It's a great peice of classic lit and I suggest it for anyone interested in classic works or works by Irish writers. Rebecca B. I thought I could handle overwhelming decadence and debauchery, but oh, was I wrong! Excellent read, though! Esther H. Dorian Grey is a dark and psychological look at a beautiful boy who goes very, very, bad. Michelle V. This is one of my favorite books. The storyline is absolutely amazing and rings true in some aspects in today's world. Julie K.
- The Picture of Dorian Gray — Oscar Wilde, Nicholas Frankel | Harvard University Press.
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Melissa P. Great Illustrated Classics are classic books cut down very well done to a length designed for elementary school age children. They also include some pictures. This is a great book. Sheryl O. Why not both? After Basil Hallward paints a beautiful, young man's portrait, his subject's frivolous wish that the picture change and he remain the same comes true. Dorian Gray's picture grows aged and corrupt while he continues to appear fresh and innocent.
The Conflict Between Aestheticism and Morality in Oscar Wilde’s The Picture of Dorian Gray
Free download. Book file PDF easily for everyone and every device. This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Broken Promises. More Titles! Product Details About the Author. The picture of Dorian Gray. Illustrated by Lui Trugo.. The Picture Of Dorian Gray? Thus, to return to my metaphor of a triptych, I would argue that far from being a secondary or compromised version, the magazine version of the novel is central.
The other texts, as we will soon see, find their meaning in relation to it.
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This may seem a rather mundane or mercenary reason to expand a book. Courtesy of the Houghton Library at Harvard University. Donald L. Thus for Lawler, the work we call The Picture of Dorian Gray does not represent separate acts or moments of re-creation and re-purposing; rather, it is one long act of creation that incorporates many diverse elements.
'The Picture of Dorian Gray': An Uncensored Version of a Scandalous Classic - PopMatters
Gillespie, like Lawler, sees in the revisions of Dorian Gray a process of evolution by which Wilde moves away from narrow, moralistic meanings and invites a more rich and diverse set of possible interpretations. The aphoristic quality of the statements in the preface further removes them from the context of the controversy.
Statements like this one present themselves as authoritative truisms that invite no response. The effect is that the book in general and the preface in particular feel like pristine aesthetic objects, created expressly for this and no other purpose, when in fact we know they were created, at least partly, in response to the sense that the novel was too popular, too cheap, and too widely available.
Similar to the attitude Wilde attempted to develop and maintain during his exchanges with newspapers, these details are partly defensive, partly provocative, even if their pose is one of aloofness. Ingleby clearly sees it as worth nothing more than the new pages required to print it. The new material functions as filler, stuffing, or padding. But we should seriously question whether a sharp distinction between mere material and literary text is one that holds up to scrutiny—for us as readers as well as for Wilde as an author.
Indeed, Wilde was deeply interested in maximizing the meanings that book decoration and design could bring to his works. She writes:. There must be five hundred signed copies for particular friends, six for the general public, and one for America. Its print runs, paper, design, and illustrations speak a language of their own with many recognizable social meanings. And it included many other even more remarkable innovations.
This design originally came protected under a specially designed wrapper similar to dust jackets of today, though rare in the s. Ricketts was able to create a version of Dorian Gray that was as perversely decorative as the books described within the text. What we do know is that the edition provoked continued controversy. But insofar as we see the novel as just a text, these meanings that are so richly displayed in material forms remain invisible to us. But over the years a significant number of scholars have expressed reservations about this idea.
But it does not follow from this that the typescript text should supersede or replace the other versions as the standard text. Indeed, Frankel never makes such a claim on its behalf. In fact, critics and textual scholars who have traced the origins of Dorian Gray have found it difficult to pinpoint a specific inspiration for the novel. Even in its earliest stages, the novel was something of an assemblage of pre-existing ideas. In short, Dorian Gray was recycled from the beginning. While Wilde was among the first writers who integrated typewriters into his work, he did not use them as a method of composition.
Rather, he delivered his manuscripts to a typewriting office where they were copied by typists. Although the typescript was corrected in his hand, it is likely he would have understood it, as we should today, as a kind of partial publication or at least as a text at one remove from himself as author. In this sense, the typescript can never really be published, only approximated. It represents a key moment at the initiation of that event, but it matters to us retrospectively based on our knowledge of the controversy that Dorian Gray caused.
To put it another way, an uncensored text depends upon the act of censorship for its identity and value. As we read the uncensored version today, it is crucial to keep this in mind. But to imagine such a future edition would be an impoverishment, not an improvement. That is to say, he or she needs to determine the object of study and decide what kind of object that object represents.
As we have seen, working in a volatile literary and cultural marketplace, Wilde was able to move between the worlds of mass and elite culture like no other writer of the late-Victorian period. He remains today one of the most celebrated and most widely discussed figures of his age.
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His plays are widely produced, his fiction is widely taught and anthologized, and his criticism is increasingly considered a serious contribution to intellectual history, ranking him with Nietzsche as one of the great luminaries of the late-nineteenth century. Moreover, our age is shaped by a celebrity culture of its own that bears important similarities to the milieu that Wilde shaped and in which he operated.
Despite the complexity of the above discussions, that statement remains true. Thus the opportunity of reading the work as a triptych, with the magazine version as the central piece with an earlier typescript and a later first edition standing in relationship to it, is not one that would arise with most other works of late-Victorian literature.
So far, no printed edition has been able to approach anything like the broad concept of Dorian Gray as triptych that I have suggested. And indeed, perhaps no printed volume could suffice. But as the tools of the digital humanities become more widely integrated into our study of Dorian Gray , there remains the possibility that digital projects might more closely approach this goal, helping the reader experience the work not just as one text, or even three texts, but as three distinct but interrelated print objects.
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