本論文將以女性主義的觀點來探討莎士比亞《第一四部曲》中皇后的政治生涯。此探討之目的在証明瑪格麗特及伊莉莎白二位皇后在政治領域中之所以遭逢不幸，主要因為她們在社會化過程中已內化父權主義的意識形態，因此在不知不覺中成為父權壓迫的共犯；她們終能解放自己，因其能從經驗中學習到共同合作以抵抗壓迫。 全文共分為一篇序論、兩個章節及一篇總論。序論中簡介本主題的研究動機、方法及目的。第一章分為三部份，主要在探討瑪格麗特的政治經驗。第一部份『皇后的頭銜』」，說明瑪格麗特因執著於〝皇后頭銜〞的虛名而喪失自我，卻絲毫未察覺此頭銜不過是附屬於國王之下一個不穩定的身份標幟。第二部份『父權主義與女性無權（能）』，揭露瑪格麗特雖極力爭取政權卻無法獨立使用它。因其女性的角色，瑪格麗特在垂簾聽政之際，不但被有心人利用，而且被恥為越權。第三部份『自覺』，說明瑪格麗特在察覺自己成為父權壓迫的共犯後，給能擺脫皇后頭銜的束縛，進而重塑自我。第二章分為兩部份，探究伊莉莎白約遭遇與成長。第一部份『不幸的皇后』，揭發伊莉莎白受迫害，主要是因為她毫無抵抗地接受男人所給予的不平等地位。在第二部份『女性聯盟』中，藉由檢視瑪格麗特與伊莉莎白間的互動，我將証明女人間的互助關係可以減弱父權壓迫的程度。最後的總論是一則呼應正文的簡短摘要。其中說明女人處於任何地位，皆無法擺脫被排擠於政治領域之外及受父權壓迫的命運，除非她們能夠自覺受迫，並且合作以抵抗壓迫者。 / This thesis is an attempt to study the political experience of the queens in Shakespeare's first tetralogy from a feminist perspective. My aim of this study is to reveal that Queen Margaret and Queen Elizabeth suffer misfortune in the political arena primarily because they are taught, in the process of socialization, to internalize the patriarchal ideology and so are conditioned to cooperate in their own oppression; they can finally liberate themselves because they learn from experience to resist patriarchal oppression by struggling together. The whole study is composed of one introduction, two chapters, and a conclusion. The introduction briefly outlines the motivation, method, and objectives of my research. Chapter one, including three sections, is an analysis of Margaret's experience.“The Title of Queen” uncovers how Margaret loses her sense of self because of her obsession with the title of Queen, an unstable identity to be set upon by the king.“Patriarchy and Female Powerlessness” focuses on Margaret's struggle and her incapability of exerting public power independently. Owing to her gender role as a female, she is simply used by ambitious men and scorned for her transgressions when she holds power in lieu of the king.“Self-awareness” exposes that an awareness other own cooperation in patriarchal oppression enables Margaret to get rid of the confinement of the unstable title of Queen and to reconstitute her selfhood. Chapter two, organized into two sections, discusses Elizabeth's suffering and growth.“The Queen of Sad Mischance” explores Elizabeth's victimization which is mainly due to her compliant acceptance of the unequal place allotted by men.“Female Bonding” examines the interaction between Margaret and Elizabeth, disclosing that the women-aiding-women relationship can probably weaken the process of patriarchal oppression. The conclusion is a concise summary in which I suggest that women of any rank are incapable of altering their fate of being estranged from politics and being oppressed by male power unless they have a consciousness of their own victimization and try to establish a kind of supportive group in resistance to the oppressors.

此論文檢視莎士比亞《冬天的故事》中里昂提斯的妒忌，辯證其顯示出了英國文藝復興時期，陽剛身分建構本身的問題性。在誘勸波西米亞國王延長拜訪的結果中，里昂提斯敗給了他的妻子赫美溫妮，他雄辯技巧上的弱勢也讓他的男性尊嚴受損；而赫美溫妮當初對於里昂提斯求婚的延遲回覆，以及本劇中的語言的模糊性引發了他的猜忌，進而帶來了陽剛身分的崩解。除了辯才外，此論文也探討私通的焦慮，其為英國近代早期陽剛身分建構下所暗藏的隱憂。這樣的焦慮引發他不理性的行為以及對妻子貞潔的誤判。為了重建他的聲望，里昂提斯擅用審判來保留駕馭妻子的絕對權力，並恢復他受損的名聲。儘管本劇稍後轉向以年輕一代為主軸，似乎象徵著新的轉變，然而在赫美溫妮復甦後，里昂提斯機智卻又令人感到不安的沉默，反映出他始終無法接受私通焦慮所帶來的汙名。此論文以辯才與私通來檢視莎士比亞《冬天的故事》中的陽剛特質，並以歷史與文化的文獻來佐證。期許能夠闡明英國文藝復興時期所困擾男性的陽剛焦慮，並且辯證主角里昂提斯的妒忌並不是無從解釋的情緒爆發，而是文藝復興陽剛身分建構下不可避免的集體產物。 / This thesis argues that Leontes’ jealousy manifests the problematic construction of masculine identity in Renaissance England. Leontes’ rhetorical inferiority to Hermione in the persuasion work resulted in his injured masculinity, which is exacerbated by the ambiguity of language in the play and Leontes’ sour memories of Hermione’s late acceptance to his marriage proposal, all of which sparkle Leontes’ jealousy and stimulate the collapse of his masculinity. Aside from rhetorics, this thesis also examines the anxiety of cuckoldry, a pre-existent, latent apprehension inherent in the construction of masculinity in early modern England. This anxiety leads to his unreasonable behavior and misjudgment. In order to rebuild his reputation, Leontes appropriates the public trial to retain absolute dominance over his wife and restore his stained honor. While the shift of the play’s focus to the younger generation signals a revision, Leontes’ tactful yet disturbing silence after Hermione’s resurrection reflects his resurfaced masculinity in the context of marriage and his inability to come to terms with the stigma of cuckoldry anxiety. Leontes’ jealousy is triggered by his lack of rhetorical skills essential to male confidence, a lack which is brutally magnified by his wife’s impeccable eloquence; his following accusation of Hermione’s adultery is precipitated and irrevocably executed by his fear of rumor and cuckoldry prevalent in his time. This thesis aims to shed light on the issue of Renaissance masculine anxiety and prove that Leontes’ jealousy is not just an unexplainable outburst of emotion, but rather an inevitably collective product of the construction of Renaissance masculine identity.

本論文以女性主義的觀點來探討莎士比亞的劇本＜脫愛勒斯與克萊西妲＞。傳統的讀法傾向於將克萊西妲視為典型的淫蕩女性；然而我想證明批評家及劇中男性的對她譴責之不當。事實上她是被父權文化所壓迫的受害者。 本文共分為一篇序論及五個章節。序論中簡介來自各方批評家對本劇 的評價以及我對於本主題的研究動機。首章探討男女之間失衡的關係並揭露對愛情偏頗的觀念如何貶低了劇中戀人。第二章試圖揭穿劇中男性對於海倫的價值所持之無理性的觀念，海倫被貶為商品，一種所有物。第三章描述脫愛勒斯與克萊西妲之間的會面並仔細觀察克萊西妲對於女人規範的遵從。然而她刻意的屈從女性的角色反而被解釋為城府深沉的輕浮女子。第四章我希望顛覆傳統上所謂的「真誠的脫愛勒斯與虛偽的克萊西妲」之謬論。事實上她只是脫愛勒斯滿足性慾的獵物。她身為一個弱女子仰人鼻息的處境使得她沒有能力去愛。在最後一章我希望對本劇提供一個全面性的重新評估。藉由細心地審視莎士比亞對待這個傳奇性故事的描寫手法，我們可以發現莎氏其實免除了克萊西妲的罪過，她是被嚴重的誤解為虛偽的原型。 / The aim of this study is to examine Shakespeare's Troilus and Cressida from a feminist perspective. Traditional reading tends to deem Shakespeare's Cressida to be a type of inconstancy, a female wanton, but I would like to prove that she does not eserve all the blame from critics as well as from the men in the play. In fact, she is oppressed and victimized in her patriarchal culture. The thesis is composed of one introduction and five chapters. The Introduction briefly outlines the various assessments from critics and the motivation of my research on the topic. Chapter One discusses the unbalanced relationship between man and woman, and uncovers how the contaminated conception of love degrades the lovers in the play. Chapter Two attempts to expose the irrationality of the male characters with regard to the worth of Helen, who is reduced to the status of commodity. Chapter Three delineates Troilus and Cressida's encounter, and scrutinizes Cressida's conformity to woman's decorum. However, her intentional subjection to woman's role is interpreted as a calculating flirt. In Chapter Four, I would like to subvert the traditional fallacy of "true Troilus" and "false Cressida." In fact, Cressida is only a prey to Troilus' sexual appetite. Her precarious position as a powerless woman renders her incapable of love. In the last Chapter, I wish to provide an overall reappraisal to the play. By carefully examining Shakespeare's treatment of the legendary story, we may discover that the playwright indeed exonerates Cressida who is seriously misunderstood as an archetype of falsehood.

論文架構——梁實秋先生的事蹟與著作╱梁實秋先生的散文作品的分類與考述╱梁實秋先生的文學觀與批評觀╱梁實秋先生的散文觀與雜文觀╱梁實秋先生的散文藝術成就╱梁實秋先生的雜文藝術成就。 第一章緒論中，敘述研究動機、方式。第二章勾勒作家所處的社會文化環境，以及生活經歷、時代背景，都會影響到他的創作與風格。並且將梁實秋先生畢生著作，涵蓋散文、文學評論、翻譯、英語辭典編著、英語讀本與教材的編著等，按年代先後順序一一羅列，並且說明出版社、版本及頁數，以完整呈現梁實秋一生的重要著作。第三章進一步將梁實秋先生的三十六本散文作簡介與考述。 第四章是論述梁實秋先生的文學觀與批評觀。梁實秋在華學校就讀時期，創作理念接近於浪漫主義，但到美國哈佛留學後，在思想上深受白璧德的影響，思想轉到了古典主義。因此，在這部分，分述梁實秋的浪漫主義、古典主義及人文主義的思想。此外，自西元一九二七年至一九三六年，梁實秋與魯迅之間的論戰，震撼了整個中國文壇。梁魯之間論戰的主旨，著重在兩個問題上，一是文學的階級性和普遍的人性問題；另一則是關於翻譯中的硬譯問題。但是爭論的核心是文藝批評中最引起爭論的問題──「人性論」，其他爭論都環繞此軸心而轉動，並以此為焦點擴散延伸。其次是文學批評觀，主要從《文藝批評論》及《梁實秋論文學》二書中，去闡發論述其在文學批評上的觀點。 梁實秋在〈論散文〉一文中，曾指出散文的形式、特色、文調及原則；也論及散文最常見的毛病，如：太多枝節、太繁冗、太生硬、太粗陋等。透過他散文作品的分析、論述及舉證，可以歸納出梁實秋的散文創作理念包含了散文要忠於自我，切記模倣；散文講求感情滲入與文調雅潔；散文的根本原則是「割愛」；散文的最高理想是「簡單」。此外，檢視梁實秋的散文創作，有半數均是「雜文」寫作的風格及題材；而有些著作甚至直接以「雜文」命名，如：《實秋雜文》、《秋室雜文》及《雅舍雜文》等。因此在第五章中，根據作品內容，整理、歸納出梁實秋的雜文創作觀點。 第六、七章分別就梁實秋先生的散文藝術成就與的雜文藝術成就作闡述與探討。從題材、情趣、風格、修辭等方面，作分析與舉證，以凸顯梁實秋先生散文作品之成就。 　 第八章結論，簡論梁實秋先生一生在學術、編輯、散文、翻譯等方面的成就，進而肯定梁實秋在現當代文學史上絕對有明確的定位。

本論文視莎士比亞的《量罪記》為詹姆士王朝城市喜劇。這齣喜劇勾勒出城市的郊區下流地圖誌。過去的批評家在討論此劇時，要不將此劇視為迎接英國新國王詹姆士一世的奉承之作，就是將此劇解讀成對新來統治者的政治批評。本論文試圖超越過去論述的簡單二元對立，以城市喜劇的角度重新切入《量罪記》，分析莎士比亞如何透過戲劇再現城市下流文化，以及此舞台再現如何連結台下底層市民，形成大眾展演政治。 論文第一部分分析《量罪記》與城市下流文化的再現。本劇將維也納城作為「崩壞之身」拉開序幕，此隱喻一方面沿襲自文藝復興時期的身體政治學，一方面又挑戰了它，因為此「崩壞之身」直到劇終仍然維持其「病態」。本劇讓觀眾體驗漫布於城市各個角落的下流文化，包括郊區的妓院群與監獄中的娼寮。本劇表面上似乎在鞏固文森提歐公爵對城市空間的掌控與管理權，另一方面卻又透過「下流」角色的身影，提供觀眾另類的閱讀，揭露城市下流文化的延續與崛起。 論文第二部分探索詹姆士王朝的城市慶典與本劇饒富興味的最後一幕之間的關係。最後一幕中，公爵的皇家入城儀式與詹姆士一世的王室慶典有許多相似之處。城市慶典許久以來便是君王用來展示自我權力的工具之一，詹姆士一世對於自己的王室慶典之抗拒，卻流露出他對公眾討論的恐懼與對自我名譽的管理。他對公眾形象的細心掌控也被再現於此劇的最後一幕中。不過，即使在這最後一幕，嫖客盧求不僅讓公爵淪為眾人笑柄，毀了他的聲譽，更勾起觀眾對城市下流文化之記憶。因此，觀眾目睹的反而不是一個可敬王者的回歸，反而是一個淫亂嫖客之崛起。 論文第三部分將本劇放置在原本的文化、社會與歷史背景中 。《量罪記》屬於1603年後冒出的一波「偽裝國王劇」，這一波戲劇風潮呼應伊莉莎白一世去世、詹姆士一世繼位的關鍵歷史時刻，反映出的是當時人民對於新王來臨產生的焦慮。《量罪記》特別之處在於呈現了城市「下流」人物對於未來生存與否的焦慮。另外，本劇亦與「假國王」的戲劇傳統相關。在此戲劇傳統中，劇作家會透過舞台上的「假國王」來做政治批評，展示適當的統治方式。本論文認為，本劇中影射詹姆士一世的公爵角色也可被視為一個舞台上的「假國王」，崛起的反而是城市「下流」人物。本劇透過丑角盧求邀請觀眾大方嘲弄公爵並且挑戰他早先建立起的權威。最後，盧求成為舞台上的底層大眾化身，透過情色的笑話與不馴的笑聲與台下的觀眾形成「下流」社群，共享大眾歡樂。正是這大眾愉悅的力量，讓此劇不再替統治者的權威背書，反而擁抱了底層下流市民。 / This thesis sees Shakespeare’s Measure for Measure as a Jacobean city comedy that maps an urban vulgar culture. Critics in the past often focused on whether the play should be read as a flattery to the new king, James I, or as a political criticism of the ruler. The thesis goes beyond the simple dichotomy offered by criticism in the past. It reads Measure for Measure as a city comedy and analyzes Shakespeare’s dramatic representation of the urban vulgar culture, which connects the lowlife figures onstage with the audiences offstage, ultimately forming a popular performative politics. The first part of the thesis analyzes Measure for Measure and its representation of an urban vulgar culture. Vienna in the play is represented as a “vile body,” which both confirms and unsettles the early modern body politic, since the vile body stays “ill” till the very end of the play. The play invites the audience to experience how this vulgar culture permeates every part of the city, including the houses of prostitution in the suburbs and a “bawdyhouse” in the prison. While the play seems to confirm Duke Vincentio’s control and regulation of the city, the bawdy figures provide us with an alternative reading of the play, revealing the survival and even the rise of the urban vulgar culture The second part of the thesis relates Jacobean civic pageantry to the play’s intriguing final scene, in which the Duke stages a royal entry that is not unlike James I’s civic pageantry. While civic pageantries had long been used by monarchs to demonstrate their power, James I’s resistance to participating in his own pageantry revealed his fear of public discourses and his careful management of reputation and honor. This careful management of public image is also represented in the play’s final scene. However, even during the final scene, Lucio not only turns the Duke into a mockable figure but also ruins the Duke’s reputation and honor. His stage presence also evokes a suburban vulgar culture. Thus, the audience does not witness the return of a respectable ruler, but the rise of a lascivious whoremaster. The third part of the thesis puts the play into its cultural, social, and historical backgrounds. Measure for Measure belonged to the wave of disguised ruler plays after 1603. The wave of drama was produced during the critical moment when Elizabeth I died and James I came to the throne. It reflected a popular anxiety of the arrival of the new king. Measure for Measure is unique in its dramatization of suburban bawdy figure’s anxiety of their future state. In addition, the play was also closely connected to the “mock king tradition,” in which the dramatists staged a mock king on the stage in order to show the proper way to rule. The thesis argues that Duke Vincentio, who resembled James I in many aspects, could possibly stand for a “mock king.” What the play actually shows is the rise of the suburban vulgar culture. The clown Lucio invites the audience to laugh at the Duke and challenges his authority established in earlier scenes. Lucio eventually stands for the general lowlife public on the stage, forming a “bawdy” community with the audience through bawdy jokes and unruly laughter. It is exactly this power of popular mirth that turns the play from an endorsement of the ruler’s authority to a celebration of the lowlife citizens.