This thesis aims to analyse the construction of female identity from the beginning of the feminist activism in Victorian era whose rationale was formed during the eighteenth century, to the contemporary times in terms of patriarchy and motherhood in Timberlake Wertenbaker&rsquo / s The Grace of Mary Traverse and The Break of Day. This study is conducted with the historical development of the feminist movement that has had different agendas at different periods of history being taken into account. Fighting for women&rsquo / s emancipation and equality, feminism has helped women attain certain rights / however certain roles imposed on women that have been designed to define fema le identity cannot be said to have been eliminated. Rather, as this study shows, the oppression women have faced has just changed direction / but its nature is still the same. To this end, Wertenbaker presents the situation of women in different contexts of time and circumstances in her plays. Women&rsquo / s quest for identity has been interrupted and diverted by various oppressive mechanisms and institutions which are patriarchy and motherhood as the major focus of analysis throughout this thesis in Wertenbaker&rsquo / s plays.

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.

英國女劇作家渥坦貝克(Timeberlake Wertenbaker) 筆下著名的《夜鶯之愛》 (The Love of the Nightingale) 在近年來獲得多方批評家的討論。大多數的批評家總以政治及性別的角度探討這部劇作中呈現女性如何成為男性暴力下的受害者。然而，本論文將採用德勒茲 (Gilles Deleuze) 和瓜塔里 (Félix Guattari) 的去疆域化 (deterritorialization)、生成動物 (becoming-animal)、再疆域化 (reterritorialization)、及少數文學 (the minor literature) 的理論概念，重新剖析渥坦貝克如何透過翻譯 (translation)、互文性 (intertextuality)、變形 (transformation) 書寫等寫作策略，彰顯普洛克涅 (Procne) 及菲勒美拉 (Philomele) 如何在受盡錯置及語言喪失的苦痛後，找到越界的可能性。在德勒茲和瓜塔里的理論架構之下，本論文的第一章節將先詮釋普洛克涅及菲勒美拉如何離開父系體制，並藉由逃逸路線 (lines of flight) 展開去疆域化的旅程，並在去疆域化的過程中面臨到未知的危險及機會。再者，論文中也探討普洛克涅及菲勒美拉的動物變形可以被視為她們僭越傳統意識型態束縛的証據。在經歷過生成動物 (becoming-animal) 的過程之後，普洛克涅及菲勒美拉改變了她們對於原生社會及世界的態度及看法。最後，普洛克涅及菲勒美拉的再疆域化帶領她們到另一個新的疆界，釋放女性內心的忿怒及慾望。在新的疆域中，女性們發現到另一個新的出口，重新探索流動性主體的存在，挑戰有機體式的國家體制。 / Timberlake Wertenbaker’s The Love of the Nightingale (1989) is the preeminent play of translation which calls many critics’s attention. Based on the myth of Procne and Philomele, The Love of the Nightingale is always discussed by critics from the political and sexual perspectives to show how women become the powerless victims under the male violence. However, in this thesis, I would like to use Deleuze and Guattari’s concepts of deterritorializaion, becoming-animal, and reterritorialization to analyze how Procne and Philomele find out the possibility of transgression from the suffering dislocation and dispossession of language through Wertenbaker’s dramaturgy of translation, intertextuality, and transformation. Applying Deleuze’s and Guattari’s theories to analyze The Love of the Nightingale, I would first show how Procne and Philomele obtain the chances to leave the patriarchical territory, beginning their deterritorialization to encounter unknown risks and chances via lines of flight. After the deterritorialization, Procne’s and Philomele’s physical metamorphosis could be regarded as the evidence of how they traverse the presupposed ideological system. In the process of becoming-animal, Procne and Philomele change their attitudes and perspectives toward their cultures and the world. Later, they are reterritorialized to another territory, releasing their desire and anger. In the new territory, they could find another way to search fluid identities and to challenge the state apparatus.

渥坦貝克的劇作《解剖新義》聚焦於法國殖民北非時期，伊莎貝拉(Isabelle Eberhardt)的旅行經驗。伊莎貝拉女扮男裝以歐洲冒險家身份旅行，設法爭取個人自由，致力於破除父權社會加諸於女性身上的性別刻板印象。本劇涵蓋了空間位移、遊牧旅行以及與他者相遇的概念。大多數的批評家對於此劇的討論，多著眼於角色如何跨越性別、地理疆界，而鮮少碰觸旅行議題本身。本論文試圖細讀《解剖新義》，進而探討其中的旅行議題，以及旅行伴隨而來的外來者問題。 本論文的第一章涵蓋《解剖新義》的相關評論，以及論文的主題。第二章說明旅行必要的條件，進而帶出本論文關切的旅行要素。第三章引用茱莉亞·克莉斯蒂娃 (Julia Kristeva)對外來者的見解，點出外來者的問題。本劇呈現旅行者與當地居民彼此間心理的矛盾衝突；同時，也提供不同例子說明個人如何能夠緩和自我與他者間的不合。第四章將以雅克·德希達(Jacques Derrida)的「待客之道」(hospitality)理論延續討論個人將如何面對與他者相遇的問題。第五章為本論文的總結，提供新 的解讀《解剖新義》方法。即便「待客之道」的概念在《解剖新義》中的某些場合被曲解誤用，卻也隱含「待客之道」在不同論述中，可能以不同概念呈現。 / Timberlake Wertenbaker’s New Anatomies (1981) is a play that centers on Isabelle Eberhardt’s traveling experience during French colonialism in North Africa. Isabelle, who endeavors to break the gender stereotype that is imposed on women in the patriarchal society, manages to strive for her own freedom by setting out for a journey as a European cross-dressed adventurer. The play deals with the ideas of displacement, nomadic traveling, and the encounter with the other. Critics’ responses to the play often focus on how the characters cross the gender and spatial boundaries; however, few of them seem to touch upon the issue on traveling itself. I intend to grapple with the issue on traveling by having a close reading on New Anatomies, and to deal with the accompanying foreigner question in a voyage. Chapter One of the thesis contains the literature reviews of New Anatomies, and carries out the concern of the thesis. Chapter Two presents the essential element in traveling and further maps out my concern about traveling. Chapter Three brings out the foreigner question by elucidating Julia Kristeva’s notion on strangers. The play reveals the psychological conflicts between a traveler and the locals; meanwhile, it also presents diverse examples on how one is able to reduce the estrangement between one and the other. To proceed with the discussion on how one shall react in response to the encounter with the other, I employ Jacques Derrida’s concept of hospitality in Chapter Four. Chapter Five is the conclusion of the thesis that points out how the thesis can be treated as a new way of study on New Anatomies. Though the meanings of hospitality are in some occasions being deformed in New Anatomies, they imply that there are different concepts of hospitality that is authorized in different discourses including traveling.