The Painter’s Studio in the First Page of Oscar Wilde’s The Picture of Dorian Gray (notice n° 571748)
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| 000 -LEADER | |
|---|---|
| fixed length control field | 01156cam a2200157 4500500 |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20250121132303.0 |
| 041 ## - LANGUAGE CODE | |
| Language code of text/sound track or separate title | fre |
| 042 ## - AUTHENTICATION CODE | |
| Authentication code | dc |
| 100 10 - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Aquien, Pascal |
| Relator term | author |
| 245 00 - TITLE STATEMENT | |
| Title | The Painter’s Studio in the First Page of Oscar Wilde’s The Picture of Dorian Gray |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
| Date of publication, distribution, etc. | 2016.<br/> |
| 500 ## - GENERAL NOTE | |
| General note | 55 |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | The first page of The Picture of Dorian Gray connects two places, a painter’s studio and a garden. In doing so, it weaves a subtle interplay of correspondences between both. This article intends to show first that Wilde’s description is in keeping with the nineteenth-century pictorial topos of the ‘artist’s studio,’ which explains why nothing precise is said about Dorian’s portrait. Second, it contends that, far from being an objective representation, the studio serves as a metaphor for art and writing. It also claims that Wilde highlights one fundamental topic, the power of reading. |
| 786 0# - DATA SOURCE ENTRY | |
| Note | Revue de littérature comparée | o 358 | 2 | 2016-11-14 | p. 185-195 | 0035-1466 |
| 856 41 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://shs.cairn.info/journal-revue-de-litterature-comparee-2016-2-page-185?lang=en&redirect-ssocas=7080">https://shs.cairn.info/journal-revue-de-litterature-comparee-2016-2-page-185?lang=en&redirect-ssocas=7080</a> |
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