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題名 志異天真：童年在《佐弗洛亞》、《科學怪人》及《咆哮山莊》的呈現
Gothic Innocence: Representations of Childhood in Zofloya, Frankenstein, and Wuthering Heights
作者 吳承翰
Wu, Cheng-Han
貢獻者 陳音頤
Chen, Yin-I
吳承翰
Wu, Cheng-Han
關鍵詞 童年研究
童年天真
女性志異
《佐弗洛亞》
《科學怪人》
《咆哮山莊》
Childhood Innocence
Childhood Studies
Female Gothic
Zofloya
Frankenstein
Wuthering Heights
日期 2023
上傳時間 2-Aug-2023 14:00:20 (UTC+8)
摘要 在西方世界中，最被人們珍視且最受世人所推崇的即是『童年天真』(childhood innocence)。孩童天真無邪的模樣其實可以追溯到從十七世紀英國哲人洛克的比喻：人的內心在出生之際如一塊白板(tabula rasa)。洛克的白板一說揭示了孩童代表人性中最美麗、最良善的特質。此後，童年也代表著人生的希望和生命中最美好的一段時光。洛克與其接續者盧梭的論述奠定了世人看待孩子的態度，充滿著浪漫與關愛，如此的態度也在十八世紀浪漫時期的英國蓬勃發展。許多浪漫時期詩人，如威廉•布萊克與威廉•華滋華斯在其詩作中，曾多次提及孩童的天真與美好，並甚至將孩子們視為大人們的精神導師，給予大人們許多珍貴的生命啟示。然而，孩子們在女性志異(Female Gothic)小說之中不但沒有所謂的天真可愛，往往還藏著可怕的殺機，成為故事中最驚悚的存在。由此看來，在她們的志異小說之中，三位女小說家夏綠蒂•黛珂、瑪麗•雪萊、艾蜜莉•勃朗特似乎並不認為孩子就是天真、可愛的代表。在《佐弗洛亞》、《科學怪人》以及《咆哮山莊》中，我們看見了一群跟我們理想截然不同的一群孩子們。他們時而暴力，時而憤怒。孩子往往是故事之中最具有破壞性的一股力量。在讚頌童年天真的十八與十九世紀之中，為何存在著兩種截然不同對於孩子的描述？當浪漫時期主要的男性詩人（尤其是布萊克、華滋華斯與其友人柯立芝）歌頌孩童的天真美好時，為什麼女性志異小說家在故事的鋪陳之中，精心地塑造出這些鬼魅、讓人心生恐懼的孩子們？女性志異小說家難道認為孩子不天真嗎？她們這樣的安排是為什麼？女性（尤其是母親）與孩子之間有什麼樣的文化與歷史意義？在故事中出現的失衡家庭，我們將看到這些鬼魅般的孩子們是怎麼翻轉社會大眾對於孩子天真美好的期待，以及他們是如何用最意想不到的方式訴說著他們最不堪（或我們最不願面對）的童年故事。
Children and the quality of innocence have been treated as synonymous since the Age of the Enlightenment and the Romantics, and then consolidated in the Victorian time. The general consensus is that children represent benevolence in humanity. Nevertheless, such an optimism is often put in question in Charlotte Dacre’s Zofloya (1806), Mary Shelley’s Frankenstein (1818), and Emily Brontë’s Wuthering Heights (1847). Drawing on the existing scholarship of the Female Gothic, this study attempts to look at the Gothic children from these three female novelists’ perspectives. In addition to women’s bitter accusation of the mistreatment of women in patriarchal societies, this study extends the findings of scholarship on Female Gothic by arguing that women writers’ pent-up anger at patriarchy can further be found in the description of problem children. With these three Gothic novels as representatives, this research aims to explore the other side of childhood innocence during a time when women were considered mainly responsible for child-rearing. The discord between the Romantic and Gothic representation of children, among other things, represents women writers’ deep worries over the dysfunctional patriarchal family and the problematic pedagogy of children. By using the insights of feminist studies and Childhood Studies, we shall see that women writers not only challenge the cult of childhood innocence but ask the reader to tackle issues such as parental neglect and child abuse in the Romantic and Victorian periods.
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描述 博士
國立政治大學
英國語文學系
107551503
資料來源 http://thesis.lib.nccu.edu.tw/record/#G0107551503
資料類型 thesis
dc.contributor.advisor 陳音頤zh_TW
dc.contributor.advisor Chen, Yin-Ien_US
dc.contributor.author (Authors) 吳承翰zh_TW
dc.contributor.author (Authors) Wu, Cheng-Hanen_US
dc.creator (作者) 吳承翰zh_TW
dc.creator (作者) Wu, Cheng-Hanen_US
dc.date (日期) 2023en_US
dc.date.accessioned 2-Aug-2023 14:00:20 (UTC+8)-
dc.date.available 2-Aug-2023 14:00:20 (UTC+8)-
dc.date.issued (上傳時間) 2-Aug-2023 14:00:20 (UTC+8)-
dc.identifier (Other Identifiers) G0107551503en_US
dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/146552-
dc.description (描述) 博士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 英國語文學系zh_TW
dc.description (描述) 107551503zh_TW
dc.description.abstract (摘要) 在西方世界中，最被人們珍視且最受世人所推崇的即是『童年天真』(childhood innocence)。孩童天真無邪的模樣其實可以追溯到從十七世紀英國哲人洛克的比喻：人的內心在出生之際如一塊白板(tabula rasa)。洛克的白板一說揭示了孩童代表人性中最美麗、最良善的特質。此後，童年也代表著人生的希望和生命中最美好的一段時光。洛克與其接續者盧梭的論述奠定了世人看待孩子的態度，充滿著浪漫與關愛，如此的態度也在十八世紀浪漫時期的英國蓬勃發展。許多浪漫時期詩人，如威廉•布萊克與威廉•華滋華斯在其詩作中，曾多次提及孩童的天真與美好，並甚至將孩子們視為大人們的精神導師，給予大人們許多珍貴的生命啟示。然而，孩子們在女性志異(Female Gothic)小說之中不但沒有所謂的天真可愛，往往還藏著可怕的殺機，成為故事中最驚悚的存在。由此看來，在她們的志異小說之中，三位女小說家夏綠蒂•黛珂、瑪麗•雪萊、艾蜜莉•勃朗特似乎並不認為孩子就是天真、可愛的代表。在《佐弗洛亞》、《科學怪人》以及《咆哮山莊》中，我們看見了一群跟我們理想截然不同的一群孩子們。他們時而暴力，時而憤怒。孩子往往是故事之中最具有破壞性的一股力量。在讚頌童年天真的十八與十九世紀之中，為何存在著兩種截然不同對於孩子的描述？當浪漫時期主要的男性詩人（尤其是布萊克、華滋華斯與其友人柯立芝）歌頌孩童的天真美好時，為什麼女性志異小說家在故事的鋪陳之中，精心地塑造出這些鬼魅、讓人心生恐懼的孩子們？女性志異小說家難道認為孩子不天真嗎？她們這樣的安排是為什麼？女性（尤其是母親）與孩子之間有什麼樣的文化與歷史意義？在故事中出現的失衡家庭，我們將看到這些鬼魅般的孩子們是怎麼翻轉社會大眾對於孩子天真美好的期待，以及他們是如何用最意想不到的方式訴說著他們最不堪（或我們最不願面對）的童年故事。zh_TW
dc.description.abstract (摘要) Children and the quality of innocence have been treated as synonymous since the Age of the Enlightenment and the Romantics, and then consolidated in the Victorian time. The general consensus is that children represent benevolence in humanity. Nevertheless, such an optimism is often put in question in Charlotte Dacre’s Zofloya (1806), Mary Shelley’s Frankenstein (1818), and Emily Brontë’s Wuthering Heights (1847). Drawing on the existing scholarship of the Female Gothic, this study attempts to look at the Gothic children from these three female novelists’ perspectives. In addition to women’s bitter accusation of the mistreatment of women in patriarchal societies, this study extends the findings of scholarship on Female Gothic by arguing that women writers’ pent-up anger at patriarchy can further be found in the description of problem children. With these three Gothic novels as representatives, this research aims to explore the other side of childhood innocence during a time when women were considered mainly responsible for child-rearing. The discord between the Romantic and Gothic representation of children, among other things, represents women writers’ deep worries over the dysfunctional patriarchal family and the problematic pedagogy of children. By using the insights of feminist studies and Childhood Studies, we shall see that women writers not only challenge the cult of childhood innocence but ask the reader to tackle issues such as parental neglect and child abuse in the Romantic and Victorian periods.en_US
dc.description.tableofcontents ACKNOWLEDGEMENTS......................................iii
CHINESE ABSTRACT......................................vi
ENGLISH ABSTRACT......................................vii
ABBREVIATIONS.........................................viii
PREFACE...............................................ix
INTRODUCTION..........................................1
CHAPTER ONE: CHARLOTTE DACRE’S INNOCENT DAUGHTERS.....25
CHAPTER TWO: MARY SHELLEY’S HIDEOUS PROGENY...........70
CHAPTER THREE: BRONTË’S DARK VERSION OF NEVERLAND.....118
CONCLUSION............................................166
FIGURES...............................................175
WORKS CITED...........................................179		zh_TW
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dc.format.mimetype application/pdf-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0107551503en_US
dc.subject (關鍵詞) 童年研究zh_TW
dc.subject (關鍵詞) 童年天真zh_TW
dc.subject (關鍵詞) 女性志異zh_TW
dc.subject (關鍵詞) 《佐弗洛亞》zh_TW
dc.subject (關鍵詞) 《科學怪人》zh_TW
dc.subject (關鍵詞) 《咆哮山莊》zh_TW
dc.subject (關鍵詞) Childhood Innocenceen_US
dc.subject (關鍵詞) Childhood Studiesen_US
dc.subject (關鍵詞) Female Gothicen_US
dc.subject (關鍵詞) Zofloyaen_US
dc.subject (關鍵詞) Frankensteinen_US
dc.subject (關鍵詞) Wuthering Heightsen_US
dc.title (題名) 志異天真：童年在《佐弗洛亞》、《科學怪人》及《咆哮山莊》的呈現zh_TW
dc.title (題名) Gothic Innocence: Representations of Childhood in Zofloya, Frankenstein, and Wuthering Heightsen_US
dc.type (資料類型) thesisen_US
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