本論文由性別的角度切入討論渥騰貝克的歷史劇與口傳歷史劇，強調歷史與性別兩者都應該重新被檢視，以挑戰傳統的封閉線性的歷史觀與刻板印象的男女特質，如此才能對歷史與性別有重新的認識。本論文論證渥騰貝克在戲劇創作上的特點即是指出歷史中兩性的動態權力關係。此研究包含五個章節，第一章介紹論文架構、渥騰貝克的多文化的成長背景、與她的戲劇特色。第二章是本論文的理論基礎，認為唯有將歷史視為敘述的形式，才能開啟重新撰寫歷史的可能，而從性別寫歷史也才可行，進而達到對歷史與性別的同時批判。第三章討論四部歷史劇，《解剖新義》(1981)、《瑪麗．崔維斯的美德》(1985)、《為了國家的利益》(1988)、《達爾文之後》(1998)，並論證歷史不再是建立在男性的高壓統治與女性的絕對服從之上，再者，將性別視為社會建構的產物才能夠打破傳統對兩性限制的男子氣概與女性特質的刻板印象。第四章研究三部歷史劇，《夜鶯之愛》(1988)、《黛安妮拉》(1999)、與《灰姑娘》(2000)，因為都是採用口傳歷史的緣故，本論文命為口傳歷史劇以區別第三章的四部劇作。從性別角度閱讀以男性為中心的口傳歷史如神話與童話，渥騰貝克批判了傳統的性別關係，企圖與傳統男性沙文的口傳歷史做切割，並從中賦予過去與當代女性自我意識，期許未來有一個平等的兩性關係。論文最後一章強調渥騰貝克由性別重建歷史是成功的，尤其是重建歷史的動作本身就是重要並且是刻不容緩的工作。 / As traditional immobilized history and gender are confining, Timberlake Wertenbaker in her (oral) history plays argues that both history and gender should be reread radically to challenge closed linearity of history and stereotypical images of femininity and masculinity so as to reconstruct new visions of history and gender. This book aims at discussing mainly seven of her plays from the perspective of gender, especially how the playwright rewrites gender into history, and it proposes that Wertenbaker's contribution to drama is to expose the unstable power relations between the sexes in history. Chapter One introduces the structure of the book, Wertenbaker's cosmopolitan background, and the characteristics of her plays overall. Chapter two is the theoretical foundation, and it claims that just as Hayden White sees narrative nature of history and just as Joan Scott finds social formation in gender, Wertenbaker also believes that both history and gender are constructed and should be reread to offer new visions. Analyzing four history plays, New Anatomies (1981), The Grace of Mary Traverse (1985), Our Country's Good (1988), and After Darwin (1998), Chapter Three asserts that by rewriting gender into history, Wertenbaker asserts that history is no longer based on the model of men's coercive domination over women and only the acknowledgment of gender as a social construction can destroy the stereotypes of masculinity and femininity. Chapter Four, focusing on three oral history plays, The Love of the Nightingale (1988), Dianeira (1999), and The Ash Girl (2000), claims that by rereading against male-centered oral history of myth and fairy tales from a gender-oriented perspective, Wertenbaker criticizes the traditional gender relation and proposes a break from male chauvinism in oral history and to have self-awareness for women in the past and the present so as to have a new mode of gender relations in the future. The final chapter affirms that Wertenbaker's history rewriting from gender is successful and the act of reconstruction of history itself is important and necessary.

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.