臺灣博碩士論文加值系統

本論文旨在檢視威廉‧馬克匹斯‧薩克萊《浮華世界》中兩位備受爭議的女性主人翁：貝姬．夏普以及愛咪麗亞．席雷。愛咪麗亞是一個天真、忠誠、自謙的女性，她總是盡己所能達到男性對女性的期望。以維多利亞時期的觀點來說，她被視為一個理想的完美女性。相較之下，貝姬生性自私、自負又狡猾。為了達成自我的目標，她的行為背離了傳統的女性模式。在維多利亞時期，一個叛逆的女性完全符合壞女人的形象。因此，貝姬似乎就成了一個具毀滅性的妖女。雖然愛咪和貝姬皆迷人且有魅力，但她們表現出兩種完全不同類型的女人，分別是天使與怪獸。對一位男性作家來說，《浮華世界》的女英雄是否為一個傳統的好女人，薩克萊對女性的態度顯得很關鍵。除正之外，薩克萊《浮華世界》中亦廣泛地運用了反諷和嘲弄的手法，他真正的想法比讀者所見的文字內容還深複雜。本論文將剖析薩克萊對兩位女性主人翁詮釋，並探討這本小說中不同階層女性的地位。

The aim of this thesis is to examine the two controversial heroines in William Makepeace Thackeray’s Vanity Fair, Becky Sharp and Amelia Sedley. Amelia is a naïve, faithful, self-effacing woman who always tries to meet patriarchal expectations for women. From a Victorian point of view, she is regarded as an ideal woman. In comparison, Becky is selfish, self-confident and cunning. In order to achieve her goals, she departs from the model of traditional femininity. A female rebel against tradition was the standard image for bad women in the Victorian period. Therefore, Becky seemingly represents the image of the disastrous siren. Although Amelia and Becky are both attractive and charming, they represent two different kinds of women, considered respectively as the monster and the angel. Thackeray is a patriarchal writer and whether the heroine of Vanity Fair is a traditional Victorian woman or not, his attitude toward women is crucial. In addition, Thackeray's irony and mockery also take a wide range in Vanity Fair, and his true attitude and ideas are more complicated than the text. This thesis also analyzes Thackeray’s interpretation of the two heroines and discusses the women’s position at different levels in this novel.

Abstract (English)
Abstract (Chinese)
Acknowledgements
I. Introduction
II. Amelia Sedley's Fall and Awakening
A. Amelia as the Angel in the House
B. The Abortive Heroine
C. Amelia's Rebirth
III. "I Am No Angel":Femme Fatale or Feminist
A. Becky as a Disastrous Monster
B. The New Woman
C. Becky's Achievements
IV. Conclusion
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