喬伊斯的「都柏林人」所呈現的社會整體性精神癱瘓現象，是導源於羅馬天主教以及英國殖民政策統治下，對愛爾蘭人主體性的精神剝削。喬伊斯描繪了女性受困於殖民、宗教、家庭與性別的束縛的情景，以及在此一令人窒息的氛圍下，部份勇於尋求自我定位、尊嚴與解放的新女性。沿襲自維多利亞時代的女性角色二分法，這套意識形態加強鞏固了對女性的控管。因此，不遵循此父權規範的女性必定會遭致污名化對待。在此情形下，「都柏林人」中的女性是否能掙脫父權制度下建構的壓迫及限制則為本文探討之主要議題。本論文是以精神分析的角度探討喬氏「都柏林人」中的女性議題；包括女性屈從於威權的情況、對父權制的反制、以及實現自身原本壓抑的欲望。採用拉岡對性別認知建構模式、陽物作為符碼的角色、偽裝、以及象徵系統中的欲望的精神分析理論，以闡述我認為女性唯有演變成具挑戰性的新女性方能解脫四方壓制的論點。
此論文涵蓋三章。第一章解釋拉岡理論中的陽具符碼以及性別角色的不定性，再應用此論點討論文本中諸篇描述被殖民國族下的男性之悲哀。最後聚焦於愛爾蘭男性在英國殖民下，如何挪用他們從殖民者身上學到的政治策略，轉移他們的自卑情結，由被害者角色豹變為對愛爾蘭女性的加害者。
第二章簡論維多利亞時代的女性性別二分法的社會規範意涵。其次，藉拉岡偽裝一論，著墨於兩者於文本諸篇之抗衡與牴觸。此外，婚姻，在「都柏林人」一文中，被指涉為女性以性作為對安定生活的交易，或是使男性陷入不自由的詐術。同時，逐篇分析女性的壓抑情形，透過拉岡理論中對認可、欲望以及絕爽（jouissance）的概念，闡述並主張透過語言的反制可解放女性的潛在慾望，並且擊潰專制男性之自戀式地自我幻化的意（鏡）象。
第三章藉探討及重新檢視短篇「逝者」一文中女性的主體性，作為本論文重點之再述及結論。拉岡對慾望的形塑及功用、偽裝、不存在的女人（the Woman）以及慾望的再現之論，除了點出女性當時所處之困境，更輔助闡述本論文之主題：女性由語言的反制作為抗衡男性權力結構機制的利基。

In Dubliners, James Joyce delineates female characters that are caught up in the colonial, religious, familial, and sexual nets, along with some exceptional women who seek identity and emancipation in the suffocating environment. The sexual ideology inherited from Victorian age reinforces the phallocentrism and its domination on women. This thesis investigates female Dubliners’ subjugation to authorities, defeat of patriarchy and fulfillment of repressed desires in James Joyce’s Dubliners from a Lacanian perspective. I employ Jacques Lacan’s theories concerning the formation of gender identity, the roles of the phallus, and the Woman to elaborate upon my argument that only by metamorphosing into deviant women could the confinements collapse.
This research contains three chapters. Chapter one begins with examining Jacques Lacan’s theory of the imaginary phallus and the vulnerability of sex-role, then specifying the feminized, castrated Irish men. I focus on the British colonial manipulation of the Irish subjectivity, and how male Dubliners appropriate their master’s strategy to further victimize women.
In the second chapter, I launch the Victorian women issues in light of the virgin/whore dichotomy. I employ Lacan’s theory of masquerade to elaborate upon the conflict between angels and viragos. I analyze the characters’ repression and argue that subterranean desires of women could serve to defy the phallic ego that demands the other’s recognition of one’s narcissistic mirror image.
I conclude the thesis in the third chapter by reexamining the female subjectivity in “The Dead.” Lacan’s inquiry of the Woman reinforces female counterattack against male sovereignty. In addition, his conception of desire articulates women’s plight and indicates the counterattack against the male oppression. By illustrating Joyce’s presentation of women in Dubliners, I explore the unspeakable darkness and tension underneath the life of Dubliners.

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