本文探討了莎士比亞（William Shakespeare）劇作《冬天的故事》（The Winter’s Tale）中社會階級（social class）、文化資本（cultural capital）與求愛文化（courtship culture）的交匯點。本研究跳脫了將劇中田園幕傳統解讀為純粹浪漫劇的框架，認為波希米亞（Bohemia）的求愛儀式充當了一個高度複雜的意識形態評估場域。透過分析「求愛互動」（courtship interactions）—年輕夫婦在此導航早期現代（early modern）關於交換（exchange）、禮品贈送（gift-giving）與公眾監視（public surveillance）的規則——我論證了該劇如何預示了布迪厄（Pierre Bourdieu）對「美學傾向」（aesthetic disposition）作為一種隱蔽經濟策略的理解。在本框架下，透過檢視莫普莎（Mopsa）和多卡斯（Dorcas）的平行經歷以及佩迪塔（Perdita）的發展軌跡，本研究探討了女性對文化商品（cultural goods）的參與如何成為衡量其社會與道德價值的核心指標。佩迪塔展現出貴族式的漠然（aristocratic disinterest），反映出安全且本真的價值；相較之下，莫普莎和多卡斯則在競爭激烈的本土婚姻市場中摸索，在切合實際的同儕協商與「男性秩序」（“masculine order”）無處不在的壓力之間取得平衡。此外，透過奧托里庫斯（Autolycus）兜售的通俗傳單民謠（broadside ballads），文本揭示了文化敘事與厭女母題（misogynistic tropes）如何被武器化以馴服女性慾望，並因女性被假定的物質主義而對其進行懲罰。最終，該劇表明社會階級的穩定並非依靠婚姻契約的公開調控，而是透過一套將女性務實訴求變得在社會上難以辨識（socially illegible）的美學區隔密碼（aestheticized code of distinction）來維持。

This article explores the intersections of social class, cultural capital, and the courtship culture in Shakespeare’s The Winter’s Tale. Moving beyond traditional readings of the play’s pastoral act as mere romance, this study argues that the courtship rituals of Bohemia function as a sophisticated site of ideological evaluation. Through an analysis of the courtship interactions dramatized—where young couples navigate early modern rules of exchange, gift-giving, and public surveillance—I demonstrate how the play anticipates a Bourdieusian understanding of the "aesthetic disposition" as a concealed economic strategy. By examining the parallel experiences of Mopsa and Dorcas alongside the trajectory of Perdita within this framework, the study investigates how a woman’s engagement with cultural capital serves as a primary indicator of her social and moral worth. While Perdita adopts an aristocratic disinterest that mirrors safe authentic value, Mopsa and Dorcas navigate a competitive local marriage market, balancing realistic peer-based negotiations against the pervasive pressures of the "masculine order." Furthermore, through Autolycus’ peddling of popular broadside ballads, the text exposes how cultural narratives and misogynistic tropes are weaponized to discipline female desire, penalizing women for their presumed materialism. Ultimately, the play suggests that the stability of the social hierarchy is maintained not by the overt regulation of marriage contracts, but by an aestheticized code of distinction that renders women’s pragmatic demands socially illegible.