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題名：從《魔法師》與《法國中尉的女人》論約翰．傅敖斯小說中的神、神戲、與無為
作者：徐慶鐘
作者(外文)：Ching-chung Hsu
校院名稱：國立高雄師範大學
系所名稱：英語學系
指導教授：廖本瑞博士
學位類別：博士
出版日期：2015
主題關鍵詞：無為；神戲；約翰．傅敖斯；魔法師；法國中尉的女人；神人；有為；無常；wu-wei；Godgames；John Fowles；The Magus；The French Lieutenant's Woman；God-like figures；you-Wei；hazard
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論文摘要
本篇論文主要從約翰．傅敖斯的哲學作品The Aristos中，抽繹作者對宗教、哲學及小說寫作的看法，並以此為基，重新詮譯傅敖斯早期作品中的小說世界，研究作者如何在其小說寫作中，充份善用其對神、神戲(godgame)、與道家無為(wu-wei)看法，以此架構出小說主角成長的路歷。傅敖斯深受存在主義影響，其作品往往闡明神的不存在，並側重描述人的成長；但其早期小說中，小說主人翁的成長路程，卻常常得助於書中的神般人物(God-like figures)。傅敖斯的作品The Aristos中，對神與神戲的哲學看法，生命無常(hazard)的認知，甚或對於神與神的代言人的離場消失(the disappearance of God and agents of God)，在在清楚演繹於其早期小說中，特別在《魔法師》與《法國中尉的女人》兩部長篇小說裏，處處可見。是故，想一窺傅敖斯早期小說之堂奧，須先得知小說中神人如何進場、出場，主人翁如何受教於神人，如何歷經神啟神戲，幻起幻滅，從而達成自我實現。而這些觀點，皆出現於傅敖斯The Aristos此哲學作品中，並於其早期小說中，得到清晰印證。
本論文分成六部。緒論為首，闡明小說家傅敖斯的存在主義之旅，並說明作者如何將小說體裁創新，從而引領讀者進入其豐富的小說世界。本章引用巴赫汀的小說文體開放論(unfinalizability)，及小說創新論(novelization)等觀點，以佐證傅敖斯一生創新小說體裁的職志。第一章將神的離場溯源至古典文學，論及神的消失正意味人類文明的進步。第二章論《魔法師》中的神戲，並細述主人翁尼可拉斯如何透過魔法師康奇斯之助，由一芸芸眾生(a Many)蛻變為萬中選一(a Few)之智者。第三章則由傅敖斯在《法國中尉的女人》小說創新開始，詳論讀者閱讀行為如同敘述者與讀者之間的遊戲。小說家/敘述者創造小說世界，故人常視敘述者為小說世界中之神(narrator god)，以此觀點，閱讀一變成為人與神的交流，進入小說如同進入敘述者所規劃的神戲。其中，作者本人對無常的觀點，亦說明了讀者不必執著於舊文學框架，若能受教於神人般的敘述者，讀者亦能同書中主人翁一般，一悟而成文學讀者中的智者。第四章則以道家有為(you-wei)無為(wu-wei)思想，論述《魔法師》與《法國中尉的女人》中的神的教化與其離場消失，如何以有為轉而無為而治的教化。並由此解釋人的自由意志如何左右人的最終自我實現。結論一章，則重加論述前文，並由此整理出傅敖斯早期小說的敘述模式：從幻想到幻滅，從神啟到神戲，從有為至無為。
ABSTRACT
This dissertation aims to deal with John Fowles’s early fiction, using mainly the perspectives and concepts proposed in his philosophical work, The Aristos, with a focus on how Fowles practices the Taoist concept of wu-wei (無為) in rounding up his early novels. Clearly an existentialist, Fowles believes not so much in the existence of God as manifested in his works, but in man’s probability of growing into the aristos, which is exemplified in the characterization of all early Fowlesian protagonists, and ironically so with the aid of god-like figures. Fowles’s philosophical reasonings in The Aristos, of how the world is governed by Law and Chaos, two conflicting forces of the universe, of what hazard means in terms of human expectation, of why Godgames are designed, and finally of how and why God has to withdraw Himself from his manipulative stance in the games, play a pivotal role in our understanding of this Fowlesian world, where as we witness God does not exist, yet His agents intrude in and then withdraw from the novelistic world.
The dissertation begins with the discussion of the Fowlesian existential journey towards aristos, in hopes of initiating readers into the terms and ideas offered in Fowles’s The Aristos. Bakhtin’s concept of ‘novelization’ is also employed to articulate Fowles’s own career as an innovative novelist whose life-long job is to novelize the genre of story-telling. Chapter One traces back the Fowlesian disappearance of God to the classical literature where the gradual withdrawals of God or gods are described either as the way to peace, as seen in Greek literature, or as a trial for questers to face in the acquisition of free will and knowledge, as illustrated in the story of Adam and Eve in The Bible. Chapter Two focuses on how godgames in Fowles’s The Magus serve as a life-saving initiation for the protagonist to grow from a manipulative ‘Many’ to one of the ‘Few,’ with the help of his gaming experiences with god-like figures in the work. Chapter Three deals with Fowles’s innovative narrative skills in The French Lieutenant’s Woman, where reading itself becomes a gaming interaction between the narrator and the reader, a theme to be thoroughly dealt with in the work, which also adds to our understanding of hazard as indeterminacies in early Fowlesian novels. Chapter Four addresses the issue of wu-wei (無為) in Fowles’s The Magus and The French Lieutenant’s Woman, the two major works in Fowles’s early fiction. The emphasis of this chapter proves to be on the progress of Fowlesian protagonists from you-wei (有為) to wu-wei (無為), from manipulation to freedom. The last chapter, the conclusion, summarizes the present dissertation by offering a pattern in Fowles’s depiction of the characters and the world they are in, namely the pattern of first building illusions and then disillusioning them. It is by this construction and then deconstruction that we witness a world closer to what we see in our down-to-earth reality, a world where we are somewhat forcedly engaged in the gaming experiences with the otherness, a world where we have to locate ourselves in this changing hazardous society, during our life-long journey towards the aristos, which means ‘the best situation,’ in a definitely spiritual sense of the word.
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