時至今日女性教育程度提高，但女性在勞動力市場獲得的職位並沒有因此提升，大部分的女性仍然傾向集中在以女性居多的劣勢職業，並且薪資明顯低於男性居多的職業。相關研究提醒我們注意接觸工作出缺訊息的管道在進入勞動力市場前就已經出現性別化的現象，男女性的社會網絡並不相同，並且不同性別的求職者傾向動員不同性別的中介人。但究竟是原因使得女性求職者持續進入待遇較差的女性主導職業？Lin(1999)認為男性之所以比女性在勞動力市場的職業獲得更具有優勢，是因為女性求職者存在資本欠缺與回報欠缺，所以只能動員到較劣勢的女性中介人、獲得較差的工作。但從資料分析顯示，女性求職者並不存在資本欠缺，女性求職者擁有的社會資本量並不比男性求職者少，真正導致女性承受回報欠缺的原因在於兩點勞動力市場對於女性的貶值與性別化社會資本的差異。由於勞動力市場對女性求職者本身的歧視，即使女性求職者動員到擁有較多資源的男性中介人也無法有效的脫離求職劣勢。其次，女性求職者透過性別化社會資本尋職而承受回報欠缺的因素在於女性化可觸及社會資本，女性化可觸及社會資本直透過接與間接的效果同時限制女性求職者獲得較好的、女性比例較低職業。但女性化可觸及社會資本對男性求職者只能產生間接影響，且男性求職者擁有的女性化可觸及社會資本比女性求職者來得少很多，女性化可觸及社會資本能發揮的效果並不多。 總結來說，對於女性求職者而言，回報欠缺主要來自於性別化可觸及社會資本以及雇主對女性能力的貶值、統計歧視等，即使接觸到男性中介人也無助於女性跳脫求職劣勢。對於男性而言則是性別化可動員社會資本才是主要直接影響獲得職業女性比例的關鍵因素。

本研究選擇楊 (Iris Marion Young) 在1977年首次發表的文章〈像女孩那樣丟球—論女性身體經驗〉為主要藍本，對梅洛龐蒂《知覺現象學》的身體主體概念進行討論。楊在文章中採用梅洛龐蒂活生生身體做為核心，以《知覺現象學》中〈身體本身的空間性和運動機能〉此篇章做為對照架構，置入性別化的反思，重新編織由女性主體經驗出發的身體模態。 在2005年楊以此文為書名同時收錄多篇聚焦於女性身體經驗的現象學討論，從懷孕、乳房、月經、老年照護等女性身體的各個面向，經由性別觀點的探問辯證處理多位歐陸哲學家和現象學家的論述，透過理論思考和生命經驗交揉出女性身體主體的視野。在〈像女孩那樣丟球—論女性身體經驗〉中，楊選擇梅洛龐蒂《知覺現象學》對活生生身體與世界關係的描述架構，同時立基於西蒙波娃對女性存在的分析和觀察，分析陰性身體的特定風格，以及這種風格及活動方式，與其在世界中的交往有什麼樣的關係？又具有什麼樣的意義？梅洛龐蒂在《知覺現象學》裡說明主體如何通過身體在世界中展開存在活動，在這些活動的運作中，我們不是如同船長掌舵一樣，作為純粹的思維者操作客觀的身體，也不是一個刺激-反應的制約機體對世界做出規律和法則的回應，主體與世界的關係，就座落在我作為一個活生生的身體主體向世界開放，朝世界投射。但是，這個身體的分析架構是否為一個普遍性的論述？如果經驗世界中有一大部分的身體典型在特定的層次上展現的差異性，這種獨特風格是基於什麼樣的存在處境中出現的？梅洛龐蒂突破笛卡兒純粹思維者的傳統，修正胡賽爾在《觀念一》朝向超驗觀念論的追求路線，試圖以一個具體化、肉身化的樣貌來理解人的在世存有，然而是否必須面對我們活生生的身體中是帶著性別、文化的銘刻？因此本研究將以楊所提出的女性身體活動與空間經驗為基礎，對照梅洛龐蒂文本中描述的身體模態，重新思考梅洛龐蒂的身體論述，與性別向度之間的關連性。

本論文以女性主義學者葛洛茲的身體理論為主軸，旨在探索詹姆斯、艾倫及理察森三位作家作品中的勞動女性，如何挪用新興的都市公共空間，形塑及展現個人獨特的身體能動性。十九世紀晚期的倫敦市景最顯著的改變莫過於如雨後春筍般四處林立的公共空間，例如藝廊、俱樂部、餐廳、茶室、百貨公司等等，因此女性進入各種公共空間的機會或頻率皆日趨增加。除了以消費活動為主的中上階級女性之外，愈來愈多的女性進入都市公共空間的原因是來自於工作謀生，以期在都市中獨立生活。這些勞動女性，相異於中上階級女性，並無經濟優勢亦無階級優勢，他們的身體往往面對性別與階級雙重社會論述的宰制與規範，然而在此雙重論述力量之下，經由勞動女性的舉動表現，反而愈見身體原有的抵抗、挪用、操演等種種潛力，使我們得以觀察省思身體如何運作與適應外在空間。以葛洛茲的身體概念為中心，本論文嘗試提問如下：首先，探究當代社會論述力量如何介入女性身體的形成？其次，都市公共空間的特質如何與此身體相互作用？而這些女性身體又如何在此空間中發展其能動性？本論文分為三章：第一章分析詹姆斯《卡薩瑪斯瑪公主》中女店員的展示身體；第二章發掘艾倫《打字機女孩》中女職員的勞動身體；第三章討論理察森《歷程》中勞動女性的進食身體經驗。經由檢視這些勞動女性身體和都市公共空間的積極互動關係，本論文認為，縱使勞動女性的身體，雖然總是受到性別與階級等社會意識型態所銘刻或支配，她們的身體仍舊存在著「既有」的主體性，在流動變幻的都市公共空間特質中，展現了與眾不同的能動性。 / This dissertation aims to explore how working women take advantage of urban public space and develop specific bodily experiences in Henry James, Grant Allen, and Dorothy Richardson’s novels. The booming public spaces of fin-de-siècle London, including galleries, clubs, restaurants, teashops, and department stores—all served as new spaces which gave urban women to access a public life. Working women, who entered those public places for employment, directly encountered the conventional masculine codes and discourses with regard to the real difficulties of independent lives in the city. However, their social and economic disadvantage, at a more profound level, reflects the complex social reality and bodily experiences as well as reinforces volatile urban space where working women are involved and perceived. This complicity and volatility is, in fact, characteristic of the late Victorian working heroine’s new participation in the labor market. Centering Grosz’s concept, this study is structured into three chapters: the first chapter analyzes the displaying body and the department store in Henry James’s The Princess Casamassima; the second chapter deals with the laboring body and the office in Grant Allen’ The Type-Writer Girl; the third chapter discusses the consuming body and the dining places in Dorothy Richardson’s Pilgrimage. By asserting a positive relationship between the body and the public space from the feminist perspective, this study proposes that, while social discourses, mostly permeated with dominant oppressive powers and ideologies, give strict constraints to the working women, their bodies still acquire certain agencies to transform public places into a place for their ways of experience and appropriation.

《臺灣婦人界》（1934-1939）為日治時期最具規模的女性雜誌，也是1930年代刊載最大量通俗小說的刊物。本論文以殖民現代性與女性經驗的交織為主軸，提出《臺灣婦人界》小說的後殖民閱讀。日治時期台灣女性最初的現代體驗，奠基於殖民現代性所帶來的教育機會與物質文明，一方面秉持啟蒙開化的信念給予女性前所未有的自由與選擇，另一方面則訴諸文明優劣程度築起一道文化同化的門檻。「世界」指新女性走出家屋展望世界的文本效應。女性透過教養、知識提升成為公領域典範的可能，以及不同族裔、背景的女性基於文明信念而想像出的共同體，是《臺灣婦人界》一再宣揚的普遍價值。「民俗」是與上述普遍性對照之下的差異性，信仰漢人宗教的女性成為奇觀的拼貼素材，也化身被排除的迷信舊慣。這些文化差異性復又受到「帝國」殖民同化計畫的整編與改造，其透過女性之於家庭與社會的角色，以日本現代文明與大和民族的優越位階，對不同出身、階級與族裔的差異主體實行精神統馭。 　　筆者從《臺灣婦人界》觀察到上述三個大方向，並參照史碧娃克（Gayatri Chakravorty Spivak）、霍米巴巴（Homi Bhabha）的後殖民觀點，進一步解析殖民現代性排除與整編的策略如何在小說中一一受到挑戰。被體制重重壓迫的底層女性身影解構了以自由主義理念為根基、中產階級身份為前提的文明女性想像。被現代理性準繩貶抑的民俗迷信拯救了台灣女性的主體分裂危機，證明原生文化始終是殖民現代性無法割除斬斷的一部份。混血的女性身體隱喻著台灣多層歷史與地緣脈絡的軌跡，那難以馴化的混雜性揭發了殖民改造計畫的破綻。本論文探討的包括黃寶桃、西川滿等已受學界所知的作家，以及陳華培、別所夏子等未曾受到討論的台日創作者，期能為這份議題性與份量兼具、卻幾乎未受到注意的史料梳理一個輪廓，揭示《臺灣婦人界》之於日治時期文學研究、女性史研究以及後殖民研究的價值。 / Taiwan Fujinkai (1934-1939) was the most influential women’s magazine in colonial Taiwan, on which women’s experience were closely interweaved with colonial modernity. For women in colonial Taiwan, the first experience of modernization was founded on the modern education and material environment by Japanese power, and thus contained double sides. One was the sense of liberation brought by the belief of enlightenment, another was the awareness of discrimination between the superior and the inferior. “The cosmopolitan” refers to an imagined community where women from all backgrounds can be canonized if they followed the universal route of modernization. Being a contrast of this universality, images of women in “the folklore” was represented as the backwardness eliminated from the modern society. In the civilizing mission of “the empire,” these eliminated cultures were assimilated into the imperial project again, which seek to rule and reform the colonized through the hand of civilized wives and mothers. With Gayatri Chakravorty Spivak and Homi Bhabha’s postcolonial concepts, this paper examines how Japan’s strategy of elimination and assimilation was challenged in the fictions in Taiwan Fujinkai. The subaltern women in the bottom of social system broke the liberalist imagination of women’s civilizing route. A ghost haunted in Taiwan women’s mind implied that the native folklore can be oppressed but never divisible. The mixed-blood woman’s body disclosed the invalidity of Japan’s attempt to discipline the hybridity of it colony. My discussion includes Huang Pao-tao, Nishikawa Mitsuru and other undiscovered texts. Probing into this important but rarely investigated magazine, I seek to uncover its value for the literature study, women’s study and postcolonial study in the field of Taiwan literature.

本論文以「賽伯格閱讀」的方式在台灣當代小說中「讀取」三種賽伯格主體，並且展望賽伯格閱讀批判當代科技社會的可能性。賽伯格閱讀意指將文本中的人事物讀出賽伯格的意味。也就是說，賽伯格閱讀所分析的文本不必然、也不需要是容易讓人直接聯想到賽伯格理論的科幻文本，而能是更寬泛的、各種形式的文本──包括不是科幻小說的文本。重點不在於有沒有，而在於如何；不在於文本「本身」有沒有賽伯格主體的再現，而在於如何以賽伯格閱讀去讀取文本當中的賽伯格主體，並且探討該賽伯格主體如何構成，終而批判科技和特定權力位階的共謀。本論文盡量選擇科幻小說以外的文本作為分析對象，藉此挑戰「賽伯格理論通常連結到科幻文本」的刻板印象。此外，本論文也以「拼裝」這個詞彙思考混雜各種異質元素的賽伯格主體構成。本論文所提出的「義肢人」、「遊戲人」、「動物人」這三種賽伯格主體，是受哈洛威（Donna Haraway）的〈賽伯格宣言〉中「三種關鍵的界線破裂」之說所啟發。三種賽伯格主體各自對應、補充三種界線的不穩固──義肢人體現了「有機體和無機物的混淆」、遊戲人呼應「物質和非物質的曖昧不明」、動物人則為「人類和動物的難以區別」。本研究聚焦於1990年代以後的非科幻文本，並在分析其中賽伯格主體及處境時，納入身心障礙研究和生態女性主義的批判方法。本研究並非藉著後人類和賽伯格鼓吹單純地擁抱科技、宣稱人類已非人類，而是要藉著後人類和賽伯格來再次警惕科技的利弊、鼓勵各界在不同脈絡中「重新發明人類」──意即，重建一種更不具排斥性、更為寬廣的對於人的想像。 / The current study suggests that the reinvention of the human stands as a potential field for future Taiwanese literature. This thesis attempts to conceptualize the subjectivities of the posthuman even beyond the field of science fiction. This thesis labels the literary practices outside science fiction as “non-science fiction.” The focus lies on non-science fiction for two reasons. One, this study attempts to challenge the assumption in Taiwanese literature that associates the concept of the posthuman only with science fiction. Second, this study finds that the presupposed literary category of science fiction limits the imagination of cyborg- or posthuman-related subjects in Taiwanese literature. Inspired by the work of well-known cyborg theorist Donna Haraway, this study notes that non-science fiction texts present three kinds of posthuman existence. According to Haraway’s “Cyborg Manifesto,” “three crucial boundary breakdowns” make the cyborg possible. The three kinds of posthuman in this thesis correspond to Haraway’s three boundary breakdowns. The man of prosthesis corresponds to the blurred boundary between organism and non-organism, the man of video games to the physics and non-physics, and the man of animal to the humans and animals. This analysis focuses on Taiwanese non-science fiction texts from the 1990s onwards and applies concepts from disable studies and ecofeminist criticism, in addition to posthuman and cyborg theories. Situated within posthuman/cyborg studies, this thesis does not celebrate the breakdown of boundaries but points to the redefinition of the human which reduces and deconstructs hierarchal oppressions.

南西. 弗萊德的《我的秘密花園》在探討女性思想，身體透過對和性意識的議題上被認為是其中一本最重要及有用的書。透過對性廣泛及露骨的討論，女性不僅在幻想中，甚至在現實面也能對其生理的欲望和需求有非常深入的了解。 在第一章中，我首先討論南西. 弗萊德搜集女性性幻想的意圖，緊接著強調女性對性並非是沉默的一群，因為在《我的秘密花園》中女性而非男性對性愛握有主控權。為了要明顯區隔《我的秘密花園》與男性為主的色情之差異，我討論女性如在何在南性色情中被錯誤的表現成為性商品及《我的秘密花園》所要顛覆的主題。 而第二章主要強調一些女性主義者對啟蒙時期二元論的攻擊，因為她們深信深藏在此二元論中的階級意識是造成女性地位低下的主因。因此，班森及傅柯的全景敝視的概念在此當成審視女性被父權物化所限制的主要架構，此觀念介紹後，我便詳加敘述全景敝視主義之主要效果並探索此一效果是如何壓制一般女性。 在第三章中，我不僅將重點集中在女性書寫的建立，更將《我的秘密花園》視為其中一例。從主題中可清楚發現女性之主體性。 在第四章中，《我的秘密花園》被比喻為性的嘉年華會，其參與者無不盡情享受性之歡愉，因此審視巴克定狂歡化的概念，可幫助讀者更深一層了解嘉年華式顛覆的力量及其相關的特性。 最後，我在第五章中重述各章之要點並指出認知女性欲望對其自主發展之重要性。我在此也相信，性對男女而言，都是最基本的生理需要，假如男性對性渴望，女性也一樣。南西. 弗萊德是第一位搜集女性性幻想的作家，但是她絕非是探討女性性論述的尾聲。 / Nancy Friday's My Secret Garden is regarded as one of the most important and useful books on the issueof women's thoughts, bodies and sexuality. Though a wide-ranging frank discussion on sexual matters, women are fully cognizant of their physical desires and needs of heir bodies, not only in their fantasies but also in their real lives. In chapter one, I discuss, first of all, Nancy Friday's intention of collecting female sexual fantasies and then emphasize that women are not sexually silent in My Secret Garden because it is they, instead of men, that hold the key to sex. To show how remarkably My Secret Garden differs from male pornography, I discuss how women are fallaciously represented as sexual objects in pornography and what My Secret Garden is aimed to subvert. In chapter two, some feminist's attack on the Enlightenment dualism are brought into focus, because they believe that it is the hierarchy lurking in the Enlightenment that results in women's inferiority. Therefore, Jeremy Bentham's and Michel Foucault's ideas of panopticon and panopticism are used as a framework to examine how women are confined by patriarchal culture. After introducing their ideas, I specify the main effect of panopticism and explore how the effect subjugates women. In chapter three, I concentrate my attention not only on why feminine writing has to be established but also on how My Secret Garden can be viewed as one. After the discussion on feminine writing, I focus on the textual analysis of My Secret Garden by investigating its main themes. From those themes, women's subjectivity is clearly observed. In chapter four, I compare My Secret Garden to a sex carnival where every participant enjoys sex. Hence, Mikhail Bakhtin's notion of carnivalization is examined in order to help the readers understand better the subversive power of carnivalization, and some of its important features are thus carefully analyzed. In chapter five, I recapitulate the central points of each chapter and point out the significance of understanding women's own desires in the development of their subjectivity. I also believe that sex is one of the most basic needs for both men and women. If men have the propensity for sexual needs, so do women. Nancy Friday is the first one to collect female erotic fantasies, but she will not be the last one to investigate discourse on sex.

在《時空邊緣的女人》中，作者藉著揭露一位墨裔美籍女性穿梭時空的故事，來探討弱勢族群在美國資本主義社會中被邊緣化的困境，並批判美國社會中以中產階級白人男性觀點為主流價值標準而形成對「異己」團體及文化的壓迫、歧視與剝削。作者運用科幻小說技巧中的異想（fantasy），連結現在與未來，對比１９７０年代的美國現實社會和西元２１０７年的烏托邦世界，揉合女性主義及後現代主義精神，以檢驗並批判當代美國社會之窳陋，並試圖勾勒一個多元價值並存、兩性尊重平等、自然與科技平衡的願景。 此篇論文共分四章。第一章略述小說文本的概要及其寫作背景，並討論分析此一文本所應用之理論和概念：後現代主義、女性主義、烏托邦文學和科幻小說，及此四者所交織出對於典律(canon)之質疑和批判的策略。第二章討論作者如何運用後現代批判形式之論述策略來表達其女性主義之關懷，形成邊陲與中心的對話。第三章的焦點集中於探討女主角穿梭時空下對比現實世界、未來烏托邦和反烏托邦世界所牽引出──語言、歷史、科學╱科技、生態、性╱別以及主體──一系列課題之批判思考。最後一章則回顧前述的理論如何與文本的內容及形式相結合，以挑戰現實世界及讀者心中牢固偏執的主流意識形態。 / Struggling with the social norms of gender and to be a 'visible' woman writer, Marge Piercy challenges and interrogates the canonical, patriarchal hegemony that dominates the culture. Her work, Woman on the Edge of Time, invites multiple alternatives by imagining beyond what is taken for granted. This thesis aims to explore how the heroine's time-travel undergoes a dialogic process between the past, present and future, which effects a feminist politics to examine the social norms and to anticipate a change toward an egalitarian world. This thesis is divided into four chapters. The first chapter offers an overview of both the text and context of this novel. Since I define this novel as a generic mixture of feminist utopian writing and postmodern science fiction, I first introduce theories of postmodernism, feminism, science fiction, and utopian writing, and their intersections. The exploration of theories here paves the way for the textual analysis in later discussion. In the second chapter, I discuss how the writer manipulates postmodern strategies to express her feminist concerns of destabilizing the canon and enabling a dialogic interaction between the margin and the center. The third chapter focuses on key debates within feminist discourse, which are revealed and symbolized through the heroine's telepathic experiences communicating between the dystopian present and the utopian future. The feminist thinking toward language, history, science/technology, ecology, gender/sexuality, and subjectivity is elaborated in this chapter. Finally, the concluding chapter reviews theories and issues concerning both postmodernist and feminist thinking highlighted through the heroine's time-travel/mind-travel, which is a dialogic process bringing up different voices and perspectives--a voyage of rethinking and reshaping.

本篇論文研究主要以正式女性公務人員為對象，並採用質化研究的深入訪談法，總共有十五位女性公務人員接受訪問；另外，本篇論文引用相關的理論來觀察女性公務人員的實際生活情況。十五位女性公務人員的家庭發展階段分成未婚、已婚無子女、已婚懷孕初期、已婚育有學齡前兒童、已婚育有青少年子女、以及已婚育有成年子女等等家庭類型。 本篇論文的研究發現有下列幾點： 一、因為性別角色期待而選擇進入公務人員體制 女性因為性別角色期待選擇進入公務人員體制中。女性公務人員為了扮演生育、照顧的家庭角色；以及社會普遍認為女性適合從事公務人員；在婚姻市場裡面，女性公務人員更成為理想結婚對象。因此，女性選擇進入公務人員體制的意願提高。 二、公務人員體制具有科層制特性 公務人員體制中的科層體制強調「固定職掌」、「依法行政」、「層級節制」，並且形成特定的官僚運作方式；整個組織運作強調「客觀」、「理性」、「陽剛性質」。女性在這樣的官僚運作底下，因為其性別而被標示出來，因為整個科層組織是由男性設計與主導，女性則被看成性別化的行動者（sexualized actors）；同時科層體制的反功能造成組織成員對組織產生疏離感，不過正因為這樣的反功能有利女性公務人員兼顧家庭生活，因此，女性公務人員在兼顧家庭的工作考量中以公務人員的工作內容配合度最高。在升遷的過程當中受到男性權威與性別角色刻板印象雙重影響，「玻璃天花板」效應明顯存在而女性公務人員也無法從工作中獲得滿足。 三、公務人員體制特殊的官場文化 公務人員體制要求「去個人化」、接受新的官僚人格，以及運用特殊的組織文化，其中最盛行的就是「關係」、「人情」。光具備工作能力表現是不夠的，公務人員還必須透過「關說」、「人事背景」才能獲得長官的賞識與提拔。整個組織的在上位者多數都是男性，男性有其特殊的人際關係互動，女性公務人員必須同時去性別化與接受男性的組織網絡之後，才有可能獲得晉升的機會。 四、女性公務人員因為家庭與工作出現精疲力盡 大部分已婚的女性公務人員仍然扮演「女主內」的角色，也就是說踏進門板之後的領域全歸為女性的責任，因此，只能用「心力交瘁」的字眼來形容女性公務人員的處境，唯一值得慶幸的是，女性公務人員會尋求社會資源來解決工作與家庭兩者間的衝突。 五、女性公務人員既主動創造又被動接受性別角色期待 根據本篇論文觀察與訪談結果，女性在某種情境底下才會既主動創造又被動接受性別角色期待。那就是只有在家庭因素考量出現時，女性才會主動創造與被對接受既予的性別角色期待。為了逃避這種左右為難的窘境，女性就必須建立自主性，可是這種自主性也是在既有社會價值框架下，並不是完全的自由。因此，我認為唯有去除傳統將女性與家庭連結在一起的社會價值，進而建立兩性平等的關係。 / This paper aims mainly at qualified female civil servants, employs the qualitative method by which fifteen women are interviewed, and takes also on the relevant theories to observe their actual life experiences. The family life cycle of them is divided as following: single, married without children, pregnant, married with preschool ones, married with teenagers, and married with adult children. In this paper I discover the facts that follows: 1. In accordance with the expectation for gender role, women choose to be civil servants. In order to play well role on caring and childbearing in family life, on account of the common social assumption that women are suitable for the work of civil servants, and owing to the favor in the selection of marriage partner, women thus are willing to run for this status. 2. Public institution is characteristic of bureaucracy. The working of civil service emphasizes on the fixed working contents, administrating by law, and obviously hierarchizing in levels, so this institution develops the bureaucratic feature. Under the emphases of the whole institution on the rationality, objectivity and masculinity wrought by men, women are labeled as sexualized actors. In this case, the bureaucracy produces the anti-function which on the one hand results in the alienation of the member in the organization and which on the other hand is good for women to take care of their family. In the process of promotion, the influences of male authority and gender stereotype on women forms the glass ceiling effect that defers women from the satisfaction with their works. 3. The special bureaucratic culture in public institution. In this institution the member is required to be depersonalized, to accept a new bureaucratic trait and to implement the special organizational culture that is fashioned with human relationship and influence. Most of the higher officials are men who possess the different network of human relations from women, women must desexualize themselves to receive bureaucratic culture dominated by men for the opportunity of promotion. 4. The exhaustion of female civil servants in family and work. A great number of married female civil servants simultaneously play the role of housewives--that is to say, women are responsible for all the things indoors. Fortunately, women, when facing this dilemma, would by the capacity of their positioning search for the social support so that they solve the confrontations between family and work. 5. Female civil servants either positively create or negatively accept the expectation for gender role. The choice of whether to create or accept the expected gender role for women civil servants depends on certain "circumstances." That is, only when for family's sake women civil servants are forced to definitely both create and accept such given gender role. To escape this dilemma, they try to establish a kind of autonomy--neither to create nor to accept the "given" namely, to slip off the bondage of the family. However, this sort of "autonomy" is limited in the framework of social value, far from complete freedom. Consequently, I think all we have to do is change the social value of setting the bondage between women and family and strive for the equality of both sexes.

有鑑於臺灣地區已在民國八十二年步入「老人國」之列，顯示老年人的經濟問題已不容忽視。尤其是女性老人，更是最易落入貧窮的一個族群，因此，本研究即在探討老年婦女陷入貧窮之因素及困境，研究目的有三： 1.探討婦女在老年陷入貧窮困境的因素。 2.探索貧窮的老年婦女之生活困境，以及她們如何適應。 3.依據研究結果提出政策上的建議。 本研究採取女性主義者對女性陷入貧窮因素的解釋，輔以生命週期的觀點，來探討在女性的一生中，累積經濟資源（主要是工作薪資及財產繼承）的能力與機會如何影響到其在老年期的經濟地位。另外，也探討年滿65歲的老年婦女一旦陷入貧窮，她們所面臨在經濟上、健康醫療上、住屋上、心理適應及社會疏離的困境，以及她們如何適應。 本研究係採「質化研究法」，深入訪談十二位領取中低收入戶老人生活津貼的老年婦女，藉以勾勒出其生活狀況，及其一生中面臨的困境與難關。研究結果顯示，由於女性身為經濟依賴者的身份，因此，陷入貧窮最大的因素在於被依賴者無法提供充足的經濟生活。而女性的被依賴者包含丈夫、子女及自己（含娘家）。由女性的一生看起來，她們先是生在不甚富裕的家庭裡，於是無法對她們做人力投資，再加上勞力市場的性別歧視，使她們無法靠自己的力量賺取薪資。除此之外，娘家的困窘也無法提供任何財產的繼承。而後，在婚姻市場上也找不到條件較佳的丈夫，經濟生活得不到保障。而在這種貧困的條件下，對所生育的子女自也無法做良好的投資，培育其人力資本，影響到在勞力市場的表現，再加上子女若無撫養之意願，「養兒防老」的期待自然落空。 更深一層去探究老年婦女陷入貧窮的因素，其實是受到「父權主義」操縱的影響。由父權主義延伸的「性別勞力分工」的概念，形塑了「男主外，女主內」的分工方式，於是女性擔負起無酬的家務工作及照顧工作的責任，再加上女性在教育、財產繼承、勞力市場等所受到的不平等待遇，使她們要靠自己的力量賺取薪資是相當不容易的，於是她們的經濟生活只能依賴男性，而當男性無法支持時，就無可避免的陷入貧窮。 歸納起來，受訪者正式進入社會救助體系的導火線不外三種：健康、住屋、以及工作中斷。這些事件的發生使得她們原本即不充裕的經濟生活更是陷入困境，在沒有其他支持體系的情況下，唯有進入社會救助中低或低收入戶的體系，以獲得生活上的補助。面對貧窮這項事實，大多的受訪者都抱持宿命論的態度。而在適應的方法上，受訪者多是參與宗教活動、運動、與鄰居聊天等方式來調適自己的心情。但由她們所從事的活動看來，侷限於自家附近，並很明顯的偏向從事免費的活動，形成了社會疏離的現象。會造成這種現象的因素即是因為受訪者受限於經濟狀況、教育程度以及自卑心理，使她們與外界聯繫的程度不高。 根據研究結果，研究者提出幾點建議： 1.減少就業市場的性別歧視。 2.減少因家務照顧責任的損失。 3.合理計算貧窮線之基準，並規劃相關的補助措施。 4.鼓勵低收入戶老人參與文康休閒活動，及加強對低收入戶獨居老人的問安服務。 5.規劃國民年金制度。 本研究之研究限制有二： 1.無法推論及概化。 2.信度與效度的問題。

傅敖斯的《法國中尉的女人》是否為一女性主義文本一直是批評家爭議的焦點;絕大多數的女性主義批評家都認為傅氏挑戰父權偏見不成而自陷 於其迷宮中。本論文旨在探討傅氏小說中女性主義議題,剖析小說人物的三 角關係與性別政治。 本論文共分四章:首章討論拉岡和李維史托從亂倫禁忌的情慾三角論 述;藉由女性主義家依希葛萊對拉岡和李維史托的批判和挪用,闡釋父權文化如何使女性在心裡和社會層面皆化為第二性。 第二章結合李維史托和依 希葛萊的理論,從查爾斯和提娜的婚盟以及查爾斯的紳士俱樂部集體嫖妓行 為,討論傅氏小說女性淪為男性的交換物,形成依希葛萊所謂父權社會的底 層結構--男(同)性(戀)經濟。 第三章融和拉岡和依希葛萊的精神分析理論 ,討論在查爾斯與提娜, 莎拉的三角戀情呈現的性別政治。第四章討論激 進女性主義和莎拉,蜜莉,克莉絲迪納三人的同性戀:在簡述女同志愛與女性 主義之契合後,由依希葛萊,維蒂格等人的分離主義指出莎柆如何在女人之間的情慾三角糾葛,逾越父權社會定義下的男女性別界限,並且建立獨立男性之外的女性主體。 / Fowles's The French Lieutenant's Woman~U1;'s feminism has been a point of contentions among feminist critics; most feminist critics argue that Fowles is not a feminist but a phallocratic wolf clothed in feminist clothes. This thesis intends to readdress the feminist issues in Fowles's novel by probing onto the multiple layers of triangular relationships and sexual politics among the characters. This thesis consists of four chapters. A theorectical base of this thesis, Chapter one is a discussion on the "the discourse of erotic triangle" posited repectively by Lacan and Levi-Strauss through the idea of incest taboo. Through French feminist Luce Irigaray's critigue and appropriation of Lacan and Levi-Strauss, this chapter lays bare the subordination of women in patriarchal society, psychological or social. Chapter Two is concentrated on what Irigaray calls the foundational structure of patriarchal society--"hom(m)osexual economy". The matrimonial alliance between Ernestina and Charles and the sexual escapade of Charles' gentlemen club are singled out to illustrate how women are exchanged as objects between men. Chapter Three focuses on the sexual politics in Charles' s love triangle with Ernestaina and Sarah. Chapter Four deals with radical feminism and Sarah's lesbianism with Millie and Christina. Irigaray's and Wittig' separatist politics are deployed to show how Sarah transgresses the patriarchally-defined boundary between the sexes, destroys the Victorians' mythologization of women as asexual--yet produtive--Madonna, and then forges an subjectivity independent of the male sex.