本篇論文旨在研究約翰‧傅敖斯在《大法師》中如何揭櫫現實的概念。傅氏認為現實不是中立、客觀或自我浮現的，而是經由人為形塑建構而成的。他一面改寫傳統「探索」主題以彰顯人類對現實的自我概念的建構模式，一面則利用後設小說技巧勾勒人類對現實的詮釋建構所蘊涵的虛構特質，一如小說的虛擬世界是由語言文字構設而出。因此，意義是武斷的，而真理是相對且多樣繁頤，隨時空情境的不同而改變。

本論文共分三章。第一章討論小說主角在追尋自我和統一的秩序的過程中所遭遇的困難，說明自我非本質的顯現：而真正的現實也無內涵恆常的秩序。第二章針對主角的性別認同深入剖析傳統父權論述的思考模式如何限制意義的多樣和差異。第三章討論小說在形式上的自我指涉特性使得小說本身成為一開放文本，打破視作者為意義唯一來源的權威，並且賦予讀者相對的自由，變成為意義的挪用/（再）生產者。

This study of John Fowles’s The Mequs explores and analyzes the novel’s presentation of reality as something not pre-given or self-present but as a textual construct.

Fowles rewrites the traditional narrative of quest motif and adopts metafictional devices to reveal the artificial of textual construction of reality and self. identity-He sets up a parallel between the act of reading and the act of living, which both require a variety of interpretations.

The study is composed of three chapters. Chapter I discusses the difficulty involved in the protagonist’s search for a unified self and a non-contradictory perception to the world. Chapter II deals with his sexual identity which exposes a rigid, totalizing structure of patriarchal thought that oppresses and limits the multiplicity and difference of reality as embodied in the women in the godgame. Chapter III probes into the novel’s formal self-reflexivity and Fowles’s endeavor to liberate the reader from the absolute authority of the author-God, thereby providing him with the “relative freedom” to become his own master in the appropriation or reproduction of meaning.

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