摘要
  浮士德神話是歐洲知名的傳說故事，而奧斯卡‧王爾德也是是英國文學史上重要的人物。道林格雷是他唯一的小說並且充滿著浮士德神話的元素。本文嘗試從浮士德神話的角度，討論王爾德小說《道林格雷的畫像》(The Picture of Dorian Gray)一書中浮士德元素的呈現和王爾德如何運用這些元素敘述他王爾德式的浮士德神話。第一章討論浮士德神話中三個主要元素：誘惑者/受誘惑者、悲劇女性角色以及惡魔合約；並且比較浪漫主義和現代主義兩個不同時期的浮士德神話書寫。第二章討論王爾德式浮士德神話中受誘惑者格雷被誘惑的過程，在《道林格雷的畫像》中是如何呈現；並且以法國幻奇學者托多洛夫的幻奇詩學理論，討論書中幻奇現象的呈現。

Abstract
     The Faustian myth is a well-known story in Europe, and Oscar Wilde is an important figure in the history of English Literature. The Picture of Dorian Gray is Wilde’s only novel, which is full of elements of the Faustian myth. This essay tries to discuss the presentation of Faust elements in The Picture of Dorian Gray from the perspective of Faust myth. The focus will be placed on how Wilde applies the Faustian myth elements into Dorian and his art of emplotment. In the first chapter, I discuss the three main elements of the Faustian myth – the tempter/the tempted, the tragic female role and the Faustian pact and compare different characteristics of Faustian myth between the Romantic period and the Modernist period. In the second chapter, the process of temptation in The Picture of Dorian Gray will be studied, with illumination of Tzvetan Todorov’s poetics of the fantastic.

Table  of Contents 
Introduction..................................................................................................................1
    I. Summary of The Picture of Dorian Gray..…………………………………...1
    II. Critical Issues……………...………………………………………………....2
    II. Methodology………………………………………………………………….4
    IV. Literature review……………………………………………………………5
Chapter One: Modernist Faustian Characterization……………………………...9
I. Pact Contractors: Modernist vs. Romantic………………………………....9
II. The Suffering Margarete: Vane..…………………………………………..20
III. The Modernist Devil and the Implicit Contract………………………....23
Chapter Two: Modernist Faustian Temptation.......................................................24
I. Beauty and Youth…………………………………………………………….24
 II.Sex and Secular Emotion…… ……………………………………………..28
III. Hedonism……………………………………………………………….….33
Conclusion……………………………………………………………………….…..39
Works Cited……………………………………………………………………….....42

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