本文以丹尼爾·迪福的《情婦法蘭德斯》（1722）和伊麗莎海·伍德的《范德萊納》（1725）這兩個文本來分析十八世紀早期小說中偽裝的概念，並且探討偽裝對於兩位女主人翁如何運用成為自我賦權的手段，在十八世紀早期小說興起的脈絡下，許多早期小說常常訴諸於女性經驗，並真實地呈現十八世紀初女性的處境與困境，在以女性為中心的文本下，我發現偽裝的策略性運用被當時作者筆下的女主人翁和女性作家廣泛地採用，試圖在男性主導的社會中賦予自己作為低等性別權利。
在這兩個文本中，女主人翁們將自己偽裝成不同的身份，法蘭德斯變身女僕、乞丐、寡婦甚至是男人來突破階級與性別的限制，范德萊納為了吸引男主角包伯萊澤，將自己偽裝成四個不同的女性角色，在偽裝概念的研究中，外表層面的偽裝之重要性已經被廣泛的討論，為了進一步討論偽裝的運用，除了外表上的變裝，本文將偽裝的概念延伸討論，包括女性作家和女敘事者如何將偽裝的概念應用於敘事技巧及文類的使用，以作為在父權社會中自我賦權的工具。

This thesis proposes to analyze the notion of disguise in the early eighteenth-century fiction by carefully examining the two fictions: Daniel Defoe’s The Fortunes and Misfortunes of the Famous Moll Flanders (1722) and Eliza Haywood’s Fantomina: or, Love in a Maze (1725), and to investigate how disguise functions as a self-empowering act for the two female protagonists, Moll Flanders and Fantomina. Within the context of the rise of the novel, the early novel all too often resorts to feminine experience, realistically demonstrating the women’s situation and predicament in the early eighteenth century. In this female-centered plot, I find that the strategic use of disguise is widely adopted by the heroines and female writers with an attempt to empower themselves as the inferior sex in the male-dominated society.
Throughout the two fictions, the heroines disguise themselves as several identities. Moll puts on multiple disguises, such as a maid, a beggar, a wealthy widow, or even a man to “traverse class and gender boundaries” (Shih 155). Fantomina disguises herself as four feminine roles in order to attract the male libertine, Beauplaisir. The significance of the physical disguises has been widely discussed in the discourse of the notion of disguise. To take the discussion further, besides physical disguises, this project seeks to explore the extended notion of disguise, including how the female writers and female narrators apply the element of disguise to the narrative technique and their choice of the literary genre as an instrument of empowering themselves in the male-dominated society.

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