本文旨在探討約翰．傅敖斯如何挪用皮藍德洛式後設劇場以處理《魔術師》此一後設文本中的兩項議題：其一為後設文本之美學議題──後設自我反射﹐及強調文本世界的本體狀態；其二為饒富哲理的主題──真實世界之虛幻性及存在主義式的自由。皮藍德洛之後設劇本《各持己見》及傅敖斯之後設小說《魔術師》在主題、後設戲劇技巧、及後設結構等方面都很相似﹐這使得《魔術師》可視為皮藍德洛式後設劇場的變形。此論文分為兩方面研討《魔術師》中對於皮藍德洛式後設劇場之運用。首先討論《魔術師》中之皮藍德洛式（或中國盒式）的後設敘述結構﹐其中﹐後設自我反射﹐及曖昧、模擬兩可的本體狀態為討論重點。其次將探討傅敖斯使用皮藍德洛式後設戲劇技巧以呈現真實世界之虛幻性及存在主義式自由等主題。《魔術師》象徵藝術作品、真實世界、觀眾﹙讀者﹚與作者此四者之間嶄新的關係﹐後設文本提供讀者新的策略以了解真實世界及文本世界如何建構出來。傅敖斯所展現的自由與揭露（世界及個人的）的建構策略及技巧息息相關。

Abstract
Here I investigate John Fowles’s appropriation of Pirandellian metatheater in dealing with the aesthetic issues—metafictional self-consciousness, equivocal (ambiguous) ontological status—and philosophical themes—the illusion of reality, the existential freedom of man—in his metafictional text, The Magus. The similarities between Luigi Pirandello’s metatheatrical play Each in His Own Way and Fowles’s The Magus in terms of the theme, metatheatrical style and metafictional framing devices have led me to see The Magus as a variation on Pirandellian metatheater. In this thesis, two aspects of The Magus will be explored—the metafictional self-consciousness and ambiguous ontological status of “worlds” displayed in the Pirandellian (or Chinese-box) narrative structures of the novel, and the Pirandellian metatheatrical devices used by Fowles in dealing with the themes of human illusion and existential freedom. The Magus embodies the sort of new relationship between work of art, world, spectator and artist achieved in metafictional texts. These texts which draw attention to the process of their own production provide the reader with a means to understand how the everyday as well as literary world is artificially constructed; the “freedom” presented to us by Fowles is closely tied up with this laying bare of (the world’s, one’s own) artifice.

Works Cited
Abel, Lionel. Metatheatre: A New View of Dramatic Form. New York: Hill and Wang, 1963.
Acheson, James. Modern Novelists: John Fowles. New York: St. Martin’s, 1998.
Alter, Robert. Partial Magic: The Novel as a Self-Conscious Genre. Berkeley: U of California P, 1975.
Artaud, Antonin. Theater and Its Double. Trans. Mary Caroline Richards. New York: Grove Weidenfeld, 1958.
Aubery, James R. John Fowles: A Reference Companion. New York: Greenwood, 1991.
Bal, Mieke. “Notes on Narrative Embedding.” Poetics Today. 2.2 (1981): 41-59.
Barnum, Carol M. “An Interview with John Fowles.” Modern Fiction Studies. 31.1 (1985): 187-203.
---. The Fiction of John Fowles: A Myth of Our Time. Greenwood: Penkevill, 1988.
Barthes, Roland. S/Z. Trans. Richard Miller. New York: Noonday, 1988.
---. Image, Music, Text. Trans. Stephen Heath. New York: Hill and Wang, 1977.
Bassanese, Fiora A. Understanding Lugi Pirandello. Columbia: U of South Carolina P, 1997.
Bassnett-McGuire, Susan. Luigi Pirandello. New York: Grove, 1983.
Bassnett, Susan and Jennifer Lorch, ed. Luigi Pirandello in the Theatre: A Documentary Record. Philadelphia: Harwood Academic Publishers, 1993.
Bazzoni, Jana O’Keefe. “Reluctant Pilgrim: Pirandello’s Journey Toward the Modern Stage.” A Companion to Pirandello Studies. Ed. John Louis DiGaetani. New York: Greenwood, 1991. 47-56.
Begiebing, Robert J. Toward a New Synthesis: John Fowles, John Gardner, Norman Mailer. Ann Arbor: U.M.I. Research P, 1989.
Benjamin, Andrew. Art, Mimesis and the Avant-Garde: Aspects of a Philosophy of Difference. London: Routledge, 1991.
Binns, Ronald. “John Fowles: Radical Romancer.” Critical Essays on John Fowles. Ed. Ellen Pifer. Boston: G. K. & Co., 1986. 19-37.
---. “A New Version of The Magus.” Critical Essays on John Fowles. Ed. Ellen Pifer. Boston: G. K. & Co., 1986. 100-105.
Biundo, James V. Moments of Selfhood: Three Plays by Luigi Pirandello. New York: Peter Lang, 1990.
Boccia, Michael. “‘Visions and Revisions’: John Fowles’s New Version of The Magus.” Journal of Modern Literature. 8.2 (1980-81): 235-46.
Boyd, Michael. The Reflexive Novel: Fiction as Critique. East Brunswick: Associated UP, 1983.
Brustein, Robert. The Theatre of Revolt: An Approach to the Modern Drama. Boston: Little, Brown and Company, 1964.
Burden, Robert. John Fowles, John Hawkes, Claude Simon: Problems of Self and Form in the Post-Modernist Novel: A Comparative Study. Werzburg: Königshausen and Neumann, 1980.
Caesar, Ann Hallamore. Characters and Authors in Lui Pirandello. New York: Oxford UP, 1998.
Campbell, James. “An Interview with John Fowles.” Conversations with John Fowles. Ed. Dianne L. Vipond. Jackson: UP of Mississippi, 1999. 33-45.
Caputi, Anthony. Pirandello and the Crisis of Modern Consciousness. Urbana: U of Illinois P, 1988.
Carol M. Barnum. “An Interview with John Fowles.” Conversations with John Fowles. Ed. Dianne L. Vipond. Jackson: UP of Mississippi, 1999. 102-18.
Christensen, Inger. The Meaning of Metafiction. New York: Columbia UP, 1983
Conradi, Peter. John Fowles. New York: Methuen, 1982.
Cooper, Pamela. The Fictions of John Fowles: Power, Creativity, Femininity. Ottawa: U of Ottawa P, 1991.
Culler, Jonathan. On Deconstruction: Theory and Criticism after Structuralism. London: Routledge. 1989.
Dällenbach, Lucien. The Mirror in the Text. Trans. Jeremy Whiteley. Chicago: U of Chicago P, 1989.
Derrida, Jacques. “Structure, Sign and Play.” Writing and Difference. Trans. Alan Bass. Chicago: U of Chicago P, 1978. 278-293.
De Saussure, Ferdinand. “Course in General Linguistics.” Critical Theory Since Plato. Ed. Hazard Adams. Fort Worth: Harcourt Brace Jovanovich College Publishers. 1992. 718-726.
Eco, Umberto. The Role of the Reader: Explorations in the Semiotics of Texts. Bloomington: Indian UP, 1984.
Eddin, Dwight. “John Fowles: Existence as Authorship.” Critical Essays on John Fowles. Ed. Ellen Pifer. Boston: G. K. & Co., 1986. 38-53.
Esslin, Martin. “A Hole Torn in a Paper Sky: Pirandello and Modern Drama.” A Companion to Pirandello Studies. Ed. John Louis DiGaetani. New York: Greenwood, 1991. 261-70.
Fawkner, H. W. The Timescapes of John Fowles. Rutherford: Fairleigh Dickinson UP, 1984.
Fisher, James. “An Author in Search of Characters: Pirandello and Commedia dell’arte.” Modernism in European Drama: Ibsen, Strindberg, Pirandello, Beckett. Ed. Frederick J.Marker and Christopher Innes. Toronto: U of Toronto P, 1998. 151-69.
Fleishman, Avrom. “The Magus of the Wizard of the West.” Critical Essays on John Fowles. Ed. Ellen Pifer. Boston: G. K. & Co., 1986. 77-92.
Fossa, John A. “Through Seeking to Mystery: A Reappraisal of John Fowles’ The Magus.” Orbis-Litterarum. 44.2 (1989): 161-80.
Foster, Thomas C. Understanding John Fowles. Columbia: U of South Carolina P, 1994.
Foucault, Michel. “What Is an Author?” The Foucault Reader. Ed. Paul Rabinow. New York: Pantheon Books, 1984. 101-20.
Foulke, Robert. “A Conversation with John Fowles.” Salmagundi. 68-69 (1985-1986): 367-384.
Fowles, John. The Magus: A Revised Version. New York: Dell, 1978.
---. “Notes on an Unfinished Novel.” The Novel Today: Contemporary Writers on Modern Fiction. Ed. Malcolm Bradbury. Fontana: Manchester UP, 1977. 131-50.
---. French Lieutenant’s Woman. New York: Penguin, 1970.
Füredy, Viveca. “A Structural Model of Phenomena with Embedding in Literature and Other Arts.” Poetics Today. 10.2 (1989): 745-69.
Gaggi, Silvio. Modern/Postmodernism: A Study in Twentieth-century Arts and Ideas. Philadelphia: U of Pennsylvania P, 1989.
---. “Pirandello and Brechtian Aspects of the Fiction of John Folwes.” Comparative Literature Studies. 23.4 (1986): 324-334.
Goffman, Erving. Frame Analysis: An Essay on the Organization of Experience. Boston: Northeastern UP, 1986.
Grande, Maurizio. “Pirandello and the Theatre-within-the-Theatre: Thresholds and Frames in Ciascuno a suo modo.” Luigi Pirandello: Contemporary Perspectives. Ed. Gian-Paolo Biasin and Manuela Gieri. Toronto: U of Toronto P, 1999. 53-63.
Halpern, Daniel. “A Sort of Exile in Lyme Regis.” Conversations with John Fowles. Ed. Dianne L. Vipond. Jackson: UP of Mississippi, 1999. 14-25.
Holmes, Frederick M. “Art, Truth, and John Fowels’s The Magus.” Modern Fiction Studies. 31.1 (1985): 45-55.
Hornby, Richard. Drama, Metadrama and Perception. London: Associated UP, 1986.
Hutcheon, Linda. Narcissistic Narrative: The Metafictional Paradox. London: Routledge. 1991. Rpt. Waterloo: Wilfird Laurier UP, 1980.
Hutchinson, Peter. Games Authors Play. London: Methuen, 1983.
Kane, Richard C. Iris Murdoch, Muriel Spark, and John Fowles: Didactic Demons in Modern Fiction. London: Associated UP, 1988.
Kaufmann, Walter, ed. Basic Writings of Nietzsche. New York: Modern Library, 1992.
Kuehl, John. Alternate Worlds: Study of Postmodern Antirealistic American Fiction. New York: New York UP, 1989.
Lewis, Janet E. and Barry N. Olshen. “John Fowles and the Medieval Romance Tradition.” Modern Fiction Studies. 31.1 (1985): 15-30.
Lindroth, James R. “The Architecture of Revision: Fowles and the Agora.” Modern Fiction Studies. 31.1 (1985): 57-69.
Lorenz, Paul H. “Heraclitus Against the Barbarians: John Fowles’s The Magus.” Twentieth Century Literature: A Scholarly and Critical Journal. 42.1 (1996): 69-87.
Loveday, Simon. The Romances of John Fowles. London: Macmillan, 1985.
McDaniel, Ellen. “Games and Godgames in The Magus and The French Lieutenant’s Woman.” Modern Fiction Studies. 31.1 (1985): 31-42.
---. “The Magus: Fowles’s Tarot Quest.” Journal of Modern Literature. 8.2 (1980-81): 247-60.
McHale, Brian. Postmodernist Fiction. New York: Methuen, 1987.
McSweeney, Kerry. Four Contemporary Novelists: Angus Wilson, Brian Moore, John Fowles V. S. Naipaul. London: Scolar Press, 1983.
Neary, John. Something and Nothingness. Carbondale: Southern Illinios UP, 1992.
Nelson, Robert J. Play within a Play: The Dramatist’s Conception of His Art: Shakespeare to Anouilh. New Haven: Yale UP, 1958.
Nooy, Julian de. “The Double Scission: Dällenbach, Dolezel, and Derrida on Doubles.” Style. 25.1 (1991): 19-27.
Norris, Christopher. Deconstruction: Theory and Practice. New York: Methuen, 1982.
Novak, Jr. Frank G. “The Dialectics of Debasement in The Magus.” Modern Fiction Studies. 31.1 (1985): 71-82.
Oliver, Roger W. Dreams of Passion: The Theater of Luigi Pirandello. New York: New York UP, 1979.
Olshen, Barry N. John Fowles. New York: Frederick Ungar, 1978.
Onega, Susan. “Self, World, and Art in the Fiction of John Fowles.” 42.1 (1996): 29-56.
Palmer, William J. “Fowles’ The Magus: The Vortex as Myth, Metaphor, and Masque.” The Power of Myth in Literature and Film. Ed. Victor Carrabino. Gainsville: UP of Florida, 1980. 66-76.
Pifer, Ellen. Introduction. Critical Essays on John Fowles. Boston: G. K. Hall & Co., 1986. 1-18.
Pirandello, Luigi. Naked Masks: Five Plays by Luigi Pirandello. Ed. Bentley Eric. New York: Penguin, 1952.
---. On Humor. Trans. Antonio Illiano and Daniel P. Testa. Chapel Hill: U of North Carolina P, 1974.
Powell, David A. “Pirandellian Humor and Modern French Drama.” A Companion to Pirandello Studies. Ed. John Louis DiGaetani. New York: Greenwood, 1991. 271-82.
Prince, Gerald. “Metanarrative Signs.” Metafiction. Ed. Mark Currie. London: Longman, 1995. 55-70.
Ragusa, Olga. “Tonight We Improvise: Spectacle and Tragedy.” A Companion to Pirandello Studies. Ed. John Louis DiGaetani. New York: Greenwood, 1991. 245-60.
---. Luigi Pirandello: An Approach to His Theatre. Edinberg: Edinberg UP, 1980.
Rosenberg, Marvin. “Pirandello’s Mirror.” Modernism in European Drama: Ibsen, Strindberg, Pirandello, Beckett. Ed. Frederick J.Marker and Christopher Innes. Toronto: U of Toronto P, 1998. 127-141.
Salami, Mahmoud. John Fowles’s Fiction and the Poetics of Postmodernism. Rutherford: Fairleigh Dickinson UP, 1992.
Santeramo, Donato. “Pirandello’s Quest for Truth: Sei personaggi in cerca d’autore.” Luigi Pirandello: Contemporary Perspectives. Ed. Gian-Paolo Biasin and Manuela Gieri. Toronto: U of Toronto P, 1999. 37-52.
Saussure de, Ferdinand. “Course in General Linguistics.” Critical Theory Since Plato. Ed. Hazard Adams. Fort Worth: Harcourt Brace Jovanovich. 1992. 718-726.
Scholes, Robert. Fabulation and Metafiction. Urbana: U of Illinois P, 1979.
Selden, Raman. The Theory of Criticism: From Plato to the Present. London: Longman, 1988.
Stark, John O. The Literature of Exhaustion. Durham: Duke UP, 1974.
Stam, Robert. Reflexivity in Film and Literature: From Don Quixote to Jean-Luc Godard. New York: Columbia UP, 1992.
Styan, J. L. “Pirandellian Theatre Games: Spectator as Victim.” Modernism in European Drama: Ibsen, Strindberg, Pirandello, Beckett. Ed. Frederick J. Marker and Christopher Innes. Toronto: U of Toronto P, 1998. 142-150.
Tarbox, Katherine. The Art of John Fowles. Athens: U of Georgia P, 1988.
Todorv, Tzvetan. The Poetics of Prose. Trans. Richard Howard. Ithaca: Cornell UP, 1977.
---. The Fantasic: A Structural Approach to a Literary Genre. Trans. Richard Howard. Ithaca: Cornell UP, 1973.
Valency, Maurice. The End of the World: An Introduction to Contemporary Drama. New York: Oxford UP, 1980.
Vipond, Dianne L. “An Unholy Inquisition.” Conversations with John Fowles. Ed. Dianne L. Vipond. Jackson: UP of Mississippi, 1999. 198-213.
Walker, David H. “Remorse, Responsibility, and Moral Dilemmas in Fowles’s Fiction.” Critical Essays on John Fowles. Ed. Ellen Pifer. Boston: G. K. & Co., 1986. 54-76.
Waugh, Patricia. Metafiction: The Theory and Practice of Self-Conscious Fiction. London: Methuen, 1984.
Wellwarth, George E. Modern Drama and the Death of God. Madison: U of Wisconin P, 1986.