追寻自由之路—神话原型视域下的《法国中尉的女人》中的男主人公形象
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摘要
约翰·福尔斯(John Fowles)是20世纪60年代英国文坛脱颖而出的一位新星。他在60年代出版的三部小说《收藏家》(1963)、《魔法师》(1965)和《法国中尉的女人》(1969),在英美等国曾荣登畅销书排行榜榜首,他被评论界誉为“战后英国最有才华、最严肃的小说家”(王守仁,何宁2007：182)。约翰·福尔斯热爱生活并且深受存在主义的影响,对人类的自由充满了兴趣,他高度赞扬人类追逐自由的行为,他的这些思想在《法国中尉的女人》中得到了集中体现。
文学的发展历程从来都不是割裂的,古典文学比如希腊罗马神话、《圣经》,对后世的文学创作都具有非常深刻的影响。以加拿大学者诺斯罗普·弗莱为代表的学者注意到这一现象,并且他们通过借鉴英国人类学家詹姆斯·乔治·弗雷泽和瑞士心理学家卡尔·古斯塔夫·荣格的研究成果,逐渐形成了神话原型批评理论。虽然有许多学者已经运用神话原型批评理论对经典作品进行解读,但是鲜有学者从神话原型角度对《法国中尉的女人》进行解读。本文拟在神话原型批评理论的指导下,从原型意象,原型人物,原型主题方面着手,分析《法国中尉的女人》中的男主人公查尔斯·史密森艰辛的自由之路。
全文共分六章。
第一章为引言部分。本章简要介绍本文的选题背景、约翰·福尔斯在现代英国文学史上的地位、他的自由思想、他的代表作品《法国中尉的女人》以及本文的结构。
第二章为理论基础与文献综述。第一节介绍了神话原型批评的理论精髓,即加拿大学者诺斯罗普·弗莱所倡导的神话原型批评理论。第二节回顾了国内外学者对神话原型批评理论的研究状况,虽然国内外学者已经运用神话原型批评理论对许多经典作品进行了解读,比如对《愤怒的葡萄》(郝利军2006)、《了不起的盖茨比》(郭华2004)和《蝇王》(张阿娜2007)等的解读,但是从神话原型批评理论角度对于《法国中尉的女人》的仅有2006年曾燕冰的《<法国中尉的女人>的原型解读》,且局限于用该理论对女主人公萨拉·伍德拉夫进行解读。第三节集中梳理了国内外学者对《法国中尉的女人》的研究。国内外学者已经从多个角度包括作品的三个结尾,作品的叙事技巧等对《法国中尉的女人》的进行了解读,但是在人物形象的解读方面却都侧重于神秘的女主人公萨拉·伍德拉夫,还未有人运用神话原型批评理论系统地解读作品中的男主人公查尔斯·史密森,因此本文拟从神话原型批评角度解读《法国中尉的女人》中的男主人公查尔斯·史密森的追寻之路。
第三章分析了《法国中尉的女人》中的三个神话原型意象。本章分三节,通过分析作品中的化石意象、树的意象和大海的意象对作品进行初步的分析,这些意象反映出了查尔斯反叛意识的逐渐觉醒。第一节中的化石意象一方面指代维多利亚社会的陈规陋俗,同时由于化石是进化论的重要标本,进化论本身就是对传统的维多利亚社会的挑战,因此,化石意象又体现了男主人公查尔斯·史密森骨子里隐藏的反叛精神。第二节中树的意象主要是用于分析查尔斯·史密森与萨拉·伍德拉夫的相遇相识。在树林中与萨拉多次的相遇使查尔斯看到了维多利亚上流社会之外的广阔世界,并促使查尔斯开始反思自己的人生。第三节大海意象用于查尔斯分析和解读查尔斯的精神导师萨拉,由于萨拉有着像大海一样的神秘性,她身上的神秘性渐渐地吸引了查尔斯,促使查尔斯的逐渐觉醒。
第四章主要是利用三个经典的神话原型人物包括亚当、奥德赛和替罪羊对作品中的男主人公查尔斯·史密森与传统的维多利亚社会的脱离过程进行解读。第一节是从亚当这个经典的原型人物对查尔斯进行解读,查尔斯和亚当一样,由于经受不住夏娃的诱惑而铸下大错,不同的是亚当从此走上了堕落的道路,而查尔斯走上的却是自我救赎的道路。第二节利用奥德赛这个希腊神话人物原型对查尔斯进行解读,奥德赛经历了千辛万苦才从特洛伊回到自己的家乡,而查尔斯经历了精神上的严峻考验,并开始出发寻找自己的精神家园。第三节是从替罪羊原型角度来解读查尔斯,由于查尔斯想冲破维多利亚时代陈规陋俗的束缚,他的行为必将遭受强大的社会阻力,结果是查尔斯被驱逐出维多利亚上流社会,成为整个社会的替罪羊,然而正是通过这一途径查尔斯才真正地与维多利亚社会相脱离。通过利用三个经典的原型人物对男主人公查尔斯的解读,查尔斯的形象就清晰地展现在了读者的面前,即由于出生于传统的维多利亚上流社会,接受的是传统的教育,查尔斯身上的维多利亚社会传统和桎梏是十分清晰可见的而且其影响是十分深刻的,但是在其精神导师萨拉的引导下,查尔斯身上隐藏的反叛精神逐渐被唤醒,并逐渐与传统社会相脱离。
第五章通过三个神话原型主题分析了查尔斯·史密森是怎样最终获得自由的。第一节是从乐园主题包括得乐园,失乐园和复乐园方面来展开的。查尔斯原本是维多利亚社会的一员,过着无忧无虑的生活,生活在无知的乐园里,但是萨拉的出现彻底打乱的他的生活。像亚当一样,在萨拉的诱惑下,查尔斯渐渐与自己生活的维多利亚社会脱离,失去了自己的“乐园”。正是在萨拉的引导和帮助下,查尔斯最后获得到了自己的乐园,并且找到了真正的自由。值得注意的是,查尔斯最后找到的乐园并非是他之前生活的乐园,而是约翰·福尔斯所倡导的充满自由的乐园。第二节是从追寻原型主题直接解读查尔斯的追寻精神自由之路。第三节是从死亡与重生主题来阐释查尔斯精神上的传统的维多利亚时代的思想的死亡和新的自由思想的产生,即查尔斯从原来的什么都可以预知的维多利亚精神状态进入到自我觉醒和自由的状态。
第六章是结论。在这一章笔者总结了前五章的主要内容,发现男主人公查尔斯虽然受到维多利亚社会桎梏的种种约束,但是在其精神导师萨拉的引导下逐渐摆脱桎梏并且最终获得真正的自由,自由的获得是艰辛的但是必须的。之后本章指出了本文的不足,由于笔者学识尚浅和所查阅的资料有限,使得本研究尚不够全面和系统,有待进一步加强。最后本章指出了今后的研究方向和发展趋势。
John Fowles is an outstanding writer in the literary arena of 1960s in Britain. His works are warmly accepted by the common people and the scholars. His three novels The Collector (1963), The Magus (1965) and The French Lieutenant's Woman (1969) are among the best-sellers in England and America. John Fowles is greatly obsessive with the search for freedom which is intensively reflected in The French Lieutenant's Woman.
The classic literature such as the Greek and Roman mythology and the Bible has posed great influences on the later literary creations. Scholars represented by Northrop Frye noticed the phenomena, and they developed the school of archetypal criticism based on the researches by British anthoropologist J. G. Frazer and Swiss psychologist C. G. Jung. Though archetype criticism has been used to interpretat many classic works, the interpretation of The French Lieutenant's Woman was rare. The author of this thesis will intend to interpretat the male protagonist of The French Lieutenant's Woman Charles Smithson's search for freedom from the perspective of archetypal criticism with the help of three archetypal images, archetypal characters and archetypal themes respectively.
This thesis consists of six chapters.
Chapter One is the introduction. It gives a brief overview on the background of this thesis, John Fowles, his view on the theme of freedom, his representative work The French Lieutenant's Woman along with the framework of this thesis.
Chapter Two is the theoretical basis and literature review. The author of the thesis introduces the archetypal criticism supported by Northrop Frye in section one. Section two is about the wholesome development of the archetypal criticsm from its origin in Western literature to its localization in China. Section three is the previous researches on The French Lieutenant's Woman. The interpretations of The French Lieutenant's Woman has almost covered all the perspectives except the archetypal criticism, and the interpretation of the male protagonist Charles Smithson was rare, thus the author of this thesis will intend to interpretat the male protagonist Charles Smithson from the perspective of archetypal criticism.
Chapter Three discusses three archetypal images in The French Lieutenant's Woman, showing the awakening of Charles. Section one is about the fossil. The fossil not only refers to traditions of the Victorian society but also functions as a bridge of the acquaintance between Charles Smithson and Sarah Woodruff, furthermore, it also reflects the rebellious spirit buried in Charles. Section two is about trees, it is in the forest that Charles met Sarah who helped Charles meditate on his life, and it is because of Sarah's temptation that Charles Smithson broke away from the Victorian society. Section three is about the sea. Sarah Woodruff was as mysterious as the sea, and her mystery attracted Charles so much that it led him to break away from the Victorian society.
Chapter Four mainly uses three typical archetypal characters to interpretat Charles. This chapter aims to make a deeper analysis of Charles, showing the tough road in which he broke away with the Victorian society. Section one is the interpretation of Charles with the help of the archetypal character Adam. Just like Adam, Charles could not resist the temptation of her "Eve", Adam went to his doom, but Charles began to break away from the Victorian society. Section two is the comparison between Charles and the Greek hero Odysseus who went back to his home after ten years'tedious voyage. Charles stood the spiritual ordeal like Odysseus. Section three is the interpretation of Charles from scapegoat, since Charles broke the conventions of the Victorian society, and he was fighting against the whole society, thus he was doomed to be driven out the society and became the scapegoat of the society.
Chapter Five adopts three archetypal themes to show Charles's final gaining of freedom. Section one is analyzed from the perspective of paradise. Charles was originally a member of the Victorian society living in the paradise of innocence. However, Sarah's appearance totally disrupted his peaceful life. Similar with Adam, Charles was tempted by his Eve Sarah and made big mistakes, thus losing his paradise. What made difference is that Sarah was Charles's mentor; Charles gained his real freedom under Sarah's mentorship. Section two analyzes Charles's quest with the help of the traditional quest pattern. Section three adopts the death and rebirth pattern to present that Charles's Victorian thoughts were dead and he gained his new thought about freedom which is supported by John Fowles, that is, he was moving from the prison of known into the state of self-consciousness and freedom.
Chapter Six is conclusion. Section one summaries the above chapters, though the male protagonist of The French Lieutenant's Woman Charles was driven out the the Victorian upper class, he gained his freedom finally. Section two is the implicature of the research. Section three is the limitation and the future trend of the research. Because the shortage of knowledge and material, the research is not comprehensive and systematic.
文学的发展历程从来都不是割裂的,古典文学比如希腊罗马神话、《圣经》,对后世的文学创作都具有非常深刻的影响。以加拿大学者诺斯罗普·弗莱为代表的学者注意到这一现象,并且他们通过借鉴英国人类学家詹姆斯·乔治·弗雷泽和瑞士心理学家卡尔·古斯塔夫·荣格的研究成果,逐渐形成了神话原型批评理论。虽然有许多学者已经运用神话原型批评理论对经典作品进行解读,但是鲜有学者从神话原型角度对《法国中尉的女人》进行解读。本文拟在神话原型批评理论的指导下,从原型意象,原型人物,原型主题方面着手,分析《法国中尉的女人》中的男主人公查尔斯·史密森艰辛的自由之路。
全文共分六章。
第一章为引言部分。本章简要介绍本文的选题背景、约翰·福尔斯在现代英国文学史上的地位、他的自由思想、他的代表作品《法国中尉的女人》以及本文的结构。
第二章为理论基础与文献综述。第一节介绍了神话原型批评的理论精髓,即加拿大学者诺斯罗普·弗莱所倡导的神话原型批评理论。第二节回顾了国内外学者对神话原型批评理论的研究状况,虽然国内外学者已经运用神话原型批评理论对许多经典作品进行了解读,比如对《愤怒的葡萄》(郝利军2006)、《了不起的盖茨比》(郭华2004)和《蝇王》(张阿娜2007)等的解读,但是从神话原型批评理论角度对于《法国中尉的女人》的仅有2006年曾燕冰的《<法国中尉的女人>的原型解读》,且局限于用该理论对女主人公萨拉·伍德拉夫进行解读。第三节集中梳理了国内外学者对《法国中尉的女人》的研究。国内外学者已经从多个角度包括作品的三个结尾,作品的叙事技巧等对《法国中尉的女人》的进行了解读,但是在人物形象的解读方面却都侧重于神秘的女主人公萨拉·伍德拉夫,还未有人运用神话原型批评理论系统地解读作品中的男主人公查尔斯·史密森,因此本文拟从神话原型批评角度解读《法国中尉的女人》中的男主人公查尔斯·史密森的追寻之路。
第三章分析了《法国中尉的女人》中的三个神话原型意象。本章分三节,通过分析作品中的化石意象、树的意象和大海的意象对作品进行初步的分析,这些意象反映出了查尔斯反叛意识的逐渐觉醒。第一节中的化石意象一方面指代维多利亚社会的陈规陋俗,同时由于化石是进化论的重要标本,进化论本身就是对传统的维多利亚社会的挑战,因此,化石意象又体现了男主人公查尔斯·史密森骨子里隐藏的反叛精神。第二节中树的意象主要是用于分析查尔斯·史密森与萨拉·伍德拉夫的相遇相识。在树林中与萨拉多次的相遇使查尔斯看到了维多利亚上流社会之外的广阔世界,并促使查尔斯开始反思自己的人生。第三节大海意象用于查尔斯分析和解读查尔斯的精神导师萨拉,由于萨拉有着像大海一样的神秘性,她身上的神秘性渐渐地吸引了查尔斯,促使查尔斯的逐渐觉醒。
第四章主要是利用三个经典的神话原型人物包括亚当、奥德赛和替罪羊对作品中的男主人公查尔斯·史密森与传统的维多利亚社会的脱离过程进行解读。第一节是从亚当这个经典的原型人物对查尔斯进行解读,查尔斯和亚当一样,由于经受不住夏娃的诱惑而铸下大错,不同的是亚当从此走上了堕落的道路,而查尔斯走上的却是自我救赎的道路。第二节利用奥德赛这个希腊神话人物原型对查尔斯进行解读,奥德赛经历了千辛万苦才从特洛伊回到自己的家乡,而查尔斯经历了精神上的严峻考验,并开始出发寻找自己的精神家园。第三节是从替罪羊原型角度来解读查尔斯,由于查尔斯想冲破维多利亚时代陈规陋俗的束缚,他的行为必将遭受强大的社会阻力,结果是查尔斯被驱逐出维多利亚上流社会,成为整个社会的替罪羊,然而正是通过这一途径查尔斯才真正地与维多利亚社会相脱离。通过利用三个经典的原型人物对男主人公查尔斯的解读,查尔斯的形象就清晰地展现在了读者的面前,即由于出生于传统的维多利亚上流社会,接受的是传统的教育,查尔斯身上的维多利亚社会传统和桎梏是十分清晰可见的而且其影响是十分深刻的,但是在其精神导师萨拉的引导下,查尔斯身上隐藏的反叛精神逐渐被唤醒,并逐渐与传统社会相脱离。
第五章通过三个神话原型主题分析了查尔斯·史密森是怎样最终获得自由的。第一节是从乐园主题包括得乐园,失乐园和复乐园方面来展开的。查尔斯原本是维多利亚社会的一员,过着无忧无虑的生活,生活在无知的乐园里,但是萨拉的出现彻底打乱的他的生活。像亚当一样,在萨拉的诱惑下,查尔斯渐渐与自己生活的维多利亚社会脱离,失去了自己的“乐园”。正是在萨拉的引导和帮助下,查尔斯最后获得到了自己的乐园,并且找到了真正的自由。值得注意的是,查尔斯最后找到的乐园并非是他之前生活的乐园,而是约翰·福尔斯所倡导的充满自由的乐园。第二节是从追寻原型主题直接解读查尔斯的追寻精神自由之路。第三节是从死亡与重生主题来阐释查尔斯精神上的传统的维多利亚时代的思想的死亡和新的自由思想的产生,即查尔斯从原来的什么都可以预知的维多利亚精神状态进入到自我觉醒和自由的状态。
第六章是结论。在这一章笔者总结了前五章的主要内容,发现男主人公查尔斯虽然受到维多利亚社会桎梏的种种约束,但是在其精神导师萨拉的引导下逐渐摆脱桎梏并且最终获得真正的自由,自由的获得是艰辛的但是必须的。之后本章指出了本文的不足,由于笔者学识尚浅和所查阅的资料有限,使得本研究尚不够全面和系统,有待进一步加强。最后本章指出了今后的研究方向和发展趋势。
John Fowles is an outstanding writer in the literary arena of 1960s in Britain. His works are warmly accepted by the common people and the scholars. His three novels The Collector (1963), The Magus (1965) and The French Lieutenant's Woman (1969) are among the best-sellers in England and America. John Fowles is greatly obsessive with the search for freedom which is intensively reflected in The French Lieutenant's Woman.
The classic literature such as the Greek and Roman mythology and the Bible has posed great influences on the later literary creations. Scholars represented by Northrop Frye noticed the phenomena, and they developed the school of archetypal criticism based on the researches by British anthoropologist J. G. Frazer and Swiss psychologist C. G. Jung. Though archetype criticism has been used to interpretat many classic works, the interpretation of The French Lieutenant's Woman was rare. The author of this thesis will intend to interpretat the male protagonist of The French Lieutenant's Woman Charles Smithson's search for freedom from the perspective of archetypal criticism with the help of three archetypal images, archetypal characters and archetypal themes respectively.
This thesis consists of six chapters.
Chapter One is the introduction. It gives a brief overview on the background of this thesis, John Fowles, his view on the theme of freedom, his representative work The French Lieutenant's Woman along with the framework of this thesis.
Chapter Two is the theoretical basis and literature review. The author of the thesis introduces the archetypal criticism supported by Northrop Frye in section one. Section two is about the wholesome development of the archetypal criticsm from its origin in Western literature to its localization in China. Section three is the previous researches on The French Lieutenant's Woman. The interpretations of The French Lieutenant's Woman has almost covered all the perspectives except the archetypal criticism, and the interpretation of the male protagonist Charles Smithson was rare, thus the author of this thesis will intend to interpretat the male protagonist Charles Smithson from the perspective of archetypal criticism.
Chapter Three discusses three archetypal images in The French Lieutenant's Woman, showing the awakening of Charles. Section one is about the fossil. The fossil not only refers to traditions of the Victorian society but also functions as a bridge of the acquaintance between Charles Smithson and Sarah Woodruff, furthermore, it also reflects the rebellious spirit buried in Charles. Section two is about trees, it is in the forest that Charles met Sarah who helped Charles meditate on his life, and it is because of Sarah's temptation that Charles Smithson broke away from the Victorian society. Section three is about the sea. Sarah Woodruff was as mysterious as the sea, and her mystery attracted Charles so much that it led him to break away from the Victorian society.
Chapter Four mainly uses three typical archetypal characters to interpretat Charles. This chapter aims to make a deeper analysis of Charles, showing the tough road in which he broke away with the Victorian society. Section one is the interpretation of Charles with the help of the archetypal character Adam. Just like Adam, Charles could not resist the temptation of her "Eve", Adam went to his doom, but Charles began to break away from the Victorian society. Section two is the comparison between Charles and the Greek hero Odysseus who went back to his home after ten years'tedious voyage. Charles stood the spiritual ordeal like Odysseus. Section three is the interpretation of Charles from scapegoat, since Charles broke the conventions of the Victorian society, and he was fighting against the whole society, thus he was doomed to be driven out the society and became the scapegoat of the society.
Chapter Five adopts three archetypal themes to show Charles's final gaining of freedom. Section one is analyzed from the perspective of paradise. Charles was originally a member of the Victorian society living in the paradise of innocence. However, Sarah's appearance totally disrupted his peaceful life. Similar with Adam, Charles was tempted by his Eve Sarah and made big mistakes, thus losing his paradise. What made difference is that Sarah was Charles's mentor; Charles gained his real freedom under Sarah's mentorship. Section two analyzes Charles's quest with the help of the traditional quest pattern. Section three adopts the death and rebirth pattern to present that Charles's Victorian thoughts were dead and he gained his new thought about freedom which is supported by John Fowles, that is, he was moving from the prison of known into the state of self-consciousness and freedom.
Chapter Six is conclusion. Section one summaries the above chapters, though the male protagonist of The French Lieutenant's Woman Charles was driven out the the Victorian upper class, he gained his freedom finally. Section two is the implicature of the research. Section three is the limitation and the future trend of the research. Because the shortage of knowledge and material, the research is not comprehensive and systematic.
引文
[1]Aubrey, J.1991. John Fowles:A Reference Companion. New York:Greenwood Press.
[2]Bradbury, M.1988. No, Not Bloomsbury. New York:Columbia University Press.
[3]Conradi, P.1982. John Fowles. London&New York:Methuen Co. Ltd.
[4]Fowles, J.1986. The Aristos. London:Triad,1986.
[5]Fowles, J.1969. The French Lieutenant's Woman. Washington:Library of Cogress [on-line].
[6]Fowles, J.1986. A Maggot. London:Jonathan Cape Ltd.
[7]Fowles, J.1986. The Magus.London:Jonathan Cape Ltd.
[8]Fowles, J.1998. Daniel Martin.London:Vintage.
[9]Fowles, J.1998. The Collector. London:Vintage.
[10]Frazer, J.1994. The Golden Bough:A Study in Comparative Religion. London:Curzon Press.
[11]Frye, N.1973. Anatomy of Criticism,Four Essays. New Jersey:Princeton University Press.
[12]Halpern, D.1971. A sort of exile in Lyme Regis. London Magazine, p.45.
[13]Huffaker, R.1980. John Fowles. Boston:Twayne Publishers.
[14]Hutcheon, L.1980. A Poetics of Postmodernism:History, Theory, Fiction. New York: Twayne Publishers.
[15]Jackson, T.1997. Charles and the hopeful monster:postmodern evolutionary Theory in The French Lieutenant's Woman. Twentieth Century Literature,43(2), pp.221-242.
[16]David L.(Ed.).1983. Psychology and Literature.20th Century Literary Criticism. London&New York:Longman.
[17]Jung, C. G.1980. The Archetypes and the Collective Unconscious. Beijing:China Social Science Publishing House.
[18]Loveday, S.1985. The Romances of John Fowles. London:The Macmillan Press, Ltd.
[19]Lynch, R P.1985. Freedoms in The French Lieutenant's Woman. Twentieth-Century Literature,48(1), p34.
[20]Lodge, D.1971. The Novelist at the Crossroads. New York:Cornell University Press.
[21]Mahmoud, S.1992. John Fowles's Fiction and Poetics of Postmodernism. London: Associated University Press.
[22]McSweeney K.1983. Four Contemporary Novelists. London:McGill-Queen's University Press.
[23]Neary, J.1992. Something and Nothingness:The Fiction of John Updike and John Fowles. Carbondale and Edwardsville:Southern Illinois University.
[24]Oates, J.1969. A novelist's World:ceremonial, absurb and real. Chicago Tribune Book World,2, p.3.
[25]Olshen, N.1978. John Fowles. New York:Frederick Ungar Publishing Co,.
[26]Tarbox, K.1988. The Art of John Fowles. Athens and London:The University of Georgia Press.
[27]Watt, Ian.1969. Review of the French Lieutenant's Woman. New York Times Book Review,9, p.4.
[28]Zhu, G. 2001. Twentieth Century Western Critical Theories. Shanghai:Shanghai Foreign Language Education Press.
[29]郭华.2004.寻找失去的乐园-对《了不起的盖茨比》的原型阐释.郑州：郑州大学.
[30]郝立军.2006.《愤怒的葡萄》原型分析.太原：山西大学.
[31]侯维瑞,张和龙.1998.论约翰福尔斯的小说创作.《国外文学》,1998(4),pp.15-21.
[32]骆晓飞.2007.金枝与文学人类学-析文学人类学的发展线索.兰州：兰州大学.
[33]诺斯罗普·弗莱.2006.《批评的解剖》.天津：百花文艺出版社.
[34]荣格,冯川,苏克译.1986.《心理学与文学》.上海：三联书店.
[35]阮伟.1998.《社会语境中的文本一二战后英国小说研究》．北京：社会科学文献出版社.
[36]圣经.2008.上海：中国基督教两会出版社.
[37]王守仁,何宁.2007.《20世纪英国文学史》.北京：北京大学出版社.
[38]王松林.别有洞天的叙述.2000.《江西师范大学学报》.2000,pp.24-28.
[39]王雪.2008.世界之轴-弗莱文学理论的基石.长春：东北师范大学.
[40]吴持哲.1997.《诺斯罗普·弗莱文论选集》.北京：中国社会出版社.
[41]姚锦清.1988.《文学批评方法手册》.沈阳：春风文艺出版社.
[42]叶舒宪.神话-原型批评在中国的传播.《社会科学研究》,1999(1),pp.116-121.
[43]约翰·福尔斯,陈安全译.2007.《法国中尉的女人》.昆明：云南教育出版社.
[44]张阿娜.2007.《蝇王》的神话原型解读.
[45]詹姆斯·乔·弗雷泽.1998.《金枝》.北京：大众文艺出版社.
[46]张敏.1999.论《法国中尉的女人》的现代叙事艺术.《外国文学研究》,1999(4),pp.53-60.
[47]张中载.2003.原型批评.《外国文学》,2003(1),pp.69-74.
[48]赵宗福.2001.论当代中国文化研究中的原型批评思潮.《西南师范大学学报(人文社会科学版)》,2001(5),pp.98-103.
[49]曾燕冰.2006.《法国中尉的女人》的原型解读.南昌：江西师范大学.
[2]Bradbury, M.1988. No, Not Bloomsbury. New York:Columbia University Press.
[3]Conradi, P.1982. John Fowles. London&New York:Methuen Co. Ltd.
[4]Fowles, J.1986. The Aristos. London:Triad,1986.
[5]Fowles, J.1969. The French Lieutenant's Woman. Washington:Library of Cogress [on-line].
[6]Fowles, J.1986. A Maggot. London:Jonathan Cape Ltd.
[7]Fowles, J.1986. The Magus.London:Jonathan Cape Ltd.
[8]Fowles, J.1998. Daniel Martin.London:Vintage.
[9]Fowles, J.1998. The Collector. London:Vintage.
[10]Frazer, J.1994. The Golden Bough:A Study in Comparative Religion. London:Curzon Press.
[11]Frye, N.1973. Anatomy of Criticism,Four Essays. New Jersey:Princeton University Press.
[12]Halpern, D.1971. A sort of exile in Lyme Regis. London Magazine, p.45.
[13]Huffaker, R.1980. John Fowles. Boston:Twayne Publishers.
[14]Hutcheon, L.1980. A Poetics of Postmodernism:History, Theory, Fiction. New York: Twayne Publishers.
[15]Jackson, T.1997. Charles and the hopeful monster:postmodern evolutionary Theory in The French Lieutenant's Woman. Twentieth Century Literature,43(2), pp.221-242.
[16]David L.(Ed.).1983. Psychology and Literature.20th Century Literary Criticism. London&New York:Longman.
[17]Jung, C. G.1980. The Archetypes and the Collective Unconscious. Beijing:China Social Science Publishing House.
[18]Loveday, S.1985. The Romances of John Fowles. London:The Macmillan Press, Ltd.
[19]Lynch, R P.1985. Freedoms in The French Lieutenant's Woman. Twentieth-Century Literature,48(1), p34.
[20]Lodge, D.1971. The Novelist at the Crossroads. New York:Cornell University Press.
[21]Mahmoud, S.1992. John Fowles's Fiction and Poetics of Postmodernism. London: Associated University Press.
[22]McSweeney K.1983. Four Contemporary Novelists. London:McGill-Queen's University Press.
[23]Neary, J.1992. Something and Nothingness:The Fiction of John Updike and John Fowles. Carbondale and Edwardsville:Southern Illinois University.
[24]Oates, J.1969. A novelist's World:ceremonial, absurb and real. Chicago Tribune Book World,2, p.3.
[25]Olshen, N.1978. John Fowles. New York:Frederick Ungar Publishing Co,.
[26]Tarbox, K.1988. The Art of John Fowles. Athens and London:The University of Georgia Press.
[27]Watt, Ian.1969. Review of the French Lieutenant's Woman. New York Times Book Review,9, p.4.
[28]Zhu, G. 2001. Twentieth Century Western Critical Theories. Shanghai:Shanghai Foreign Language Education Press.
[29]郭华.2004.寻找失去的乐园-对《了不起的盖茨比》的原型阐释.郑州：郑州大学.
[30]郝立军.2006.《愤怒的葡萄》原型分析.太原：山西大学.
[31]侯维瑞,张和龙.1998.论约翰福尔斯的小说创作.《国外文学》,1998(4),pp.15-21.
[32]骆晓飞.2007.金枝与文学人类学-析文学人类学的发展线索.兰州：兰州大学.
[33]诺斯罗普·弗莱.2006.《批评的解剖》.天津：百花文艺出版社.
[34]荣格,冯川,苏克译.1986.《心理学与文学》.上海：三联书店.
[35]阮伟.1998.《社会语境中的文本一二战后英国小说研究》．北京：社会科学文献出版社.
[36]圣经.2008.上海：中国基督教两会出版社.
[37]王守仁,何宁.2007.《20世纪英国文学史》.北京：北京大学出版社.
[38]王松林.别有洞天的叙述.2000.《江西师范大学学报》.2000,pp.24-28.
[39]王雪.2008.世界之轴-弗莱文学理论的基石.长春：东北师范大学.
[40]吴持哲.1997.《诺斯罗普·弗莱文论选集》.北京：中国社会出版社.
[41]姚锦清.1988.《文学批评方法手册》.沈阳：春风文艺出版社.
[42]叶舒宪.神话-原型批评在中国的传播.《社会科学研究》,1999(1),pp.116-121.
[43]约翰·福尔斯,陈安全译.2007.《法国中尉的女人》.昆明：云南教育出版社.
[44]张阿娜.2007.《蝇王》的神话原型解读.
[45]詹姆斯·乔·弗雷泽.1998.《金枝》.北京：大众文艺出版社.
[46]张敏.1999.论《法国中尉的女人》的现代叙事艺术.《外国文学研究》,1999(4),pp.53-60.
[47]张中载.2003.原型批评.《外国文学》,2003(1),pp.69-74.
[48]赵宗福.2001.论当代中国文化研究中的原型批评思潮.《西南师范大学学报(人文社会科学版)》,2001(5),pp.98-103.
[49]曾燕冰.2006.《法国中尉的女人》的原型解读.南昌：江西师范大学.