Der Band untersucht mit Hilfe textspezifisch ausgewählter Ansätze aus den Bereichen Literaturtheorie, Medienwissenschaft, Psychoanalyse und gender studies die widersprüchliche Bedeutung von Visualität für Fowles` Romanwerk. Im Zentrum der Arbeit stehen unter anderem die Fragen, ob die in den Romanen und Novellen erfolgende kritische Problematisierung von Bildmedien zu einer Bejahung ihrer kreativen Möglichkeiten führt, ob es sich um medienfeindlichen Konservatismus oder um eine literarisch ebenso produktive wie kreative Funktionalisierung von Bildern, Stereotypen und Vorurteilen handelt.

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-06-22T13:06:02Z No. of bitstreams: 1 arquivo total.pdf: 1239262 bytes, checksum: 7771a41858b9b6b813e1e57862b7c084 (MD5) / Made available in DSpace on 2016-06-22T13:06:02Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 1239262 bytes, checksum: 7771a41858b9b6b813e1e57862b7c084 (MD5) Previous issue date: 2015-08-31 / This dissertation proposes a comparative analysis of metafiction in the novel The French lieutenant's woman, by John Fowles and in the film with the same name, directed by Karel Reisz, with screenplay by Harold Pinter. Our theoretical frame highlights some of the main studies published in the field of metafiction. We supplement the investigation of metafiction in the literary and filmic narrative in interface with other theoretical contributions, among them: narratology, filmic adaptation and some theoreticians of postmodernism. We adopt as a methodological principle the comparative investigation of some aesthetic devices and procedures associated with metafiction (self-reflexivity, self-consciousness, intertextuality, mise-en-abyme, among others) as long as they have been emphasized in the appreciation of some selected narrative categories (narrator, epigraph, character, reader/spectator) in the literary and filmic contexts. As a whole, our results consider metafiction as being a privileged, mediatory, logic, processual and theoretical-critical tool for the in-depth comprehension of the filmic and literary narratives. / Esta dissertação propõe uma análise comparativa da metaficção no romance The French lieutenant's woman, de John Fowles e no filme homônimo, dirigido por Karel Reisz, com roteiro de Harold Pinter. Nosso aporte teórico focaliza, sobretudo, os principais estudos publicados na área da metaficção. Suplementamos a investigação da metaficção na narrativa literária e fílmica com a interface de outros subsídios teóricos, dentre eles: a narratologia, a adaptação fílmica e alguns teóricos do pós-modernismo. Adotamos como princípio metodológico, o exame comparado de alguns recursos e procedimentos estéticos filiados à metaficção (tais como, autorreflexividade, autoconsciência, intertextualidade, mise-en-abyme, entre outros), conforme foram sendo enfatizados ao longo da apreciação de algumas categorias narrativas selecionadas (narrador, epígrafe, personagem, leitor/espectador) nos contextos literários e fílmicos. Em síntese, nossos resultados recaem sobre a metaficção enquanto uma ferramenta teórico-crítica, processual, lógica, mediadora e privilegiada para a compreensão aprofundada das narrativas literária e fílmica em pauta.

On the surface level, Fowles’s novel sets the trust in the timelessness of art and the possibility of a recourse to some kind of ‘true self’ against American hyperreality. Though the novel’s verdict on the American scopic regime of simulacra is devastating, England’s morbid theatricality does not represent an alternative. However, a novel which criticizes visuality only to accord Rembrandt’s “Self- Portrait” a place of utmost importance necessarily runs into problems of self-contradiction: Rembrandt’s self-portrait refuses any one-dimensional functionalization and contains self-reflexive/revocative elements pertaining to its capitalist dimension and to the dangers of commodification/narcissism/serialization. Moreover, Rembrandt’s portrait is located at the centre of a whole series of mises en abyme and contains significant autotelic elements which link it with the criticized American scopic regime, question its representational dimension by stressing the pure materiality of the work of paint and revoke Fowles’s novel and its didactic media-theoretical underpinnings.

This study aimed to uncover information about an area on which little published material is available, that is, the area of art education in New South Wales prior to 1940. Because of the lack of published material, much of the information used in this study had to be sought in annual reports on education made to the New South Wales Parliament over the years concerned, and in the educational journals of the period. Some very useful original documents and letters were found in the Mitchell Library and in the New South Wales Archives. It was established that drawing first became part of the curriculum in a few public schools in Sydney in 1854, and that by 1869, drawing was taught in all the primary schools of New South Wales. The drawing system which was introduced was based on the very structured and utilitarian programme of the Department of Science and Art in South Kensington. The first Drawing Master in New South Wales was Joseph Fowles, who had arrived in Sydney from England in 1838. Joseph Fowles was in charge of drawing in the public schools of New South Wales from his appointment in 1854 until his death in 1878. The other two important figures in art education over the period covered by this study were Frederick W. Woodhouse, who was Superintendent of Drawing from his arrival from England in 1889 until his resignation in 1903, and John E. Branch, who was in charge from 1903 until his death in 1933. This study found evidence that the Department of Science and Art in South Kensington played an essential part in establishing the programme of art education in New South Wales from the 1850s until well into the twentieth century. With regard to the contribution made by the three individuals mentioned in the title, the study found that while they played an important role in overseeing the teaching of drawing in the schools, they were not influential in the sense of being able to impose any individual philosophy of art education on the system.

追求自由與自知之明是英國小說家約翰‧傅敖斯作品中不斷出現的主題。其小說中之主角經常透過自我的追尋，打破各種人為制度的桎梧，而成就某種自由。本論文乃就其『法國中尉的女人』以及『捕蝶人』兩本小說來探討該主題。引文部分依據傅氏的『思想集--理想的典範』(The Aristos)中所呈現的概念勾勒出傅氏對自由理念的藍圖。 　　本論文共分三章：首章探討『法國中尉的女人』作品中主角莎拉‧伍德芙追求自由之過程。她身為維多莉亞時代的孤女，寧可承受被杜會人群放逐的命運，也不肯成為傳統法則盲目的遵奉者。她雖然付出了相當的代價--諸如遭孤立與唾棄等，卻也成就了可貴的"莫我"與"自由"。 　　第二章就另一主角查爾斯‧史密森的成長過程加以研討。史君本來具備成為少數精英的潛能，而莎拉的出現恰好扮演其"導師"之角色。對他而言，發掘自我對莎拉之真感情的過程正好刻劃了自我追尋的過程。而當他能夠依其"真我"做出"決定"之際，也正是他贏得"自由"的時刻。 　　末章對傅氏之典範人物－少數精英，再做進一步的描繪，並就其責任及兩種"階級"－少數精英與芸芸眾生之間的衝突加以探討。其中『捕蝶人』是本章主要的討論對象。我們發現傅氏所憧憬的自由並非建構在自私的個體利益上，而是回歸至人文的終極關懷。 　　也許誠如傅氏所言，"絕對的自由"無法輕易達到。然而，即使人類擁有的僅止於此一。"有限"的自由，卻也可能是人類未來唯一的救贖。 / The quest of freedom and self-knowledge is a recurring theme in John Fowles's works. The protagonists of his novels usually struggle to win their freedom from some sorts of constraints while achieving self-knowledge through the course of suffering. The task of this thesis is to explore the growth of the characters in Fowle's two novels--<u>The French Lieutenant's Woman</u> and <u>The Collector</u>. 　　This thesis is divided into three chapters. In the introduction, I try to costrue the Fowlesian idea of freedom, which is generally based on Fowles book of ideas-----<u>The Aristoi</u>. Those include existentialism, self-knowledge, the "nemo" (Fowles' term for "anti-ego"), and the aristoi (a term originated by a Greek philosopher, Heraclitus, to represent the moral and intellectural elite). All of them are concerned with Fowles perception of freedom; in this part, different concepts is discussed respectively. 　　In the first chapter, I explicate how Sarah Woodruff (the protagonist in <u>The French Lieutenant's Woman</u>) gains her freedom in the conservative Victorian society. My focus is on the particular conflict she must face and the social constraints from which she tries to extricate herself and how she evolve to be the "aristoi". Also, there is discussion on the price she must pay for her freedom. 　　In the second chapter, I deal with the process of self- discovery of the other protagonist in <u>The French Lieutenant's Woman</u>--Charles Smithson. Charles, a potential aristoi, undertakes an existential trial and evolves toward a new species, the aristoi; his self-discovery, however, is parallel to the recognition of his feelings toward Sarah. Like her, Charles chooses to win his freedom with an act of defiance against society--in his case, the break of his engagement with a conventional girl, Ernestina. 　　In the third chapter, I depict the paradigm of Fowlesian character--the aristoi. An exploration on the responsibility of this moral and intellectual elite, an examination on the conflict between the two categories-----the Few nad the Many, as well as a search of a reconciliation between these controversial categories are made, mainly referring to <u>The Collector</u>. 　　Limited as it might be, the Fowlesian freedom, I believe, will explore a new 'exit' for human and in turn contribute to the establishment of a 'better world'.

John Fowles¡¦s The Magus, as a metafiction, is designed to criticize the fictional writing in the context of inter-reflexive narrative. More than displaying his innovative writing style, Fowles extends the possibility of fictional writing with the application of spiral structure, allegorical rhetoric and the abundant mythological elements in this book. This thesis sets out to analyze the mirror-text and discuss how such a text reflects the symbolical meaning carried by the mythological symbols within the narrative, which, taken together, reinforce the significance of the hero¡¦s adventurous journey¡Xthe journey as a process of the development of the hero¡¦s personality. To elaborate the narrative strategy of this novel, in the first chapter, I shall discuss the function of the mirror-text and its relation with the primary text. Applying Mieke Bal¡¦s narratological theory to enhance my understanding of the mirror-text, I would bring forth the cumulative effect of the mirror-text. The arrangement of the mirror-text aims to decompose the text by projecting the deficiencies in the primary text. In Chapter Two, I shall, on the one hand, decompose the text by using Vladimir Propp¡¦s method of morphology. On the other hand, after introducing Joseph Campbell¡¦s analysis of mythology, I would discuss the mode and significance of the heroic journey in detail and explore how the motif of mythology structures the narrative of The Magus. After examining the novel both structurally and semantically, in the final part, I would put emphasis on the psychological condition of the hero. Jungian psychological study, which encompasses mythic symbols, would be adapted for illuminating the development of the hero¡¦s personality. The personal development is taken as an analogy in the novel. From the growth of an I-narrator, Fowles takes the novel as not only an aesthetic discourse with which he scrutinizes the reality he perceives but also a mirror upon which the author and the readers are allowed to project their ¡§lack¡¨ onto the ¡§maternal textual body.¡¨ Like the symbolic rebirth of a hero, the author and the text are reborn from the readers¡¦ interpretations.

Thesis (M.A.)--Kutztown University of Pennsylvania, 1999. / Source: Masters Abstracts International, Volume: 45-06, page: 2823. Typescript. Abstract precedes thesis as, preliminary leaves [2-3]. Includes bibliographical references (leaves 109-112).

Undersöker hur den berättartekniska strukturen i John Fowles roman The French Lieutenant's Woman skapar en interaktion mellan läsare och text. Syftet är att diskutera hur detta bidrar till det didaktiska budskap som romanen tycks formulera. Uppsatsen använder Shoshana Felmans teorier om överföring mellan läsare och text och Wolfgang Isers begrepp "den implicita läsaren" som verktyg för analysen.

Diss.--Freiburg(Breisgau)--Univ., 1998. / Bibliogr. p. 279-295.

Thesis (doctoral)--Uppsala University, 1995. / Includes bibliographical references (p. 238-249) and index.