臺灣博碩士論文加值系統

　　　　　　　摘　　要
本論文的主旨在於探討莎士比亞十部歷史劇中女性與歷史之關係，企圖指出：長久以來，以男性歷史為中心的讀法，並不能夠解釋劇中所不斷呈現的眾多女性角色。本論文強調，唯有正視與恢復女性角色為劇中不可或缺的要素，才能了解劇中女性角色與男性角色在各種互動之下所展現的戲劇意涵。本論文之理論觀點源自於威廉士（Raymond Williams）及牧藍尼（Stephen Mullaney）：威氏主張戲劇本來就是多聲發言，而牧氏則強調文藝復興時期的戲劇原本就內藏著相互衝突的原素及立場。這些見解皆使得注重女性角色之閱讀有所依憑。
本論文所做之劇本分析著重於探討劇中的女性角色，強調不管是在劇中的政治或是戲劇兩個層面，她們皆具有重要份量。不論是在《約翰王》（King John）中強悍的母親或是《亨利六世》（Henry VI）中女戰士的角色，兩者皆對歷史的建構具有舉足輕重的地位。至於其他在政治層面看似未具有影響力的女性，郤往往在戲劇層面佔有極為重要的份量。她們超越歷史開啟另類喜劇空間，或建構出感人肺腑的故事。經由女性角色所發出的各種不同聲音，不僅擾亂了以男性為中心的歷史敘述，也證明除了男性觀點的歷史之外，劇中內含了多種版本的歷史。
本論文雖然借重新歷史主義的途徑，郤主張在閱讀莎翁歷史劇時，新歷史主義所常用的「顛覆－圍堵」概念需要加以修改。以男性為中心的歷史建構以及與此相連繫的意識形態鞏固，總是會遭遇劇中女性聲音的干擾。本論文著力於證明劇中所呈現的圍堵通常是失敗的；並且進一步強調，只有將主流及邊陲的力量共同視為劇中不可分割的構成要素，才能夠更清楚地了解莎翁歷史劇中深刻的意涵。

Abstract
This dissertation explores the relationship between women
and history in William Shakespeare''s ten history plays. The
purpose of this dissertation is to demonstrate that "her
stories," which have been ignored by critics, are not absent
from these plays. "Her stories" interact and interfere in
various ways with "his stories" to constitute the history
Shakespeare presents. Two basic ideas are crucial to my re-
examination of these plays: Raymond Williams''s concept of the
drama as "inherently multivocal" and Steven Mullaney''s notion
that Renaissance plays harbor "ambiguities."
The analysis of the plays accentuates women''s political
and dramatic power. It argues that the dominating mothers in
King John and the woman warriors in the three parts of Henry
VI influence the course of historical events. Various
politically powerless women are dramatically empowered: some
force alternative comic spaces out of history; some constitute
appealing emotional subtexts; some command disturbing voices.
Their stories inform us that there are alternative versions of
history.
Even though this dissertation owes much to the insightful
assumptions of New Historicism, it argues that the often used
subversion/containment interpretation should be
reconceptualized when applied to these plays. The male history
and ideology are always interfered with by the female voices
which are inherently present. Containment, as our analysis
will eventually prove, often fails. It would be more fruitful
to conceive mainstream and marginal forces as coexisting
-within Shakespeare''s history plays.

Cover
Table of Contents
Chapter 1 Introduction
Chapter 2 Women''s Struggle for Power: Female Characters in King John
Chapter 3 Interfering Voices:Women in Shakespeare''s Second Tetralogy
Chapter 4 Military Threats: Women in the three parts of Henry VI
Chapter 5 Women as Richard''s Arch-rivals:The Discursive War in Richard III
Chapter 6 Individualized by "Unqueening": Katherine in Henry VIII
Chapter 7 Conclusion
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