本論文旨在藉由分析麥奇莉普的小說《幽城迷影》中的光與影來探討主角們（Ducon和Mag）的身份認同與其環境的關聯。我將運用電影拍攝中燈光照明的技巧，來分析小說中光與影如何揭露主角們內心的情感與獨白，並輔以格萊妮絲·布里克維爾（Glynis Breakwell）身份認同理論中的歸屬感（belongingness）以及自我效能（self-efficacy），進一步解釋主角們的身份認同如何與所居城市幽別亞（Ombria）息息相關。其中，我將援引史黛西·阿萊莫（Stacy Alaimo）的跨肉身性（Trans-corporeality）來闡釋幽別亞如何影響主角們的身份認同的經驗，並以此延伸出作者對於現今生態環境秉持的理念。第一章為導論，我簡介《幽城迷影》的故事背景與人物衝突，並帶出小說中身份認同的核心問題。第二章我將闡述主角身份認同遭遇的挫折，以及其觀看幽別亞的視角。第三章以奇幻小說的期待開頭，深入解讀作者如何援用幽別亞對主角們的影響來暗喻當今環境議題。第四章結論將會總括前兩章的內容，並列出本論文未討論的範圍以及期待。

Patricia McKillip’s Ombria in Shadow draws our attention to a city where light and shadow take part in presenting its image, and where the two protagonists, Ducon and Mag, struggle for their identity. This thesis seeks to apply lighting techniques in cinematography to locate characters’ emotional interiority in relation to their surroundings; it also refers to Glynis Breakwell’s Identity Process theory (IPT) to view the degree to which the two characters’ identities can relate to Ombria, the city they inhabit. I employ Stacy Alaimo’s “trans-corporeality” to explicate the role Ombria plays in defining Ducon and Mag’s sense of self. I contend that McKillip’s make use of light and shadow to unravel the extent to which Ducon and Mag are able to settle down in the city, and that this connection between characters and Ombria has revealed the author’s idea on the modern reality that humans are in fact intertwined with the environment and the need to rethink upon our current status in relation to the material world. Chapter One serves as an introduction to the scope and motivation of this thesis. Chapter Two goes deeper into the elucidation of film lighting and Breakwell’s IPT; it also discusses the identity Ducon and Mag assumes in the novel. Chapter Three expounds Alaimo’s concept of trans-corporeality and then enter into a discussion on the interconnected relationship between Ombria and the two characters. Chapter Four aims to review what has been discussed so far and bring forth the limitation and expectation of this thesis.

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