本論文旨在探討為何湯亭亭《女勇士》中的母職形象並非作為單一人物加以呈現，而應視為一種幽靈式持續纏繞於文本與敘述者主體中的交織性結構，其所傳遞的不僅是家族創傷與文化記憶，更是語言規訓與離散經驗中未竟歷史的延異性痕跡。本研究援引德希達的幽靈論、傅柯的話語理論與女性主義對母職制度的批評性思考，深入分析小說中母女關係的三種鬼魂運作模式：個人鬼魂（Personal Ghost）、話語鬼魂（Discursive Ghost）與離散鬼魂（Diasporic Ghost）。在此三種鬼魂的分析視野下，小說中無名女的故事成為羞恥與禁言的載體，映照家庭記憶中無以安葬的創傷；母親所反覆講述的英雄神話與規訓語言構成話語鬼魂，使女兒在語言的重複中被規定、被塑形；而當移民經驗導致文化傳遞的語言斷裂與象徵失效時，母親自身轉化為離散鬼魂，其語言所構成的殘響成為無法被完全收編卻又無法逃離的幽靈痕跡。因此，故事中母女關係的複雜交織動能無法以對立的抗拒或從屬加以簡化，而應理解為一種幽靈式的協商場域。小說末尾敘述者轉向蔡琰形象，既非單純象徵化解與救贖，更是一種轉譯與重述的政治行動，使幽靈性不再僅為壓力之所在，而成為敘事的倫理條件。如是，本文主要的企圖是嘗試探討一個新的問題意識：為何三種交織的幽靈能不僅穿透母女關係的主題，更滲透於文本形式與語言組構之中，形塑湯亭亭對離散女性主體如何在廢墟之間重新發聲與重構記憶的敘事實踐？

This research aims to apply a critical analysis of Maxine Hong Kingston’s The Woman Warrior to explore the underlying mother-daughter power dynamics often overlooked in mainstream interpretation. Drawing upon Derrida’s hauntology, Foucault’s theory of discourse, and feminist critiques of motherhood, the study delineates three spectral configurations—Personal Ghost, Discursive Ghost, and Diasporic Ghost—each marking a distinct modality through which maternal power inscribes the daughter’s subjectivity within structures of historical silence and migratory fragmentation. The Personal Ghost, exemplified in the figure of the No Name Woman, enacts a familial haunting that operates through shame and moral erasure; the Discursive Ghost manifests through repetitive maternal storytelling that both preserves and disciplines via cultural mythos; the Diasporic Ghost materializes at the site of migratory collapse, where the maternal voice falters under the weight of linguistic illegibility and failed transmission. Rather than treating the mother-daughter relation as a binary of resistance and repression, this thesis reads it as a hauntological site of spectral negotiation, where the daughter’s struggle toward narrative voice emerges not in opposition to the maternal ghost but through it. The final invocation of Ts’ai Yen—a poet who survives exile by translating captivity into song—figures as a metatextual gesture, whereby Kingston reclaims haunting not as paralysis but as the very condition through which diasporic identity may be re-voiced, re-imagined, and re-inscribed. In this reading, maternal haunting becomes not merely a thematic concern but a narrative grammar through which the spectral legacy of womanhood in the diaspora is written.

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