在以性別作為主要分眾依據的時尚雜誌中，男性與女性時尚雜誌對於不同性別的人物報導呈現方式有何差異？本研究引用角色理論、刻板印象概念相關之論述，對時尚雜誌中的封面，以及人物報導文章中的標題、圖片與文字描述等作量化式的內容分析，以探究時尚雜誌中性別角色描繪的區隔方式。 結果顯示男性雜誌中的男性人物通常被賦予嚴謹、理性印象，並且透過與女性化關聯意涵的隔離，刻畫一具「絕對的男子氣概」角色形象；男性雜誌中的女性角色則以表面化、簡單化、帶性意涵的方式呈現，職業角色極微，以符合刻板化典範的策略呈現之。 女性雜誌中的男性性別角色呈現，能允許部分非慣俗刻板印象，但僅限於外顯行為，大部分內容仍為刻板印象的複製；女性雜誌中的女性角色則相對能夠包容最多非刻板印象的角色呈現，內在部分刻畫具嚴謹性，職業形象鮮明，然外在描述則仍著重服裝、外貌身材部分，強調女性氣質，兩造形象的結合實為回應時尚雜誌商業訴求下的女性角色呈現模式。 研究建議後續相關的研究方向應可納入雜誌編輯的意見，以利更加明確的瞭解時尚雜誌行文編輯中運用以描繪性別角色之策略；另外，對閱聽人解讀效果的研究也利綜覽整個時尚雜誌性別角色呈現的傳播過程及其影響。 / To realize the differences of sex roles displayed between men's and women's fashion magazine, this study analyzed the headlines, pictures and contents in the interview articles of famous persons in both men's and women's magazines by quantitative content analysis. Based on the role theory, concepts of stereotype, and theories of communication, the study investigated how fashion magazines try to make distinction between male and female characters. The results of this study suggest 4 conclusions. 1) In men's magazines, male character is often described as serious and rational. Besides, by segregating from any feminine inference, men's magazines portray male character as "absolute masculinity". 2) In men's magazines, female character is simplified, and implied with sexual meaning. Moreover, female's occupational role is rarely mentioned, which is a strategy following stereotyped paradigm. 3) In women's magazines, male character is allowed to show part of unaccustomed image, but only limited to outward behaviors. Most contents still reproduce stereotyped sex roles. 4) Compared with men's magazines, women's magazines tend to grant the female character most non-stereotyped images in their displays. Internally, the female character is often described as staid and professional, while the external focus still centers on dressing, appearances and body shape. In effect, combining these two dimensions above is the strategy adopted by women's fashion magazines in order to fulfill commercial requests. This study also points out some potential issues for following researches. For example, the opinions of magazine editors could be involved to deepen the understanding of the sex-role displaying strategies. Moreover, exploring the effects of audience's interpretation also helps to overview the whole communicating process of sex-role concepts between readers and fashion magazines, and its upcoming influence.

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.