英國(guó)作家約翰·福爾斯是當(dāng)代英國(guó)文壇享有盛名的作家。他的代表作《法國(guó)中尉的女人》自1969年問(wèn)世以來(lái),為福爾斯贏得了很大的榮譽(yù),同時(shí)也在評(píng)論界及讀者中引起了強(qiáng)烈的反響�？v觀有關(guān)該小說(shuō)的評(píng)論,許多評(píng)論家認(rèn)為小說(shuō)的女主人公薩拉是一位女權(quán)主義的代表人物,本文嘗試借用女性主義文學(xué)批評(píng)理論,尤其是采用激進(jìn)女權(quán)主義有關(guān)父權(quán)制的論述,來(lái)探討男性作家在處理兩性關(guān)系時(shí)所采取的立場(chǎng)和態(tài)度,文章認(rèn)為,盡管作者塑造了多重身份于一身的薩拉,然而對(duì)薩拉缺乏正面清晰的描述,讀者對(duì)于薩拉的了解完全來(lái)自查爾斯及敘述者等的間接敘述,鮮明地反映出作者所強(qiáng)調(diào)的男性意識(shí)和男性視角。小說(shuō)的故事情節(jié)集中圍繞查爾斯展開,而薩拉的真實(shí)面目卻始終籠罩于神秘面紗的背后,她甚至沒有真正的話語(yǔ)權(quán),在故事情節(jié)的發(fā)展中只是充當(dāng)“催化劑”,為查爾斯帶來(lái)驚喜,并促使他不斷走向成熟。因而,無(wú)聲的薩拉只是小說(shuō)的中心人物,而不是女主角。而小說(shuō)的三重結(jié)尾則主要體現(xiàn)出作者的存在主義觀點(diǎn),并非體現(xiàn)了薩拉真正獲得自由。借用女性主義文學(xué)批評(píng)理論,文章認(rèn)為,盡管福爾斯自認(rèn)為維護(hù)女性利益,自認(rèn)為是一位女權(quán)主義作家,然而男權(quán)社會(huì)根深蒂固的影響使他不可避免地成為不平等兩性關(guān)系... 

【文章來(lái)源】：云南師范大學(xué)云南省

【文章頁(yè)數(shù)】：69 頁(yè)

【學(xué)位級(jí)別】：碩士

【文章目錄】：
Acknowledgements
Abstract
Abstract in Chinese
Chapter One Introduction
    1.1 A brief Introduction to Fowles'Life and Literary Career
    1.2 The Summary of The French Lieutenant's Woman
Chapter two Literature Review
    2.1 International Study
        2.1.1 The Theme of the Novel
        2.1.2 The Analysis of Sarah
        2.1.3 Narrative Techniques
    2.2 Domestic Review
Chapter Three An Account of Radical Feminism Theory
    3.1 Feminist Theory
    3.2 Feminist Criticism
    3.3 Radical feminism
        3.3.1 Representative Feminist Critics and her View
        3.3.2 Key terms on Feminist Criticism
            3.3.2.1 "Patriarchy"
            3.3.2.2 Otherness
    3.4 Major Characteristics of "New Women"
        3.4.1 Challenges to traditional roles of woman
        3.4.2 Challenges to traditional marriage
        3.4.3 Challenge to the traditional image
        3.4.4 Challenge the relationship between male and female
Chapter four Unequal Contrast between male and female Characters
    4.1 The Mystery of Sarah
        4.1.1 The Image of Sarah
            4.1.1.1 The role of Inferiority
                4.1.1.1.1 Sarah's behaviors
                4.1.1.1.2 The Absence of Sarah's Voice
                4.1.1.1.3 Sarah's Intention
        4.1.2 Male Imagination of Sarah
    4.2 Sarah as the Role of "Catalyst"
    4.3 Summary
Chapter Five Narrative Strategies
    5.1 Narrative Device in Characterizations of male and female
        5.1.1 The Real Protagonist:Charles
        5.1.2 The Central Figure:Sarah
    5.2 The Triple Endings
        5.2.1 The Credibility of Three Endings
        5.2.2 The Failure of Sarah's Final Freedom-The third ending
Chapter Six Conclusion
Bibliography
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