A Poetics toward the “Genuinely Created World”: The Notion of the Author-Reader in John Fowles’s The French Lieutenant’s Woman
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A progeny of the age of Robbe-Grillet and Roland Barthes as it is, John Fowles’s The French Lieutenant’s Woman invites us to move on from the early critique of the author as God. Taking afresh the question of the author dramatized and theorized at once in the novel, therefore, the paper aims to illustrate how the novel reclaims the author without demoting the role of the reader that postmodern critics have brought to light. Elucidating first why and how the novel employs the conflicting identities of the narrator/author, and then the ways in which the novel’s meta-fictional narrative draws our attention to the notion of reading histories, the paper argues that the novel finally calls for a return to history which should bind the author, but, at the same time, point toward a new direction to open up the new possibilities in the place left empty after the ‘death of the author.’ What The French Lieutenant’s Woman opens up, the paper concludes, is a discursive place that the novel illuminates as a “genuinely created world” where the characters as human agents make fiction out of, in Ricoeur’s term, “what might have been” (81) in history.
Abstract
A progeny of the age of Robbe-Grillet and Roland Barthes as it is, John Fowles’s The French Lieutenant’s Woman invites us to move on from the early critique of the author as God. Taking afresh the question of the author dramatized and theorized at once in the novel, therefore, the paper aims to illustrate how the novel reclaims the author without demoting the role of the reader that postmodern critics have brought to light. Elucidating first why and how the novel employs the conflicting identities of the narrator/author, and then the ways in which the novel’s meta-fictional narrative draws our attention to the notion of reading histories, the paper argues that the novel finally calls for a return to history which should bind the author, but, at the same time, point toward a new direction to open up the new possibilities in the place left empty after the ‘death of the author.’ What The French Lieutenant’s Woman opens up, the paper concludes, is a discursive place that the novel illuminates as a “genuinely created world” where the characters as human agents make fiction out of, in Ricoeur’s term, “what might have been” (81) in history.
참고문헌 (18)
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