本論文主要探討王爾德的美學觀和其小說《格雷的畫像》之間的關聯，進而探究小說中看似道德的結局其實並非如此簡單。《格雷的畫像》的出版在維多利亞社會引起一連串的評論和抨擊。這本小說不僅和當時美學思想息息相關，也包含王爾德對自己所主張的美學觀的反思。 第一章介紹十九世紀維多利亞中後期社會的美學觀，其中包括影響當時美學觀甚鉅的約翰羅斯金(John Ruskin) 以及華特佩特 (Walter Pater)，和當時的美學主義(Aestheticism)以及頹廢主義(Decadence)的崛起與沉寂，和其反動社會的美學價值觀。 第二章研究王爾德美學的發展，主要著重在藝術與生活的觀點。王爾德的美學前期受到羅斯金以及佩特的影響，而在之後出版的《意向集》中表達並反思自己的藝術生活之美學理想。然而，《格雷的畫像》呈現的並非一個理想的生活美學，而是一個較為負面的藝術和生活之間的拉鋸，而使得這本小說成為一本美學主義的批評。 第三章延續藝術和生活的主題，帶進頹廢主義(Decadence)和哥德式小說(the Gothic)的比較，以及這兩者如何和王爾德之美學連結，並對小說主角格雷的美學生活和其畫像扮演重要的特色。在格雷追求感官享樂的同時，他的道德良知和個人主義左右著他的頹廢生活。此章節討論格雷的個人主義的掙扎，結論闡述小說中的道德並不被讚揚，而其道德結局也並非是單一的道德立場，而是充斥著弔詭和多元。 This thesis focuses on Wilde’s aesthetic philosophy of art and life and its relation to his sole novel The Picture of Dorian Gray. Through Wilde’s aesthetics, this thesis argues that the ending of the novel is not as moral as it may first appear. The publication of The Picture of Dorian Gray arouses severe criticism of its immoral sensuality. The novel is Wilde’s mediation on a large number of subjects. It includes Wilde’s reflection on the contemporary literary atmosphere in late-Victorian England, notably Ruskin and Pater and aestheticism and Decadence. It also includes Wilde’s philosophy of art as illustrated in his critical essays. Chapter One begins with an overview of the historical and cultural background in the mid- and late-nineteenth century. This includes John Ruskin’s moral aesthetics and its opposition as embodied in Walter Pater, whose Conclusion to The Renaissance paves the way for the Aesthetic and Decadent Movements. Chapter Two explores Wilde’s philosophy of art and life, from his early American lectures to his later critical essays in Intentions, and applies it to read this novel as a criticism of aestheticism. Wilde’s aesthetic philosophy is most embodied in his Intentions, with which The Picture of Dorian Gray is strongly associated. Yet, the novel not only shows his reflection of aestheticism and Decadence but shows it in a passive light on art and life. Along with the issue of the relation between art and life, Chapter Three is centered on Decadence and the Gothic, as embodied in the ugly picture of Dorian. In these two modes commingling together with Wilde’s aesthetic perspectives, this chapter sheds the light on the sensational ending of the story. In Dorian’s reckless pursuit of self-gratification, moral conscience and individualism are intertwined. This chapter focuses on Dorian’s struggling individualism in the contrary emotions between aesthetic sensual pleasure and moral awareness, in the struggle between art and life. In this elaboration, Chapter Three and Conclusion show that the novel has a moral ending which is not to be celebrated. The ending of the novel is not to be simplified as moral but ambiguous and paradoxical.
