本篇論文試圖處理蒲松齡的《聊齋誌異》與安.瑞得克理夫的《尤多夫古堡的秘辛》中的愛情主題, 共分為五個章節. 第一章的導論是希望從蒲松齡與安.瑞得克理夫對於超自然文學傳統的再創新, 乃至於兩人利用個人歷史(愛情故事)為集體歷史之借鏡做為前提, 提出雙方之愛情主題的可比性. 同時佐以選用作品之簡介. 第二章是針對兩作品中的東西方愛情模式的文學傳統進行探究, 藉以歸類出騎士仕女模式以及才子佳人模式. 本人認為兩人對於東西方愛情模式的再改寫其實是希望能夠深化伴侶式婚姻的概念(相較於封建制度的婚約觀), 並且提升了在求愛的權力結構的女性角色的地位. 第三章則是以東西方愛情故事中場景意涵為主軸. 本人採用了佛洛依德對於生死之衝動為論述分析伊甸園, 古堡, 仙境, 墳墓與破廟的場景. 第四章則是以父系制度下的異化他者的角度分析東西方女性主角因變形和理性思維的帶入所產生的異質化, 所呈現出的神仙教母式,與公開卻被壓迫的受害者式的兩類型. 最終章則是總結上述章節之結果.

My comparative study of the love theme as expressed in Ann Radcliffe’s The Mysteries of Udolpho and Pu Songling’s love tales from Strange Tales of Liaozhai consists of five chapters. Chapter One proposes to discuss the comparative theme of love in two works, based on Radcliffe and Pu’s innovation of the supernatural literary tradition, as well as their similar emphasis on personal history in love stories, so as to reflect the communal history. Their selective works are also briefly introduced, too. Chapter Two concentrates on the thematic “patterns” of love, to identify the early amatory pattern of static characters in eastern and western literary traditions, which can be presented as “Knight-Lady” and “Scholar-Beauty” patterns. My argument is that Radcliffe and Pu’s adaptations not only emphasize the companionate (vs. arranged) marriage, but also elevate the heroine’s status in the power structure of courtship. Chapter Three’s focal point is the meanings of eastern-western “settings” in amatory stories. Freudian psychoanalysis helps to identify, in general, life and death drives in Udolpho’s “Eden” and “Caslte,” and Liaozhai’s “Fairyland” and “the Graveyard and the Ruined Monastery.” Chapter Four presents the authorial portrayal of heroines in English and Chinese Cultures as the autonomous other under the patriarchal power structure: “opened but oppressed victim” or “benefactors” through the alienated powers of “reason” and “transformation.” My final chapter summarizes my thesis.

Acknowledgement.......................i
Abstract..............................ii
Chapter One: Introduction.............1
Chapter Two: On Patterns..............18
Chapter Three: On Settings............38
Chapter Four: On Heroines.............68
Chapter Five: Comparative Conclusion..90
Bibliography..........................93

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