Prior studies indicate that teachers differ in how they respond to different kinds of traditional bullying, and that their beliefs predict their intervention intentions. The current study provided the first extension of this work into the realm of cyber bullying. Preservice teachers in the United Kingdom ( N = 222) were presented with vignettes describing three subtypes of traditional bullying as well as cyber bullying, and the latter was directly compared with the former. Dependent variables were perceived seriousness, ability to cope, empathy, and intentions to intervene. Results showed that responses to cyber bullying were most similar to verbal traditional bullying, but distinct from physical and relational traditional bullying. For cyber bullying, willingness to intervene was significantly predicted from the other three dependent variables (collectively and each one uniquely). No gender differences were observed. The implications of the results concerning how teacher educators could help teachers to deal with cyber bullying were discussed.

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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. University of Wisconsin Press andThe Board of Regents of the University of Wisconsin System are collaborating with JSTOR to digitize, preserve and extend access to Contemporary Literature. John Fowles's novel, The Magus, is a cross between an intellectual puzzle and a dazzling work of fiction. If it does not succeed entirely as the second, it is perhaps because there is too much of the first. When it appeared in 1966, critical response was similarly divided. Some reviewers called the novel pretentious, boring, self-indulgent, while others (or the same reviewers) praised its originality, its ingeniousness, its spell-binding quality-or begged the question by terming it Baroque or Gothic.' Subsequent scholarly articles on The Magus or on Fowles's three novels together have more consistently emphasized the positive aspects of the novel, though generally through a discussion of its meaning, to the exclusion of its form; the underlying structure, as well as its controlling symbolism, mythic pattern, and tone, have received little critical attention.2 Since these elements of the novel are 1 For example, Walter Allen terms The Magus "pretentious," "self-indulgent," and says that the "Gothic aspects" are "unreal" ("The Achievement of John Fowles," Encounter, 35 [August 1970], 64-67). Bernard Bergonzi calls it "pretentious" though "original," and sees the ending as structurally and thematically unconvincing ("Bouillabaise," New York Review of Books, March 17, 1966, pp. 20ff.). Nicholas Samstag finds the novel simultaneously "ingenious," "fascinating," "Baroque,"-and "too long" ("Down to his Last Illusion," Saturday Review, January 15, 1966, p. 40). 2 See Thomas Churchill, "Waterhouse, Storey, and Fowles: Which Way out of the Room?" Critique, 10, No. 3 (1968), 72-87. Churchill finds the Conchis part of The Magus "nearly a bore," though he generally likes the novel. Rosemary McLaughlin, "Faces of Power in the Novels of John Fowles," Critique, 13, No. 3 (1972), 71-88. McLaughlin ignores structure, sees the unifying theme of the three novels as power-"the power that one person can wield over another to violate him, annihilate him, or, even, ironically, to help him achieve a fullness of personality and humanity" (p. 71). Jeff Rackham, "John Fowles: The Existential Labyrinth," Critique, 13, No. 3 (1972), 89-103. Rackham says nothing about narrative form or structure, placing his emphasis on the unifying theme of existentialism in the three novels. MYTH, MYSTERY, AND IRONY: JOHN FOWLES'S THE MAGUS Roberta RubensteinJohn Fowles's novel, The Magus, is a cross between an intellectual puzzle and a dazzling work of fiction. If it does not succeed entirely as the second, it is perhaps because there is ...