十九世紀末、二十世紀初新女性現象，伴隨著工業文明和都市化發展而來到，是現代化文明進程中女性解放的一個里程碑，有工作、不婚的新女性，往往又與主張女權、抗拒傳統的女性主義重疊，是當時各國社會發展的一個特點。即使到了日本，新女性論述依然主要是由女性主義者掌握，因此能站在女性的需要角度發生，但，中國的新女性論述，卻長期是由男性所掌握，再結合了「賢妻良母」的修辭後，中國的新女性有了不同的論述的社會功能。
王爾德的《莎樂美》作為唯美主義文學作品，著意的是驚世駭俗和對於維多利亞社會道德禁忌的挑戰和衝撞，該作出現在新女性成形的同時，其特有的故事情節，其實也潛藏著王爾德個人對新女性的詮釋和註記，也因此在此劇透過翻譯流傳後，讓各種語言的新女性透過這個角色找到適合的表演內涵，新女性因此化身莎樂美，莎樂美則賦權新女性。這篇論文探討從莎樂美中所誕生的新女性如何賦予當時既有的新女性新的面向：情慾，從而豐富了新女性論述的內涵。
本文藉由傅柯的性言說比較性文化在各國社會的差異，從中檢視王爾德《莎樂美》在翻譯到各文化後所造成的原因和影響，以求看到翻譯在近代東方國家現代化進程中，對於女性論述的影響。

The New Woman phenomenon that emerges during the late nineteenth and early twentieth centuries, a result of industrialization and urbanization, is seen as a milestone of woman emancipation in the process of modern civilization. These professional and unmarried women, more often than not, coinciding with the emergence of feminism that champions sexual equality and decries traditional gender roles, epitomize the societal development of the time in many countries. Even in Japan new woman were identified with and advocated mainly by feminists who understood the former’s needs as the subjugated sex, however, in China, the construction of new woman relied heavily on their male counterparts who, with the Qing dynasty’s defeat by Japan and the West in mind, late Qing and early Republic Chinese intellectuals narrate a new China with the rhetoric of ‘A strong nation must have strong offspring’, which upholds the dictum of ‘good mother wise wife’ and places new woman on the forefront of reconstructing a new China.
Oscar Wilde’s play Salomé is written as his response and challenge to Victorian taboos and moral standards with the intention of shocking the philistines, and probably with new woman as the protagonist in mind, it coincides with the emergence of new women and benefits from many of them contributing to the play’s success and notoriety in history, and was closely weaved into the lives and personae of these turn-of-the-century female artists, including Ida Rubinstein, Allan Maud, and Matsui Sumako, boasting a provocative and daunting narrative which allowed them to channel their talents into and left an indelible impression with which no other fin-de-siècle dramatic roles could compare. With such personal and unusual association between artists and character, Salomé therefore serves as an embodiment of new woman of that period, and in turn empowers them in real life as new women capable of defying traditional social values by enjoying economic and emotional independence.
This research tries to incorporate Foucault’s sexual discourse in investigating an aspect left out by previous studies about both Japanese and Chinese new woman inspired by literary figures during the late nineteenth century, which Salomé bestowed on new women when the play was first introduced into both countries.

參考書目：
丁玲（2008）。莎菲女士的日記。南京：江蘇文藝出版社。
丁玲（1936）。丁玲傑作集。上海：上海全球書店。
余華（2008）。《青鞜》與日本近代女性問題。南開大學日本研究中心博士論文，未出版，天津。
井村君江（1990）。サロメの変容－翻訳．舞台。東京都：新書館株式会社。
王鳴劍 （2009）。俞珊與新月才子的情感糾葛。重慶工商大學文學與新聞學院《文史天地》，8，45-47。
王德威 （2008）。粉墨中國：性別，表演，與國族認同。戲劇研究，2，169~208。
------著（2005）。被壓抑的現代性－晚清小說新論（宋偉杰譯）。北京：北京大學出版社。
王燕（2008）。哈羅德．品特戲劇話語裡沉默現象的語用文體學研究。上海交通大學外語學院博士論文，未出版。上海。
田漢（2000a）。田漢全集一，話劇。石家庄：花山文藝出版社。
------（2000b）。田漢全集十，電影。石家庄：花山文藝出版社。
------（2000c）。田漢全集十四，文論。石家庄：花山文藝出版社。
------（2000d）。田漢全集十九，譯著。石家庄：花山文藝出版社。
------（2000e）。田漢全集九，戲曲。石家庄：花山文藝出版社。
------（2000f）。田漢全集十三，小說、散文。石家庄：花山文藝出版社。
------（2000g）。田漢全集十八，文論。石家庄：花山文藝出版社。
------（2000h）。田漢全集第二十卷：書信、日記、難中自述。石家庄：花山文藝出版社。
------（2000i）。田漢全集第十六卷：文論。石家庄：花山文藝出版社。
石灣 （2008）。記憶常新。北京：中國文聯出版公司。
矢野義憲（1983）。最新日文敬語（第二版）。台北：大新書局。
池雨花（2006）。雪國之櫻－圖說日本女性。北京：團結出版社。
余鳳高（2006）。《莎樂美》：資源和創造。浙江學刊，1，87-94。
佐藤亨（2006）。漢日敬語的比較分析。山東大學漢語研究所碩士論文。未出版。山東。
吳學平（2000）。女性的聲音－《莎樂美》新論。廣州師院學報，21(12)，39-42。
吳麗卿（2005）。紅樓夢的女性認同。東海大學中國文學系碩士論文，未出版，台中。
李佳玲（2010）。傳統女教書之研究。國立東華大學民間文學研究所碩士論文，未出版，花蓮。
李卓（2000）。家族文化與傳統文化：中日比較研究。天津：天津人民出版社。
李長聲（2011）。谷崎潤一郎和他的女人們（2011年1月15日）。台北：聯合報，聯合文學。
李歐梵（2002）。中國現代文學與現代性十講。上海：復旦大學出版社。
------（2001）。上海摩登－一種新都市文化在中國1930-1945（毛尖譯）。北京：北京大學出版社。
------（2000）。現代性的追求：李歐梵文化評論精選集。北京：三聯書局。
沈從文（2002）。記丁玲。長沙：岳麓書社。
肖寧（2002）。日本女作家與謝野晶子與近代中國女性運動。日本研究，1，51-56。
肖霞（2011）。《棉被》中的＂新女性＂形象。外國問題研究，201(1)，39-43。
周小儀（2001）。莎樂美之吻：唯美主義、消費主義與中國啟蒙現代性。中國比較文學。
周國強（2010）。戰前留日中、韓、台學生之唯美主義文學活動考。長崎中國學會會刊創刊號，191-206。
周慧玲 （2004）。表演中國：女明星、表演文化、視覺政治，1910-1945。台北：麥田出版社。
孟華（2001）。比較文學形象學。北京：北京大學出版社。
林怡君（2009）。明代新思潮下文人的婦女觀－以歸有光、李贄、馮夢龍為例。國立成功大學歷史研究所碩士論文，未出版，台南。
柯漢琳（2007）。五四時期話劇的詩化現實主義。中國社科院文學研究所文學評論，3。
段湘懷（2006）。試論《莎樂美》模式對白薇《琳麗》的影響。株洲師範高等專科學校學報，11(6)，46-19。
紀長永（1999）。略談日語敬語變化的歷史沿革。大連外語學院學報，2 (117)，16-18。
胡適（1924）。胡適文存二集。上海：亞東圖書館。
茂呂美耶（2006）。江戶日本。桂林：廣西師範大學出版社（台灣遠流集團控股有限公司授權）。
茂呂美耶（2015）。大正日本－百花盛放的新思維、奇女子。台北：遠流出版事業股份有限公司。
茂呂美耶（2016）。明治日本－含苞出放的新時代、新女性（第二版）。台北；遠流出版事業股份有限公司。
郁達夫（2006）。郁達夫全集第四卷：遊記¡、自傳。杭州：浙江大學出版社。
胡曉真（2008）。才女徹夜未眠：近代中國女性敘事文學的興起。北京：北京大
　學。
姚繼中（2003）。《亂髮》－日本浪漫主義詩歌的頂峰－論與謝野晶子叛逆的青春
　讚歌。四川外語學院學報，19(3)，24-29。
姚毅（2004）。「犧牲者」、「受害者」言辭的背後－以《婦女雜誌》的娼婦論述為
　中心。近代中國婦女史研究，12，115-144。
孫雪梅（2001）。清末民初中國人的日本觀：以直隸省為中心。天津：天津人民出版社。
浩文（1928）。孔雀東南飛及其他。上海：新月書局新月月刊。
袁昌英（1983）。孔雀東南飛及其他。台北：台灣商務印書館。
------（1991）。袁昌英散文選。天津：百花文藝出版社。
郝祥滿（2011）。日本人的色道。台北：時英出版社。
馬森（2000）。一種另類的現代文學史觀──論蘇雪林教授《中國二三十年代作家》。海峽兩岸蘇雪林教授學術研討會論文集（上），245-262。
高彥頤（1995）。「空間」與「家」－論明末清初婦女的生活空間。近代中國婦女史研究。21-50。
張白（2010）。王爾德童話三個譯本的描述翻譯學研究。曲阜師範大學英語語文文學所碩士論文，未出版。曲阜。
張君玫（2012）。後殖民的陰性語境：語文、翻譯和慾望。台北：群學出版有限公司。
曹凌凌（2011）。現代啟蒙道路上的「惡之花」──《莎樂美》在中國1920-1930香港大學哲學碩士論文。香港。
曼素恩（1994/2004）。綴珍錄：十八世紀及其前後的中國婦女。（定宜庄、顏宜葳譯）。南京：江蘇人民出版社。
梁淑安（2000）。話劇史話。北京：社會科學文獻出版社。
郭富民（2003）。插圖中國話劇史。濟南：濟南出版社。
郭惠珍（2005）。日語敬語演變進程之探討。齊齊哈爾大學學報，1，94-97。

陳東原（1984）。中國婦女生活史。上海：上海書店。
陳健軍（2010）。袁昌英作《關於莎樂美》。博覽群書，1，100-102。
陳婧、李思茗（2010）。《莎樂美》的翻譯與五四女性文學。西南石油大學學報，3(4)，93-97
陳碧月（2006）。大陸女性婚戀小說：五四時期與新時期的女性意識書寫。台北：秀威資訊科技。
陳碩文（2008）。上海三十年代都會文藝中的巴黎情調（1927-1937）。政治大學中國文學研究所博士論文，未出版。台北。
陳龍（2002）。中國近代通俗戲劇。台北市：東大圖書股份有限公司。
傅岩（1935）。婦女的新生活。南京：正中書局。
傅柯（2006）。性意識史（尚衡譯）。新店市：桂冠圖書股份有限公司。
傅耀珍（2006）。明代豔情小說研究。高雄師範大學國文學系碩士論文，未出版，高雄。
葉忘憂、徐沉泗（編）（1947）。丁玲選集。上海：中央書店。
森鷗外（1980）。鷗外選集＜第二十卷＞：翻譯戲曲3。東京：岩波書店。
舒新城（2011）。近代中國留學史。上海：上海書店出版社。
福澤諭吉（2013）。勸學（徐雪蓉譯）台北：五南圖書出版股份有限公司。
黃英哲（2011）。跨界者的跨界與虛構：陶晶孫小說＜淡水河心中＞顯現的戰後台灣社會像。中央研究院台灣史研究所《台灣史研究》，18(1)，102-132。
黃福慶（1971）。清末留日政策。中央研究院近代史研究所集刊，2，47-96。
------（1975）。清末留日學生。台北市：中央研究院近代史研究所。
------（1980）。論中國人的日本觀：以戴季陶的《日本論》為中心。中央研究院近代史研究所集刊，9，61-78。
黃錦珠（2005）。晚清小說中的《新女性》研究。台北：文津出版。
黃豔（2011）。淺論白薇作品中的女性意識。考試周刊第，29，28-29。
楊永良（2008）。日本文化史。台北：致良出版社有限公司。
解志熙（1997）。美的偏執：中國現代唯美－頹廢主義思潮研究。上海：上海文藝出版社。
------（2002）。和而不同：中國現代文學片論。北京：清華大學。
鈴木大拙（1987）。禪與日本文化（陶剛譯）。北京：三聯書局。
熊稟真、呂妙芬（主編）（1999）。禮教與情慾－前近代中國文化中的後／現代性。台北：中央研究院近代史研究所。
趙慶華（2013）。紙上的「我（們）」－外省第一代知識女性的自傳書寫與敘事認同。成功大學台灣文學系博士論文，未出版，台南。
劉利生（編著）（2015）。話劇。台北市：元華文創。
劉紀蕙（2001）。前衛、頹廢與國家形式化：中國現代化進程中進步刊物插圖所呈現的視覺矛盾－以中期創造社為例。新竹：交通大學社會與文化研究所。Retrieved November 6, 2018, from: http://www.srcs.nctu.edu.tw/joyceliu/mworks/mw-interart/NationalistAvantgarde/AvantgardeDiscourse.htm
劉春英（2012）。日本女性文學史。北京：商務印書館。
劉劍梅（2014）。革命與愛情：二十世紀中國小說史中的女性身體與主題重述（劉冰茹譯）。台北：釀出版（秀威資訊科技）。
歐陽予倩 （1957）。中國戲曲研究資料初輯。北京：中國戲劇出版社。
黎楊全（2004）。靈與肉－試比較田漢與郁達夫對唯美主義的接受。楚雄師範學院學報，19(1)，16-21。
錢澄（2003）。變異的專偶制－從《源氏物語》看日本平安時代的婚姻形態。蘇州大學學報，4，106-108。
戴季陶（2012）。日本論。香港：香港中和出版有限公司。
蘇雪林（1979）。中國二三十年代作家。台北：純文學出版社。
------（1946）。鳩那羅的眼睛。上海：商務印書館。
張曉凌、季南譯 (1989).《日本文化中的性角色》（Buruma, Ian）。北京：光明日　　　　報出版社。
周靖波、李安定譯（2004）。《戲劇理論與戲劇分析》（Pfister, Manfred）。北京：北京廣播學院。
沈齊齊譯.（2012）。《中國女性主義思想史中的婦女問題》（Barlow, Tani）。上海：世紀出版集團。
羅列（2008）。出走與歸來－易卜生與王爾德戲劇中出走女性的譯介看＂五四＂女權話語的多樣性。婦女研究論叢，4(87)，42-52。

Angels, Jeffrey (2011). Writing of the Love of Boys: Origins of Bishonen Culture in 　　Modernist Japanese Literature. Minneapolis: University of Minnesota Press.
Ardis, Ann L. (1990). New Women, New Novels: Feminism and Early Modernism. New Brunswick: Rutgers University Press.
Baker, Mona ,& Saldanha, Gabriela (Eds.)(2009). Routledge Encyclopedia of Translation Studies. (2nd ed.). New York: Routledge.
Bargen, Doris G. (2006). Suicidal Honor: General Nogi and the Writings of Mori Ôgai and Natsume Sôseki. Honolulu: University of Hawai’i Press.
Barlow, Tani E. (2004). The Question of Women in Chinese Feminism. London: Duke University Press.
Bassnett, Susan (1993). Comparative Literature: A Critical Introduction. Oxford: 　　Blackwell Publishers.
Becker-Leckrone, Megan (1995). The Fetishization of a Textual Corpus. New Literary History, 26 (2), 239-260.
Bell-Villada, Gene M. (1996). Art for Art’s Sake & Literary Life: How Politics and Markets Helped Shape the Ideology & Culture of Aestheticism 1790-1990. Nebraska: University of Nebraska.
Bell-Villada, Gene M.(1996). Art for Art’s Sake & Literary Life: How Politics and Markets Helped Shape the Ideology & Culture of Aestheticism 1790-1990. London: University of Nebraska Press.
Bennett, Michael Y. (Ed.)(1994). Refiguring Oscar Wilde’s Salome. Amsterdam: Editions Rodopi.
Bennett, Michael Y. (Ed.)(2015). Oscar Wilde’s Society Plays. New York: Palgrave MacMillan.
Bentley, Toni (2002). Sisters of Salomé. New Haven: Yale University Press.
Berger, David G. and Wenger Morton G. (1973). The Ideology of Virginity. Journal of Marriage and Family, 35 (4), 666-676
Berger, David G., Wenger Morton G.. The Ideology of Virginity. Journal of Marriage and Family, Vol. 35 No. 4 (Nov.), 1973.
Blank, Hanne. Virgin: The Untouched History. E-Book. Bloomsbury Publishing, 　　2008.
Bloom, Harold (Ed.)(2011). Bloom’s Modern Critical Views: Oscar Wilde--New Edition. New York: Infobase Publishing.
Böker, Uwe, Corballis, Richard, Hibbard, Julie (Eds.).(2002). The Importance of Reinventing Oscar: Versions of Wilde During the Last 100 Years. New York: Rodopi.
Brazell, Karen (1971). Mori Ogai in Germany. A Translation of Fumizukai and Excerpts from Doitsu Nikki. Sophia University: Monumenta Nipponica, Vol. 26 No. 1/2 (1971), pp. 77-100. Retrieved April 13,2017. http://www.jstor.org/stable/2383608
Bristow, Joseph (ed.)(2003). Wilde Writings: Contextual Conditions. Buffalo: The Regents of the University of California.
Bullock, Julia C., Kano, Ayako, & Welker, James (2018). Rethinking Japanese Feminism. Honolulu: University of Hawai’I Press.
Butler, Judith (2002). Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge.
Butler, Judith (2009). Performitivity,Precarity and Sexual Politics. Revista de Antropologia Iberoamericana, 4 (3), i-xiii.
Cao Lingling (2001). Les Fleurs du Mal’ on the Road to Enlightenment: Oscar Wilde’s Salome in China 1920-1930. Hong Kong: University of Hong Kong.
Certeau, Michel de (1984). The Practice of Everyday Life (Rendall, Steven, Trans.). Los Angeles: University of California Press.
Chang, Shuei-may (1994). Casting off the Shackles of Family: Ibsen’s Nora Character in Modern Chinese Literature, 1918-1942. Unpublished doctoral dissertation. University of Illinois. Urbana-Champaign.　
Chapple, Norma (2006). Re-(en)visioning Salome: The Salomes of Hedwig Lachmann, Marcus Behmer, and Richard Strauss. Unpublished master thesis, Department of German, University of Waterloo, Ontario.
Chesterman, Andrew (1997). Memes of Translation: the Spread of Idea in Translation Theory. Philadelphia: John Benjamins Publishing Co..
Childs, Peter (2000). Modernism. London: Routledge.sc
Cixous, Hélène (2010). Le Rire de la Méduse et aures Ironies. Paris: Éditions Galilée.
Cixous, Hélène (1976). The Laugh of the Medusa (Cohen, Keith & Paula, Trans.). Signs, 1(4), 875-893.
Chow, Rey (1997). Woman and Chinese Modernity: The Politics of Reading between West and East. Minneapolis: University of Minnesota Press.
Conrad, Peter (1977). Romantic Opera and Literary Form. Los Angeles: University of California Press.
Conrad, Peter (1977). Romantic Opera and Literary Form, Los Angeles: University of California Press. New Castle: Cambridge Scholars Publishing.
Constantinidis, Stratos E. (Ed.)(2005). Text & Presentation, 2005. London: McFarland & Company, Inc., Publishers.
Culler, Jonathan (1997). Literary Theory: A Very Short Introduction. Oxford: Oxford University Press.
Dearey, Melissa, Davis, Roger, & Nicolas, Susana (2017). Re-visiting Female Evil: Power, Purity, and Desire. Boston: Rodopi.
Dente, Carla & Soncini, Sara (Eds.)(2013). Shakespeare and Conflict: A European Perspective. New York: Palgrave Macmillan.
Dierkes-Thrun, Petra (2011). Salome’s Modernity: Oscar Wilde and the Aesthetics of Transgression. Michigan: University of Michigan.
Dollard, Catherine L. (2009). The Surplus Woman: Unmarried in Imperial Germany, 1871-1918. New York: Berghan Books.
Dooling, Amy D. (2005). Women’s Literary Feminism in Twentieth-Century China. New York: Palgrave MacMillan.
Downing, Lisa (2008). The Cambridge Introduction to Michel Foucault. Cambridge: Cambridge University Press.
Eells, Emily (2010). Wilde’s French Salomé. Cahiers victoriens et édouardiens. 72 Automne/ 2010: Studies in the Theatre of Oscar Wilde. (pp.115-130). Retrieved April 12, 2017, from https://cve.revues.org/2729.
Ellmann, Richard (1987). Oscar Wilde. London: Hamish Hamilton.
Eltis, Sos (1996). Revising Wilde: Society and Subversion in the Plays of Oscar Wilde. Oxford: Clarendon.
Falzon, Christopher, O’Leary, Timoth, & Sawicki, Jana (Eds.)(2013). A Companion to Foucault. Chichester: Blackwell Publishing Limited.
Felski, Rita (1991). The Counterdiscourse of the Feminine in Three Texts by Wilde, Huysmans, and Sacher-Masoch. PMLA, 106(5), 1094-1105.
Fitzsimons, Eleanor (2015). Wilde’s Women: How Oscar Wilde Was Shaped by the Women He Knew. New York: Overlook Duckworth, Peter Mayer Publishers, Inc.
Fortunato, Paul L. (2007). Modern Aesthetics and Consumer Culture in the Writings of Oscar Wilde.　New York: Routledge.
Foucault, Michel (1973). Histoire de la sexualité: tome 1 La volonté de savoir. Paris: Éditions Gallimard,.
------ (1976). The History of Sexuality: Volume 1: An Introduction. (Hurley, Robert, Trans.). New York: Pantheon Books.
------ (1977/1995). Discipline and Punish: The Birth of the Prison (2nd. Edition)(Sheridan, Alan, transl.). New York: Random House.
------ (1979). Discipline and Punish: The Birth of the Prison. Alan Sheridan (trans.). New York: Vintage. Originally published as Surveiller et punir: Naissance de la prison (Paris: Gallimard, 1975).
------ (1985). The History of Sexuality: Volume 2: The Use of Pleasure. (Hurley, Robert, Trans.). New York: Pantheon Books.
------ (1989). Fragments for a History of the Human Body. New York: Urzone Inc.
------ (ed.)(1980, 2010). Herculine Barbin, Being the Recently Discovered Memoirs of a Nineteenth-Century French Hermaphrodite, Richard McDougall (trans.).New York: Vintage Books, Random House.
------ (1986). The History of Sexuality,Volume 3. (Hurley, Robert, Trans.). New York: Random House.
Frankel, Nick (1997). The Dance of Writing: Wilde’s Salome as a Work of Contradiction. Indiana: Indiana University Press.
Fuller, Loie (1908). My Fifteen Years of a Dancer’s Life, with some account of her distinguished friends. London: Herbert Jenkins Limited.
Fusé, Toyomasa (ed.)(1975). Modernization and Stress in Japan. The Netherlands: E.J J.Brill, Leiden.
Garelick, Rhonda K. (2007). Electric Salome: Loie Fuller’s Performance of Modernism. Princeton: Princeton University Press.
Gilman, Sander L. (1993). Salome, Syphilis, Sarah Bernhardt and the “Modern Jewess”. The German Quarterly, 66(2), 195-211.
Goldhill, Simon (1995). Foucault’s Virginity: Ancient erotic fiction and the history of sexuality. Cambridge: Cambridge University Press.
Gutting, Gary (2005). Foucault: a very short Introduction. New York: Oxford University Press.
Hales, Barbara (2010). Mediating Worlds: The Occult as Projection of the New Woman in Weimar Culture. The German Quarterly, 83 (3), 317-332.
Hoare, Philip (1998). Oscar Wilde’s Last Stand: Decadence, Conspiracy, and the most Outrageous Trial of the Century. New York: Arcade.
Hua, Meng, Hirakawa, Sukehiro (2000). Images of Westerners in Chinese and Japanese Literature. Atlanta: Rodopi.
Hutcheon, Linda (1980). Narcissistic Narrative: The Metafictional Paradox. Ontario: Wilfrid Laurier University Press.
------ (2000). Bodily Charm: Living Opera. Lincoln: University of Nebraska Press.
------ (2006). A Theory of Adaptation. New York: Routledge.
------ & Michael (1998). “Here’s Lookin’ at You, Kid”: The Empowering Gaze in “Salome”. Retrieved January 10, 214, from http://baike.baidu.com/view/569618.htm
Hu, Yin (2000). Tales of Translation: Composing the New Woman in China, 1899-1918. Stanford: Stanford University Press.
Iga, Mamoru (1986). The Thorn in the Chrysanthemum: Suicide and Economic Success in Modern Japan. Berkeley: University of California Press.
Inoue, Miyako (2002). Gender, Language, and Modernity: Toward an Effective History of Japanese Women’s Language. American Ethnologist, 29 (2), 392-422.
Jansen, Marius B. (Ed.) (1989/2008). The Cambridge History of Japan, Volume 5: The Nineteenth Century (6th ed.). New York: Cambridge University Press.
Kano, Ayako (2001). Acting like a Woman in Modern Japan : Theater, Gender and Nationalism. Gordonsville: Palgrave.
Ko, Dorothy & Zheng Wang (Eds.)(2007). Translating Feminisms in China: A Special Issue of Gender & History. Oxford: Blackwell Publishing.
Kohlmayer, Rainer (1995). From Saint to Sinner: The Demonization of Oscar Wilde's Salomé in Hedwig Lachmann's German Translation and in Richard Strauß's Opera, Translation as Intercultural Communication. Retrieved November 4,2012, from From citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.465.8226...
Kohlmayer, Rainer (1996). Oscar Wilde in Deutschland und Österreich : Untersuchungen zure Rezeption der Komödien und zur Theorie der Bühnenübersetzung. Tübingen: Max Niemeyer Verlag GmbH & Co. KG.
Landauer, Gustav (2010). Revolution and Other Writings: A Political Reader (Gabriel Kuhn ed. & transl.)Wales:The Merlin Press Ltd.
Ledger, Sally (1997). The New Woman: Fiction and Feminism at the fin de siècle. New York: Manchester University Press.
Lee, Leo Ou-Fan (1999). Shanghai Modern: the Flowering of a New Urban Culture in China 1930-1945. Cambridge: Harvard University Press.
Lefevere, André (1992). Translation, Rewriting and the Manipulation of Literary Fame. London: Routledge.
Leupp, Gary p. (1995). Male Colors: the Construction of Homosexuality in Tokugawa Japan. Los Angeles: University of California Press.
Liang, Luo（羅靚）（2014）. The Avant-Garde and the Popular in Modern China: Tian Han and the Intersection of Performance and Politics. Ann Arbor: University of Michigan.
Lipper, Sarah (2014). Salomé to Medusa by Way of Narcissus: Moreau and Typological Conflation. Artibus et Historiae, 35(69), 233-266.
Liu, Jianmei (2003). Revolution Plus Love: Literary History, Women’s Bodies, and Thematic Repetition in Twentieth-Century Chinese Fiction. Honolulu: University of Hawai’I Press.
Liu, Siyuan (2013). Performing Hybridity in Colonial-modern China. New York: Palgrave Macmillan.
Mackie, Vera (2003). Feminism in Modern Japan: Citizenship, Embodiment and Sexuality. New York: Cambridge University Press.
Marcus, Sharon (2011). Salomé!! Sarah Bernhardt, Oscar Wilde, and the Drama of Celebrity. The Modern Language Association of America, 126(4), 999-1021.
Marcuse, Herbert (1974). Eros and Civilization; A Philosophical Inquiry into Freud. Boston: Beacon Press.
Maynard, Senko K. (1997). Japanese Communication: Language and Thought in Context. Honolulu: University of Hawai’I Press.
McKenna, Neil (2003/2014). The Secret Life of Oscar Wilde. (2nd ed.). London: Thistle Publishing.
Ｍendez, Clare (2013). Representation of the New Woman in the 1890s Woman’s Press. Unpublished doctoral dissertation , University of Leicester, Leicester.
Moyle, Franny (2011). Constance: The Tragic and Scandalous Life of Mrs. Oscar Wilde. London: John Murray, An Hachette UK Company.
O’Sullivan, Emer (2016). The Fall of the House of Wilde: Oscar Wilde and His Family. London: Bloomsbury Press.
Powell, Kerry & Raby, Peter (Eds.) (2013). Oscar Wilde in Context. New York: Cambridge University Press.
Puffett, Derrick (1989), Richard Strauss: Salome. Cambride: The Press Syndicate of the University of Cambridge.
Raby, Peter (Ed.)(1997). The Cambridge Companion to Oscar Wilde. Cambridge: Cambridge University Press.
Reade, Charles (1900). A Woman Hater. Boston: Groliler Society.
Reich, Pauline C. & Fukuda, Atsuko (1976). Japan’s Literary Feminists: The “Seito” Group. Signa, 2 (1), 280-291.
Robinson, Gale (Ed.)(2003). Encyclopedia of Genetics (Vol.2 E-I). New York: Macmillan Reference USA.
Rowden, Clair (2013). Performing Salome, Revealing Stories. Surrey: Ashgate Publishing Limited.
Said, Edward (1978). Orientalism. London: Routledge & Kegan Paul Ltd..
------ (1983). The World, the Text, the Critic. Cambridge: Harvard University Press.
------ (2000). Reflections on Exile and Other Essays. Cambridge: Harvard University Press.
Salih, Sara (2003). Judith Butler (e-Library ed.).
Sammells, Neil (2000). Wilde Style: The Plays and Prose of Oscar Wilde. Edinburgh: Pearson Education.
Sanders, Julie (2006). Adaptation and Appropriation. New York: Routledge.
Schaffner, Anna Katherina (2012). Modernism and Perversion: Sexual Deviance in Sexology and Literature, 1850-1930. London: Palgrave MacMillan.
Shaw, George Bernard (1891). The Quintessence of Ibsenism. London: Walter Scott.
Shen, Ruihua (2003). New Woman, New Fiction: Autobiographical Fictions by Twentieth-Century Chinese Women Writers. Unpublished doctoral dissertation. Comparative Literature Program and the Graduate School of the University of Oregon, Oregon.
Shewan, Rodeny (1982). Oscar Wilde’s Salomé: A Critical Variorum Edition from three extant manuscripts – proofsheets and two early printed texts transcribed in parallel. Unpublished doctoral dissertation,Departement of English, University of Reading, Reading.
Shilling, Chris (2005), The Body in Culture, Technology and Society. London: SAGE Publication Ltd.
Showalter, Elaine (1986). The New Feminist Criticism. London: Virago.
------ (1990/1995). Sexual Anarchy: Gender and Culture at the Fin de Siècle. London: VIRAGO PRESS Limited.
Silverberg, Miriam (2009). Erotic Grotesque Nonsense: The Mass Culture of Japanese Modern Times. Berkeley: University of California Press.
Skeat, Rev. Walter W. (1885). An Etymological Dictionary of the English Language. Oxford: Clarendon Press.
Smart, Barry (2002). Michel Foucault (revised edition). New York: Routledge.
Spivak, Gayatri Chakravorty (1993). Outside in the Teaching Machine. New York: Routledge.
------ (2003). Death of a Discipline. New York: Columbia University Press.
------ (2014). In Other Worlds: Essays in Cultural Politics. New York: Routledge.
Steiner, George (1975). After Babel: Aspects of Language and Translation. New York: Oxford University Press.
Stockard, Janice E. (1989). Daughters of the Canton Delta: Marriage Patterns and Economic Strategies in South China. Stanford: Stanford University Press.
Strauss, Richard & Rolland, Romain (1951), Correspondence, Diary & Essays. Berkeley: University of California Press.
Strauss, Richard et Romain Rolland (1951). Correspondances. Fragments de Journal. Paris: Éditions Albin Michel.
Susan Mann（2004）。《綴珍錄：十八世紀及其前後的中國婦女》（定宜庄、顏宜葳譯）。南京：江蘇人民出版社。
Suzuki, Daisetz T. (1973). Zen and Japanese Culture. Princeton: Princeton University Press.
Szondi, Peter（2006）。《現代戲劇理論》（王建譯）。北京：北京大學出版社。
Tabak, Jennie (2005). Medusa is no longer laughing: Oscar Wilde’s Symbolism in Salomé. Journal of Theatre and Drama (7/8), 161-175.
Takada, Kazuki (2004). A Comparative Study of Mishima Yukio and Oscar Wilde: With Particular Reference to their Views of the Absolute. Unpublished doctoral dissertation, The University of Edinburgh, Edinburgh.
Takemaru, Naoko (2010). Women in the Language and Society of Japan: the Linguistic Roots of Bias. Jefferson, McFarland & Company, Inc., Publishers.
Taylor, Dianna (Ed.)(2011). Michel Foucault: Key Concepts. Durham: Acumen Publishing Limited.
Templeton, Alan R. (1979). The Theory of Speciation via the Founder Principle. Genetics 94: 1101-1038 April, 1980.
Topley, Marjorie (2011). Cantonese Society in Hong Kong and Singapore: Gender, Religion, Medicine and Money. Hong Kong: Hong Kong University Press.
Tsurumi, E. Patricia (2000). The State, Education, and Two Generations of Women in Meiji Japan, 1868-1912. U.S.-Japan Women's Journal. English Supplement, (18), 3-26. Retrieved from http://www.jstor.org/stable/42772154
Turner, Bryan S. (2008). The Body & Society (3rd ed.).Thousand Oaks: SAGE Publications Inc.
Tydeman, William, Price, Steven (1996). Wilde – Salome. Cambridge: Cambridge University Press.
Tyukin, Ivan (2011). Adaptation in Dynamical Systems. Cambridge: Cambridge University Press.
Valenti, Jessica. The Purity Myth: How America’s Obsession with Virginity is Hurting Young Women. Berkeley: Seal Press, 2009.
Varley, Paul (1984). Japanese Culture. Hawai’i: University of Hawai’i Press.
Waltonen, Karma . “Saint Joan”: From Renaissance Witch to New Woman. (2004). Shaw: Dionysian Shaw, 24, 186-203.
Weekley, Ernest. An Etymological Dictionary of Modern English. London: John Murray, 1921.
Weintraub, Stanley (1993). “The Hibernian School”: Oscar Wilde and Bernard Shaw. Shaw, 13, 25-49.
Wilde, Oscar (1900). Salome. Tragödie in einem Aufzug. Deutsch von Hedwig　Lachmann. Mit Zeichnungen von Beardsley. Wiener: Rundschau 4 (12), 189−212.
------ (1907). Salome. Kansas: Haldeman-Julius Company.
------ (1908). Salomé. A Florentine Tragedy, London: Methuen.
------ (1917/2015). Salomé. London: Methuen & Co. LTD.
------ (2003), Salomé. Lausanne: Éditions du Héron.
------ (2011). Salomé. (Lord Alfred Douglas, Trans.)(吳剛，譯).上海：上海世紀出版股份有限公司。（Original work published 1893）。
------ (2014). Gesammelte Werke Oscar Wildes. (Lachmann, Hewdwig & Landauer, Gustav, trans.) . Dinslaken: asklepiosmedia.
------ (1996). Salomé (Douglas, Lord Alfred, trans.). Boston: Branden Publishing Company, Inc.
------ (1907). Salome: Tragödie in Einem Akte (Hedwig, Lachmann übersetzer). Leipzig: Leipzig im Inselverlag.
Woolf, Virginia (1938). Three Guineas. Retrieved June 9, 2017. From: https://www.google.com.tw/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwiMiLeQm7DUAhUGjZQKHcaRDjMQFgglMAA&url=http%3A%2F%2Fwww.blackwellpublishing.com%2Fcontent%2FBPL_Images%2FContent_store%2FSample_chapter%2F9780631177241%2Fwoolf.pdf&usg=AFQjCNFCMpuK-ZpuDYVSfRuAnTKIeVwaXA&sig2=Ds3JH26Z5FJNwxww0jpPdA. Wunder,
Wright, Barbara D. (1987). “New Man,” Eternal Woman: Expressionist Responses to German Feminism. The German Quarterly, 60 (4), 582-599.
Yamamura, Kozo (Ed.)(1990/2008). The Cambridge History of Japan, Volume 3: Medieval Japan (7th. ed.). New York: Cambridge University Press.
Young, J. C. Robert (2003). Post-Colonialism: A Very Short Introduction. Oxford: Oxford University Press.
Ziolkowski, Theodore (2012). Scandal on Stage: European theater as Moral Trial. Cambridge: Cambridge University Press.
ワイルド（2012）。《サロメ》（平野啟一郎，訳）。東京都：光文社株式會社。