![]() ![]() ![]() The simplest and most obvious way to use this information is to examine the behavior depicted in literary texts and to correlate that behavior with "human universals," that is, with forms of behavior that appear in every known culture and that thus appear to be embedded in the nature of the species. Over the past decade or so, a scattered handful of literary scholars has broken away from the dominant poststructuralist paradigm and has sought to make use of the new scientific information on human nature. The sense of individual agency is one crucial aspect of human nature, and that aspect is now being explored in complementary ways by personality psychology and by cognitive neuroscience. That set of characteristics is what in common language is meant by "human nature." Literature has always given us subjectively evocative depictions of human nature, and Darwinian social science is now giving us a more comprehensive and scientifically precise account of it. The central working hypothesis in this program is that the human species, like all other species, has evolved in an adaptive relation to its environment and that as a consequence it has a distinct, genetically transmitted, species-typical set of characteristics-anatomical, physiological, hormonal, neurological, and behavioral. Sociobiology, evolutionary psychology, Darwinian anthropology, behavioral ecology, cognitive archaeology, and behavioral genetics do not all agree with one another in every respect, but they are all nonetheless aspects or phases of a common research program. In the three decades during which poststructuralism has dominated academic literary study, a different kind of revolution-evolutionary, Darwinian, and naturalistic-has been transforming the social sciences. Under the tutelage of Barthes, Derrida, and Foucault, literary critics learned to speak of authors, characters, settings, and plots not as individuals situated in a natural world but as discursive formations constituted by the circulation of linguistic, cultural, and ideological energies. Since the advent of the poststructuralist revolution some thirty years ago, interpretive literary criticism has suppressed two concepts that had informed virtually all previous literary thinking: (1) the idea of the author as an individual person and an originating source for literary meaning, and (2) the idea of "human nature" as the represented subject and common frame of reference for literary depictions. In particular, it has been concluded that Dorian experiences the thesis and the antithesis but ultimately gets caught up in the antithesis and does not manage to achieve the synthesis stage, causing his early self-destruction. The article concludes that Dorian Gray exposes the dialectic nature of human beings and highlights the significance of making the right choices through a rational and moral state of mind. The second part of the study contemplates to establish a dialectic reading of Wilde's The Picture of Dorian Gray, identifying these three stages within the story and exposing the vital dialectic choices the protagonist makes along his quest to preserve youth and beauty forever. The theoretical section of the study focuses on the Hegelian dialectic system and scrutinises the three stages with references to various texts and sources. Hegel's dialectic triad of the thesis, antithesis and synthesis. To this end, the novel is discussed through the framework of GWF. In specific, the article aims to carry out a dialectic reading of The Picture of Dorian Gray by concentrating on the protagonist and the path he takes throughout the narrative. This study endeavours to conduct a philosophical interpretation of the renowned Wildean work of fiction. Oscar Wilde's only novel, The Picture of Dorian Gray has been the subject of analysis from a wide variety of theoretical and thematic perspectives. ![]()
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