Beyond hermeneutics: a comparative study between Oscar Wilde and Roland Barthes
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Abstract
Oscar Wilde's critical and philosophical work occupies a special place in hermeneutic practice and the study of interpretation. In contrast to the classical voices of Mathew Arnold—who understood the primary function of criticism to be “seeing the object as it really is”—and Walter Pater—who understood it as “seeing the object as it is”, introducing that subjective element—Wilde revolutionised the role of art criticism by positing it as a tool for “seeing the object as it is not”. Criticism becomes a work of art in itself. This radically creative component, by proposing the original work as raw material for producing a new one through criticism, problematises the limits of the discipline, in line with the post-structuralist practices that enveloped France during the second half of the 20th century. In this article, we will revisit the paradigmatic case of Roland Barthes and how his plurality of meaning, the openness of the text and the autonomous reader dialogue over time with Oscar Wilde's theoretical lines.
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