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Образ без подобия (Рецептивная структура «Портрета Дориана Грея»)
Contemporary theory examines a literary text as
a dynamic reading program. It is heterogeneous;
strong and weak areas differentiate themselves;
there are segments with higher or lower degrees of
conventionality. When applied to narrative texts, the
idea of “functional immersion” can be used for the
analysis of such a structure, denoting moments
when the reader should “get involved” in the plot
and “empathize” with the characters, even fictional
ones. Some approaches that allow for the elicitation
of such “immersion” — primarily approaches of narrative
framing (visual, genre, intertextual)—are shown
using the example of Oscar Wilde’s novel Portrait of
Dorian Gray (1890). The heterogeneity of this text is
due to a visual image’s (a painting’s) introduction into
the story, where it is featured as an actant. Visuality
and literary narrative are two different cultural languages,
and one of them (literary) deforms the other
(visual). The picture of Dorian Gray is almost invisible
as a painted image, but the reader’s attention is
drawn to its external, non-image-related elements of art, but as a document that incriminates the prota -
gonist. It migrates to the outside world and changes
within itself, serving not as the embodiment of an
ideal prototype, but as a fluid, ambiguous simulac -
rum, similar to and object and a dead body that has
become part of a theoretically endless number of
objects collected by the novel’s protagonist.