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Discuss the central theme of beauty and corruption in "The Picture of Dorian Gray." How does Dorian ... Read More
Discuss the central theme of beauty and corruption in "The Picture of Dorian Gray." How does Dorian Gray's obsession with physical appearance lead to moral decay? Analyze the symbolism of the portrait and its role in the story.
Explore the moral dilemmas faced by the characters in the novel. How do their choices and actions reflect the consequences of their moral beliefs or lack thereof? Analyze the role of Lord Henry's hedonistic philosophy in influencing Dorian's decisions.
Analyze the concept of the portrait as a reflection of Dorian's inner self. How does the portrait's transformation mirror Dorian's moral corruption? Discuss the symbolism of the portrait's deteriorating appearance.
Discuss the influence of society and peer pressure on Dorian Gray's character development. How do societal norms and the expectations of his peers contribute to his descent into decadence? Analyze the role of conformity and rebellion.
Examine how Oscar Wilde critiques Victorian society in "The Picture of Dorian Gray." How does the novel challenge conventional moral values, social hypocrisy, and the repression of desires? Discuss Wilde's use of wit and satire.
Analyze the theme of art and aestheticism in the novel. How does Dorian's pursuit of aesthetic experiences and his rejection of morality reflect the aesthetic movement of the late 19th century? Discuss the tension between art and ethics.
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1890-1891, Oscar Wilde
Novel; Philosophical fiction
The story begins in the art studio of Basil Hallward, who is discussing a current painting with his witty and amoral friend Lord Henry Wotton. Dorian Gray, the subject of the painting, arrives, and he is fascinated as Henry explains that beauty and youth are fleeting and that he believes one should live life to the fullest by indulging one’s impulses. Dorian declares that he would give his soul if the portrait were to grow old and wrinkled while he remained young and handsome. Basil gives the painting to Dorian, who spends the next 18 years in pursuit of capricious excess and is increasingly drawn to evil.
The Picture of Dorian Gray presents the conflict between good and evil sides of humanity, where individuals are highly influenced and weak against the temptations of youth, love, pleasure and secrecy. This emphasizes the uglier side of a life all about the pursuit of pleasure and beauty.
Dorian Gray, Basil Hallward, Lord Henry "Harry" Wotton, Sibyl Vane, James Vane, Alan Campbell, Lord Fermor, Adrian Singleton, Lord Henry's wife
Wilde's only novel, it was subject to much controversy and criticism in its time. Even bowdlerized, The Picture of Dorian Gray offended the moral sensibilities of British book reviewers, to the extent, in some cases, of saying that Wilde merited prosecution for violating the laws guarding public morality. However, the novel became a classic of English literature and was adapted into a number of films, most notably a 1945 version.
“The books that the world calls immoral are books that show the world its own shame.”
“Experience is merely the name men gave to their mistakes.”
“Nowadays people know the price of everything and the value of nothing.”
“The only way to get rid of temptation is to yield to it.”
1. Baker, H. A. (1969). A tragedy of the artist: the picture of Dorian Gray. Nineteenth-Century Fiction, 24(3), 349-355. (https://www.jstor.org/stable/2932864)
2. Oates, J. C. (1980). " The Picture of Dorian Gray": Wilde's Parable of the Fall. Critical Inquiry, 7(2), 419-428. (https://www.journals.uchicago.edu/doi/abs/10.1086/448106?journalCode=ci)
3. Carroll, J. (2005). Aestheticism, Homoeroticism, and Christian Guilt in The Picture of Dorian Gray. Philosophy and Literature, 29(2), 286-304. (https://muse.jhu.edu/article/189431)
4. Gillespie, M. P. (1995). The Picture of Dorian Gray:" what the world thinks me". (https://philpapers.org/rec/GILTPO-39)
5. Seagroatt, H. (1998). Hard Science, Soft Psychology, and Amorphous Art in The Picture of Dorian Gray. Studies in English Literature, 1500-1900, 38(4), 741-759. (https://www.jstor.org/stable/451096)
6. Davis, M. (2013). Mind and Matter in The Picture of Dorian Gray. Victorian Literature and Culture, 41(3), 547-560. (https://www.cambridge.org/core/journals/victorian-literature-and-culture/article/abs/mind-and-matter-in-the-picture-of-dorian-gray/A497BA8F7EFA31781860D48A7E322F36)
7. Rashkin, E. (1997). Art as Symptom: A Portrait of Child Abuse in" The Picture of Dorian Gray". Modern Philology, 95(1), 68-80. (https://www.journals.uchicago.edu/doi/abs/10.1086/392452?journalCode=mp)
8. Paglia, C. (1990). The Beautiful Boy As Destroyer: Wilde's The Picture Of Dorian Gray. In Sexual Personae (pp. 512-530). Yale University Press. (https://www.degruyter.com/document/doi/10.12987/9780300182132-023/html?lang=de)
9. Simion, M. O. (2015). A new hedonism in Oscar Wilde's novel the picture of Dorian Gray. Annals Constantin Brancusi U. Targu Jiu, Letters & Soc. Sci. Series, 55. (https://heinonline.org/HOL/LandingPage?handle=hein.journals/ancnbt2015&div=13&id=&page= )
10. Keefe, R. (1973). Artist and Model in" The Picture of Dorian Gray". Studies in the Novel, 63-70. (https://www.jstor.org/stable/29531571)
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