輔仁大學英國語文學系

85學年度以前之論文

The Phenomenon of Tolerance in the Narrating Huck of The Adventures of Huckleberry Finn 《哈克歷險記》中敘述者哈克的寬容意識現象

學年 / 85　學生 / Ivy Neu-ling Huang 黃女玲　指導教授 / Bro. Nicholas Koss 康士林老師　

This thesis explores the phenomenon of tolerance in the
narrating Huck's reconstructing the history of his important interrelations with his society. Through the inspiration of
Twain's humorous mimetic art and the Bakhtinian dialogism-- the phenomenon of other's voices within self's voice resulted from the indispensable co-relation between individual and society--the phenomenon of olerance is shown not only in the narrating Huck's simulating and thus mocking at his earlier self's ignorance, but also in juxtaposing his own weakness and others' falsity. Because the humor of anti-heroic self-criticism is figured out by examing the narrating Huck's intention of recapturing the process of his earlier, experiencing self's mental development, and because the track of the enlargement of this experiencing self's humanity is closely related to the episodic events he encounters, this thesis illustrates that not only is this novel, _Huck Finn_, is writtenin direct satire, but also does Twain intend to criticize thepicaresque genre within picaresque presented in this novel.

在馬克吐溫《哈克歷險記》這部小說裡，蘊含於敘述者兼角色的哈克之表層天真的批評聲中，有著另一揭露此表層天真之愚昧的批評之聲。本篇論文，透過馬克吐溫幽默藝術之模仿表演美學觀點，以及巴
赫汀人我相關所產生的聲中之聲的現象，探討敘述者哈克以寬容之心態模仿重構自我的心理成長歷程，來透視自我及他人的弱點。因底層自我批評之聲抗衡了表層批評他者之聲，並且因這種記憶重構過程，使得表面上不連續的生命插曲組成了使哈克學習愛與寬容的重要生命歷程，本文揭示《哈克歷險記》不僅是以不直接諷刺文體所寫成，甚至還是一部反諷惡漢小說的惡漢小說。

Women, Thy Name is Reality: Fitzgerald's Women in The Great Gatsby and Tender Is the Night 女人，妳的名字是現實：費滋傑羅《大亨小傳》和《夜未央》中女性角色的探究

學年 / 85　學生 / Grace Li-ling Yang 楊麗玲　指導教授 / Bro. Nicholas Koss 康士林老師　

Analyzing Fitzgerald's women from a different critical
approachbased on the two concepts of "social identity" and
"emotional identity,"this thesis intends to propose that women in The Great Gatsby and TenderIs the Night constitute a family of reality. Daisy Fay Buchanan is an upper class sister changed hues, whose identity fluctuates from emotionalto social, romantic to socio-materialistic. Myrtle Wilson is a poor working-class sister who always yearns for the symbolic discourse of thearistocracy. Nicole Warren Diver is a leisure-class sister who initiallysituates herself in the context of emotional principles and eventuallyidentifies herself with the symbolic discourse in which she is a part.Rosemary Hoyt is the daughter of this family, who, nourished by its socialidentity, practices and follows it accordingly. Baby Warren is the head ofthis family, whose identity is steadfastly located in the stream of thehard, amoral reality. Read in this way, contrary to Fitzgerald's male protagonists who are universally acknowledged dreamers, his femalecharacters are unrecognized
realists.

本論文企圖從「情感認同」的角度剖析費滋傑羅女性角色的內在心景，進而提出迥異於傳統評論家的另一讀法。費滋傑羅《大亨小傳》與《夜未央》兩部小說中的女性實建構出一現實家庭。黛西是個變色、隸屬於上流社會的姊妹。梅朵是個永遠嚮往貴族生活語彙卻被置放於工人階級的可憐姊妹。妮珂是個原忠於其情感認同，後擁抱其社會認同的貴族姊妹。羅絲瑪麗也是此家庭的女兒。她不僅取現實教條之養分，且忠貞地奉為圭臬。貝貝是此一現實家庭的首腦。她的屬性穩當地立足於酷冷、道德解體的現實社會。因此，有別於費滋傑羅的男主角是舉世皆知的夢想主義者，他筆下的女人是尚未認知的現實主義者。

Criseyde True, Criseyde False: The Reconstructionof Criseyde in Chaucer's Troilus and Criseyde 克麗賽緹的是與非：論喬叟的《卓勞士與克麗賽緹》中克麗賽緹的角色重塑

學年 / 85　學生 / Eleanor Hei-wen Shih 施惠文　指導教授 / Dr. Carolyn Scott 石苓老師　

Chaucer's Troilus and Criseyde is basically a story
filled with oppositions and contradiction. Paradoxically,
Criseyde is "both" conventionaland unconventional. Similarly,
the narrator in this poem also plays two opposite roles: he
submits to the previous authority in translating the poem,and on
the other hand, he emotionally gets involved with Criseyde.
Actually, Chaucer the author has his intention to develop the
tale in suchopposite points of view. In depicting Criseyde with
both conventional and unconventional characteristics, Chaucer
the author asserts his right to transform the heroine from the
conventional personage of inconstancy to the unconventional
"good" woman. Accordingly, in depicting the narrator with two
opposite attitudes (rational as a narrator and emotional as a
lover),Chaucer the author determines that he has a right in
translating to change themotif of the story from betrayal to
forgiveness, and most important of all, as Chaucer uses the
narrator to change the motif of the tale, he defiesthe authority
of the previous authors and sources.

喬叟的著作 "卓勞士與克麗賽緹" 是一部充滿著正與反互相對立矛盾
的詩作o 作者對於女主角克麗賽緹的描寫是矛盾的: 一方面來說, 她
是很傳統的, 但就另一方面來說, 她亦是極反傳統的o 克麗賽緹的矛盾
性格事實上便是喬叟對於女主角的看法與態度o 喬叟認為,女主角的傳統
角色即是一名楊花水性, 辜負男人真感情的女子o 而女主角的反傳統角
色表達出作著對其傳統角色的辯護o 亦即喬叟認為克麗賽緹之所以會成為
一名壞女人是源自於以前作者對女人憎恨的態度, 當作著辯護克麗賽緹為
好女人時, 作著試圖要把克麗賽緹從壞女人的窠臼中拯救出來o 另
一方面, 作者對於此詩作中敘述故事者的性格描寫亦是矛盾的o 敘述者
一方面極為客觀地追隨以前作者鋪陳此萹故事的架構, 訴說女主角的不
貞, 同時他也口誅筆伐以前作者對女人的偏見o 作者事實上是藉著敘述者
的說話態度來表明, 他對於以前的作者不信任不茍同的態度o 最後作
者藉由敘述者同情女主角, 進而深深受女主角的吸引來說明作者本身有權
利表達自己對於鋪陳故事的權利, 當作者喬叟令敘述者同情女主角的遭
遇, 並原諒她的不貞,喬叟事實上已脫離了原本故事的架構, 亦即責難一
個不貞的女子, 進而為" 卓勞士與克麗賽緹 "做了重新的詮釋o 此故事在
作者的重新塑造下, 得以讓讀者重新一窺女主角的性格, 讓女主角得到讀
者的諒解, 並讓讀者深深體會到作者喬叟的詮釋能力, 原來喬叟是想證明
他比以前作者更具權威, 即使以前的作者將克麗賽緹塑造為一個不貞女
子, 喬叟亦有能力重新塑造克麗賽緹, 使她成為一名令讀者激賞的奇女子

Providentialism And Cultural Oppositions: Historical Representations In Milton's Early Poetry 天佑論與文化衝突：彌爾敦早期詩中的歷史想像與再現

學年 / 85　學生 / Alex Chi-ping Ma 馬治平　指導教授 / Dr. Raphael Schulte 蕭笛雷老師　

The present thesis is a study of cultural oppositions in
Milton's early poems. It emphasizes how Milton represents
his political world through his literary imagination and
historical visions. The first chapter treats Milton's early
Latin poems in 1620s, maily on Psalms Paraphrases and
Gunpowder Plot. Chapter Two shifts the focus to the
question of death in war and plague in particular. The last
chapter deals with Milton's _Mask_ as a political masque
critiquing his contemporary religioius and national affairs.
Milton's early radicalism is conspicuously present in his
early poetry and any religio-political labelling is
inappropriate to entirely cover his political intent.

彌爾敦早期詩（１６２０－３０）中以歷史想像重現其當代的宗教和政治生態。本論文討論彌爾敦如何以詩批評天主教和新教之間的歧異與衝突。文化衝突著於不同的政治立場、宗教認同、地域特質（不列顛與蘇格蘭）。首章討論彌爾敦早期拉丁文詩，以聖經詩篇意譯及火藥陰謀為主。第二章探討拉丁文輓歌：由戰爭與瘟疫帶來的死亡使人們思考人的存在與人神之間的關係。第三章探究《科馬斯》（_Mask_, or _Comus_）：其中的文化衝突存在於天主教與基督新教、國王派與國會派等；進而說明，後人為彌爾敦貼上之任何標籤，實無法涵蓋其政治意圖。

Framing/De-framing the Pre-Raphaelite Woman: John Fowles's Ekphrastic Revision in The French Lieutenant's Woman 前拉斐爾女性形象的設框與去框：約翰‧傅敖斯《法國中尉的女人》中之讀畫式改寫

學年 / 85　學生 / Yvonne Dwan-dwan Ou-yang 歐陽端端　指導教授 / Dr. Joyce Liu 劉紀蕙老師　

This thesis is a study of John Fowles's cultural critique of
the nineteenth-century art and life in _The French
Lieutenant's Woman_. Fowles demonstrates his critique of
the past primarily on his characterization of his heroine,
Sarah, by endowing her with subjectivity. Most of the
earlier critics tend to see Serah both functional as a symbol
and ontological as a human being with subjectivity. Later
critics, especially feminist critics, however, tend to see
Sarah as still a catalyst of Charles's transformation, or an
object of the narrator's narrative voice without being given a
subjecthood. Since I see Sarah as the mover of all actions in
the novel and a creator of her new self through her own
choice, I attempt justify Sarah's subjectivity in my thesis.
As Sarah achieves her independence in the household of Rossetti,
I assume the importance of this artist at my first stage of
writing and start to read the paintings of the Pre-
Raphaelite Brotherhood. Exaiming closely Fowles's
descriptions of Sarah, however, I discover that Sarah's
image is based on the image of the Pre-Raphaelite Women.
Fowles's presentation of Sarah does not only depict her by means
of the image of the Pre-Raphaelite Women, but refill the
image with life, action, and even release the narrative
impulse of the painted portrait by giving Sarah the power of
story-telling. To study Fowles's textual portrait of Sarah,
I find that ekphrasis is the most suitable and refreshing
way to proceed my thesis. Ekphrasis, briefly speaking, is the
verbal representation of the visual representation and
functions to bring the art objects alive before the mind's
eye. This representation of vision in words is not just a
verbal replica of the visual art but reflects the "translator'
s," that is, the poet's or the novelist's critique and
challenge of the visual representation. Therefore,
ekphrasis, stressing on the transition between the verbal
and visual representation and the question of representation
itself, helps me diagnose Fowles's revision of the woman's
image and even the tradition of fiction-writing. Fowles's
textual portrait of Sarah, here his ekphrastic revision of
her, arouses the question of frame. Fowles's critique of the
Pre- Raphaelite art can be first seen in his revision of the
artist- designed frames of the Pre-Raphaelite Brotherhood.
Fowles's frames of epigraphs and footnotes he arranges in
each chapter echoes the Pre- Raphaelite ornate and intricate
frames to set off the framed portraits. More than setting
off the painted portrait, Rossetti's frames, with its
simplicity and symbolism, seem to extend the painted portraits
onto them and the frames seem to be dissolved.
Nevertheless, the broadness, flatness, and gold color in the
frames are so strong that they isolate the inner portrait
from the external world rather than connect them. While
setting up the frames of the epigraphs and footnotes to enhance
the illusionism of the nineteenth-century romance, Fowles ushers
the intrusion of the narrator to break them in turn.
Fowles's characters, therefore, confron the confusion of the
external world rather than being secured within the frames.
Fowles's breaking up the frames thus disturbs the convention
of reading frames and reading fiction. In the first
chapter of my thesis, I study the concepts of framing in the
Pre-Raphaelite art and in Fowles's novel. Reading Fowles's
representation of Pre-Raphaelitism from the concept of framing,
I attempt to set up a theoretical approach of the thesis to
examine the interart dimension of the novel. The verbal
frame around Sarah is made up of the different texts
reinforcing the nineteen-century atmosphere especially from
the epigraphs and footnotes, Within these nineteenth- century
documents, Sarah's story suspends the larger story of the
narrator as a frame story. The frame of epigraphs and footnotes
Fowles designs in the novel is to set off the nineteenth-
century ethos; whereas breaking the frame by the anachronism
of the narrator's intrusion all the time, or with some
significant images or metaphors suggesting rupture of frame,
Fowles takes the frame as a narrative device and boundary
itself with layers of significance. In Chapter II, I
analyze the title of the novel and the central enigama,
Sarah. The focus of my discussion is on the Pre-Raphaelite
origin of Sarah and Fowles's revision of that image in
portraying her. From the study of Sarah's Pre-Raphaelite
origin, we shall find a dichotomy prevailing in the novel.
The dichotomy adhering to Sarah's image is actually Fowles's
strategy to reflect his attitude towards dualism and,
moreover, his idea on writing. To study Sarah's image with the
mask of the Pre-Raphaelite Women, we shall see how Fowles's
position evolves from the gesture of gazing to the action of
writing. Fowles's revision of the Pre-Raphaelite frame and
image of women is to fulfill his pleasure of free play with
different texts in his writing in process. In Chapter
III, I stress on the inter-relationship between sexuality
and textuality as theme and technique in _The French Lieutenant'
s Woman_, a text of bliss. The novel as "a text of bliss"
is to respond Barthes's theory of the text and the idea of
jouissance which signifies the ultimate intensity of sexual
experience and reading experience and stands further as a
"rhetoric to resist closure and extend play" (Stanley Fish).
I shall demonstrate that while Sarah is wielding her power
of fictionalization and dramatization to free her sexuality, we
shall at eh same time experience the emancipation of the text
through the narrator's principle and practice of freedom.
Showing the romance- fiction relationship in _The French
Lieutenant's Woman_, the interart criticism (my application
of the ekphrastic theory here) helps turn over the
multiplicious dimensions of portraits. The study of
Sarah's Pre-Raphaelite origin, therefore, leads us to the
question of how a fiction can deal with its graphic
representation and offer revisionist thinkings. From
Fowles's ekphrastic revision of the Pre-Raphaelite Women,
therefore, we see not only his critique of the two-
mindedness of the Victorians towards women and sexuality, but
also his attitude towards fiction-writing: to be both
sounding true and coming clean, to present the fiction as an
on-going process, and to achieve the pleasure of writing.

傅敖斯在《法國中尉的女人》一書中，藉由一位二十世紀小說家的口
吻，敘述一十九世紀的羅曼史。小說家透過他的虛構，自由地來回於
不同時空，由此顛覆了讀者直線式的閱讀習慣，並傳達了他挑戰傳統
、遊戲小說世界的自由思想。傅敖斯對於傳統的挑戰主要表現在他對
女主角莎拉的性格刻畫上。透過賦予莎拉自在地遊走於自然之中，而
不理會傳統對於女性應安於家事的期待；讓莎拉擁有虛構故事的能力
，充分發揮他的想像；傅敖斯筆下的沙拉，是一個謎般的人物，跳脫
敘事者的掌握，超越讀者的理解範疇，更推翻小說傳統裡對於角色如傳記
般的刻板描述。此外，傅敖斯在小說中大量引用十九世紀不同領域的
各類文本，除營造營造歷史氣氛外，並呈現了一個複雜多采的互文世
界。本文將透過筆者對於書中女性角色的觀察，以及傅敖斯於各類互
聞聞本的處理之分析，探討並提證傅敖斯在表面上的遵循傳統之外，
實是行顛覆之實並挑戰各式傳統之革新－閱讀小說的傳統、小說創作
的傳統、以及性別政治的傳統。

碩士論文