%0 Journal Article
%T 物的叙事反抗与本体回归——《道连·格雷的画像》中的物叙事研究
Narrative Resistance and Ontological Return of Things—A Study on Thing Narrative of The Picture of Dorian Gray
%A 罗玉娇
%J World Literature Studies
%P 241-248
%@ 2330-5266
%D 2026
%I Hans Publishing
%R 10.12677/wls.2026.142035
%X 文章以物叙事理论为核心框架，突破传统象征分析的固化视角，将《道连·格雷的画像》中的画像视为具有独立地位的叙事行动者，系统探析其在文本中的四重叙事角色：作为审美客体的空间流动与静止、作为镜像他者的物我融合与分离、作为道德档案的能动施动性、作为复仇行动者的叙事路径偏离。研究发现，画像并非被动承载人类精神的符号，而是以自身叙事逻辑参与情节推进、人物塑造与结局重构；道连的悲剧根源并非单纯的伦理越轨，而是其将具有自主性的艺术品彻底工具化，最终遭到物的反噬。文章超越“艺术与道德二元对立”的传统解读，揭示王尔德的核心立场并非否定道德，而是反对将艺术沦为道德教化或个人欲望的附庸，强调艺术品的独立本体价值。画像的终极复归，既是物对被强制承载伦理后果的反抗，也是文学叙事中物的主体性的觉醒，为唯美主义与物转向理论的跨文本对话提供了新的阐释路径。
This paper employs thing narrative theory as its core analytical framework, moving beyond the conventional paradigm of symbolic interpretation to regard the portrait in The Picture of Dorian Gray as a narrative actant with independent agency. It systematically explores the portrait’s fourfold narrative roles within the text: as an aesthetic object defined by spatial flow and stasis, as a specular Other shaped by the fusion and separation between thing and self, as a moral archive exercising agency and actancy, and as a vengeful actor whose narrative trajectory deviates from conventional expectations. The study reveals that the portrait does not merely function as a passive symbol of human consciousness, but actively participates in plot development, character construction, and the reconfiguration of the ending through its own narrative logic. Dorian’s tragedy thus stems not solely from ethical transgression, but from his attempt to instrumentalize a thing with its own autonomy, only to be ultimately undone by the ontological logic of the thing itself. Moving beyond the conventional binary opposition between art and morality, this paper argues that Wilde’s central position lies not in the negation of morality, but in his rejection of reducing art to a vehicle for moral didacticism or personal desire, emphasizing instead the independent ontological value of the artwork. The portrait’s ultimate restoration constitutes both a resistance against being forcibly burdened with the consequences of human morality and an assertion of thingly agency within literary narrative, offering a new interpretive pathway for cross-textual dialogue between aestheticism and the material turn.
%K 《道连·
%K 格雷的画像》，
%K 物叙事，
%K 物的流动，
%K 唯美主义
The Picture of Dorian Gray
%K Thing Narrative
%K Flow of Things
%K Aestheticism
%U http://www.hanspub.org/journal/PaperInformation.aspx?PaperID=140459