本論文以後殖民與女性主義批評為理論框架，探討佛羅倫斯．馬里亞特的哥德小說《吸血鬼之血》（1897），主張馬里亞特對混血女主角哈麗雅特．布蘭特的矛盾描寫，源自其對於女性自主的同情與帝國種族意識形態之間的張力。作為一位同時兼具英國／牙買加與人類／吸血鬼雙重混血身分的人物，哈麗雅特動搖了維多利亞時期多重的社會階序，不僅挑戰建立於殖民主義之上的種族秩序，也衝擊了維多利亞時代理想女性形象。小說一方面反映了世紀末英國社會對種族混染與維護英國國族認同的焦慮，另一方面卻又不斷引導讀者同情哈麗雅特的痛苦與孤獨。本論文首先將小說置於維多利亞晚期帝國論述與女性主義論述的歷史脈絡中，分析哈麗雅特如何透過敘事策略被種族化，並被建構為英國社會的威脅；進一步探討馬里亞特如何藉由與吸血鬼意象相關的強勢女性角色，協商女性能動性的可能與界限。馬里亞特一方面肯定女性的獨立自主，另一方面卻又將其限制於種族意識形態的框架之內，揭示其理想女性觀仍受到帝國種族階序觀念的制約。因此，《吸血鬼之血》並非單純地擁護或反抗維多利亞時期的主流意識形態，而是揭露了女性主義理想與殖民論述在世紀末英國文化中彼此衝突卻又共存的矛盾狀態。

This thesis examines Florence Marryat’s Gothic fiction The Blood of the Vampire (1897) through the intersections of postcolonial and feminist criticisms, arguing that Marryat’s ambivalent treatment of Harriet Brandt is shaped by the tension between feminist sympathy and imperial racial ideology. As a hybrid figure who is simultaneously English and Jamaican, human and vampire, Harriet destabilizes multiple Victorian hierarchies, challenging both the racial order founded upon colonialism and Victorian ideals of womanhood. While the fiction reflects fin-de-siècle anxieties surrounding reverse colonization, racial contamination and the preservation of British identity, it also repeatedly invites readers to sympathize with Harriet’s suffering and isolation. This study contextualizes the fiction within late-Victorian imperial and feminist discourses, examines the narrative strategies through which Harriet is racialized and constructed as a threat to British society, and explores how Marryat negotiates female agency through powerful female figures associated with vampirism. Marryat celebrates women’s independence while simultaneously restricting it within the boundaries built on the racial ideology, revealing how her vision of ideal womanhood remains constrained by imperial assumptions about racial hierarchy. Rather than simply reinforcing or resisting the Victorian ideologies, The Blood of the Vampire exposes the uneasy coexistence of feminist aspirations and colonial discourse at the fin de siècle.

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