迪莉婭·歐文斯的處女作小說《沼澤女孩》講述一個被遺棄的女孩凱亞獨自在大自然中生存的成長故事。在本論文中，我主張應該從生態女性主義的角度來分析《沼澤女孩》，以深入了解對女性和其他人類他者的排斥或邊緣化以及對自然的不公正支配之間的相互聯繫。本文主要借鑒凱倫·沃倫(Karen Warren)的生態女性主義理論，她一生致力於環境倫理和生態女性主義領域，追隨頗具影響力的生態女性主義者羅斯瑪麗·雷德福·路德(Rosemary Radford Ruether)、卡洛琳·麥茜特(Carolyn Merchant) 和伊內斯特拉·金(Ynestra King)。本文旨在從生態女性主義的倫理、正義和靈性三個維度來探討凱亞如何在父權壓迫下生存且作為他者在逆境中成長。針對女性、其他人類他者和自然之間的關係，本文提出了在當代「非人類中心的世界」中與非人類他者的互利與平等策略。

Delia Owens's debut novel, Where the Crawdads Sing, depicts a coming-of-age story of an abandoned girl, Kya, who survives alone in nature. In this thesis, I argue that Where the Crawdads Sing should be analyzed from an ecofeminist perspective to gain insights into the interconnections between the exclusion or marginalization of women and other human Others, and the unjustified domination of nature. I draw on theories of ecofeminism primarily from Karen Warren, who had devoted her life to the fields of environmental ethics and ecofeminism, following the influential ecofeminists Rosemary Radford Ruether, Carolyn Merchant, and Ynestra King. This thesis aims to explore how Kya survives adversities and thrives as an Other under patriarchal oppression from three dimensions: ecofeminist ethics, ecofeminist justice, and ecofeminist spirituality. Concerning the relationship between women, other human Others, and nature, this thesis proposes a mutualistic and egalitarian approach to nonhuman Others throughout the contemporary “more-than-human world.”

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