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.

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.

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.

Wie kein anderer Text des englischen Romanciers und Essayisten John Fowles ist 'The Ebony Tower' von Gemälden geprägt. Die Novelle verweist auf ihren 104 Seiten auf über vierzig Maler sowie auf die verschiedensten Maltechniken und Kunstrichtungen. Von zentraler Bedeutung ist hierbei die Stilrichtung der Internationalen Gotik, die durch Gemälde von Antonio Pisano (1395-1455), genannt Pisanello, sowie von Paolo di Dono (1397-1475), genannt Uccello, vertreten ist. Henry Breasley, weltberühmter Maler, magus in bezug auf den Leser sowie den Novizen und 'malenden Theoretiker' David Williams und in gewisser Weise auch Sprachrohr von Fowles, bezieht sich diskursiv sowie piktural, beispielsweise in seiner sehr erfolgreichen 'last-period series', gleich mehrfach implizit und explizit auf die beiden Italiener. Diesen kommt somit eine Schlüsselstellung nicht nur für die Interpretation von Breasleys Bildern, sondern auch für die von Fowles in 'The Ebony Tower' propagierte Kunst- und Lebensauffassung zu.

Existentialism and Darwinism provide a means of viewing the development of personal freedom in a young English gentleman, Charles Smithson. Guided by Sarah Woodruff, a social outcast, Charles approaches freedom through the existential conditions of terror, anguish, and despair; he encounters alienation, human finitude, and the loss of a relationship with God on the way. The realization of his trapped state is aided by the Darwinian analogy present in the novel: the monied leisure class to which Charles belongs is presented as the species approaching extinction because it fails to make the changes necessary to survive changed conditions. The novel's two endings combine existential and Darwinian elements to present to Charles the choice that can help him escape his trapped state and gain freedom.

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.

<p>This essay examines the adaptation of <em>The French Lieutenant’s Woman;</em> proclaiming that it is based on the same core of meaning as the novel. This core, or interiority, of the art work, is the <em>freedom</em> which Sarah Woodruff presents. The interiority is immanent within the novel as well as the film. The freedom that Sarah presents creates <em>gaps in time</em> and is mainly <em>freedom from time</em>. From an exterior perspective though, these art works look different. The exteriority is visualized and described by being denominated as different narrative levels. In the film Mike falls in love with Sarah as an escape from his own time, one that is characterized by more lenient moral views than those prevalent in the Victorian Age. This present-day character is not, of course, in the novel but is invented by Harold Pinter as part of a metaphor for Fowles’ metafictional stance. In the novel, freedom is partly represented by an extradiegetic narrative level and suggested in various comments made by the apparent author of the work: John Fowles. This essay highlights the contrasts between the fictive world (on a hypodiegetic level), and the real world (on a diegetic level). By doing this, this essay suggests a motive for Pinter’s “narrative innovation” as a “brilliant metaphor” for Fowles´ novel. With these contrasts we find that the restraints of a seemingly open society (the 1980s in which Pinter was writing the screenplay) are able to contain an inner, rather implicit, restraint for the individual of the 1980s. The longing for freedom is triggered as soon as man is deprived of freedom, irrespective of how and when. Sarah is an escape from Victorian Age for Charles, at the same time as she is an escape from the 1980s for Mike. On the whole, Sarah is an escape from the linearity of all time. Freedom is immanent with both of the artworks, yet they are completely different, seen from outside.</p><p> </p><p> </p>

This essay examines the adaptation of The French Lieutenant’s Woman; proclaiming that it is based on the same core of meaning as the novel. This core, or interiority, of the art work, is the freedom which Sarah Woodruff presents. The interiority is immanent within the novel as well as the film. The freedom that Sarah presents creates gaps in time and is mainly freedom from time. From an exterior perspective though, these art works look different. The exteriority is visualized and described by being denominated as different narrative levels. In the film Mike falls in love with Sarah as an escape from his own time, one that is characterized by more lenient moral views than those prevalent in the Victorian Age. This present-day character is not, of course, in the novel but is invented by Harold Pinter as part of a metaphor for Fowles’ metafictional stance. In the novel, freedom is partly represented by an extradiegetic narrative level and suggested in various comments made by the apparent author of the work: John Fowles. This essay highlights the contrasts between the fictive world (on a hypodiegetic level), and the real world (on a diegetic level). By doing this, this essay suggests a motive for Pinter’s “narrative innovation” as a “brilliant metaphor” for Fowles´ novel. With these contrasts we find that the restraints of a seemingly open society (the 1980s in which Pinter was writing the screenplay) are able to contain an inner, rather implicit, restraint for the individual of the 1980s. The longing for freedom is triggered as soon as man is deprived of freedom, irrespective of how and when. Sarah is an escape from Victorian Age for Charles, at the same time as she is an escape from the 1980s for Mike. On the whole, Sarah is an escape from the linearity of all time. Freedom is immanent with both of the artworks, yet they are completely different, seen from outside.