela manifestação do duplo em retratos. São três contos e um romance: ―Os retratos proféticos‖, de Nathaniel Hawthorne, ―O retrato oval‖, de Edgar Allan Poe, ―O retrato‖, de Nikolai Gogol, e O retrato de Dorian Gray, de Oscar Wilde. O suporte teórico da dissertação se concentra no maior uso ou presença da ideia do duplo, como no Romantismo e no desenvolvimento de temas caros ao século XIX, como a fragmentação do sujeito, as novas noções de mito, de duplo e especificamente do mito do duplo. Os principais teóricos são, entre outros, Sigmund Freud, Otto Rank, Arnold Hauser, Anatol Rosenfeld, J. Guinsburg, Jean-Pierre Vernant.

The plays of Oscar Wilde hold more than just sharp wit and likable characters; they also contain examinations of aspects of the playwright's own personality and explorations of possible life choices. Through the use of Performance Studies theory, this thesis seeks to shed light on how Wilde saw himself versus how he presented himself at different points in his life. The texts analyzed within are Wilde's 1891 dramatic religious retelling, Salomé, and his 1894 domestic comedy, The Importance of Being Ernest. Within each are clues to the interior desires of their author: Salomé offers an investigation of a strong female personality in a repressive male society, while The Importance of Being Earnest expands on the feminine taking control over destiny.

Various representations of the figure of Salomé and the Biblical legend have been produced in the European, specifically in the English literature and arts throughout the nineteenth century. Oscar Wilde’s 1891 dramatic version of the legend in many ways epitomizes the full potential of the legend and capitalizes on the period’s fascination with the Orient. The climax of the orientalism of the play, the Dance of the Seven Veils, offers a unique reflection on European fantasies about the harem and invites a comparison to Ottoman representations of this same cultural space. This project seeks to analyze the relation between the Dance of the Seven Veils as presented by Wilde, and the figure of dancing woman in the harem of the Ottoman Empire. It is the slippage between the two which has informed various representations of the Oriental female figure in the West. The gap that emerges between the Western representations and the real practices in the harem, allows for a focused critique of Orientalist practices while recovering, in some ways, the actual experience of Muslim women.The vision of the harem that the Dance of the Seven Veils in Wilde’s Salomé offers is informed not by an actual encounter, but by the image of the harem as understood in nineteenth century English culture. At the same time, it participates in Victorian feminist debates on liberating the oppressed harem woman from her veils, her sexualization, and her objectification. Ultimately the dance functions as a reaffirmation of conventional gender roles as understood in Victorian society. / text