“YERDE ÖLÜ BİR ADAM YATMAKTAYDI”: OSCAR WILDE’IN DORIAN GRAY’İN PORTRESİ ADLI ROMANINDA ESTETİK YAŞANTI VE ESTETİK MESAFE

Öz

Geç Viktorya döneminde önemli bir romancı, şair, eleştirmen, öykü ve oyun yazarı olan Oscar
Wilde, Walter Pater ve John Ruskin ile birlikte estetisizmin önemli öncülerinden biridir. 1891
yılında yayımlanan Dorian Gray’in Portresi, Oscar Wilde’ın sanat, resim, sanatsal yücelik ve ölüm
kavramlarını ele alan tek romanıdır. Estetik güzellik ve estetik yaşantı çerçevesinde, Wilde’ın bu eseri
resim ve sanatsal güzelliğin neden olduğu bir ölüm konusunda kritik sorular sunar. Eserde bir estet

arasında kaçınılmaz etkili bir bağ geliştirdiği estetik yaşantısının iç içe olduğunu gösterir niteliktedir.
Bu çalışmanın başat tartışması Dorian Gray’in kendi resmi ile olan estetik yaşantı sürecinde estetik
mesafenin ihlal edilmesi veya bozulması sonucu kendini öldürmesine odaklanmaktadır.
ve Basil Hallward’ın resmine model olan Dorian Gray, eserin sonunda kendini güzellik, gençlik ve
sanat mefhumlarına olan saplantısından dolayı öldürür. Dorian Gray’in hem sanat algısı hem de Basil
Hallward ve Lord Henry Wotton ile olan ilişkileri Dorian Gray’in estetik çevresinin ve onun resimle 

Anahtar Kelimeler

• Oscar Wilde
• Dorian Gray’in Portresi
• Estetizm
• Estetik Mesafe
• Estetik Yaşantı

“LYING ON THE FLOOR WAS A DEAD MAN”: AESTHETIC EXPERIENCE AND AESTHETIC DISTANCE IN OSCAR WILDE’S THE PICTURE OF DORIAN GRAY

Öz

Oscar Wilde, who is a late Victorian novelist, playwright, short story writer, critic, and poet, is one of the notable figures of aestheticism along with Walter Pater and John Ruskin. Published in 1891, The Picture of Dorian Gray is Wilde’s only novel, and it revolves around the concepts of art, painting, artistic sublimity, and death. Within the frame of aesthetic beauty and aesthetic experience, Wilde’s novel presents a critical question about the idea of death caused by art and artistic beauty. Dorian Gray as an aesthete and Basil Hallward’s model of his painting in the novel, kills himself in the very end because of his obsession with beauty, youth and art. Both his perception of art and his relationships with Basil Hallward and Lord Henry Wotton imply that Dorian Gray’s aesthetic environment is also a component of his aesthetic experience in which Dorian Gray poignantly develops an indispensable connexion to the painting. The main argument of this study is Dorian Gray’s involvement in the process of aesthetic experience by violating or disrupting the ways of aesthetic distance that cause his death at the end of the novel.

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