摘要
本篇論文在文化物質理論的架構下，探討新納入莎士比亞經典之歷史劇，《愛德華三世》之宗教、性別及主體的順承議題。第一章探討十六世紀新教婚姻意識形態對前現代時期女性社會地位的影響，父系作家如何挪用聖經來矮化女性心理、智識及道德層次，並藉此合法化父系社會中女性次等的社會與政治地位。第二章探討女性於三部前現代時期戲劇中之再現形象: 密德頓與羅立之《偷天換日》、瑋伯斯特之《馬爾菲女公爵》以及喬治皮爾之《大衛王與別示巴》。第三章探討《愛德華三世》之宗教、性別、及主體的順承議題。本論文質疑當前文獻過分悲觀地主張女性主體在前現代時期歷史劇中總是被省略、禁聲、或妖魔化，並提出女性在《愛德華三世》之歷史國族建構中，扮演舉足輕重腳色的新看法。《愛德華三世》文本中所浮現的強烈女性主體意識與聲音，以及以個人良知為行事最終準繩的文化現象，在在展現前現代時期的民主化和現代化里程。

Abstract
In this thesis, I investigate the religious, gender, and identity politics of obedience as manifested in the recently attributed Shakespearean play, Edward III, within a cultural materialist framework. In chapter one, I begin my project by examining the impacts of the Protestant marital ideology on the social status of women and the ways in which patriarchal writers appropriate the Bible to construct women as psychologically, intellectually, and morally inferior, thereby justifying the social and political subordination of early modern women. In chapter two, I turn to investigate how females were represented on the early modern stage by examining Thomas Middleton and William Rowley’s The Changeling (1653), John Wesbter’s The Duchess of Malfi (1623), and George Peele’s The Love of King David and Fair Bethsabe (1599). This chapter focuses on the ways in which dramatists engaged with the contemporary querrelles des femmes through the representation of a number of strong women that challenge patriarchal society with varying degree of success. Finally, in my third chapter, I situate Edward III in the context of the Reformation movement and delineate the ways in which the play participates and intervenes in the religious, gender and identity politics of obedience in early modern English culture. I interrogate the pessimistic idea in current critical literature that a strong female presence in history plays is always demonized, victimized, or marginalized. I contend that the English nation-building project is impossible without the presence of a strong and virtuous female that helps to shape and direct the course of history in Edward III.

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