臺灣博碩士論文加值系統

威廉•莎士比亞之《羅密歐與茱麗葉》及約翰•韋伯斯特之《瑪樊女公爵》中充滿許多事故和巧合。如此多意料不到的事件使批評家們深信命運之輪掌控主角的命運。本論文意旨在駁斥命運之輪導致此兩齣悲劇之說法。採用史蒂芬•格林布拉特之新歷史主義與文藝復興之自我塑造的概念來探討兩位女主角堅決的自我塑造和家人在權力驅使誕生之下的家庭塑造。此論文將家庭與自我塑造產生的衝突視為造成兩位女主角的悲慘下場的原因。
本論文共分為五章。第一章介紹此二齣戲劇的劇作家在劇中所描述的義大利歷史背景。此社會政治的環境深深影響各角色的思維和行動。第二章闡明史蒂芬•格林布拉特之新歷史主義論並結合米歇爾•傅柯之權力論述與其他理論家之自我塑造觀念。第三章說明家庭塑造如何控制劇中二位女主角的思想、行為和身份。第四章則探討二位女英雄如何對抗強大的家庭塑造及二位步入歧途的配角如何強烈地重塑自我並牽涉二位女主角悲慘的沒落。綜觀回顧全文，帶出此二部戲因源於女主角的家人在權、財的慾望誘惑之下與女主角的個人強烈的自我塑造意志所引發的悲劇。因此，一切的災難無法歸咎於命運之輪，則應當譴責當時的社會形勢和雙方思想塑造之間的衝突。

William Shakespeare’s Romeo and Juliet and John Webster’s The Duchess of Malfi abound with a host of accidents and coincidences. There are so many such chance occurrences that critics hold that the Wheel of Fortune must be what controls the protagonists’ fate. This thesis aims to refute the prevailing critical analysis that the tragedies arise under the concept of the Wheel of Fortune. By applying Stephen Greenblatt’s new historicism and his concept of Renaissance Self-Fashioning, the thesis explores the two female protagonists’ strong self-fashioning behavior in relationship with their families’ family-fashioning drive for power and influence in these two plays. The thesis considers that the resulting conflict between the two types of fashioning is what triggers both protagonists’ tragic end.
The thesis is divided into five chapters. Chapter One introduces the Italian historical background that both English playwrights used for the setting. The socio-political conditions influence both the main and minor characters’ thought and action. Chapter Two explains Stephen Greenblatt’s theory of new historicism and links it to Michel Foucault’s power discourse, and other theorists’ concepts of the ideal self-fashioning. Chapter Three manifests how family-fashioning dominates the two female protagonists’ thought, behavior, and identities. Chapter Four examines how the two heroines shape themselves to revolt against the mighty force of family-fashioning and how devious minor characters, also with a strong will to refashion themselves, are implicated in the heroines’ downfall. With the overall review, the thesis concludes that the tragic outcome springs from the conflicting desires emerging during the age of the Renaissance: the family desire for wealth and power and the individual will for self-determination. The misfortunes thus cannot be attributed to the Wheel of Fortune but ironically to the social conditions and conflicting thoughts fashionable during the period.

Chinese Abstract i
English Abstract ⅲ
Acknowledgments ⅴ
Chapter One: Introduction 1
Chapter Two: New Historicism: Renaissance Self-Fashioning 6
New Historicism–Michel Foucault and Louis Montrose 6
Cultural Materialism–Similarities and Differences with New Historicism 10
New Historicism and Old Historicism–Differences 11
Renaissance Self-Fashioning Cotexts: Baldesar Castiglione, Pico Mirandela, and Niccolo Machiavelli 12
Chapter Three: Family-Fashioning as Tragic Fall 18
Cultural Materialism and the Growth of the Family-Fashioned Class 22
How Family Feuding Results From Competition between Families Growing More Powerful 37
Chapter Four:Self-Fashioning and Individualism in Shakespeare and Webster 48
Evil Manipulations: Negative Self-Fashioning 51
Individualism of Women in Love: Positive Self-Fashioning 60
Chapter Five:Conclusion 79
Bibliography of Works Consulted 82

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