Díaz does this while focusing less explicitly on the power of art and writing, despite the fact that art is central to the narrative. While Wilde avoids politicizing his art in order to covertly discuss queer love, Díaz discusses cultural identity in as political a way as possible. In considering these two works together, Oscar Wao is the reverse image of Dorian Gray. Upon a deeper examination, however, this novel focuses on the struggles of immigrant and diaspora communities, and the power that art holds in helping these communities overcome the obstacles that they face. I then introduce Junot Díaz’s novel which on the surface tells the story of a nerdy boy who is unable to find love. In turning to an artistic movement to support queer love, Wilde’s work is arguably more political than it would have been if his message had been explicitly delivered.
Implicitly, however, The Picture of Dorian Gray is a warning against the hedonism that results from a purely aesthetic lifestyle, and is also a declaration of the perfection of queer love. I ground my analysis of The Picture of Dorian Gray in the 19th century aesthetic movement in England, which Wilde only ever explicitly refers to as an artistic movement. These works are Oscar Wilde’s novel The Picture of Dorian Gray (1890), and Junot Díaz’s novel The Brief Wondrous Life of Oscar Wao (2007). I will then introduce the main body of my thesis, in which I examine two literary works that emphasize the second category of artists who are forcibly pushed into the margins. I will briefly discuss James Joyce’s A Portrait of the Artist as a Young Man (1916) as an example of the first category of artist, in self-imposed exile. In my thesis, I will first establish artists as outsiders and their inherently political role. Why is it, then, that artists are presented in this way? I argue that artists are often presented as outsiders not only because of the stereotype of artists as creative geniuses, but because art and artists are inherently political, in that they pose challenges to existing power structures and dynamics. This characterization often falls into two categories: either the artist self-identifies as an outsider, or the artist’s audiences push a sense of “outsiderness” onto the artist. Stereotypically, artists are misunderstood, neglected by the world around them, and isolated because they feel that others cannot possibly understand their experiences. Captioning the clip, she wrote: "This is how we ended another day of home schooling… with PE! According to my daughter #Lexi (on the roof) this has gone viral on TikTok, but I’m yet to get onboard officially! NB: the roof is structurally sound and 8 foot wide before anyone writes on the back of a postcard.When we think of artists, we often think of the tortured artist figure. In the clip, Amanda stands to the right of the house, her daughter Hollie is on the aforementioned trampette, and her firstborn Lexi is bravely standing on the roof! In unison, they all start to dance while their pet dog Rudie hilariously looks on.īut before any of her followers could criticise her for allowing her eldest child to potentially be in harm's way, Amanda reassured them that the roof was actually much wider than it appears in the video.
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Wisely, the TV star kept any proof of her naturist activity to herself – but she did give fans a look at the trampette in question in an Instagram video she shared on Wednesday evening. GET OUTSIDE: The garden furniture to buy now for your first BBQ of the summer Amanda Holden used her daughter's trampoline to bounce in the nude
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