Texte remanié de: Dissertation--Nuremberg, Allemagne--Universität Erlangen-Nürnberg, 2003. / Bibliogr. p. 275-311.

Thesis (B.A.)--Haverford College, Dept. of English, 2008. / Includes bibliographical references.

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 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.

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Vieno įdomiausių šiuolaikinio anglų rašytojo John’o Fowles’o kūryba yra lyg išsamus ir gilus ekskursas į vakarietiškos kultūros, filosofijos, mitologijos, meno ir istorijos raidą. Pasaulinėje literatūros kritikoje, J. Fowles’o proza yra analizuojama šiais aspektais: 1) kaip romantizmo ir neoromantizmo idėjų tesėja ir skleidėja, 2) kaip egzistencialistinės literatūros tęsėja, 3) kaip postmodernistinės rašymo tradicijos skleidėja, 4) kaip mitopoetikos ir mitinio rašymo atstovė. Darbo tikslas yra pateikti struktūrinę pačio Orfėjo mito analizę ir pritaikyti ją analizuojant Fowles’o prozą. Orfėjo mito struktūra atskleidžia akivaizdžias tris dalis, į kurias susigrupuoja visos mite esančios mitologemos. Trinarė Orfėjo mito struktūra sudaro binarines opozicijas, kuriomis remiantis galima atskleisti giluminius mito klodus, santykių pluoštus ir konfliktus.Pirmieji Orfėjo mitą pateikę rašytiniai šaltiniai - Vergilijaus „Georgikos“ ir Ovidijaus „Metamorfozės“ jau byloja apie šio mito invariantų interpretacinę gausą ir įvairovę. Vergilijus ir Ovidijus tą patį Orfėjo mitą pateikia visiškai skirtingai. Vergilijus naudoja Orfėjo mitą kaip Aristėjo mito svarbią dalį, kuri paaiškina gamtinio, kosminio ir kolektyvinio ciklo sutrikimą, t.y. – bičių praradimą. Ovidijus savo „Metamorfozėse“, priešingai nei kad Vergilijaus „Georgikose“, Orfėjas mite atlieka tarpininko vaidmenį, jis yra mediatorius, pagrindinė ašis leidžianti egzistuoti visiem esantiems mite santykiams ir konfliktams. Orfėjas kaip... [toliau žr. visą tekstą] / One of the most interesting contemporary novelists John Fowles’s creation can be considered as a deep and broad excursus to the development of western culture, philosophy, mythology, art and history. In literature critics Fowles’s creation is analysed in these aspects: 1) as the existential projections of romance proceeding the traditions of the romanticism literature, 2) as the holder of existential literature traditions, 3) as the supporter of postmodern tradition in literature, 3) as the representative of myth poetic. The aim of this thesis is to give the structural analysis of the myth of Orpheus and to apply it in the analysis of Fowles’s prose. The structure of the myth of Orpheus reveals three parts and groups all the myth elements in them. The trinomial structure of the myth of Orpheus creates the binary oppositions that help to reveal all the layers of the myth, the main conflicts and relations. Virgil’s “Georgics” and Ovid’s “Metamorphosis” - the first written resources where we meet the myth of Orpheus, already proves that the myth has lots of invariants and interpretation possibilities. Virgil and Ovid represent the myth of Orpheus in very different ways. Virgil uses the myth of Orpheus as the complex part of the myth of Aristeus which helps to explain the reason how he lost his bees and why the natural order is discomfited. Ovid in his “Metamorphosis” argues Virgil and depicts the myth of Orpheus as the main centre of narration and the base for the other myths... [to full text]

This critical introduction to the works of John Fowles focuses upon his three novels, with secondary attention to his poetry, essays, and The Aristos, his non-fiction book of personal philosophy. Giving some biographical detail, the first chapter treats the influence of other writers upon Fowles's work and discusses his thought--especially as it appears in The Aristos, the poems, and the essays. The second chapter is a study of The Magus, Fowles's first novel, although published second. The Aristos is especially important to an understanding of this consolidation of personal philosophy into a fictional structure; the two key influences upon The Magus are Alain-Fournier's Le Grand Meaulnes and Jungian psychology. The third chapter deals with The Collector, revealing much of Fowles's feeling about the artist in society and the imbalance of social justice that spawns ignorance and cruelty. The fourth chapter examines his most successful novel, The French Lieutenant's Woman, unusual for its combination of thematic modernity with Victorian narrative style. The final chapter summarizes Fowles's leading place in contemporary fiction three months before publication of The Ebony Tower, his forthcoming collection including four short stories and one novella. Fowles's fiction has established him among the finest of today's artists in British fiction and one of the leading writers in the world. Both critical and general readers have accepted his three novels with enthusiasm, and his distinctive poetry and essays may someday further enhance his reputation.

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This essay analyses the two main characters in John Fowles’s novel The Collector and the three characters Miranda, Ferdinand and Caliban in William Shakespeare’s play The Tempest, as well as the intertextual connection between them. The essay is based off the idea of intertextuality, which refers to a connection between texts. To study this connection, a comparative method is used. The character analysis is grounded upon Shlomith Rimmon- Kenan’s model for characterization. The essay concludes that the main characteristics of the characters in The Tempest are mirrored in the corresponding characters in The Collector. Miranda is kindhearted, empathic, brave, naïve, romanticizing, innocent and superior. Ferdinand and Caliban are both present in Clegg’s character, in which the former side is naïve, romanticizing, civilized, in control of his sexual urge and honorable; while the latter side is inhuman, a villain, violent, uncivilized, not in control of his sexual urge, incapable of change and does not show any remorse. The comparison of the two works also sheds light on the slave-motif that is present in The Collector, both in the inner struggle between Clegg’s two alter egon, as well as in his relationship with Miranda. / Denna uppsats analyserar de två huvudkaraktärerna i John Fowles roman The Collector och de tre karaktärerna Miranda, Ferdinand och Caliban i William Shakespeares pjäs The Tempest samt den intertextuella kopplingen dem emellan. Uppsatsen utgår från begreppet intertextualitet som indikerar ett samband mellan texter. För att undersöka detta samband används en komparativ metod. I botten för karaktärsanalysen ligger Shlomith Rimmon- Kenans modell för karakterisering. Uppsatsen visar att huvuddragen hos karaktärerna i The Tempest speglas i karaktärernas motparter i The Collector. Miranda är godhjärtad, empatisk, modig, naiv, romantiserande, oskuldsfull och överlägsen. Ferdinand och Caliban kommer båda till uttryck i Cleggs karaktär, där den förra sidan är naiv, romantiserande, civiliserad, i kontroll över sin sexuella drift och hederlig; medan den senare sidan är omänsklig, en skurk, våldsam, ociviliserad, inte kan kontrollera sin sexuella drift, oförmögen att förändras och inte visar någon ånger. Jämförelsen mellan verken bidrar även till att belysa det slavmotiv som förekommer i The Collector och tar uttryck dels i den inre kamp som pågår mellan Cleggs två alteregon samt i hans relation med Miranda.