本篇論文將達芙妮．杜．莫里哀的驚悚傳奇小說《蝴蝶夢》中的社會情境視為文化、階級和情慾環環相扣又互相傾軋的場域，旨在探究各個角色在以上三者的影響之下，如何界定個人在群體中的定位。文本中的角色流露對昔日英國傳統濃厚的鄉愁，但隨著封建制度底下的家庭體制與風俗在現代社會中漸顯不合時宜，階級間的藩籬逐漸消弭，進而觸發人物的情慾僭越表現，並解放被壓抑的第二自我。
第一章分析在現代英國社會中，曼德理莊園的生活圈依然留存守舊的維多利亞式遺風，其標榜的家庭觀念如何形塑小說中各個角色的言行，將典型的性別刻板印象，即對於男性特質與女性本質的期待，強加於角色身上，禁錮個人的思想舉止，以鞏固父權結構。第二章檢視在美式資本消費主義的侵襲之下，貴族階級面對自身權力和影響力日漸式微時，體認到舊有的家國思想體系已無法維護男性的支配地位，女性角色則在異性戀婚姻中利用階級的提升，或是在婚外關係中，藉由對上層階級的跨階級認同，挪用父權體系中的主導地位以展現母權勢力。故事中過度的情慾僭越與弒妻制裁，揭露上層階級的家庭觀何其浮誇及道德觀何其虛偽。此章藉由延伸佛洛伊德的伊底帕斯情結理論，剖析小說中不同性別角色的人物，在家國意識形態和階級偏見的壓迫下，所展現的性施虐/受虐狂傾向及同性慾望意向，以情慾逾越作為挑戰異性戀正統性以及翻轉異性戀婚姻中權力關係的手段。各個人物透過錯綜複雜的多角關係體現跨階級的情慾越軌表現，最終獲得自身的性別角色定位和性向認同身分。
文本中敘事者的一生如同英國現代社會興衰的縮影，看似理想的跨階級婚姻及衣食無虞的家庭生活猶如海市蜃樓，反映出社會榮景的表象下，家國意識形態即將崩毀及特權階級終將殞落。然而綺想幻滅之後，違常的情慾卻促成個人與社會的重建。本文主張達芙妮．杜．莫里哀藉由呈現角色的情慾僭越，對陳腐的家國思想和沉淪的上層階級提出批判，卻也同時質疑墮落的情慾越軌為一抗衡社會腐化的良方。

Regarding the social context of the novel as the domain where ethos, class, and sexuality interrelate and conflict with one another, this thesis aims to define the positioning of each character in the community under the influences of the above three factors in Daphne du Maurier’s gothic romance, Rebecca (1938). Most characters express profound nostalgia toward the past of the English civilization. However, with the feudal domestic customs and arrangements going obsolete in the modern society, the boundaries between classes are gradually blurred. And this further triggers sexual transgressions among the characters to emancipate their pent-up doubles.
Chapter One analyzes the Manderley community as a relic of the conventional Victorian values in the modern English society, as it still promotes the ideology of domesticity to shape the conducts of the individual characters. The domestic ideology imposes the stereotypes of masculinity and femininity to regulate individual manners and consolidate the patriarchal structure. Chapter Two examines how the aristocratic class confronts the decline of its power and influences under the invasion of American capitalist consumerism. They recognize that the established domestic ideology is no longer capable of guaranteeing men’s dominant position. The female protagonists can appropriate the hegemonic position of the patriarchal structure to exert matriarchal power by means of their rise of the class hierarchy through their heterosexual marriages or through their trans-class identification with the upper class beyond the conjugal relationships. The scenarios of excessive sexual transgressions and uxoricidal sanction in the story plot betray the pretension of domesticity and the moral hypocrisy of the upper class. This chapter starts from Sigmund Freud’s theory of Oedipal complex, and inspects how characters constrained by their distinctive gender roles still display the propensity of sexual sadomasochism as well as the inclination to homosexual desire under the oppressions of the domestic ideology and class prejudice. Through sexual deviations, they challenge heteronormativity and overturn the power relations in heterosexual marriages. With the complicated multilateral relationships, every character performs trans-class sexual aberrations, and acquires personal identification with a suitable gender position and form of sexuality eventually.
In the story, the narrator’s lifetime experiences are likened to the vicissitudes of the modern British community. The seemingly ideal trans-class marriage and the domestic life of material abundance are like a mirage, reflecting the imminent breakdown of the domestic ideology and fall of the privileged class behind the façade of prosperity. However, the transgressive sexualities facilitate individual and communal reconstruction after the disillusionment. This thesis claims that Daphne du Maurier parades the sexual aberrance of the characters as an attack against the outmoded domestic ideology and the corrupt upper class. Yet she problematizes the decadent sexual transgressions as good counteractions against the degenerate society.

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