This thesis investigates Fowles'sresponses to the Victorian historical past by deploying the play of intertextuality within the narrative of historiographic metafiction. Employing the writing strategy of characterizing Sarah Woodruff as a social outcast and a sexual rebel, he challenges the literary conventions in Victorian novels and criticizes the patriarchal domination over female sexuality. The project uses the methodology of Victorian women studies to elaborate the female sexual subordination. Chapter One analyzes the structure in terms of Linda Hutcheon’s historiographic metafiction. Through the play of intertextuality, not only does Fowles attempt to respond to Victorian world, but the Victorian problematics on female sexuality is also drawn forth.
In Chapter Two, the intertextuality of Victorian medical perspectives on female hysteria exposes the phallocentric fallacy and demonization of female sexuality. Victorian medical analysis under the domination of sexual morality is uncovered with Michel Foucault's discourses on the history of medical development towards exploring the truth of illness. Chapter Three examines the legacy of virgin fetishism to dismantle that virginal body is the manifestation of body politics. By means of offering the illusion that virginal body is a natural attribute rather than a patriarchal-constructed product, female sexuality is manipulated and disciplined. Sarah emancipates herself by revolting the virgin/whore dichotomy with the strategy of fabrication. She resists the patriarchal imprisonment of marriage and the ideology of female nature of domesticity, achieving her subjectivity as a New Woman.
Fowles's ushering of Victorian past texts discusses the fact that female sexuality has been mispresented and misunderstood under the policing system of patriarchal sexual morality. His heroine as an antitype to the Victorian traditional one not only reveals the postmodern recognition of difference and espousal of plurality but also accentuates the female sexual awakening at the turning point of the century. In the process of creation, Sarah can assert her autonomy and obtains her selfhood.

本論文探討在歷史學後設小說(historiographic metafiction)的敘事結構，約翰．傅敖斯透過互文性(intertextuality)與維多利亞時代作歷史對話，並運用後設寫作策略，將莎拉(Sarah Woodruff)描寫成一位反抗性約束，被社會排斥的邊緣人，來批判父權社會對女性性自主的壓迫。本文引用維多利亞時期的女性研究作為理論依據，分析當時女性在自我發展與性附屬的困境。
第一章援用琳達．哈琴(Linda Hutcheon)對歷史學後設小說的理論分析小說結構，以闡釋傅敖斯在與歷史對話發掘的女性相關性議題。第二章透過女性歇斯底里症醫學觀點的探討，剖析父權體制對女性性慾的妖魔化(demonization)，以及性道德影響維多利亞時期的醫療體系。第三章檢視父權體制建構的女性身體與性意識。莎拉運用反抗與虛構(fabrication)策略，掙脫父權社會的女性二分法(virgin /whore dichotomy)，婚姻束縛與女性家庭天性的意識形態，達成自我認同，成為當時代的新女性(New Woman)。
傅敖斯運用維多利亞史料文本，揭露女性性慾與性意識在性道德的監控下，被扭曲再現與誤解。非傳統女主角的描繪，呈現後現代所強調的差異與多元性，以及女性性意識的覺醒。透過虛構自身歷史的藝術創作過程，莎拉獲得自我與自主性。

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