這篇論文奠基在Elizabeth Freeman、Carolyn Dinshaw和José Esteban Muñoz所論述的酷兒時間感之上，旨在探討《格雷的畫像》中，作為能動主體的藝術如何呈現出多元的酷兒時間感。我認為，在這部作品中，藝術激發出多元豐富的酷兒時間感，主角們因此得以流露同性情慾及異端狂想。尤其，我討論了小說中三種藝術形式（繪畫、言談、戲劇）、三種酷兒時間（停滯的、倒帶的、循環的）和三位男性主角（巴索爾、亨利勳爵、格雷）之間的密切關聯。首先，我闡述繪畫如何使巴索爾駐足過去並藉此抒發同性情慾。再者，在第二部分，我試圖剖析為什麼文字能夠逆轉時間並且使亨利勳爵得以魅惑格雷。最後，我把焦點放在繪畫、言談、戲劇如何交織出格雷的複雜多樣的時間感。

Based on the works of Elizabeth Freeman, Carolyn Dinshaw, and José Esteban Muñoz, this thesis explores the interplay between art’s agential quality and queer temporalities in The Picture of Dorian Gray. In this thesis, I argue that, in the novel, art as an agent sparks queer temporalities and thus empowers the main characters to fulfill homoerotic desires as well as unorthodox sensations. In particular, I focus on the relationship among triple trios: three art forms (painting, art of speech, and theatre), three queer temporalities (stopped, reverse, and cyclical), and three male protagonists (Basil, Lord Henry, and Dorian). In the first section, I illustrate how painting allows the painter Basil to stop in the past to enact his homoerotic desires. In the next section, I examine why the art of speech has the effect of reverting to the past and enables Lord Henry to maneuver Dorian. Finally, in the last section, I discuss how painting, art of speech, and theatre catalyze Dorian to demonstrate temporal complexities.

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