The Role of Inanimate Portraits in Carmilla and Dorian Grey

Victorian society's emphasis on appearance and status is reflected in the commissioned portraits of characters like Carmilla and Dorian Grey. These portraits serve as a boundary between the outer beauty and the inner, often hideous, nature of the subjects, highlighting themes of beauty, decay, and the supernatural in Victorian Gothic literature.

• Victorian society
• Portraits
• Carmilla
• Dorian Grey
• Gothic literature

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1. The Inanimate Portrait in Carmilla and Dorian Grey Giuseppe Dibenedetto AA 2019-2020

2. Introduction Victorian society gave great importance to appearance and wealth Portraits and pictures were often commissioned or bought to show families power and social status These pictures would have to be morally uplifting

3. Carmilla and The Picture of Dorian Grey: beauty, youth and the supernatural These narratives show elements of the "Victorian Gothic" literature Beauty and youth are deeply intertwined with the supernatural Both Carmilla and Dorian Grey are perceived as beautiful but repulsing

4. The portrait and the supernatural The portraits hide the true hideous nature of their subjects The portrait marks the boundary between the inner self and the outer self Carmilla appears as a young and beautiful woman, although she actually is a monstrous entity Dorian Grey is beautiful and charming, but he consumes himself with vice

5. Bibliography B lini teanu-Furdu, C t lina. When Beauty Meets Decay: Cases of Dandyism, Narcissism and Degeneration of Bodies in J.K. Huysmans Rebours and Oscar Wilde sthe Picture of Dorian Gray. Interstudia, no. 23, Jan. 2018, pp. 135 145. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=asn&AN=131646798 &lang=it&site=eds-live&scope=site. B res, Laura. Beauty and the Beast. The romanticization of abuse in popular culture. European Journal of Cultural Studies, vol. 2, no. 2, 1999, https://doi.org/10.1177/2F136754949900200203. Accessed 4 June 2020 Codell, J. F. "Victorian Portraits: Re-Tailoring Identities." Nineteenth-Century Contexts: An Interdisciplinary Journal, vol. 34, no. 5, 2012, pp. 493-516, http://dx.doi.org/10.1080/08905495.2012.738089, Accessed 4 June 2020.

6. Bibliography Craft, Christopher. Come See About Me: Enchantment of the Double in The Picture of Dorian Gray. Representations, vol. 91, no. 1, 2005, p. 109. EBSCOhost, doi:10.1525/rep.2005.91.1.109. Accessed 4 June 2020. Herendeen, W. H. The Dor Controversy: Dor , Ruskin, and Victorian Taste. Victorian Studies, vol. 25, no. 3, Spring 1982, p. 304. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=30h&AN=6887680&la ng=it&site=eds-live&scope=site. Accessed 5 June 2020, Huggins, Mike, ca.20./21.Jh. ..Verfasser. Vice and the Victorians. Bloomsbury, 2016. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=edshbz&AN=edshbz. DE.605.HBZ01.021258359&lang=it&site=eds-live&scope=site. Accessed 5 June 2020.

7. Bibliography Ridenhour, Jamieson. " 'If I Wasn t a Girl, Would You Like Me Anyway?' Le Fanu sCarmilla and Alfredson s Let the Right One In." The Universal Vampire : Origins and Evolution of a Legend, edited by Brodman, Barbara, Fairleigh Dickinson University Press, 2013, pp. 165-176. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=548786&l ang=it&site=eds-live&scope=site. Accessed 5 June 2020, Riquelme, J. P. "Oscar Wilde s Aesthetic Gothic: Walter Pater, Dark Enlightenment, and The Picture of Dorian Gray. " Modern Fiction Studies, vol. 46, no. 3, 2000, p. 609. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=edsjsr&AN=edsjsr.262 86067&lang=it&site=eds-live&scope=site. Accessed 6 June 2020,

8. Bibliography Trehuerz, Julian. "Victorian Painting." Contemporary Review, vol. 263, no. n1534, Nov. 1993, p. 280. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=edsgit&AN=edsgit.A3 4137849&lang=it&site=eds-live&scope=site. Accessed 6 June 2020.