| 中文摘要 | 第1-4页 |
| ABSTRACT | 第4-7页 |
| CHAPTER ONE INTRODUCTION | 第7-13页 |
| ·A BRIEF INTRODUCTION TO OSCAR WILDE | 第7-10页 |
| ·LITERATURE REVIEW | 第10-12页 |
| ·BASIC STRUCTURE AND APPROACHES OF THE PRESENT THESIS | 第12-13页 |
| CHAPTER TWO AESTHETICISM IN WILDE’S NOVEL | 第13-29页 |
| ·MORALITY CONCEALED IN THE AESTHETIC ART | 第13-19页 |
| ·The Unity of “Body and Soul” | 第13-14页 |
| ·The Contradiction between Art and Morality | 第14-17页 |
| ·Morality in the Art | 第17-19页 |
| ·THE SUPREMACY OF ART OVER MORALITY | 第19-26页 |
| ·Basil: Unable to Transcend the Moral Perfection | 第20-22页 |
| ·Henry: The Embodiment of Evil | 第22-23页 |
| ·Dorian: Wavering between Art and Morality | 第23-26页 |
| ·THE SPLIT OF BODY AND SOUL | 第26-29页 |
| CHAPTER THREE DORIAN IN THE PICTURE AND ITS MORAL METAPHOR | 第29-38页 |
| ·THE RELATION BETWEEN DORIAN AND THE PORTRAIT | 第30-32页 |
| ·The Dual Character of Dorian | 第30-31页 |
| ·The Division and Reunion of the Portrait | 第31-32页 |
| ·THE PORTRAIT: CARRIER OF MORALITY | 第32-38页 |
| ·The Fall of Dorian | 第33页 |
| ·The First Change: Coldness | 第33-35页 |
| ·The Second Change: Highlight of the Degradation of Dorian’s Life | 第35-36页 |
| ·The Painter Murdered and the Emerging of Evil | 第36-37页 |
| ·To Pierce the Portrait: Atonement | 第37-38页 |
| CHAPTER FOUR WILDE’S AESTHETIC IDEAL: AMORALITY | 第38-46页 |
| ·THE MORAL CONSCIOUSNESS IN THE PORTRAIT | 第39-43页 |
| ·The Portrait as a Record of Dorian’s Sin | 第39-40页 |
| ·Dorian’s Awakening of Moral Consciousness | 第40-41页 |
| ·Return to Morality | 第41-43页 |
| ·ART’S INTERVENTION INTO MORALITY | 第43-46页 |
| ·The Temporary Transfer of Morality | 第43-44页 |
| ·An Aesthetic Utopia | 第44-46页 |
| CHAPTER FIVE CONCLUSION | 第46-47页 |
| NOTES | 第47-48页 |
| ACKNOWLEDGEMENTS | 第48-49页 |
| REFERENCES | 第49-51页 |
| APPENDIX | 第51页 |
