摘要

就像其他傳統國家，愛爾蘭一直被賦與女性想像，是個「母性愛爾蘭」。然而,愛爾蘭特殊的神話背景、社會風俗、歷史情境、殖民經驗以及宗教禮俗卻又形塑出一種獨特的母性文化。愛爾蘭本身的塞爾特神話傳說神秘詭譎，若再加上其國族思想與天主教義，則使其女性認同的議題更加複雜。傳統上國族思想與後殖民論述一直是男性的天下。但相較於國族與殖民等主流論述，愛爾蘭女性的討論則相形失色。雖然近幾年來有關愛爾蘭女性的研究漸次增多，然多數集中在歷史社會的探討。有鑑於此，本文討論當代愛爾蘭文學中女性的身份認同與差異，思考其與愛爾蘭神話、宗教、歷史以及國族論述的辯證關係，希望能藉此填補相關研究的不足。
本文共分為五部分。第一章導論檢視愛爾蘭傳統詩歌中的老嫗與神女形象，以及天主教傳統中的聖母形象。此外，本文理論架構與探討的文本將於本章介紹。第二章討論愛爾蘭文藝復興作家葉慈、格雷戈理夫人和辛約翰的作品，思考愛爾蘭女性認同如何受制於男性為主的國族運動，並思考解構的可能性。第三章從傅科關於權力、知識與性慾的理論出發，分析歐布萊恩《鄉村女孩三部曲》中女主角如何於愛爾蘭傳統家庭、社會與宗教的夾縫中生存，並檢視其女性認同的轉機與危機。第四章從法國女性主義切入討論傳立歐劇作《莫莉．史威妮》和《露娜莎之舞》中女性跳脫男/女二元對立與了解認同差異的必要性。第五章結論試圖釐清建構當代愛爾蘭女性認同與差異, 最後並點出本文的貢獻與限制，以及思考未來可能的研究方向。

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