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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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This paper deals with The French Lieutenat's Woman in terms of feminism. As the title suggests, Sarah Woodruff, the French lieutenant's woman, is a major character in the novel. Most critics voice unanimous opinion that the hero is Charles Smithson, but in the changing process of Charles from a typical Victorian gentleman to an existential modem man, does Sarah play an important role. She means a tutor to Charles.
The second chapter of this article covers Ernestina Freeman, a fiancee of the hero. She is a typical Victorian lady suitable for a good wife and mother. Her interest remains only in being loved by her would-be husband and rising up in her social status. Charles is engaged to her, but there is no deep inner communication between them. They are said to be engaged by each other's needs. Charles, born of an aristocratic family, is in need of great wealth. Ernestina's father is a rich man, and Ernestia is the only one child. Thus their respective interests and needs make them bond in marriage.
But the appearance of Sarah Woodruff endangers Charles and Ernestina relationship. In the third chapter of this paper, Sarah Woodruff is analyzed, with relation with Charles. Sarah is independent and thinks highly of personal freedom of choice. She is in sharp contrast with Ernestina who is greatly dependent upon man. She is known a French lieutenant's woman, by which she is outcast and ostracized in Victorian society with rigid moral and patriarchy. Charles is attracted to Sarah by her mystery and despair. Charles helps Sarah to leave Lyme, and meets again at a hotel in Exeter. After their sexual love, Sarah is found to be a virgin, contrary to the rumor that she was a French lieutenant's woman. Charles, having a sense of responsibility for Sarah, breaks his engagement with Ernestina. But Sarah disappears, and Charlse's long journey to find out Sarah begins. Throughout the whole England and even America, Charles tries to search Sarah's place for two years. Finally they meet again. Their reunion scene is described in 60 and 61 chapters. John Fowles opens two possible endings. Chapter 60 is a traditional ending, where Charles and Sarah get married with a daughter born from their sexual intercourse of only one time. Chapter 61 shows us an existential modern ending, where Charles and Sarah go their own ways respectively.
In conclusion, this novel can't be said to be a feminist novel, "because Sarah's point of view remains absent from the text, Sarah remains objectified and never becomes a subject in her own right." And because "everything known about Sarah is mediated through the male perspective of Charles, the narrator, and ultimately Fowles himself as orchestrator." But Fowles lets "Sarah create her own fictions in order to step outside of conventional patriarchal society and to define herself outside of male fictions about women." Her final and critical words, "I do not want to share my life. I wish to be what I am, not what a husband, however kind, however indulgent, must expect me to become in marriage." will echo forever in the reader's mind. This novel is not a feminist novel, but at least it deals with feminism to a great extent.
The second chapter of this article covers Ernestina Freeman, a fiancee of the hero. She is a typical Victorian lady suitable for a good wife and mother. Her interest remains only in being loved by her would-be husband and rising up in her social status. Charles is engaged to her, but there is no deep inner communication between them. They are said to be engaged by each other's needs. Charles, born of an aristocratic family, is in need of great wealth. Ernestina's father is a rich man, and Ernestia is the only one child. Thus their respective interests and needs make them bond in marriage.
But the appearance of Sarah Woodruff endangers Charles and Ernestina relationship. In the third chapter of this paper, Sarah Woodruff is analyzed, with relation with Charles. Sarah is independent and thinks highly of personal freedom of choice. She is in sharp contrast with Ernestina who is greatly dependent upon man. She is known a French lieutenant's woman, by which she is outcast and ostracized in Victorian society with rigid moral and patriarchy. Charles is attracted to Sarah by her mystery and despair. Charles helps Sarah to leave Lyme, and meets again at a hotel in Exeter. After their sexual love, Sarah is found to be a virgin, contrary to the rumor that she was a French lieutenant's woman. Charles, having a sense of responsibility for Sarah, breaks his engagement with Ernestina. But Sarah disappears, and Charlse's long journey to find out Sarah begins. Throughout the whole England and even America, Charles tries to search Sarah's place for two years. Finally they meet again. Their reunion scene is described in 60 and 61 chapters. John Fowles opens two possible endings. Chapter 60 is a traditional ending, where Charles and Sarah get married with a daughter born from their sexual intercourse of only one time. Chapter 61 shows us an existential modern ending, where Charles and Sarah go their own ways respectively.
In conclusion, this novel can't be said to be a feminist novel, "because Sarah's point of view remains absent from the text, Sarah remains objectified and never becomes a subject in her own right." And because "everything known about Sarah is mediated through the male perspective of Charles, the narrator, and ultimately Fowles himself as orchestrator." But Fowles lets "Sarah create her own fictions in order to step outside of conventional patriarchal society and to define herself outside of male fictions about women." Her final and critical words, "I do not want to share my life. I wish to be what I am, not what a husband, however kind, however indulgent, must expect me to become in marriage." will echo forever in the reader's mind. This novel is not a feminist novel, but at least it deals with feminism to a great extent.
목차
Ⅰ. 서론
Ⅱ. 전통적 여성: 어니스티나 프리맨
Ⅲ. 신여성: 사라 우드러프
Ⅳ. 자유와 선택
Ⅴ. 결론
Bibliography
〈Abstract〉
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