AS RELAÇÕES PERIGOSAS TRANSFIGURAÇÃO DO GÓTICO OITENTISTANOS IMBRICAMENTOS DE DRÁCULA, DE BRAM STOKER, E O RETRATO DE DORIAN GRAY, DE OSCAR WILDE

Abstract

In addition to the position they occupy in literature, being known, from a modern perspective, as exponents of horror, the relationship between Bram Stoker and Oscar Wilde goes beyond a professional bond. Both were Irish, graduated from Trinity College, moved through the same social circles and, for a certain period of time, courted the same woman. However, due to such similarities, the silence expressed by Stoker in relation to Wilde's arrest in 1895 proved to be anomalous, since, at the time, other contemporaries expressed their opinions. That said, this article aims to analyze the way in which Bram Stoker, surreptitiously, inserted Oscar Wilde into the fabric of the novel Dracula (1897), manipulating real episodes into elements of gothic horror. Oscar Wilde, in turn, created, in The Picture of Dorian Gray (1891), an anti-imperialist critique, transforming, like his contemporary, current resources into morbidity and fear. The analyses, examining aesthetic and diegetic components, led us to conclude that, beyond a mere gloomy configuration, the unusual presented itself to both writers as an instrument of exploration and transfiguration of particular demands.