Although critics have studied Oscar Wilde's The Picture of Dorian Gray for nearly one hundred years, no one has examined the author's Irish Celtic heritage in relation to such unanswered questions as the source for the supernatural power that grants Dorian's wish to remain young and creates the central conflict, the purpose of the eleventh chapter, or the apparent "overwriting" or "purple patches" of prose.As a result, the novel has remained elusive, yet fascinating, to both critics and readers. This study asserts that the problem with the traditional approaches critics have taken to solve these questions is that Dorian_ Gray does not entirely belong to mainstream British literary tradition. It also belongs in part to Irish Celtic literature.Consequently, the answers to these unresolved "mysteries" become part of a natural, even inevitable culmination of Irish folklore placed in a Victorian London setting. questions lie in Wilde's Irish background. By looking at the mythology and folklore of Wilde's native Ireland, the “mysteries” become part of a natural, even inevitable culmination of Irish folklore placed in a Victorian London setting.This study's approach to Dorian Gray combines both historical and textual study and builds upon the already substantial number of source studies and biographies available. Moreover, this study examines the almost entirely unexplored background of Wilde's Irish past in the novel which relates to Irish literature. In addition to these components, this paper also offers explanations for the source of the supernatural elements, the problems within the eleventh chapter, and the strategy of the overall structure. Finally this study examines the satirical elements that have their origin in Irish folklore. In many ways, this analysis unifies the other, often conflicting, approaches by explaining these previously misunderstood elements. / Department of English

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.

The topic of this diploma thesis is the motif of a Double-goer and related elements in Die Elixiere des Teufels by E. T. A. Hoffmann and The Picture of Dorian Gray by Oscar Wilde. We can divide it into 5 basic parts. The first and the second parts describe the development of the gothic novel, its main motifs and the motif of a Double-goer. The third part analyses these motifs in Die Elixiere des Teufels, whereas the fourth part has the same task in The Picture of Dorian Gray. Then, the related elements and differences in both works are pointed out in the last part.

This essay examines the role of ennui in Dorian Gray’s moral decline in Oscar Wilde’s The Picture of Dorian Gray. By applying Charles Baudelaire’s concept of ennui as the malady of the modern age and his promotion of dandyism as an escape from the “immoral” modern utilitarian society, it argues that Wilde challenges Baudelaire’s philosophy since Dorian suffers from depression as a result of yielding to all of his desires. Drawing from Thomas De Quincey’s arguments that the cycle of restlessness and stimulation leads to violence, this essay suggests that, according to Wilde, dandyism may lead to moral decay. Therefore, Wilde questions both Baudelaire’s dandyism and the core of the Aesthetic Movement. Thus, Wilde highlights not only the dangers of sensation-seeking being promoted as an escape from monotony but also claims that dandyism can result in violence.

The purpose of this essay is to perform a comparative psychoanalytic reading of The Great Gatsby (1925) and The Picture of Dorian Gray (1891) in terms of the titular characters’ narcissistic behavior. My claim is that Jay Gatsby and Dorian Gray can be seen as different depictions of narcissism. Literary critics in previous research characterized Gatsby and Gray as narcissists, but, there has not been a comparison between the two with focus on their narcissism. Gatsby and Gray display crucial differences which suggests that they portray narcissism in different ways. Theodore Millon identified four subtypes of the original narcissistic personality in order to better identify different types of narcissists. My aim is to use his subtypes to identify, and provide the causes and effects of Gatsby’s and Gray’s particular narcissistic behavior. My analysis indicates that Gatsby can be seen as a fictional illustration of the unprincipled and compensatory narcissist while Gray can be viewed as a fictional characterization of the amorous narcissist.

<p>My twofold aim with this essay is, firstly, to examine the ideas about art expressed in the novel The Picture of Dorian Gray by the Victorian author Oscar Wilde. Secondly, I analyse how Oscar Wilde has implemented the philosophy of aestheticism throughout his novel. I achieve this by discussing the novel from the perspectives of the arts of painting, acting and literature. I examine the ideas expressed through the three main characters Dorian Gray, Basil Hallward and Lord Henry Wotton. I give occurrences of alliteration, epigrams and theatrical traits of the novel as examples of how the novel in itself is a beautiful work of art. With this essay I wish to highlight the need for all types of art mentioned in The Picture of Dorian Gray to be included in any discussion about art in the novel. My thesis statement is that the philosophy of aestheticism is promoted throughout the novel. This philosophy states that art should only be seen as something beautiful. Art should not be expected to teach its audience any moral lessons. The over-all conclusion is that it is indeed the philosophy of aestheticism that is promoted in The Picture of Dorian Gray, and the ideal of male beauty in particular.</p>

Thèse de doctorat : ETUDES ANGLAISES : Metz : 1997. / 1997METZ015L. 396 ref.

This thesis has explored Irish influences on the author of The Picture of Dorian Gray, Oscar Wilde. The study explored early family and peer influences on the author and has traced his Irish roots to reveal a knowledge of Irish folk lore which is apparent in this novel.In addition, the thesis has analyzed the novel with respect to characteristics of Irish folk lore which are called, in this study, Celtic magic. The paper also has presented the case that Oscar Wilde should be placed with Anglo-Irish writers instead of British authors.

My twofold aim with this essay is, firstly, to examine the ideas about art expressed in the novel The Picture of Dorian Gray by the Victorian author Oscar Wilde. Secondly, I analyse how Oscar Wilde has implemented the philosophy of aestheticism throughout his novel. I achieve this by discussing the novel from the perspectives of the arts of painting, acting and literature. I examine the ideas expressed through the three main characters Dorian Gray, Basil Hallward and Lord Henry Wotton. I give occurrences of alliteration, epigrams and theatrical traits of the novel as examples of how the novel in itself is a beautiful work of art. With this essay I wish to highlight the need for all types of art mentioned in The Picture of Dorian Gray to be included in any discussion about art in the novel. My thesis statement is that the philosophy of aestheticism is promoted throughout the novel. This philosophy states that art should only be seen as something beautiful. Art should not be expected to teach its audience any moral lessons. The over-all conclusion is that it is indeed the philosophy of aestheticism that is promoted in The Picture of Dorian Gray, and the ideal of male beauty in particular.

This essay argues, with the help of Lacanian psychoanalysis, that Dorian Gray, the protagonist in Oscar Wilde’s novel, fails to abide by the rules governed by the culture of society. It is argued that Lacan’s theories about the mirror stage develop Dorian’s character and his realizations of his true self as part of the culture which shapes him. The mirror is represented by the four characters Basil Hallward, Lord Henry Wotton, Sibyl Vane, and Sibyl’s brother James. Basil, Henry, and Sibyl are all representations of different aspects of the mirror explained by Lacan’s theories, and these three characters help Dorian realize his true identity and self.