《道林·格雷的画像》讲述了主人公道林·格雷从纯真走向颓废，最终走向死亡的故事。在这个过程中，几位人物相继死亡，如女演员西比尔·文，画家巴泽尔·霍尔沃德，西比尔的弟弟詹姆斯·文等。不过，小说对这些人物的死因语焉不详。透过精神分析的理论视角，分析王尔德在创作《道林·格雷的画像》过程中，为何、如何模糊人物的死因，以及人物的真实死因是什么，本文提出，王尔德在这部小说中呈现了仅凭自我意志感知、思考、行动的主体的消除。《道林·格雷的画像》预示了“解构了的人类主体”，体现了王尔德关于主体性的后现代思想萌芽。

论文分为五个部分。绪论部分总结了近几年对该小说中死亡的相关研究情况。整体上看，研究聚焦于道林和巴泽尔的死因与道林对死亡的崇高体验，缺少对其他人物死亡的分析。因此，可以进一步研究人物的模糊死因，沿着这条线索，探究人物的主体性。这有助于我们理解王尔德作品中对主体消解的呈现，及王尔德的“主体”蕴含的后现代思想。第一章介绍了穷人无法实现个人主义，只能服务于像道林这样才华横溢的艺术家。在拉康精神分析中，主体作为言说主体而存在。该章正是基于该点，通过分析穷人如何在解释自身行为和死亡动机中丧失话语权和言语，揭示了穷人主体性的丧失。第二章借助拉康“分裂主体”的视角，通过分析道林在死亡崇高感体验中，其无意识和意识造成的内在分裂，来阐释他内在的他性。这种他性有两处体现：道林被动地体验来自死亡恐惧的怪怖之感以及他无意识习得消费主义逻辑，即对死亡瞬间的消费性体验。第三章从拉康自我的形成以及主体的幻象逻辑的角度出发，对西比尔的自杀和道林谋杀巴泽尔的动因提供了新的阐释。该章尝试分析，在拉康意义上，西比尔如何与母亲进行想象性认同并选择自杀，以及道林杀害巴泽尔如何暗示了道林想象性占据对象小a的位置。

结论部分指出，小说中主体的死亡反映了王尔德“主体性”理念总是面临一种矛盾的情境。一方面，王尔德一直强调通过激发内心情感主动地建构自我、发展自我，另一方面他所刻画的主体在建构自我的过程中面临着无法规避的他者性。通过分析死亡情节和人物的设置，可以看出小说中融汇了对于 “解构了的人类主体”的后现代理解。在分裂的主体正式被提出五十多年前，王尔德就在其《道林·格雷的画像》中呈现了这种主体。王尔德无疑是具有洞见性的。

The Picture of Dorian Gray tells the story of the protagonist Dorian Gray changing from innocence to decadence and ultimately to death. During the process, some other people die, such as the actress Sybil Vane, her brother James Vane, and the painter Basil Hallward.  However, the death causes of these characters are vaguely depicted in the novel. Through the lens of psychoanalysis, by analyzing why and how Wilde obscures the cause of death of the characters in The Picture of Dorian Gray, and what the real cause of death is, this thesis proposes that, throughout the novel, Wilde presents the elimination of the subject who perceives, thinks, and acts solely on self-will. The Picture of Dorian Grayheralds the “deconstructed human subject”, which embodies the germination of Wilde’s postmodern thought on subjectivity.

The thesis consists of five parts. The introduction provides a literature review with a focus on the previous studies of death in this novel in recent years. On the whole, most researches mainly focus on the cause of death of Dorian and Basil, and Dorian’s sublime experience of death. The analysis of the death of other characters is inadequate. Therefore, this thesis further studies why the characters’ death causes are obscure. Along this line, it explores the subjectivity of the characters. It explains to a certain extent how Wilde’s writings present the subject who is inevitably influenced by others in action. Chapter I introduces the problem that the poor cannot realize individualism but can only serve talented artists like Dorian. Based on the idea that the subject exists as a speaking subject in Lacanian psychoanalysis, this chapter reveals the poor’s loss of subjectivity by analyzing how they lose speech and voice in explaining their actions and motivation for death. Through the lens of Lacan’s “split subject”, Chapter II reveals Dorian’s inner “otherness” by analyzing his split between consciousness and unconsciousness in experiencing the sublime of death. It is reflected in Dorian’s uncanny experience of death fear and his unconscious acquisition of the logic of consumerism, specifically on experiencing moments of others’ deaths. Chapter III provides new possible reasons for Sibyl’s suicide and Dorian’s murder of Basil from the perspective of Lacanian formation of self and the subject’s fantasy logic. This chapter tries to analyze how Sibyl, in a Lacanian sense, imaginarily identifies herself with her mother and choose to suicide, and how Dorian’s killing of Basil indicates his imaginary position as the object petit a.

The conclusion points out that the subject’s deaths reflect that Wilde’s concept of “subjectivity” is always facing a contradictory situation. On the one hand, Wilde has always emphasized active self-construction and self-development by stimulating inner emotions; on the other hand, the characters he portrays face an unavoidable otherness in the process of self-construction. Analyzing the settings of the death plots and the characters shows that a postmodern understanding of the “deconstructed subject” has been integrated into his work. Wilde is undoubtedly insightful in his effort to present the split subject in The Picture of Dorian Gray over fifty years before it was formally proposed.