| Oscar Wilde, the Irish playwright, novelist, poet, and the representative of Aestheticism, is the most controversial figure in English literary history and has been the object of study and criticism for ages. His only novel The Picture of Dorian Gray has been rebuked ever since it was published in 1890 and was regarded morally depraved for a long time. In more than a century's time after this, the study on Wilde and the novel has been broadly carried on at home and abroad. Nevertheless, the study of the novel from the psychoanalytic angle still leaves much room for further research. This thesis attempts to explore the transformation of the protagonist, Dorian, from the psychoanalytic perspective with the aid of Jacque Lacan's theory, aiming to expand the range and profundity of the novel.Lacan's psychoanalytic theory proposes the triangle of Imaginary, Symbolic, Real as the three basic phases in forming the subject, corresponding to pre-mirror stage, mirror stage, and post-mirror stage. During the first stage, the infant cannot distinguish between self and the other. Only through the effect of mirror image can it realize the existence of the self-image and then there is the possibility to build self-identity. However, the mirror image that is thought to be self by the infant is imaginary, alienated, visional and a mistaken identification. It is what Lacan defines as"imago", which is always the Other rather than the infant itself. Thus,"desire is the desire of the Other". The aggression of the Other which builds the unconsciousness of the subject during the mirror stage is the origin of the disintegration of the self. By the intervention of the Name-of-the-Father, subject realizes the mistaken image gained in the Imaginary Order, and the mirror image is shattered. Lacan also points out that the process of identification lasts for the subject's whole life.In the novel, Dorian is originally a pure beautiful youth. Under the influence of the other characters and the picture, he finally turned into a devil, which just tallies with the Mirror Stage theory. In the mirror image, actress Sibyl, artist Basil, Lord Henry and the avenger James Vane as well as the delicate picture all exert influence on Dorian. Under their influences, Dorian commences his pursuit of self-identity to satisfy his excessive desire. Dorian's desire is that of the Other, Henry and Basil, who respectively accomplish hedonism and aestheticism from Dorian. After entering into symbolic realm and signifier chain, Dorian alienates in the process of self-identity.The thesis consists of three chapters plus an introduction and a conclusion. Chapter One introduces Lacan's psychoanalytic theories, including three mirror stages, three orders, and desire. Chapter Two focuses on the respective influence of the picture and of Sibyl, who is the first love of the young man, on Dorian. Dorian accomplishes his self-identification through the picture, while Sibyl, as the floating signifier, plays the role of mirror image. Chapter Three discusses the influence that the intervention of Name of the Father brings to Dorian. Basil poses as the Oedipal mother, whose painting, to some extent, is the expression of his depressed desire. Henry is the"father"who brings Dorian into symbolic realm with his language. He takes Dorian as a tool to practice his hedonism theory and has no positive effect on Dorian. James, the avenger, plays the role of the paternal law, which leads to Dorian's self-destruction. Dorian lingers between imaginary and symbolic realm, ending up in his destruction in his attempt to ruin the magic picture.The self-construction of the subject is formed under the influence of the other's mirror image. It is under other's various influences that Dorian gradually transforms. Dorian sells his soul to the evil spirit picture, which means that he gives himself to the devil, and then helps the devil entice other souls. He pursues beautiful appearance and hedonism, yet still ends in distortion and destruction. |
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