scholarly journals Oscar Wilde. The Picture of Dorian Gray. Ed. Andrew Elfenbein. New York: Longman, 2007: ISBN: 0-321-42713-0. Price: US$8.40 Robert Louis Stevenson. Joseph Conrad and Mary Shelley Dr. Jekyll and Mr Hyde, The Secret Sharers, and Transformation: Three Tales of Doubles. Eds. Susan J. Wolfson and Barry V. Qualls. New York: Longman, 2009. ISBN: 0-321-41561-2: Price: US$8.40

2009 ◽  
pp. 0
Author(s):  
Dennis Denisoff
Keyword(s):  
New York ◽  
Joseph Conrad ◽  
Mary Shelley ◽  
Oscar Wilde ◽  
Robert Louis Stevenson ◽  
Picture Of Dorian Gray ◽  
Dorian Gray

Wilde’s New Republic

2017 ◽  
Author(s):  
Marylu Hill
Keyword(s):  
Oscar Wilde ◽  
Specific Focus ◽  
Classical Training ◽  
Picture Of Dorian Gray ◽  
New Republic ◽  
Dorian Gray ◽  
Definition Of ◽  
Philosophical Questions

As a result of his classical training in the Honours School of Literæ Humaniores at Oxford, Oscar Wilde drew frequently on the works of Plato for inspiration, especially the Republic. The idea of a New Republic and its philosophy resonated profoundly with Wilde—so much so that the philosophical questions raised in Plato’s Republic become the central problems of The Picture of Dorian Gray. This chapter maps the parallels between the Republic and Dorian Gray, with specific focus on several of Plato’s most striking images from the Republic. In particular, the depiction of Lord Henry suggests not only the philosophical soul gone corrupt, but also the ‘drone’ who seduces the oligarchic young man into a life of ‘unprincipled freedom’, according to Plato’s definition of democracy. By invoking the Socratic lens, Wilde critiques Lord Henry’s anti-philosophy of the ‘New Hedonism’ and contrasts it with the Socratic eros.

scholarly journals Standardisation in translated language

2021 ◽  
pp. 178-209
Author(s):  
María Victoria Valencia Giraldo
Keyword(s):  
Oscar Wilde ◽  
Literary Work ◽  
Spanish Translation ◽  
Picture Of Dorian Gray ◽  
Colombian Spanish ◽  
The Law ◽  
Dorian Gray

The law of growing standardisation (Toury 1995) appears to be particularly at play in diatopy, and more specifically in the case of transnational languages. Some studies have revealed the tendency to standardise the diatopic varieties of Spanish in translated language (Corpas Pastor 2015a, 2015b, 2017, 2018). However, to our knowledge, no work has studied this tendency in the Spanish translations of a literary work. This paper focuses on verb + noun (object) collocations of Spanish translations of The Picture of Dorian Gray by Oscar Wilde. Two different varieties have been chosen (Peninsular and Colombian Spanish). The techniques used to translate this type of collocations in both Spanish translations will be analysed. Further, the diatopic distribution of these collocations will be studied by means of large corpora. Based on the results, it is argued that the Colombian Spanish translation is actually closer to general or standard Spanish than to the variety of this country.

Ein anderer Pygmalion – Techniken der Kunstbelebung in Joseph von Eichendorffs Das Marmorbild, Oscar Wildes The Picture of Dorian Gray und Georg Heyms Der Dieb

2013 ◽  
Vol 48 (2) ◽  
Author(s):  
Julia Genz
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Oscar Wilde ◽  
Main Issue ◽  
Crucial Point ◽  
Joseph Von Eichendorff ◽  
Picture Of Dorian Gray ◽  
Dorian Gray ◽  
Narrative Techniques

AbstractThe main issue of the Pygmalion myth is the vitalisation of an artificial woman. In Ovid’s Metamorphoses it is motivated by the intervention of Venus. This article deals with Pygmalion-like protagonists since 1800, in which the crucial point of vitalisation is no longer based on divine volition but on semiotic theories that Winckelmann, Lessing, Goethe and others used in the eighteenth century. In these cases, the protagonist’s perspective gives rise to the impression of vivification. The examples of Joseph von Eichendorff, Oscar Wilde and Georg Heym show that this shift also had an impact on the narrative techniques, for their concreteness allows the reader to retrace the vivification of the figures himself. In the twentieth century Georg Heym modernised the techniques of the eighteenth century by connecting them with associations of the new medium film. In the course of time the pygmalionic observer turns into a pygmalionic narrator, whose narration obtains with the aid of the reader an enormous vitality.

scholarly journals Wilde’s Language Style in The Picture of Dorian Gray

2018 ◽  
Vol 7 (2) ◽  
pp. 1
Author(s):  
Fang Yang
Keyword(s):  
Oscar Wilde ◽  
The Novel ◽  
Writing Style ◽  
Rhetorical Devices ◽  
Language Style ◽  
Picture Of Dorian Gray ◽  
Dorian Gray

Oscar Wilde, a famous Irish Aestheitc Writer, is well-known for the humourous language in his works. As the “lord of language”, he deliberately utilizes English as a tool to show the beauty of the language itself. His only novel The Picture of Dorian Gray commendably reveals Wilde’s talent in language organizing. This paper outlines Wilde’s employing witty rhetorical devices, the harmonious diction, brilliant paradoxes, jocular dialogues and witty epigrams to help readers perceive that succinctness, vividness, impressiveness and meaningfulness form the most important features of the writing style of the novel.

Enchantment

2000 ◽  
Vol 47 ◽  
pp. 91-104
Author(s):  
Roger Fellows
Keyword(s):  
Natural Science ◽  
Oscar Wilde ◽  
World View ◽  
Modern Science ◽  
Natural World ◽  
Scientific World ◽  
The World ◽  
Picture Of Dorian Gray ◽  
Dorian Gray ◽  
Science Show

Oscar Wilde remarked in The Picture of Dorian Gray that, ‘It is only the shallow people who do not judge by appearances.’ Over three centuries of natural science show that, at least as far as the study of the natural world is concerned, Wilde's epigram is itself shallow. Weber used the term ‘disenchantment’ to mean the elimination of magic from the modern scientific world view: the intellectual rationalisation of the world embodied in modern science has made it impossible to believe in magic or an invisible God or gods, without a ‘sacrifice of the intellect’.

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