The Picture of Dorian Gray : la passion du réel/la passion du semblant

Slavoj Zizek has recently argued that the 20th century is characterized by the « passion for the real, » which is an exact inversion of the passion for semblances : beneath our modern passion for virtual reality there lurks a longing for « the experience of the real world of material decay ». The Pi...

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Main Author: Annie Ramel
Format: Article
Language:English
Published: Presses Universitaires de la Méditerranée 2006-12-01
Series:Cahiers Victoriens et Edouardiens
Online Access:http://journals.openedition.org/cve/12521
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author Annie Ramel
author_facet Annie Ramel
author_sort Annie Ramel
collection DOAJ
description Slavoj Zizek has recently argued that the 20th century is characterized by the « passion for the real, » which is an exact inversion of the passion for semblances : beneath our modern passion for virtual reality there lurks a longing for « the experience of the real world of material decay ». The Picture of Dorian Gray was written in a period of transition between the 19th century and the 20th, and my point is that Wilde’s aestheticism must be re-appraised in the light of Zizek’s thought. A study of doors and windows in the novel shows that Dorian commits a major transgression which consists in mistaking the « window » of fantasy for a « door » that leads beyond the pleasure principle and provides « the thrill of the Real ». Dorian’s passion is not so much for beauty and art, but for the decomposing portrait, its grey and amorphous matter, the « palpitating life substance prior to symbolic mortification » from which he derives exquisite enjoyment.
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spelling doaj.art-ea8bc27991d145f6bb633098c15842252023-04-04T09:04:18ZengPresses Universitaires de la MéditerranéeCahiers Victoriens et Edouardiens0220-56102271-61492006-12-016410.4000/cve.12521The Picture of Dorian Gray : la passion du réel/la passion du semblantAnnie RamelSlavoj Zizek has recently argued that the 20th century is characterized by the « passion for the real, » which is an exact inversion of the passion for semblances : beneath our modern passion for virtual reality there lurks a longing for « the experience of the real world of material decay ». The Picture of Dorian Gray was written in a period of transition between the 19th century and the 20th, and my point is that Wilde’s aestheticism must be re-appraised in the light of Zizek’s thought. A study of doors and windows in the novel shows that Dorian commits a major transgression which consists in mistaking the « window » of fantasy for a « door » that leads beyond the pleasure principle and provides « the thrill of the Real ». Dorian’s passion is not so much for beauty and art, but for the decomposing portrait, its grey and amorphous matter, the « palpitating life substance prior to symbolic mortification » from which he derives exquisite enjoyment.http://journals.openedition.org/cve/12521
spellingShingle Annie Ramel
The Picture of Dorian Gray : la passion du réel/la passion du semblant
Cahiers Victoriens et Edouardiens
title The Picture of Dorian Gray : la passion du réel/la passion du semblant
title_full The Picture of Dorian Gray : la passion du réel/la passion du semblant
title_fullStr The Picture of Dorian Gray : la passion du réel/la passion du semblant
title_full_unstemmed The Picture of Dorian Gray : la passion du réel/la passion du semblant
title_short The Picture of Dorian Gray : la passion du réel/la passion du semblant
title_sort picture of dorian gray la passion du reel la passion du semblant
url http://journals.openedition.org/cve/12521
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