Artistic (mis)representation and commodity culture in The Picture of Dorian Gray and The House of Mirth

dc.contributor.advisor Sean Grass
dc.contributor.author Taylor, Evan
dc.contributor.department English
dc.date 2018-08-11T04:30:24.000
dc.date.accessioned 2020-06-30T02:56:47Z
dc.date.available 2020-06-30T02:56:47Z
dc.date.copyright Thu Jan 01 00:00:00 UTC 2015
dc.date.embargo 2001-01-01
dc.date.issued 2015-01-01
dc.description.abstract <p>"Artistic (Mis)representation and Commodity Culture in The Picture of Dorian Gray and The House of Mirth" attempts to establish a trans-Atlantic connection between authors Oscar Wilde and Edith Wharton by considering the manner in which each author's respective protagonist relates to art, commodities, and the society in which he or she lives. By reading Dorian Gray and Lily Bart through the lens of Jean Baudrillard's Simulacra and Simulation (1981), the companion chapters show the extent to which each character's reality is complicated by his or her illusory relationship with both fine arts and social artistry. The first of these chapters, "Portrait-Induced Madness: Artistic Representation and Simulation in The Picture of Dorian Gray" considers Dorian's uncanny relationship with the portrait that bears the sins of his soul as a representation of double-simulation wherein Dorian's unchanging appearance and the portrait's grotesque transformations are the consequence of artist Basil Hallward's departure from ethical artistic creation. The second chapter, "Object d'art for Sale: Lily Bart's Self-Commodification and Simulation in The House of Mirth," traces Lily's social maneuverings through fashionable New York society in order to show how her supposedly artistic attempts to attract a suitor result in her treatment as a social commodity instead. The tragic fates of each author's protagonist ultimately suggests that even though they are active participants in the consumer culture of their time, Wilde and Wharton experience and express severe anxieties concerning how anyone can remain unique or artful in a society that dictates an individual's material desires.</p>
dc.format.mimetype application/pdf
dc.identifier archive/lib.dr.iastate.edu/etd/14446/
dc.identifier.articleid 5453
dc.identifier.contextkey 7936115
dc.identifier.doi https://doi.org/10.31274/etd-180810-3997
dc.identifier.s3bucket isulib-bepress-aws-west
dc.identifier.submissionpath etd/14446
dc.identifier.uri https://dr.lib.iastate.edu/handle/20.500.12876/28631
dc.language.iso en
dc.source.bitstream archive/lib.dr.iastate.edu/etd/14446/Taylor_iastate_0097M_14953.pdf|||Fri Jan 14 20:20:21 UTC 2022
dc.subject.disciplines American Literature
dc.subject.disciplines Comparative Literature
dc.subject.disciplines Literature in English, British Isles
dc.subject.disciplines Literature in English, North America
dc.subject.keywords English (Literature)
dc.subject.keywords English
dc.subject.keywords Literature
dc.subject.keywords art
dc.subject.keywords commodification
dc.subject.keywords representation
dc.subject.keywords simulation
dc.subject.keywords Wharton
dc.subject.keywords Wilde
dc.title Artistic (mis)representation and commodity culture in The Picture of Dorian Gray and The House of Mirth
dc.type article
dc.type.genre thesis
dspace.entity.type Publication
relation.isOrgUnitOfPublication a7f2ac65-89b1-4c12-b0c2-b9bb01dd641b
thesis.degree.level thesis
thesis.degree.name Master of Arts
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