本文旨在討論珍‧史邁利的《褪色天堂》（1991）中女性與自然之關聯。相較於賦予自然 高度文化義含，或認為自然是荒無之地，本文論述自然應為女性革命與反動之場域；即是說， 擺脫自然與女性連結之本質主義疑慮，並點出自然與女性的正向連結。本文藉由茵尼斯特拉‧ 金、唐娜‧哈洛威、斯黛西‧艾雷默的觀點來說明自然與女性正向連結之可能性。結合金、 哈洛威、艾雷默之理念與《褪色天堂》，本文說明小說中之角色Ginny 實踐了三位理論家之理 念。藉由時時憶起孩童時期記憶中之水域大地，Ginny 連結女性與大地，體認大地中流動的 女性動態能量，並從中推翻父權式馴服與教養，及重新建構出女性自我認同。據此，運用流 動地理之隱喻，《褪色天堂》破除女性與自然之負面聯結，並闡述女性應以自然為根基並從中 展開（生態）女性主義之反動與顛覆。

The purpose of this paper is to study the association between women and nature in Jane Smiley’s A Thousand Acres (1991). Instead of seeing nature as a space overloaded with cultural connotations or as an empty space, this paper argues that nature is a site for (eco) feminist revolution and subversion—women’s alliance with nature without any harmful associations between the two categories. It employs theories from Ynestra King, Donna Haraway, and Stacy Alaimo to scrutinize women’s alliance with nature. Combining their insights with A Thousand Acres, it points out that the character Ginny practices the three theorists’ preaching. Through the constant awareness of the original watery landscape, Ginny links women to the land and recognizes its feminine dynamics, which is capable of overthrowing patriarchal domination and domestication as well as reconstructing women’s self-identity. By focusing on the metaphor of fluid geography, this paper demonstrates the possibility of women’s alliance with nature and shows that nature is a ground for (eco) feminist alternative in A Thousand Acres.