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題名：從心理學
作者：林子偉
作者(外文)：Tzu-Way Lin
校院名稱：高雄師範大學
系所名稱：英語學系
指導教授：麥迪摩
學位類別：博士
出版日期：2011
主題關鍵詞：自戀；死亡；自戀人格的同性愛戀；自戀人格的禁忌愛好與褻瀆；自戀人格的犯罪傾向；自戀人格的自我毀滅傾向；Narcissism；Death；Narcissistic Homoeroticism；Sacrilege and Necrophilia；Narcissistic Criminality；Narcissistic Aggression
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本論文旨在探討王爾德(Oscar Wilde)作品中愛與死亡的議題，探討愛是如何經由自戀的因素導向死亡。在王爾德的作品中，死亡可能是真實的或象徵性的，可能是溫和的或激烈的，它也有可能是自殺或是殺人。
首章帶領讀者由心理學“自戀”的角度來看王爾德的生命藝術，看王爾德如何在不同的生命階段中養成並呈現自戀的不同面貌，還有看王爾德的自戀人格如何影響他的生命與藝術，以及如何影響他處理愛與死亡的議題。
第二章的方法論介紹佛洛伊德(Freud)和拉岡(Lacan)有關“自戀(Narcissism)”的心理分析和論述，解釋自戀的不同面貌與呈現，例如：自戀人格的目光愛好(Narcissistic Exhibitionism)、認同式的愛(Narcissistic Identification)與角色扮演(Role-Play)、自戀人格的同性愛戀(Narcissistic Homoeroticism)、自戀人格的自我包庇邏輯(Narcissistic Humor)、自戀人格的禁忌愛好與褻瀆(Sacrilege and Necrophilia)、自戀人格的犯罪傾向(Narcissistic Criminality)、和自戀人格的自我毀滅傾向(Narcissistic Aggression)。
第三章探討王爾德的「美少年格雷的畫像(The Picture of Dorian Gray)」與「W. H.君的畫像(“The Portrait of Mr. W. H.”)」，這兩部作品都是有關畫像的故事。「美少年格雷的畫像」的分析重點，在於探討亨利爵士(Lord Henry)和畫家巴澤爾(Basil)如何塑造美少年格雷的自戀人格，以及為何美少年格雷要謀殺畫家巴澤爾。「W. H.君的畫像」的分析重點，在於探討男演員希瑞爾(Cyril Graham)如何捏造有關莎士比亞的同性愛戀故事，並把他的自戀人格投射在他所偽造的畫像中，以及他為何要自殺來讓他人認同他所偽造的畫像與虛構故事。
第四章探討王爾德的「莎樂美(Salome)」和「美少年察默迪斯(“Charmides”)」，這兩部作品都在描述有關自戀人格之褻瀆(神明或屍體)，以及反映出王爾德所呈現的禁忌愛好。「莎樂美」的分析重點，在於探討莎樂美公主的自戀人格如何導致施洗約翰(John the Baptist)的死亡與她自己的自我毀滅。「美少年察默迪斯」的分析重點，在於探討美少年察默迪斯的自戀人格如何導致他去褻瀆處女戰神雅典娜(Athena)的雕像以及邁向自我毀滅。
第五章探討王爾德如何藉由在各喜劇中的分身—花花公子(dandy)—來諷刺劇中淑女們的自戀型愛戀。這些喜劇的分析重點，在於探討這些淑女如何造成被她們偶像化的情人或丈夫之人格死亡，並反映出王爾德如何藉此來諷刺他老婆對他的偶像化。在王爾德的一些其他作品上，例如：「獄中帶鎖書(“The Ballad of Reading Gaol”)」，王爾德將他的自戀人格的犯罪傾向投射出來，在殺妻的潛在欲望及罪惡感的矛盾心理中，表現出尋求擺脫罪惡感的自我毀滅與自我解放。
最終章的結論就是：不論是自戀型的同性愛戀與人格複製、自戀人格的目光愛好、自戀人格的自我包庇邏輯、自戀人格的犯罪傾向、自戀人格的禁忌愛好與褻瀆、或是自戀人格的自我毀滅傾向，在王爾德的作品中，愛與死亡都是經由自戀的因素而產生連結。
This dissertation argues that love and death in Wilde’s works are linked together through (his) narcissism. The introduction will give readers a complete view of his life from the perspective of narcissism. It takes a closer look at how Wilde’s narcissism developed in different periods of his life and how his narcissism contributed artistically to the intermingled themes of love and death in his work. Chapter 2 will give an introduction to Freudian and Lacanian methodology in regards to narcissism. Ideas such as narcissistic megalomania, narcissistic humor, narcissistic sleep, narcissistic criminality, narcissistic identification, narcissistic homoeroticism, narcissistic exhibitionism and narcissistic aggression will be defined and explained. Chapter 3 will discuss Wilde’s stories about portraits. In “The Portrait of Mr. W. H.,” Cyril commits suicide for his narcissism and his faith in (Shakespeare’s) narcissistic homoeroticism. In The Picture of Dorian Gray, Lord Henry and Basil influence Dorian Gray through different expressions of their narcissism. Lord Henry’s “narcissistic doubling” turns out to be fatal friendship to Dorian Gray. Basil Hallward has put too much of himself—his sexual ideal and ego-ideal—into his idealistic portrait of Dorian Gray, which leads to Dorian’s misrecognition, narcissistic discontents and narcissistic aggression. Chapter 4 will discuss Wilde’s works about sacrilege and necrophilia. Both Salome and “Charmides” represent Wilde’s own flirtation with taboo love-objects, like Isola or Bosie. The analysis about Salome will show how Salome’s narcissism leads to the Young Syrian’s death and John’s death, and how Wilde’s narcissism dominates the work. The analysis about “Charmides” will show how Wilde’s narcissism works behind Charmides’ sacrilege and the Dryad’s necrophilia. Chapter 5 discusses how Wilde projects himself through dandies, both male and female, in his social comedies to mock the female malady for the ideal, including the ideal man and the ideal husband. The female malady for the ideal requires the devotion and sacrifice of the male lover or the idealized husband, which represent a kind of symbolic death for Wilde. In the disguise of stage dandies, Wilde criticizes his wife’s false idolization to justify his narcissistic homoeroticism. Wilde not only criticizes the female malady for the ideal but also links love and death in marriage in his works because his self-esteem valorized his sense of guilt and because it reveals his “essential precondition for criminality.” The conclusion summarizes that, in Wilde’s works, love is linked with death because of his narcissistic homoeroticism and narcissistic doubling (Chapter 3), his narcissistic humor (Chapter 3 & 4), his narcissistic exhibitionism (Chapter 4), his narcissistic attitude toward sacrilege and necrophilia (Chapter 4), his narcissistic self-defenses against the female malady for the ideal (Chapter 5), his narcissistic criminality (Chapter 5), and his narcissistic aggression (Chapter 3-5).
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