In terms of a range of critical theories, it sheds light on the similarities and differences that exist between the two pieces of writing. This dissertation discusses the intertextual relationship that exists between Heart of Darkness (1899) and Tarzan of the Apes (1912), through a comparative study. Key Words: Hoffmann, Poe, magical, portrait, sinister, common.
In the present study we analyze the main circumstances which allowed the permutation of this motif on the occasion of Edgar Allan Poe’s bicentennial anniversary, focusing on how each of these authors introduces variations from within the aesthetics of the supernatural in Romantic short stories. As a complement or substitute to the individual, the portrait/mirror leads the observer to feelings of horror and uncanniness (das Unheimliche, in Freudian terms), since the animation of the portrait means the supernatural transformation of a common object.
The enchanted portrait was adopted by the Romantics as a sign of their interest in the duality inherent in human beings, which they discovered. Hoffmann, and “The Oval Portrait” (1842), by E.A. The works selected in order to highlight the expression of this element in different cultures and literatures are: “The Jesuit Church in G.” (1816), by E.T.A. This article aims to summarize, from a comparative standpoint, the evolution of the motif of the magical portrait in the short narrative of Romanticism in Germany and North America.
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