Diss.--Kiel--Univ., 1992. / Bibliogr. p. 203-229.

Ph. D. Th.--English--Stirling (GB)--University of Stirling, 1989.

This master's thesis is focused on the theme of being and having in concrete works of John Fowles. The aim of this thesis is to analyse literary existentialism in the works of this eminent British prosaist. The thesis mainly concentrates on his first novel The Collector in connection with the theme of money and the question of human physical and mental freedom. Then the thesis compares Fowles' essays with his novel The Collector, particularly with a collection of his private philosophy The Aristos and his essays about nature Seeing Nature Whole, The Tree, The Enigma of Stonehenge.

This study analyzes the development of the major characters in Fowles's novel - Charles, Sarah, and Sam - in terms of the heroic quest motif. Using the basic pattern of the heroic quest, the monomyth, that Joseph Campbell sets forth in his The Hero with a Thousand Faces, I attempt to show that Fowles's novel may best be understood as the story of three separate heroic quests whose paths cross rather than as the story of a single hero or heroine. This reading seems to account best for all elements of the novel and to explain best the final positions of the characters in question as well as providing a rich appreciation of the novel's wealth of imagery.

The Magus, by John Fowles, can be read as a modern re-telling of the traditional hero quest. The thesis attempts to explore all of the ways the novel compares to hero myths.

This essay is first and foremost an exploration of the melodramatic themes in John Fowles The French Lieutenant’s woman. By defining melodramatic plot events and analyzing the novels postmodern narrative as a melodramatic element in its own right, this study’s purpose is to explain what makes the reader react in a specific way – Or more specifically: feel alienated by the books narrator.                       Throughout the study, I’ve analyzed specific melodramatic examples in The French Lieutenant’s Woman; Its multiple endings, the meta-fictional narrator and its characters and connected them to the melodramatic genre and sensibility in an attempt to define the reader’s emotions towards a seemingly unconventional narrative.

Thesis (Ph. D.)--Indiana University of Pennsylvania. / Includes bibliographical references.

Thesis (Ph. D.)--Middle East Technical University, 2003. / Keywords: Self-reflexivity, Self-reflection, Mirror, Dreams, Fantasies, Reference and Difference, Self- Other Dichotomy, "I"dentity Crisis, Overt/Covert, Metafiction, Creative Process, Form, Linguistic Medium.

The present work explicates the concept of "the messianic" as it figures in the work of Jacques Derrida and Walter Benjamin in order to establish the foundation of a useful (and, one hopes, potentially innovative) critical approach to the works of Mary Shelley, Joseph Conrad, John Fowles, as well as to novelistic fiction generally. This foundation rests on a common quality of the messianic as it figures in Derrida and Benjamin's respective corpora. In their conception the messianic refers not to some individual of divine, semi-divine, or even mortal origin who is charged with functioning as the world-historical agent by whose deeds history itself comes to an end, and a new holy, paradisiacal order is thereby founded, but to the aspirational tenor to humankind's orientation to futurity. The messianic finds expression in the myriad instantiations of human beings' future-oriented activity. As such, it achieves a sort of spectrality--or, to borrow the term Marx applies to the commodity, a phantom-like objectivity--having a somewhat intuitive apprehensibility, if in fact not form or substance.Novelistic fiction, which exploits its own spectrality in a bid for arranging impossible arrangements, realizing impossible realities, ordering impossible orders, attempts to occupy an impossible-to-occupy space between on one hand, the catastrophic present and the messianic future, and on the other hand, the future to come and the future as it is wished to be. Wracked by the tension created by its allegiance to chance, the contingent, and the aleatory on one side, and to the deterministic, the necessary, and the climactic or teleological on the other side, novelistic fiction achieves its particular character precisely through pursuit of its abortive program, just as humanity achieves its character, to the extent that such a notion is legitimate, precisely through its abortive program, which is nothing more no less than survival, than living on.

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