105 research outputs found
The picture of Dorian Gray: art and ethic
No full textO objetivo deste trabalho foi o de fazer uma leitura da obra The Picture of Dorian Gray de Oscar Wilde, procurando observar a maneira como o autor tratou a arte a moral nesta obra. Parte do trabalho se dedica a tentativa de reconstruir a formação do pensamento de Wilde e parte do trabalho se dedica a uma interpretação literária da obra. Segundo pudemos apreender, a maneira como a arte e a moral foram tratadas por Oscar Wilde, e foi isso o que tentamos enfocar em nosso trabalho, foi conseqüência direta de todas as influências recebidas anteriormenteThe aim of this study was to read the work The Picture of Dorian Gray by Oscar Wilde trying to focus on the way the author dealt with art and moral in this book. Part of our work is an attempt to rebuild Wilde\'s way of thinking and part of our work is a literary interpretation of the book. As we could understand, the way art and moral were treated by Oscar Wilde, and that is what we tried to show in our work, was a direct consequence of all the influences Wilde was exposed to previousl
Dorian para além do retrato : representações na segunda tópica de Freud em O Retrato de Dorian Gray
No full textThe current study had as main objective to analyse the representations of Freud's second topography of mind in The Picture of Dorian Gray. A methodological analysis of psychoanalysis was carried out as a literary critic in Freud, chronologically, from the incursions of the author himself undertaken during the construction of psychoanalytic theory. From this, under a hermeneutical bias, psychoanalytic criticism was discussed and the nineteenth century was studied as a scenario for the transformations of the Self and the implication thereof for the emergence of psychoanalysis and for the publication of Oscar Wilde's novel. From the results found, through the correlation of the characters of Dorian Gray, as the Ego, of Lord Henry, as the Id, and of Basil Hallward, as the Superego, with the formation and maintenance of the psyche of the subject, it was found that the text constitutes an unconscious formation that allows the reader to interpret latent contents from his own unconscious, culminating in representations that, although partial, reiterate the sublimation character of the artistic work not only for the creator, but for the one who appreciates it from a dynamic point of view.
Keywords: literature; psychoanalysis; unconscious of the text; second topography; dorian gray.Fundação de Amparo à Pesquisa do Estado do AmazonasO presente estudo tem como objetivo a análise das representações da segunda tópica de Freud em O Retrato de Dorian Gray. Foi realizada uma análise metodológica da psicanálise enquanto crítica literária em Freud, de forma cronológica, a partir das incursões do próprio autor empreendidas durante a construção da teoria psicanalítica. A partir disso, sob um viés hermenêutico, a crítica psicanalítica foi discutida e o século XIX foi estudado enquanto cenário para as transformações do Eu e a implicação disso para o surgimento da psicanálise e para a publicação da obra de Oscar Wilde. A partir dos resultados encontrados, através da correlação das personagens de Dorian Gray, com o papel do Ego, de Lord Henry, com o papel do Id, e de Basil Hallward, com o papel do Superego para a formação e manutenção do psiquismo do sujeito, constatou-se que o texto configura uma formação inconsciente que permite ao leitor interpretar conteúdos latentes a partir de seu próprio inconsciente, culminando em representações que, ainda que parciais, reiteram o caráter de sublimação da obra artística não apenas para o criador, mas para aquele que a aprecia de um ponto de vista dinâmico.
Palavras-chave: literatura; psicanálise; inconsciente do texto; segunda tópica; dorian gray
Highwater mark collection after post tropical storm Dorian and implications for Prince Edward Island, Canada
No full textPrince Edward Island (PEI), Canada has been experiencing the consequences of a rising sea level and intense storms on its coasts in recent years. The most recent severe event, Post Tropical Storm Dorian (Dorian), began impacting Prince Edward Island on 7 September 2019 and lasted for over 20 h until the morning of 8 September 2019. The measurement of highwater marks (HWM) from the storm was conducted between 25 September and 25 October 2019 using a high precision, survey grade methodology. The HWM measured included vegetation lines, wrack lines, beach, cliff, and dune morphological features, and tide gauge data at 53 locations in the Province along coastal areas that are exposed to high tides, storm surge, high winds, and wave runup. Photos were taken to provide evidence on the nature of the HWM data locations. The data reveal that Dorian caused extensive coastal floods in many areas along the North and South Coast of Prince, Queens and Western Kings Counties of Prince Edward Island. The floods reached elevations in excess of 3.4 m at some locations, posing threats to local infrastructure and causing damage to natural features such as sand dunes in these areas. The HWM data can provide useful information for community and emergency response organizations as plans are developed to cope with the rising sea level and increased frequency of highwater events as predicted by researchers. As Dorian has caused significant damage in several coastal areas in PEI, better planning using an enhanced storm forecasting and coastal flood warning system, in conjunction with flood stage values, could possibly have reduced the impacts of the storm in the impacted areas. This could help enhance public understanding of the potential impacts in local areas and how they can prepare and adapt for these events in the future
Processes underlying dysfunctional interpersonal behavior and the prediction of drinking outcomes
No full textThe present study tested a theoretically-derived model of several proposed underlying processes of dysfunctional interpersonal behavior (impulsivity, compulsivity, emotion dysregulation and rejection sensitivity) and the relationships among dysfunctional interpersonal behavior, low social support and problem alcohol use. Support was found for three of the proposed underlying processes of dysfunctional interpersonal behavior- emotion dysregulation, rejection sensitivity and compulsivity were found to statistically predict dysfunctional interpersonal behavior in the expected direction. However, impulsivity was found to be associated with dysfunctional interpersonal behavior in the direction opposite to that that which was hypothesized. Support was also found for the hypothesized relationship between dysfunctional interpersonal behavior and low social support, though social support was associated with problem drinking in the direction opposite to that which was hypothesized. Limitations of this study included the restricted nature of the sample (all college students), the atypical racial composition of the sample, and the cross-sectional design of the study. Future studies should examine the proposed model in a clinical sample of individuals with Alcohol Use Disorders. Such studies should also utilize longitudinal designs and incorporate multiple measures of constructs.Ph. D.Includes bibliographical referencesIncludes vitaby Dorian Hunter Ree
Post-Interprative Criticism: Doctrine of Restraint, Witness, and Moral Proximity in Contemporary Art Writing
No full textPost-Interpretive Criticism: Doctrine of Restraint, Witness, and Moral Proximity in Contemporary Art Writing
Author: Dorian Vale
This doctrinal essay codifies the foundational ethics and philosophy of Post-Interpretive Criticism—a radical departure from traditional art writing that prioritizes interpretation, explanation, and performative analysis.
In its place, Dorian Vale introduces a critical framework rooted in restraint, witness, and moral proximity. Rather than dissecting or decoding art, this doctrine teaches the critic to hold space, remain present, and write with reverence. Art, especially that which emerges from grief, trauma, displacement, or sacred silence, is not a puzzle to be solved—but a presence to be honored.
This doctrine offers a structured alternative to the dominant critical paradigms. It affirms that the most ethical art writing does not always speak—it listens. It does not clarify—it shelters. It does not interpret—it witnesses.
Blending philosophy, aesthetic ethics, and literary rigor, this foundational text establishes Post-Interpretive Criticism as both a movement and a method. It calls for nothing less than a revolution in the way we engage with meaning, silence, and the unseen.
Vale, Dorian. Post-Interprative Criticism: Doctrine of Restraint, Witness, and Moral Proximity in Contemporary Art Writing. Museum of One, 2025. DOI: 10.5281/zenodo.17012559
Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.
This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)
Post-Interpretive Criticism, art criticism ethics, Dorian Vale, doctrine of restraint, moral proximity in art, witness-based art writing, contemporary art theory, post-critical aesthetics, slow art, minimal criticism, sacred witnessing, aesthetic responsibility, trauma in art, ethical language in criticism, writing without harm, non-interpretive criticism, viewer as evidence, presence in art, philosophical criticism, art and reverenc
Post-Interpretive Criticism: A Philosophical Departure from Post-Criticism
No full textPost-Interpretive Criticism: A Philosophical Departure from Post-Criticism
Author: Dorian Vale
This essay establishes Post-Interpretive Criticism as a clear philosophical departure from Post-Criticism, drawing sharp distinctions between the two movements in both ethical orientation and aesthetic methodology.
While Post-Criticism often collapses the role of the critic into play, ambiguity, and relativism, Post-Interpretive Criticism reclaims restraint, presence, and moral proximity as sacred responsibilities of witness-based art engagement. Dorian Vale articulates how Post-Interpretive Criticism refuses the compulsion to decode, perform, or resolve—offering instead a framework grounded in custodianship, silence, and the ethics of non-intervention.
This is not an evolution of criticism. It is a refusal to participate in its spectacle.
Through philosophical distinctions, aesthetic postures, and applied critical consequences, the essay frames Post-Interpretive Criticism as a return to reverent responsibility in the face of trauma, testimony, and sacred residue. It is both a critique of modern critical failure and a call for new discipline among those who write about art.
Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.
Vale, Dorian. Post-Interpretive Criticism: A Philosophical Departure from Post-Criticism. Museum of One, 2025. DOI: 10.5281/zenodo.17021780
This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)
Post-Interpretive Criticism, Post-Criticism, Dorian Vale, philosophical aesthetics, witness-based art, ethical art criticism, moral proximity in art, sacred restraint, interpretation vs. witnessing, art theory 2024, contemporary aesthetics, critique without interpretation, aesthetic responsibility, viewer as evidence, criticism and ethics, slow art, post-critical theory, minimal criticism, aesthetic departure, witnessing in ar
Dorian Gray, Tom Ripley, and the Queer Closet
No full textIn their paper, Dorian Gray, Tom Ripley, and the Queer Closet, Jonathan Alexander and Deborah Meem present and portray an imaginary conversation among an impossible but intriguing group of writers, critics, and fictional characters. These individuals speak in their own (published) voices, which are moderated by the author-facilitators and shaped into an extended rumination on art, the Doppelgänger, queerness, and literary influence. Through their dialogue, the actors reveal a tradition of the queer novel, running in this case from Oscar Wilde\u27s The Picture of Dorian Gray to Patricia Highsmith\u27s five Tom Ripley books, whereby the closet functions simultaneously as refuge from a homophobic world and creative crucible for a queer aesthetics
Aesthetic Recursion Theory: Recursion As Residue
No full textAesthetic Recursion Theory: Recursion As Residue
By Dorian Vale | Museum of One
This essay introduces and formally expands the theory of Recursive Haunting, a core doctrine within the broader framework of Post-Interpretive Criticism (PIC). Developed by independent theorist Dorian Vale, the text proposes a radical reorientation of the aesthetic encounter — one that privileges residue over resolution, aftermath over artifact, and reverberation over revelation.
Drawing on the philosophical lineage of Jacques Derrida (hauntology), Cathy Caruth (trauma theory), Emmanuel Levinas (ethical proximity), and Susan Sontag (against interpretation), the essay argues that the most ethically urgent and ontologically significant dimension of an artwork may not exist in its visible form, but in the trace it leaves behind. This trace — emotional, temporal, or cognitive — becomes the primary epistemic unit of aesthetic meaning.
The essay expands the concept of the critic-as-custodian, rejecting the role of the critic as interpreter or authority. Instead, it introduces a post-interpretive ethic in which the critic’s role is to steward the lingering, to document the haunting, and to carry what cannot be proven. This paradigm shift reframes the aesthetic encounter as an unfolding — a recursive return of affect and meaning that often defies articulation, formal critique, or timely analysis.
Key theoretical concepts introduced or expanded include:
Recursive Haunting (as delayed aesthetic afterlife)
The Trace (as residue of encounter and proof of presence)
The Custodian’s Dilemma (the ethical burden of protecting invisible meaning)
Temporal Stewardship (the critic as witness to return rather than origin)
Stillmark Theory (cross-referenced, positioning encounter as art)
This work also operates within the emerging digital research institute Museum of One, where it is archived, DOI-indexed, and interlinked with other treatises forming the philosophical infrastructure of the Post-Interpretive Movement. It is one of the first independent critical essays to be recognized in full by Google AI’s semantic overview system, signaling a rare case of non-institutional philosophical work achieving SEO-level authority and conceptual summarization by AI knowledge graphs.
Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.
This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)
Dorian Vale is the pseudonym of the author and theorist behind the Post-Interpretive Movement and the Museum of One (www.museumofone.art). This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN
Mirroring the Victorian Fin de Siècle: Will Self’s Dorian: An Imitation
No full textWill Self’s Dorian: An Imitation has been a controversial narrative since it appeared in 2002. As the subtitle of the book emphasizes, it is ‘an imitation’ of Oscar Wilde’s well-known myth-making The Picture of Dorian Gray, published in 1890 and 1891. Is Will Self’s piece of fiction a fulfilment of Wilde’s? How does the author trace and rewrite the Irish genius’s classic? How does the text retrieve and transform the cultural and the sexual politics of the model on which it is based? This paper aims at briefly answering these questions, dealing with the way(s) in which Dorian mirrors The Picture of Dorian Gray from a contemporary neo-Victorian perspective which, at the same time, like many present-day narratives in the English language, tries to recover the late Victorian past, establishing significant relationships between the nineteenth-century fin de siècle and our own epoch.
Both Self and Wilde are haunted by the Narcissus myth, narcissism, the Doppelganger motif and, ultimately, mirror images. Mirrors trace the multiple reflections of selves, a theme that is recurrent and almost obsessive in both books, which are the product of the inner and outer conflicts of their respective ages. Both of them mirror a period of decadence and excess, of consumerism, of social and political crisis, of sexual ambiguities and reinventions, of projections of disease, of disenchantment and escapism, of psychological insecurity. Taking this into consideration, I will try to analyze the parallelisms between Self’s and Wilde’s texts, paying special attention to their complementary portrayal of cultural, aesthetic and sexual mores, and postulating that neo-Victorianism is very much alive in our present time. Regrettably, the triad syphilis-AIDS- COVID-19 epidemics can also provide a suitable coda in this respect
The Portrait as an Alive Character in The Picture of Dorian Gray by Oscar Wilde
No full textThe paper studies Oscar Wilde 's only novel The Picture of Dorian Gray, first published in 1890. The novel is about a young man named Dorian Gray who falls in love with his own painted portrait by the artist Basil Hallward . The plot revolves around his corruption and eventual assassination at the hands of his portrait which, in due course, metamorphoses into an alive being to revenge for the distortion of its aesthetic value and beauty. The paper aims to prove that Wilde has intended for the portrait of his hero to take a leading role in the narrative discourse . The title of the novel itself , reveals that its main focus is the portrait of Dorian Gray rather than the protagonist himself . The study shows that the chain of events and relationships are unfolded mainly through a direct reference to Dorian 's portrait . It is also a central part of the ongoing arguments between the painter Basil Hallward and his hedonistic counterpart Lord Henry Wotton about art , life and beauty in the novel : It endorses our understanding of the true nature of their contrasting opinions on the marvel painted by Hallward . Wilde employs the craft of the painted portrait of the hero to express his ideologies concerning the Aesthetic Movement which appeared in the 19th century period and emphasized the cult of beauty in art and literature. The evaluation of this modern concept of art is always seen in a parallel connection with the painted portrait of the hero , Dorian Gray . Ultimately , Wild’s portrait of himself, which undoubtedly is that of Dorian’s , precipitates in providing a deep understanding of his personality and his artistic vision in his experimental masterpiece The portrait of Dorian Gray . Indeed, it is through Dorian’s image and not Dorian's character that the author resolves his conflicts with his prejudiced and sceptic Victorian readers. Key Keywords: Artist – hero conflict, aestheticism, beauty ,art, painting , metamorphoses , self- distortion, hedonism , Gothic elements ,revenge .
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