Abstract
Greatly influenced by existentialism, John Fowls is interested in the search for self-awareness which is intensively reflected in The French Lieutenant’s Woman. Adapted to film by playwright Harold Pinter, this classic has achieved great success and won the Oscar Award in 1981. Though many scholars have applied Lacan’s “Mirror Stage” Theory to interpreting many classic works, they rarely interpret the film The French Lieutenant’s Woman with this theory. The author of this thesis intends to analyze the emerging and changing of Sarah’s self-awareness in the framework of Lacan’s “Mirror Stage” Theory and study Sarah’s real self-pursuit as “the French lieutenant’s woman” and the new self-identity. This paper finds that the traditional principles and rules play an important role in heroin’s self-identity as Mirror in Lacan’s “Mirror Stage” Theory and it also brilliantly illustrates the influence of Other on the Subject’s self-awareness.
Keywords   Mirror Theory   Self-awareness   Subject   Mirror   Other

深受存在主义思潮影响，英国后现代作家约翰•福尔斯对人类的自我认知充满了兴趣，他高度赞扬人类追逐自我的行为，他的思想在《法国中尉的女人》中得到了集中体现。经过哈罗德•品特的改编，这部作品以电影的形式展现在人们面前，取得了巨大的成功。这部电影赢得了1981年的奥斯卡奖，受到了电影界的一致好评。虽然有许多学者已经运用拉康的镜像理论对经典作品进行解读，然而鲜有学者用镜像理论对电影《法国中尉的女人》进行解读。本文将在拉康的镜像理论的框架下分析萨拉自我意识的产生和变迁，研究萨拉在作为“法国中尉的女人”的自我中寻找真实的自我，以及对自我的全新认同。本论文发现，社会伦理道德在镜像理论中作为镜子对女主人公的自我认知起着重要作用，也验证了他者对主体认知的影响。
关键词  镜像理论   自我   主体   镜子   他者