本論文提供介於德勒茲理論與符敖斯理論間一個新穎迴授系統互聯性之貢獻，以達遊戲平衡狀態進而創造小說之角色。藉由吉爾．德勒茲與菲力斯．瓜塔里首提之「書寫是機器」，本文之貢獻應用『遊戲理論』分析約翰．符敖斯小說之『蝴蝶春夢』(1963)、『魔法師』(1965)與『法國中尉的女人』(1969)中小說角色之精神分裂行為。同時，此貢獻亦驗證符敖斯小說之角色扮演「德勒茲式遊戲」以反應『德勒茲遊戲理論』之真實性。
德勒茲與瓜塔里提出『精神分裂症像愛』。「精神分裂」係為『生活之思維法，由自我遞交於法律治理』。藉由書寫機器，當精神分裂症患者企圖「書寫」其特殊故事，其於內心必須承受自由思維去疆界化行徑。書寫『編織一部戰爭機器與飛行路徑，捨棄階層，線段，固定，國家機器』。去疆界化行徑結束於無器官身體與地下莖緊密相連。由於其無根，地下莖係為地下項之一。每一物體係為一部機器，於每一部機器中，遊戲結構係存在。每一部機器運作並執行遊戲：『因全部需求之連接器與連接器，機器驅動其他機器，機器被其他機器驅動』。遊戲涵概多策略，測量事務並運作遊戲世界之呈現，於此「控棋者」與「圍棋者」於遊戲中習得相關之生活經驗，因為對符敖斯而言『小說係指任何事卻為遊戲』。
本論文涵蓋五部份：簡介、三章主體與結論。第一章為簡介並分析『遊戲理論』。第二章探討『蝴蝶春夢』中之遊戲理論與地下莖書寫。「收集者動機」不僅指涉符敖斯理論的「無道德觀與道德組織的性質」，亦根源於「幽閉恐怖症與絕望感」。而遊戲係源於「收集者動機」，亦呈現符敖斯、瑪蘭達與費德南書寫之魔法，因德勒茲與瓜塔里宣揚「書寫具有並延展無限魔力」。第三章著重『魔法師』中魔幻寫實之詮釋。『魔法師』為實驗小說。莫利斯．康奇士的實驗戲劇係為一部書寫機器回溯1940s年代希臘小島所發生之歷史事件。尼古拉斯．爾夫係為追尋自由之人，因其欲變為魔法師，自我放逐欲尋找真相而成為真正的精神分裂症患者卻也習得道德教育，跨文化與跨國經驗。第四章詳述『法國中尉的女人』中莎拉．伍德夫的遊戲。遊戲理論係為莎拉的書寫機器以編織一個複雜網絡之遊戲理論以捕獲查爾斯．史密斯的心，因為符敖斯宣稱『比我們所承認之，遊戲於角色內心深處影響極其甚遠』。於此三本小說中，追尋議題源於精緻之心理遊戲指涉資本主義社會中「無限符號」，因小說家能夠詳細地執行『一種心理狀態；連繫過去與現在之情感；運用明喻與譬喻』。於此三本小說中，「蛻變邀請慶祝」均出現於故事結局，因對此三本小說之角色而言道德教育係為流變所需之過程。藉由追尋議題指出，此三本小說女性角色啟迪並引導男性角色之心靈、流變與道德教育之養成，以驗證此三本小說反應『德勒茲遊戲理論』之真實性。

This dissertation gives a novel construction of a system of feedback interconnection between Deleuzian and Fowlesian, reaching a state of equilibrium of Game that creates characters of the novels. By means of writing as machine firstly introduced by Gilles Deleuze and Felix Guattari, this construction applies the theory of games to analyze the schizophrenic behaviors of those characters in John Fowles’s fictions: The Collector (1963), The Magus (1965) and The French Lieutenant’s Woman (1969). Simultaneously, this construction manifests that those characters in Fowles’s masterpieces play the “Deleuzian Game,” reflecting the reality of Deleuzian theory of games.
Deleuze and Guattari propose, “Schizophrenia is like love” in which the “schizo” is a method of “thinking a life governed by a self that has submitted to the law.” A schizoid will bear the deterritorialized movements of free thoughts in mind while trying to write his or her particular story in terms of writing-machine. Writing will “wed a war machine and lines of flight, abandoning the strata, segmentarities, sedentarity, the State apparatus.” The major lines of the deterritorialized movements will end at the body-without-organs that closely connects with the rhizome, a kind of subterranean term. Each object is a machine where the game structure exists. Each machine executes its game: “machines driving other machines, machine being driven by other machines, with all the necessary couplings and connections.” A game includes the multilayered strategies, is always the “measure of something else” and operates the performance of game world where chess and Go are capable of learning something about life from game because for Fowles “fiction is to be anything but a game.”
The dissertation is organized into five parts: Introduction, three Chapters as main body and Conclusion. The part of Introduction and the “theory of games” appear in the first chapter. The second chapter focuses on the chess game and rhizomatic writing in The Collector. The collector motif reveals a “Fowlesian immorality and the nature of moral institution” and stems from the sense of “claustrophobia and frustration.” The design of game originates from the collector motif which illustrates the writing magic powers of these magic writers (Fowles, Miranda and Clegg) because writing as machine has and extends nth power. The third chapter details an analysis of magic realism in The Magus. The Magus is also an experimental novel of metafictional study that sets in the fictional Greek island of Spetsai where the happening history of experimental drama dates back to the historical incidents of 1940s. Nicholas Urfe is a man who desires to search his emancipation and would like to be a magus; however, at the end he turns to a real schizoid, learns the moral education and gets the experience of transculture and transnations. The fourth chapter focuses on Sarah Woodruff’s love game by means of her writing machine in The French Lieutenant’s Woman. With the theory of games, Sarah designs a complicated network of game as a love machine haunted with Charles Smithson, as Fowles reiterates, “‘Games are far more important to us, in far deeper ways, than we like to admit.’” In these three novels, the quest motif originates from the delicate psychological games and reveals the “infinite semiosis” of capitalist society that a novelist is able to operate “in detail a psychological state of mind; relate present feeling to past ones; use similes and metaphor.” In these three novels, the episodes of “transformation invites celebration” definitely come to the final conclusion because for those characters of these three novels the moral dedication is the essential process of becomings. Throughout the quest motif, those male characters of these three novels are educated and are guided to the moral world by those female characters of these three novels which reflect the reality of Deleuzian theory of games.

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