610 research outputs found
De Profundis e Oscar Wilde: a pessoa, o escritor e o inscritor na autoria e o texto como gestão do contexto.
No full textResumo: A concepção de autoria assumida fundamenta-se na proposta de Dominique Maingueneau (2006) porque ela permite mostrar a autoria como um funcionamento entrelaçado de instâncias autorias. O que está no texto de um autor, neste caso, em Oscar Wilde, diz respeito à pessoa de Wilde, tem relação com sua função de escritor no campo literário a partir de um determinado posicionamento e, ainda, diz respeito ao trabalho enunciativo de um inscritor. O objetivo é apresentar com certa exaustividade essas instâncias em funcionamento na epístola De Profundis e como, por meio de embreantes que se constituem no/pelo texto, validar o postulado do texto literário como gestão do contexto de sua produção.Palavras-chave: funcionamento da autoria; correspondência; análise do discurso literário; Oscar Wilde.Abstract: This paper is based on the conception of authorship proposed by Dominique Maingueneau (2006). This concept allows us to show the authorship as an interlaced operation of discursive instances. I will seek to show how productive is conceive the authorship based on the functioning of three discursives instances –, named by the author as a person, the writer and the inscritor – in the epistle De Profundis by Oscar Wilde. This epistle is a letter wrote by Wilde to Lord Douglas, his lover, during the time Wilde was in prison, sentenced of gross indecency crime. The aim here is to present these discursive instances operating in De Profundis epistle, and how through shifters that are constructed in / by the text, so as to validate the postulate of the literary text as the managing context of their production.Keywords: Functioning of Authorship; Letters; Literary Discourse Analysis; Oscar Wilde
Unsatisfied appeal of sense : the decadent image in the poetry and poetics of Oscar Wilde, Arthur Symons, and Ernest Dowson
No full textEThOS - Electronic Theses Online ServiceGBUnited Kingdo
"The Cult(-ure) of Oscar Revisited: Rebirth of Wilde in Contemporary Biographical Fictions"
No full textWorld-famous Oscar Wilde continues to play a substantial part in a significant body of contemporary fictions. As it is, reconstructing Oscar through the means of fiction has proved a most popular enterprise for the last twenty-five years. It appears that today’s writers are not only keen on learning about/from the man Oscar and the author Wilde but equally on staging him in a profusion of mise-en-abyme-like fictional portraits, in which quotations from his works and letters are uttered – either directly or indirectly – by a fictional but convincing Wilde mirroring… himself and his own celebrity cult(-ure) and myth. This paper will examine the way this contemporary rebirth actually takes place. I will show how narration plays a most compelling and stimulating role in those afterlives of Oscar Wilde. Be it in the form of fictional diaries, letters or interviews, the way the author’s story is told offers a wonderful means of not only reviving and circulating Wilde’s own cultivated past self and discourse, but also of making contemporary readers want to know more about the real character depicted in those portrayals, thus reviving him further, on their own. To illustrate my argument, I will focus on a selection of fictional portraits of Oscar Wilde published in the last three decades, and whose titles already speak volumes: Peter Ackroyd’s thought-provoking The Last Testament of Oscar Wilde (1983), C. Robert Holloway’s fanciful The Unauthorized Letters of Oscar Wilde (1998), Merlin Holland’s witty and informative Coffee with Oscar Wilde (2007) and the website ‘Dialogus’ (http://www.dialogus2.org), where people can write letters to all kinds of famous characters from the past (Wilde included) and expect, in the near-future, some answer from the very ‘hand’ of those celebrities
The Inverted City: London and the Constitution of Homosexuality, 1885-1914
No full textPhDThis thesis examines the ways in which male homosexuality came to be closely
associated with urban life between 1885 and 1914. It focuses on London and argues
that particular aspects of the city's history and reputation were integral to the social,
sexual and political aspects of emerging homosexual identities.
The thesis draws on literature, sexology, the largely overlooked diaries and
scrapbooks of George Ives (an early campaigner for homosexual law reform), and
previously unexamined newspaper reports. The first chapter outlines changes to
London during the period, and examines the intensification of concerns about poverty,
degeneracy, decadence and sexual profligacy. The chapters that follow show how
these changes and concerns informed understanding and expressions of
homosexuality. Chapter two looks at the history of homosexuality in London, and
indicates the significance of urban change in shaping patterns of behaviour. Chapter
three examines legislation, the ways in which men were policed and surveyed in
London, and newspaper accounts of court cases. Chapter four shows how sexology
strengthened and elaborated this connection between homosexuality and the city.
The last two chapters consider material written by, and explicitly or implicitly
concerning, men involved in homosexual activity. Chapter five discusses how the city
provided an ideal locale for a decadent understanding of desire, and the final chapter
focuses on writing that attempted to counter this decadence with an appeal to
Hellenism and pastoralism. It shows how the city was envisaged as a locus for the
formation of political and sexual identities that might initiate a process of social
change
Typing Wilde: Construing the Desire to Appear to Be a Person Inclined to the Commission of the Gravest of All Offenses
No full textOn 28 February 1895 Oscar Wilde arrived at his club, the Albemarle, after an absence of several weeks and was presented with an envelope containing the Marquis of Queensberry\u27s calling card. On the back of the card were scrawled the words: For Oscar Wilde Posing as a Somdomite [sic]. As the culmination of months of harassment by the Scottish aristocrat - who objected to Wilde\u27s intimacy with his youngest son, Lord Alfred Douglas-the short text so incensed Wilde that it incited him to instigate legal action against its author. Filing charges under the 1843 Criminal Libel Act (6 and 7 Vict. I, c. 96), Wilde\u27s legal representatives asked the court to interpret the marquis\u27s text as a verbal attack upon his person and to hold its author criminally responsible for the consequences of his writing. Unfortunately for Wilde, the statute invoked on his behalf allowed the accused party a unique form of rejoinder: the defendant could assert his innocence by placing a competing interpretation of the alleged libel before the court - in what was termed a plea of justification - which sought to prove that the offending statement was both true and published for the public benefit. If the court verified that both these conditions obtained, then the defendant would be deemed innocent of the charge and the libel found to be legally substantiated. Needless to say, the Marquis of Queensberry\u27s lawyers quickly countercharged that such was the case. This defense tactic effectively transformed the legal proceeding in Wilde v. Queensberry into an interpretive contest both for determining the text\u27s true meaning and for assessing its social significance. Hence, what was at stake in the proceedings of Wilde v. Queensberry was not simply whether or not the writing on the Marquis of Queensberry\u27s card constituted a libel against Wilde, but also what it meant to pose as a sodomite, whether Wilde had done so, and if publishing the knowledge of such a pose was in the public interest.
Framed by the tenor of these questions, the trial necessarily foregrounded the specificity of the phrase posing as a sodomite. Since the contested statement did not actually accuse Wilde of sodomy - or of being a sodomite - for which a strict standard of legal proof (i.e., proof of penetration) would have been required, the defense sought instead to show that Wilde was the kind of person--or at least that he had (re)presented himself as the kind of person-who would be inclined to commit sodomy. In support of this personification, the plea of justification tried to shift the legal focus on sodomy away from its traditional status as a criminally punishable sexual act so that it became in the defense\u27s construction a defining characteristic of a type of sexual actor (the sodomite ). In order to provide a credible standard of proof for this characterological claim, the defense\u27s plea of justification listed thirteen allegations that Oscar Fingal O\u27Flahertie Wills Wilde . ..did solicit and incite ... [another male person] to commit sodomy and other acts of gross indecency. Here, playing upon the indeterminacy introduced by the word posing, the defense interpretation subsumed the specific cultural and legal history evoked by the word sodomy with the newer, relatively unknown category, acts of gross indecency, metonymically subsuming the former within the behavioral penumbra of the latter. Thus, even as the defense plea displaces sodomy\u27s historical privilege as the sole basis for criminalizing sexual acts between men and constitutes it as one of a number of other acts of gross indecency, the earlier concept is simultaneously recouped by the defense plea as the legitimating criterion through which a much wider variety of indecent relationships between men can be brought within the legal purview
'A secret pleasure in being mastered': Play, Power and the Morality of Art in J. M. Barrie's Sentimental Tommy and Tommy and Grizel.
No full textThis dissertation analyses J.M. Barrie's novels Sentimental Tommy (1896) and Tommy and Grizel (1900) in terms of their narrative explorations of the moral implications of art. In particular, it finds the novels preoccupied with the power relations between reader and text, and with the question of whether the playful pleasures of art can ever justify the moral problems created when its power relations are reproduced in social relationships.
The introduction identifies these concerns in the style of the novels through close reading. Chapter one establishes the thesis that, within these novels, art is defined as excess and inconsistency, producing some surprising correspondences to late Nineteenth-Century art theory. This ‘art’ is personified by the protagonist, Tommy, who is shown to have both learned and inherited his artistic disposition. Chapter two identifies a complementary personification, of social morality, in the character of Grizel, which enables their relationship symbolically to play out tensions between art and society. This chapter also finds that these tensions are conceived in the novels as a debate on the gendering of power within heterosexual erotic relationships, wherein the intruding power dynamics of art disturb normative gender roles.
Chapter three, conversely, examines a selection of Tommy's non-romantic relationships and finds them to reveal a model of human selfhood as innately inconsistent, though necessarily modified by social relations. As such, Barrie also, and equally, portrays art as potentially therapeutic, since it allows the expression of individualistic concerns. Finally, the conclusion proposes that this ambivalence towards the morality of art culminates, both in these novels and in Barrie's later work, in a symbolic and paradigmatic mother/eternal boy relationship. Acknowledgement of the complexity of this symbolism, I propose, is of consequence, partly because it is precisely this aspect of Barrie's work that has survived and become significant within Western culture
A discursive question: supporting student-authored multiple-choice questions through peer-learning software in non-STEMM disciplines
No full textPeer‐learning that engages students in multiple choice question (MCQ) formulation promotes higher task engagement and deeper learning than simply answering MCQ’s in summative assessment. Yet presently, the literature detailing deployments of student‐authored MCQ software is biased towards accounts from Science, Technology, Engineering, Maths and Medicine (STEMM) subjects, rather than discursive subjects or disciplines where content may contain fewer absolute facts and objective metrics and more nuance. We report on qualitative and quantitative findings from a semester‐long deployment of a peer‐learning software package (PeerWise) in a 140‐student course on Interaction Design. PeerWise enables students to author, rate and comment upon their peers’ MCQ questions. The platform was enthusiastically adopted as a revision aid, yet overall question quality was poor and students expressed difficulty in translating the discursive nature of the course content into MCQs with only one correct answer. In addressing these shortcomings, this paper offers specific recommendations to instructors of more discursive subjects using student‐led MCQ authoring platforms, and further, how platforms such as PeerWise may be adapted to better suit disciplines characterised by discursive content. We propose alternative approaches to moderation and two suggestions for potential amendments to the software itself
Typing Wilde: Construing the "Desire to Appear to Be a Person Inclined to the Commission of the Gravest of All Offenses
No full textOn 28 February 1895 Oscar Wilde arrived at his club, the Albemarle, after an absence of several weeks and was presented with an envelope containing the Marquis of Queensberry's calling card. On the back of the card were scrawled the words: "For Oscar Wilde Posing as a Somdomite [sic]." As the culmination of months of harassment by the Scottish aristocrat - who objected to Wilde's intimacy with his youngest son, Lord Alfred Douglas-the short text so incensed Wilde that it incited him to instigate legal action against its author. Filing charges under the 1843 Criminal Libel Act (6 and 7 Vict. I, c. 96), Wilde's legal representatives asked the court to interpret the marquis's text as a verbal attack upon his person and to hold its author criminally responsible for the consequences of his writing. Unfortunately for Wilde, the statute invoked on his behalf allowed the accused party a unique form of rejoinder: the defendant could assert his innocence by placing a competing interpretation of the alleged libel before the court - in what was termed a "plea of justification" - which sought to prove that the offending statement was both "true" and "published for the public benefit." If the court verified that both these conditions obtained, then the defendant would be deemed innocent of the charge and the libel found to be legally substantiated. Needless to say, the Marquis of Queensberry's lawyers quickly countercharged that such was the case. This defense tactic effectively transformed the legal proceeding in Wilde v. Queensberry into an interpretive contest both for determining the text's "true" meaning and for assessing its social significance. Hence, what was at stake in the proceedings of Wilde v. Queensberry was not simply whether or not the writing on the Marquis of Queensberry's card constituted a libel against Wilde, but also what it meant "to pose as a sodomite," whether Wilde had done so, and if publishing the knowledge of such a "pose" was in the public interest. Framed by the tenor of these questions, the trial necessarily foregrounded the specificity of the phrase "posing as a sodomite." Since the contested statement did not actually accuse Wilde of "sodomy" - or of being a sodomite - for which a strict standard of legal proof (i.e., proof of penetration) would have been required, the defense sought instead to show that Wilde was the kind of person--or at least that he had (re)presented himself as the kind of person-who would be inclined to commit sodomy. In support of this personification, the plea of justification tried to shift the legal focus on sodomy away from its traditional status as a criminally punishable sexual act so that it became in the defense's construction a defining characteristic of a type of sexual actor (the "sodomite"). In order to provide a credible standard of proof for this characterological claim, the defense's plea of justification listed thirteen allegations that "Oscar Fingal O'Flahertie Wills Wilde . ..did solicit and incite ... [another male person] to commit sodomy and other acts of gross indecency." Here, playing upon the indeterminacy introduced by the word "posing," the defense interpretation subsumed the specific cultural and legal history evoked by the word "sodomy" with the newer, relatively unknown category, "acts of gross indecency," metonymically subsuming the former within the behavioral penumbra of the latter. Thus, even as the defense plea displaces "sodomy's" historical privilege as the sole basis for criminalizing sexual acts between men and constitutes it as one of a number of "other acts of gross indecency," the earlier concept is simultaneously recouped by the defense plea as the legitimating criterion through which a much wider variety of "indecent" relationships between men can be brought within the legal purview
The picture of Dorian Gray and Celtic magic
No full textThis 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.Thesis (M.A.
Participatory identification of indicators for assessing options for climate compatible development of smallholder farmers in the Central Rift Valley of Ethiopia.
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