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1
Silva, Egle Pereira da. "A poesia de Paul Auster." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=7262.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This thesis examines Paul Austers extremely neglected early work: his poetry. Five books were published: Unearth (1974), Wall writing (1976), Effigies (1977), Fragments from cold (1977) and Facing the music (1980), available only at antiquarians and restrective universities libraries in the United States, as well as at the New York Public Library. Studies around Austers poetic oeuvre are restricted to papers, reviews, translators introduction, and a thesis that focus on his poetry to produce new analyses and interpretations of Austers novelistic works. The aim of this thesis is to gather this scattered material and provide new parameters of study around his poetry. Divided into three chapters, the first one maps the literary magazines where Auster published his poems at first, the translations of his poems and critical fortune; the second examines Austers five books according to three specific topics authorship, language, I and other themes related to them; the third analyzes White Spaces, text considered by the author as the bridge that leads him to prose and in this thesis as a singular writing in which Auster consolidates his literary project, since poetry, previous to prose, yet to come. Maurice Blanchot, Karlheinz Stierle and, principally, Auster, lay the foundation of the investigation. Other theorists who contribute to the understanding of the subject will be called to build the sui generis comparativism put into effect here<br>This thesis examines Paul Austers extremely neglected early work: his poetry. Five books were published: Unearth (1974), Wall writing (1976), Effigies (1977), Fragments from cold (1977) and Facing the music (1980), available only at antiquarians and restrective universities libraries in the United States, as well as at the New York Public Library. Studies around Austers poetic oeuvre are restricted to papers, reviews, translators introduction, and a thesis that focus on his poetry to produce new analyses and interpretations of Austers novelistic works. The aim of this thesis is to gather this scattered material and provide new parameters of study around his poetry. Divided into three chapters, the first one maps the literary magazines where Auster published his poems at first, the translations of his poems and critical fortune; the second examines Austers five books according to three specific topics authorship, language, I and other themes related to them; the third analyzes White Spaces, text considered by the author as the bridge that leads him to prose and in this thesis as a singular writing in which Auster consolidates his literary project, since poetry, previous to prose, yet to come. Maurice Blanchot, Karlheinz Stierle and, principally, Auster, lay the foundation of the investigation. Other theorists who contribute to the understanding of the subject will be called to build the sui generis comparativism put into effect here
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Krämer, Kathrin. "Walking in deserts, writing out of wounds : Jewishness and deconstruction in Paul Auster's literary work." Heidelberg Winter, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=2991871&prov=M&dokv̲ar=1&doke̲xt=htm.
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Ma, Oi-ming Gloria. "The quest for truth : an examination of simulacra and simulations in Paul Auster's the New York trilogy /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23472832.
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Quarré-Roger, Catherine. "Paul Auster, l'enchanteur désenchanté : le monde, le moi et l'autre dans l'oeuvre de Paul Auster /." Paris : Publibook, 2006. http://catalogue.bnf.fr/ark:/12148/cb409630182.
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Texte remanié de: Thèse de doctorat--Études de l'aire culturelle anglophone--Aix-Marseille 1, 2002. Titre de soutenance : Le monde, le moi et l'autre dans l'oeuvre de Paul Auster.<br>Bibliogr. p. 315-323.
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Martin, B. P. "The post-modernity of Paul Auster." Thesis, Queen's University Belfast, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419455.
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Silva, Luís Henrique do Amaral e. "Ficção e trauma em Paul Auster." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/47/47132/tde-24032015-164243/.
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O presente trabalho busca explorar como a dimensão do traumático incide na literatura contemporânea, mais especificamente, na literatura de um escritor nova-iorquino, Paul Auster. Supomos que as modalidades de subjetivação de determinado período histórico podem ser investigadas a partir de objetos estéticos culturais particulares, ou, pelo menos, que determinadas obras podem servir como uma espécie de testemunho e de historiografia dos sofrimentos de uma época. Esboçamos possíveis ressonâncias entre o plano geral da cultura e da história e o das qualidades específicas e expressivas de uma obra determinada, o que abre espaço para um diálogo entre esses domínios. Com isso, contudo, não se espera privilegiar o que é externo à obra em detrimento dela, e muito menos explicar a literatura pelo recurso a teorias e sistemas de compreensão prévios. Ao contrário, partimos de uma leitura próxima e imanente às obras para realizar ensaios a partir de três livros de Paul Auster: A invenção da solidão, O livro das ilusões e Noite do oráculo. Tais leituras seguiram uma espécie de ética da hospitalidade enquanto ética da leitura. Seguindo de perto as obras, e instalando-se nelas como num regime de habitação, fomos abrindo pontos de contato e comunicação entre as obras, bem como com outras dimensões da história, principalmente no que concerne a aspectos traumáticos e catastróficos. Os ensaios aventam a hipótese de que os livros de Paul Auster escolhidos demonstram, em seu aspecto mais formal, aspectos importantes do que veio a ser conhecido, na psicanálise, como compulsão à repetição. Além disso, a transmissão de aspectos indigestos e traumáticos transgeracionais, por via de criptas psíquicas, pode ser observada na própria autobiografia de Paul Auster, notadamente, A Invenção da solidão. As vicissitudes e destinos do trauma em sua dimensão transgeracional e individual são articuladas com o plano da cultura e com outros pensadores. Propomos, também, uma modalidade de leitura reparadora, em contraposição a uma leitura paranoica, para responder à complexidade e às ambiguidades das obras selecionadas<br>The present thesis aims to explore how the dimension of the traumatic concurs in contemporary literature, particularly in the one by New Yorker writer Paul Auster. It is supposed that the forms of subjectivity in a certain historical period can be searched into on the basis of particular cultural aesthetic objects. Or, at least, certain pieces of work can render as some sort of witness, as well as historiography of suffering in a particular era. It has been possible to outline some resonances between the general cultural and historical level ground and the one of expressive and specific qualities in a certain work, which opens space for a dialog between these domains. Nevertheless it is not expected neither to grant a privilege to what is external to the piece of work to its detriment, nor to explain literature from the theories and systems of previous comprehension. To the contrary, a close and immanent reading has been made, in order to make an assay, out of three of Paul Austers books: The invention of solitude, The book of illusions and Oracle Night. Such reading has followed some kind of hospitality ethics whereas reading ethics. Accompanying closely these works, and settling down on them as in a habitation regime, points of communication were opened between them, as well as with other dimensions of history, mainly to what concerns traumatic and catastrophic aspects. The assays suggest the hypothesis that these chosen Austers books demonstrate, in their formal aspect, important features of what has become known in Psychoanalysis as compulsion of repeating. Furthermore, the transmission of transgenerational indigestive and traumatic aspects, through psychic crypts, can be observed in Austers autobiography The invention of solitude. The vicissitudes and destinies of trauma on its transgenerational and individual dimensions are articulated with the cultural level ground and with other authors. It is also proposed a modality of repairing reading, in opposition to a paranoid reading, to respond to the complexity and ambiguity of the selected works
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Jakubzik, Heiko. "Paul Auster und die Klassiker der American Renaissance." [S.l. : s.n.], 1999. http://nbn-resolving.de/urn:nbn:de:bsz:16-opus-72598.
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Pereira, Maria Helena de Queirós. "Da ficção em Leviathan de Paul Auster." Master's thesis, Porto : [Edição do Autor], 1997. http://hdl.handle.net/10216/18124.
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O presente trabalho estuda o tratamento que a obra de Paul Auster e, especificamente, Leviathan, dá à tendência actual que relativiza o poder da linguagem e da ficção para representar o real associando-a a uma visão construcionista do mundo. A análise da construção narrativa de Leviathan salientará a importância da multiplicação de versões na sua estruturação, a qual será ligada ao inevitável processo de ficcionalização da realidade e do homem inerente à condição humana, retratado e problematizado na obra. Investigar-se-ão depois as ambiguidades do texto ao nível das instâncias narrativas e das personagens, pondo a descoberto as relações de dependência e influência entre os diferentes discursos presentes e conduzindo à exploração do papel do autor e à aceitação de uma concepção palimpséstica do texto e do homem. Esta investigação será equacionada com a questionação subversiva de Auster dos poderes e limites da linguagem e da ficção na descrição e/ou criação do real.
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Hardy, Seguin Mireille. "Paul Auster : tours et détours du fictif." Paris 3, 1996. http://www.theses.fr/1996PA030186.
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Cette etude a pour objet de faire le tour des tours et detours qui parcourent la fiction de paul auster en jouant sur la polysemie comme il le fait lui-meme : le tour (l'entour) la tour, mais aussi jouer un tour : par le detour detournement, donner un tour (d'ecrou), boucler, donc (re)tourner au point de depart et mettre en doute tout ce qui predece. Les deux figures-cles de la tour de babel et du labyrinthe assoient l'ecriture sur la confusion et l'inscrivent dans une impossible logique circulaire de (non)-retour. A la fois point de repere et origine de la dispersion, la tour occupe une position centrale et ambivalente, de meme que le quadrillage qui surcloture l'espace, en faisant tantot une prison tantot un lieu de renaissance et de redemption (la chambre). Toute stabilite lui etant refusee, le repere se construit et se deconstruit tour a tour sous differentes formes : gratte-ciels, mur-ubuesque, statue de la liberte, lune. De meme, la quete du langage pre-babelien, vecue comme essentielle, s'avere rapidement impossible. Le texte est constamment entraine hors de ses rails : detours palimpsestueux, labyrinthes, devoiements ou deviations voire perversions du temps et de l'espace, detours par le miroir et la mise en abyme destabilisent l'ecriture, l'entrainent en terrain mouvant. Le schema narratif traditionnel est sans cesse remis en question, greve par le doute et les doubles tropismes qui le condamnent a une indepassable ambiguite et en verrouillent la sortie. Oscillations, glissements, absences, flou auctorial, secrets et mensonges creent un vertige paradoxal qui frustre le lecteur. Effacement des traces et entropie semblent entrainer le recit vers une fin inexorable qui pourtant n'arrive jamais. La voix voie du texte s'egare quelque part entre l'excipit et le retour a l'incipit<br>This study aims at exploring the different tours and detours that suffuse paul auster's fiction, hinging on the polysemy of the french word "tours" : towers, surrounding walls, tricks, twists. Detours or diversions lead to a final turn of the screw, looping the loop, forcing the text back to its beginning and questioning what has just been asserted. Both key figures - the tower of babel and the labyrinth - build the text on images of confusion and urge it to an impossible logic of (no)-return. The tower, both landmark and origin of disorder, holds a central and ambiguous position, and so does the grid-pattern that fences space in, turning it now into a prison, then into a place of redemption and rebirth (the room). Since they are denied stability, the landmarks that appear successively as new york skyscrapers, a grotesque wall, the statue of liberty, or the moon are alternately being built and unbuilt. Likewise, the quest for pre-babelian language, which is felt as essential, turns out to be impossible. The text constantly winds about, as palimpsestuous detours, labyrinths, diversions, or even perversions of time and space and mirror images drag it out of its tracks, lead it astray, destabilize it. The traditional narrative is repeatedly questioned, weighed down with doubts and double tropisms that condemn it to an impassable ambiguity keep it locked inside itself. Fluctuations, shifts in meaning, absence of the author, secrets and lies all build up to paradoxes that make the reader feelgiddy and deprive him of all certainties. Entropy and the constant obliteration of tracks seem to drag the text towards an inflexible conclusion which never comes: the voice of the text gets lost somewhere between the end and the new beginning
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Pereira, Maria Helena de Queirós. "Da ficção em Leviathan de Paul Auster." Dissertação, Porto : [Edição do Autor], 1997. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000062319.
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O presente trabalho estuda o tratamento que a obra de Paul Auster e, especificamente, Leviathan, dá à tendência actual que relativiza o poder da linguagem e da ficção para representar o real associando-a a uma visão construcionista do mundo. A análise da construção narrativa de Leviathan salientará a importância da multiplicação de versões na sua estruturação, a qual será ligada ao inevitável processo de ficcionalização da realidade e do homem inerente à condição humana, retratado e problematizado na obra. Investigar-se-ão depois as ambiguidades do texto ao nível das instâncias narrativas e das personagens, pondo a descoberto as relações de dependência e influência entre os diferentes discursos presentes e conduzindo à exploração do papel do autor e à aceitação de uma concepção palimpséstica do texto e do homem. Esta investigação será equacionada com a questionação subversiva de Auster dos poderes e limites da linguagem e da ficção na descrição e/ou criação do real.
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Coquet-Cardinal, Dominique Burner Sylviane. "Identité de l'écriture et écriture de l'identité dans the New York trilogy de Paul Auster." Metz : Université Metz, 2008. ftp://ftp.scd.univ-metz.fr/pub/Theses/2005/Coquet_Cardinal.Dominique.LMZ0509_1.pdf.
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Engelmann, Jonas. ""Welches Vergessen erinnere ich?" : Auschwitz im Werk von Paul Auster und Hubert Fichte." Marburg Tectum, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2908511&prov=M&dokv̲ar=1&doke̲xt=htm.
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Figueroa, Pereira Lidia. "Paul Auster: hitos biográficos en su obra literaria." Tesis, Universidad de Chile, 2006. http://www.repositorio.uchile.cl/handle/2250/110409.
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Bergeron, Gino. "Le dépouillement dans Moon palace de Paul Auster." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ57897.pdf.
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Bastos, Maria João Viana Oliveira Alves. "Do Histórico em Moon Palace de Paul Auster." Master's thesis, Porto : [Edição do Autor], 2010. http://hdl.handle.net/10216/55867.
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Este estudo incide sobre as inúmeras referências históricas que surgem em Moon Palace. Pretendeu-se fazer um levantamento dos intertextos históricos que povoam este texto de Paul Auster por forma a descortinar o tratamento paródico que lhes é dado, o que nos conduziu ao questionar de noções tradicionais de acesso ao real. Partindo de um momento de apogeu (a ida à Lua), o percurso histórico da nação americana é revisitado, mas também questionado, numa sucessão de intertextos que se aproximam, por um lado, da (re )invenção do sonho inicial da América e da (re)escrita dos seus mitos fundadores, por outro, de uma busca incessante de origens e identidade, do protagonista e da nação. O objectivo principal deste estudo, foi fazer um levantamento exaustivo desse contexto histórico, verificar a sua relação com o texto e averiguar em que medida o revisitar de um passado histórico, ainda que subvertido, corresponde meramente a uma tendência literária pós-modernista, de constatação da ficcionalidade da história ou revela também traços de uma cultura que continuamente se recupera, (re)inventa, numa demanda de origens e identidade.
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Bergeron, Gino. "Le dépouillement dans Moon Palace de Paul Auster /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2000. http://theses.uqac.ca.
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Bastos, Maria João Viana Oliveira Alves. "Do Histórico em Moon Palace de Paul Auster." Dissertação, Porto : [Edição do Autor], 2010. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000206937.
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Este estudo incide sobre as inúmeras referências históricas que surgem em Moon Palace. Pretendeu-se fazer um levantamento dos intertextos históricos que povoam este texto de Paul Auster por forma a descortinar o tratamento paródico que lhes é dado, o que nos conduziu ao questionar de noções tradicionais de acesso ao real. Partindo de um momento de apogeu (a ida à Lua), o percurso histórico da nação americana é revisitado, mas também questionado, numa sucessão de intertextos que se aproximam, por um lado, da (re )invenção do sonho inicial da América e da (re)escrita dos seus mitos fundadores, por outro, de uma busca incessante de origens e identidade, do protagonista e da nação. O objectivo principal deste estudo, foi fazer um levantamento exaustivo desse contexto histórico, verificar a sua relação com o texto e averiguar em que medida o revisitar de um passado histórico, ainda que subvertido, corresponde meramente a uma tendência literária pós-modernista, de constatação da ficcionalidade da história ou revela também traços de uma cultura que continuamente se recupera, (re)inventa, numa demanda de origens e identidade.
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Sielaff, Steffen. "Die postmoderne Odyssee: Raum und Subjekt in den Romanen von Paul Auster." [S.l. : s.n.], 2004. http://www.diss.fu-berlin.de/2004/36/index.html.
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Boulade, Sophie. "Qui ? du roman. Henry Miller, Paul Auster, Michel Houellebecq." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA061.
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La catégorie du roman du qui ? comprend des romans écrits par des romanciers qui ne sont pas strictement contemporains les uns des autres, tels Henry Miller, Paul Auster et Michel Houellebecq. Ces romanciers suggèrent une problématicité de la parole, marquée par des indices référentiels contradictoires et ambigus. Ils compensent l’incertitude de ces indices par la stabilité qu’ils prêtent aux personnages et parce qu’ils se veulent réalistes : ils inscrivent leurs romans nettement dans leur époque et font de leurs personnages les témoins de cette époque. Cette dualité — incertitude du statut de la parole et réalisme — explique qu’au cadre spatial et temporel réaliste soient liés des jeux instables d’énonciation et d’identité. Cela justifie la catégorie de « roman du qui ? » et permet de lire, chez Henry Miller, Paul Auster et Michel Houellebecq, une problématicité, celle de la parole, celle des temps qu’évoquent ces romans<br>The category of the novel of the whom? includes novels written by novelists who are not strictly contemporaries of each other, such as Henry Miller, Paul Auster and Michel Houellebecq. These novelists suggest a problematics of speech, marked by contradictory and ambiguous referential indices. They compensate the uncertainty of these indices by the stability they lend to the characters and because they want to be realistic: they write their novels clearly in their time and make their characters witnesses of this time. This duality - uncertainty of the status of the speech and realism - explains that the realistic spatial and temporal framework are linked by unstable games of enunciation and identity. This justifies the category of the “novel of the whom?” and allows Henry Miller, Paul Auster and Michel Houellebecq to read a problematic, that of speech, of the times evoked by these novels
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Peacock, James. "Points of departure : Paul Auster and the loss of authority." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/25066.
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This thesis argues that the primary catalyst for Paul Auster’s work is the loss of authority. In his poetry this is chiefly the loss of the language’s ability, and hence the poet’s ability to reflect accurately and with sincere attention the objects of the gaze. Following The Invention of Solitude, the absent authority becomes the father and by analogy God and foundational mythologies for national and authorial identity. In Auster’s texts we see two possible reasons for the loss. First, a tendency for characters to retreat melancholically and sophistically into the self. Alternatively characters can seek democratic correlations with others in a more ethical and ultimately more libertine form of mourning.
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Jones, Michael. "Self-seeing in Paul Auster, Philip Roth and Don Delillo." Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/51589/.
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This thesis considers how Auster, Roth and DeLillo write in order to see themselves in the world. If Kafka's burrowing into himself and Nabokov's inscription of a chalk-white “I” on the inner blackboard of his shut eyelids exemplified Modernist strategies for projecting the isolated self into the world, my subject authors have confronted a theoretical situation in which the world as a permanent and common object doesn't exist. Negotiating an increasingly unreal American popular culture that stands in for this object and that has disassembled the monadic self, they reimagine the sight of darkness and premonitions of death inherited from their precursors' self-seeing as a means of reifying our world. The thesis proceeds in three author-specific chapters. The first traces Auster's chimeric appearances in the glass of fictive representation using popular cultural symbols. These symbols repeatedly erase the self, figuring its disappearance into the continuing present and giving the lie to a permanent visible world in which the self can be located. The second chapter explores Roth's writing characters as “darkening[s]” of the fictive glass. His fiction interrogates the obscure “inside of me” to locate an unseen point where the self is remade through transformative connections with the world. This connection, which he names “reality”, remains invisible, communicated in distorted images of grief and mourning that also reflect the unreal character of popular culture. In the final chapter, a new connection between the self and the world becomes visible in DeLillo's work. He reifies our dissembling culture by rendering it as a smeary, visible reflection of the unfixed, continuing present into which Auster's selves disappear. The sight of this unfixed, different world is co-eval with a new form of self-seeing in which the world is not permanent nor transparent but formed in characters' relationships to it, reciprocating today's wavering possibility of there being the world at all. In tracing the pursuit of self-seeing in the world in these three exemplary writers, the thesis develops a new relationship between the aesthetics of character and the world-rendering potential of novel-writing. In a period of theoretical transition after postmodernism, such new paradigms are vital for grasping how we envision selves now as reciprocations of the world's precarity, responding to the pressure of the real.
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Theobald, Tom Paul. "Existentialism and baseball : the French philosophical roots of Paul Auster." Thesis, University of Newcastle upon Tyne, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436163.
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Vallas, Sophie. "La voix de l'impossible sujet dans l'œuvre de Paul Auster." Tours, 1996. http://www.theses.fr/1996TOUR2027.
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Entre les années 1970, qui ont vu la parution de ses premiers poèmes, et 1989, date de la publication de Moon Palace, l'œuvre de Paul Auster a défini puis développé une série de grands thèmes que le lecteur retrouve d'un livre à l'autre : quête d'une silhouette paternelle fuyante, solitude extrême dans un espace-temps subjectif, recherche d'une écriture qui puisse offrir un ancrage. . . Les personnages narrateurs "austeriens" sont des sujets incertains, dotés d'une identité mouvante. Leur parcours, toujours similaire, les amène à reconnaitre que cette "identité" qu'ils cherchent est un eldorado : leur voix, leur identité, ces sujets ont moins à les découvrir qu'à les inventer, dans la limite de leurs possibilités. Ce travail s'est attaché à étudier le lent processus de création d'un sujet "austerien" ainsi que les conditions d'apparition de sa voix dans le texte. Qui parle, dans les livres de Paul Auster ? D'où vient cette sensation, pour le lecteur, de retrouver, dans chaque nouveau roman et des les premiers paragraphes, les mêmes obsessions, le même trajet à parcourir, et surtout la même "voix" qui accompagne pas à pas sa lecture ? C’est à travers The Invention of solitude, essai autobiographique, les cinq premiers romans (City of glass, Ghosts, The Locked room, In the country of last things et Moon palace), les poèmes (Ground work) et les essais (The Art of hunger) d'Auster ainsi que les autres textes écrits en marge de la fiction que ce travail tente de répondre à ces questions. Aussi, c'est la voix fantôme des personnages, celle, omniprésente, de l'auteur, mais aussi celle, toujours dédoublée, du texte, qui sont tour à tour envisagées<br>Between the 1970s (when his first poems were published) and 1989 (Moon Palace), Paul Auster's work defined and developed a set of themes which his reader is invited to recognize and identify from one book to the next: a missing and obsessive paternal figure, absolute solitude within an extremely subjective temporal and spatial framework, the necessity to write as if to anchor one's life. . . The typical "austerian" character, who always turns into a narrator at one point of his story, is an uncertain subject endowed with a vague identity. His adventure leads him to conclude that this "identidy" he desperately looks for is nothing but an eldorado: the question is less for him to discover his voice and identity than to invent them. This study aims at s howing the slow process of creation of an "austerian" subject as well as the conditions of the apparition of his "voice" in the text. Who is talking in paul auster's books? Why does the reader keep feeling that from one book to the next he is some how expected to recognize the same obsessions and above all to identify the same "voice" which unflaggingly accompanies his reading? It is through the invention of solitude, Auster's autobiographical essay, his first five novels (City of Glass, Ghosts, The Locked room, In the Country of fast Things and Moon Palace), his poems and critical essays (Ground work and The Art of Hunger) that this study tries to answer those questions
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Bertrand, Laure. "Errance et liberté dans les essais et les romans de Paul Auster (de 1982 à 1994)." Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10102.
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Le thème de cette thèse réside dans l'adéquation, véritable ou illusoire, entre le thème de l'errance et de la liberté dans l'oeuvre de Paul Auster. La première problèmatique repose sur la définition même de la liberté : mythe ou réalité, comment peut-elle être définile ? Cependant l'ambiguité du discours austérien réside dans ne dichotomie sans cesse renouvelée quant à la validité du mythe. Nous retrouvons ainsi chez Paul Auster un travail de sape du mythe?. La voie de l'initiation se trace alors dans un dédale d'interrogations existentielles et épistémologiques. La recherche de la liberté dans l'errance prend alors la forme d'une initiation ontologique. A moins qu'en définitive la liberté ne se situe plutôt dans le language et son utilisation ? Les errances du langage transforment la réalité en libérant un autre sens qui détourne le système légal du discours. Cependant, l'exil intérieur devient le seul mode sur lequelles personnages austériens à la fois une liberté dans l'erance
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Ferreira, Gabriela Semensato. "Paul Auster, entre outros : sobre os limites da representação nas artes." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/102220.
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Paul Auster, um escritor norte-americano nascido em 1945, já publicou inúmeros romances, poemas e diversos textos críticos. É também tradutor, roteirista e já dirigiu filmes, como Sem Fôlego (1995). Seu trabalho integra as mais diferentes artes, como literatura, fotografia e cinema, aproximando-as dentro da própria narrativa literária. É ainda neste espaço que a figura do autor se problematiza, a partir dos nomes atribuídos a narrador e personagens, por exemplo. Um desses nomes pode ser ―Paul Auster-, mas, ao invés dele pode-se procurar deixar um espaço em branco, ou então negá-lo. Da mesma forma, quando fala de espaços, como aquele onde o escritor reside, o Brooklin, é sempre a partir de uma multiplicidade e de uma diferença cultural que não consegue fixar um único sentido ou origem. Seja, então, na autobiografia ou biografia, no diário, no retrato ou utilizando-se de elementos do documentário, sua obra aproxima a ficção de suas próprias ―verdades‖, deixando de lado o ―real preexistente‖ como ponto de partida, e baseando-se também na narração a partir da memória. Neste trabalho, esboçam-se aproximações entre sua obra e as de outros artistas, como Diego Velázquez, René Magritte e Orson Welles, para então repensar o que se entende pelo conceito de ―representação‖ nas artes, quais são seus limites, e como o próprio pensar artístico reflete (sobre) esse problema.<br>Paul Auster, a North-American writer born in 1945, has already published many novels, poems, and texts on art criticism. He is also a translator, scriptwriter and has directed films, such as Blue in the Face (1995). His work involves different arts, like literature, photography and cinema, approximating them inside the literary narrative. It is also in this space that the notion of ―author‖ is discussed, considering the names attributed to the narrator and the characters, for example. One of these names might be ―Paul Auster‖, but, instead of accepting this option, a blank space may be left, or the name could be denied. This way, when Auster mentions spaces, such as the one where the writer resides, that is, Brooklyn, it is always from a perspective of multiplicity and cultural difference which can‘t settle on one meaning or origin. May it be, then, in the autobiography or the biography, in the diary, the portrait or making use of elements from the documentary as a genre, his work makes fiction closer to its own ―truths‖, leaving aside the ―real‖ as a notion of something preexistent, and also taking the narration from the perspective of memory. This thesis establishes relations between Auster‘s works and the works of other artists, such as Diego Velázquez, René Magritte and Orson Welles, seeking to rethink what is understood by the concept of ―representation‖ in the arts, which are its limits, and how art can poetically reflect (on) this problem.
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Quarré, Roger Catherine. "Le Monde, le Moi et l'Autre dans l'oeuvre de Paul Auster." Aix-Marseille 1, 2002. http://www.theses.fr/2002AIX10086.
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Paul Auster écrit depuis une trentaine d'années. L 'écriture lui est nécessaire, ses romans constituent les différentes étapes d'une quête existentielle. L'évolution de l'oeuvre et ses tournants décisifs sont liés à cette quête dont l'enjeu est de situer le moi par rapport à l'autre et au monde. L'étude des rapports entre le moi et l'autre dans les premiers ouvrages met en évidence un moi faible, suicidaire, qui tâche par l'écriture de faire face aux conflits de l'imaginaire. Or, après avoir pris la mesure de son univers intérieur, le moi arpente le monde. Auster représente l'inconscient comme un espace à la fois intérieur et extérieur, une zone aux frontières mal définiés et il met enscène les pulsions. Histoire et fiction s'entremêlent, Auster inscrit ses personnages dans un devenir mythique tout en démystifiant l'histoire. . . .
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Magaud, Céline. "Romans, écriture, identité : Paul Auster, Assia Djebar, Patrick Modiano, Toni Morrison." Paris 3, 2001. http://www.theses.fr/2001PA030002.
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L'ecriture et l'identite d'un auteur sont etroitement liees. L'ecriture se nourrit de la memoire de son auteur et lui permet simultanement d'acquerir et d'affirmer son identite. Auster, modiano, djebar et morrison sont quatre auteurs contemporains qui mettent tous en fiction cette problematique dans leurs romans. Chacun s'inspire d'un souvenir traumatisant qui perturbe son epanouissement personnel et tente de remedier a ce probleme en entreprenant une quete d'identite grace au texte de fiction. Cette quete d'identite procede de deux etapes. La premiere consiste a effectuer un retour aux origines, lequel permettra d'envisager un retour a soi dans une identite integre et accomplie. Malgre cette demarche commune, chaque ecrivain garde une orientation singuliere en ce qui concerne la nature et la portee de la quete. Tandis que les hommes ont une conception individuelle de l'identite, les femmes ne se definissent qu'en rapport avec le collectif. De plus, chaque quete dependra de l'etat de memoire de l'auteur et decidera donc des thematiques abordees dans les romans. Enfin, pour ces auteurs, l'acte en tant qu'acte de langage et acte de fiction, correspond a une veritable inscription desoi et se fait garant d'identite. Il confronte l'ecrivain a lui-meme et le revele ainsi dans son integrite, tout en le sauvegardant de l'absurdite de la condition humaine.
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Tedde, Adriano Antonio. "The Other America of Paul Auster, Jim Jarmusch and Tom Waits." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/388986.
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This thesis employs popular culture texts (works of literature, film, and popular music) as
companions to the understanding of contemporary America. It is about artworks that form a
cultural resistance that enables the appreciation of social issues and cultural decline in the
United States. The authors of these artworks are novelist Paul Auster, filmmaker Jim
Jarmusch, and musician Tom Waits.
Born between the late 1940s and the early 1950s, in different parts of the United States,
Auster, Jarmusch, and Waits have produced a series of works that share strong similarities. In
their novels, films, and songs, they portray an imagined “Other America” that is in stark
contrast with the idyllic vision of the American Dream. Their America does not coincide with
conventional middle-class values and goals of success, money and social upward mobility. It
is an open, tolerant, and egalitarian country inhabited by marginalized “other Americans” who
never escape from poverty and failure. On one side, their works appear to be the backbone of
a 1980s counterculture, formed against the age of consumerism and hedonism, and critical of
everything American. On the other side, they constantly evoke symbols of traditional
American culture like the road, the frontier, the lone anti-hero, the adventure and hope for a
better future. Therefore, quintessentially American narrative symbols survive in the
alternative chronicle of a problematic America.
Commonalities in the works of Auster, Jarmusch and Waits, are closely observed in this
study; for instance the essential aesthetics, the recurring themes of decay and poverty, and the
urban settings. The thesis also focuses on the affinity that these works have with a traditional
American progressive thought. I argue that Auster, Jarmusch and Waits are heirs of a longestablished
lineage of American artists and thinkers. Like Henry David Thoreau, Walt
Whitman, and many others after them, they have both criticized their country and embraced
its original ideals of social justice and equality.
Embedded in this tradition of American resistance, the texts examined in this thesis are
ideal guides to the recent history of the United States. Although these works were not created
with an overt political intention, their authors assume an accidental role of social
commentators, by challenging the values of the dominant U.S. culture. Electing simplicity
over wealth, and failure over success, their stories praise the universal needs and a
Whitmanesque “absolute soul” that all humans share. The works of the Other America
recuperate a culture of the people that defies current tendencies of isolationism, greed and
selfishness that are typical of consumerism. Against the dominant culture, these artists
propose a return to an ideal human brotherhood that is the main principle of a long tradition of
Americans who, throughout the decades, formed a resistance against the surrounding culture.
The Other America of Auster, Jarmusch and Waits might be fictional, but it is a reminder of
life as it is, mirroring a harsh American reality of injustice, decay and sorrow. While so doing,
it never abandons a utopian impulse for life as it should be, namely the realization of a society
in which love is the only law.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>School of Hum, Lang & Soc Sc<br>Arts, Education and Law<br>Full Text
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PITOZZI, ANDREA. "Verbale di scomparsa: presenza di Maurie Blanchot nell’opera di Paul Auster." Doctoral thesis, Università degli studi di Bergamo, 2015. http://hdl.handle.net/10446/32826.
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Deshmukh, Priyanka. ""Then catastrophe strikes" : lire le désastre dans l’œuvre romanesque et autobiographique de Paul Auster." Thesis, Paris Est, 2014. http://www.theses.fr/2014PEST0009/document.
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Le désastre est l’événement singulier, paradoxal dans sa définition même, qui rompt l’espace et le temps, fussent-ils ceux de la narration, de l’histoire ou de l’Histoire. S’il est central dans l’œuvre d’Auster, c’est très rarement comme thème sur lequel Auster écrirait ou comme grands événements historiques dont il rendrait compte, mais plutôt comme une stratégie narrative déployée dans son écriture, comme un noyau autour duquel se construit l’univers thématique de ses romans et les questionnements philosophiques qui les accompagnent, et comme impulsion rythmique qui démarre l’écriture et lui sert de pouls. Le temps Austerien est marqué par l’effacement ou l’étirement du présent face à un futur manaçant, le contraste entre routinier et improbable, la récurrence et la compulsion – tous traces du désastre. Le désastre s’imprime dans l’espace – de la chambre, du livre, du corps, points focaux des romans d’Auster – mais peut aussi anéantir l’espace lui-même, transformant la narration en expérience du vide, du rien et du nulle-part. Les expériences philosophiques auxquelles sont confrontés les personnages Austeriens, se perdre, se dissocier et se recomposer, se remémorer, témoigner sont autant de réactions au désastre, esthétisant l’expérience-limite. C’est dans cette richesse qu’Auster se distingue de ses contemporains postmodernistes : plutôt que de rendre compte d’un monde et d’une expérience du monde fragmentés, et plutôt que de laisser transparaître la fragmentation dans son écriture, Auster relie, reconstruit, recoud via le plus solide des fils narratifs. Auster n’écrit pas le désastre, mais à travers, ou en dépit, du désastre<br>Paradoxical in its very definition, disaster is the singular event which ruptures time and space – of narration, of the story, or of history. While disaster is central to Paul Auster’s work, it rarely appears as a theme for writing, or as historical events to recount, to represent. Instead, disaster is central as a narrative strategy deployed in Auster’s texts – as the core notion which underlies all philosophical questioning and tropes present in his writing, as the rhythmic impulse which provokes his writing and maintains its fluidity. The Austerian time is characterized by the disappearance or the stretching of the present in the face of a threatening future, by the contrast between the ordinary and the unlikely, and by recurrence and compulsion – all of which are signs of the disaster. Disaster is etched in space – of the room, of the book, of the body, which are the focal points of Auster’s novels – but may also destroy the very fabric of space, yielding in its wake, narratives of emptiness, nothingness and nowhere. The philosophical experiences of Auster’s characters – losing, dissociating and recomposing themselves, remembering or witnessing – are those of the disaster, and wind up aestheticizing limit-experience. It is through this narratological fertility of disaster that Auster sets himself apart from other American postmodernist writers: instead of merely recounting disaster, of letting it fragment his discourse, he is actively engaged in reconstructing and restitching with the strongest of narrative threads. Auster does not simply write (about) the disaster – he writes through, or in spite of, disaster
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Margutti, Vivian Bernardes. "Peregrinos em busca: alegoria, utopia e distopia em Paul Auster, Nathaniel Hawthorne e John Bunyan: alegoria; utopia e distopia em Paul Auster; Nathaniel Hawthorne e John Bunyan." Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/ECAP-89JQTD.
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No presente estudo, investiga-se o caráter alegórico do romance No país das últimas coisas (1987), de Paul Auster, tanto através de suas ligações intertextuais com a paródia 'A estrada de ferro celestial' (1843), de Nathaniel Hawthorne, e com o texto alegórico O peregrino (1678), de John Bunyan, como a partir da noção de alegoria presente no pensamento de Walter Benjamin. Faz-se um histórico do uso da alegoria na tradição literária, com o intuito de vislumbrar a possibilidade de uma reavaliação, na modernidade, dessa figura de linguagem. As três obras em questão são analisadas a partir de diferentes níveis interpretativos, percorrendo os sentidos metalinguístico e figurado. A metalinguagem está presente em todos os textos estudados e se liga ao trajeto da alegoria e do romance na literatura ocidental, em um cenário amplo que vai desde a época medieval, passando pelos períodos do Barroco e do Romantismo, e chegando aos dias atuais. O sentido figurado das obras apresenta um viés que é associado à crítica social e às noções de utopia e distopia. Leva-se em consideração o pensamento de Lewis Mumford no que diz respeito à utopia e seu papel na história. Destaca-se também a tendência contemporânea à produção de uma literatura distópica. Através da viagem de aprendizado e crescimento espiritual de cada um dos protagonistas, o sentido figurado indica, ainda, três formas diferentes de peregrinar: a primeira, pela graça divina, a segunda, pela modernidade liberal, e a terceira, pela exposição exacerbada da fragilidade humana.
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O'Donoghue, Gerard Martin. "The orphan's kaddish : the paternal thanatographies of Paul Auster and Philip Roth." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519809.
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Gavillon, François. "La galaxie des signes de Paul Auster : gravité et légèreté de l'écriture." Paris 4, 1998. http://www.theses.fr/1998PA040051.
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Cette recherche examine l'œuvre en prose de Paul Auster, de The invention of solitude à Leviathan. A la fois chronologique et simultané, l'espace textuel de Auster est caractérisé par une combinatoire lexicale et référentielle qui dévoile des enjeux littéraires toujours revisités. Invention présente un univers dans lequel passé, mémoire, présent et écriture sont en relation étroite. Les romans qui suivent réactivent ces mêmes notions, tout en faisant du réel un monde en forme d'énigme, ou tout semble faire signe, et ou les personnages-détectives, à l'affut d'un ordre caché sous le chaos des apparences, sont sous la menace constante de la désintégration et de l'amnésie. Tout y est doubles, répétitions, coïncidences, algèbre magique, nominalisme prophétique, qui confondent les héros: nombre de ces signes, s'adressent, en effet, non aux personnages, mais au lecteur, qui discerne bientôt la marque d'une écriture ironique. Les fictions laissent alors apparaitre deux niveaux de lecture. Le premier, diégétique, où le réel est la proie de forces chaotiques, menant à la confusion psychologique, à l'épuisement des ressources et des corps; l'autre, métafictionnel, où se découvre, sous la surcharge baroque des masques et des impostures, dans le dépli de la mémoire, de la conscience et des hasards nécessaires, une écriture-miroir, un texte largement autographique. Sous les oripeaux de la fiction, apparait la figure en trompe-l’œil de l'écrivain. La galaxie des signes, d'abord condensée autour du centre de gravité de la mémoire et de l'identité, est bientôt mue par une force centrifuge ironique vers l'expansion ludique et la légèreté méta textuelle<br>This dissertation examines Paul Auster's prose works, from The invention of solitude to Leviathan. Both chronological and simultaneous, Auster's texts are characterized by semantic and referential combinations which point to ever-revisited literary stakes. Invention delineates an intimate space in which past, memory, present and writing are closely interconnected. The following novels address the same notions, while turning reality into a riddle-like world, in which every sign seems endowed with meaning. The investigating protagonists, looking out for some hidden order under the chaos of appearances, are systematically threatened by disintegration and amnesia. Doubles, repetitions, coincidences, magic algebra and prophetic nominalism overwhelm them: many of these signs, one realizes, are not intended for the characters but for the reader, who soon discovers an ironic dimension to the writing. Two levels of reading appear. One, fictional, that subjects reality to chaotic forces leading to psychological confusion and the dwindling of mental, physical and material resources; the other, metafictional, that reveals the author's half-hidden presence in the baroque masquerade of identities and the unfolding of memory, consciousness and random fate. Under the disguise of fiction, a mirror-text, largely autographical, emerges. The galaxy of signs, initially gravitating around memory, identity and the act of writing, soon expands, in ironic and centrifugal circles, towards metatextual levity
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Mattiuzzo, Ysabelle. ""Les paradis littéraires de la fenêtre" : Paul Auster, Michel Butor, Franz Kafka." Clermont-Ferrand 2, 2002. http://www.theses.fr/2002CLF20012.
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"Les paradis littéraires de la fenêtre" entreprend une approche littéraire comparée et interdisciplinaire (architecture, peinture, cinéma) de la fenêtre, à partir de "L'Emploi du temps" et "La modification" de Michel Butor, "La trilogie new-yorkaise" de Paul Auster, "Le château", "Le procès" et "Amérique" de Kafka. La démonstration montre la modernité du motif et comprend son intérêt dans le texte littéraire. Elle se développe à partir d'une esthétique de la transparence. La spatialité intervient comme élément qui classe et hiérarchise à partir du motif mais elle s'ouvre à l'ensemble de l'oeuvre, vue comme une structure, percée d'ouvertures transparentes. L'oeuvre montre une quête de soi, visible à travers le cheminement d'un personnage, élément d'une expérience littéraire, ontologique et philosophique. Elle comprend deux parties. La première réfléchit au lien entre la fenêtre et l'homme (anthropomorphisme de la maison) ; elle crée des liens entre l'auteur et sa maison, entre l'artiste et sa production (imaginaire de la maison). Dans la deuxième partie, sont abordés "Les paradis littéraires c'est-à-dire toute la poétique de la fenêtre (point de vue narratologique, approche linguistique)
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Klepper, Martin. "Pynchon, Auster, DeLillodie amerikanische Postmoderne zwischen Spiel und RekonstruktionMartin KlepperFrankfurt/Main [u.a.]Campus-Verl. 19961996394 S. Nordamerikastudien ; 3BV01107854433Zugl.: Berlin, Freie Univ., Diss., 19953-593-35618-X : die amerikanische Postmoderne zwischen Spiel und Rekonstruktion /." Frankfurt/Main [u.a.] : Campus-Verl, 1996. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=007337888&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Thevenon, Marie. "Les "avatars du moi" chez Paul Auster : autofiction et métafiction dans les romans de la maturité." Phd thesis, Université de Grenoble, 2012. http://tel.archives-ouvertes.fr/tel-00843663.
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Entre autobiographie et fiction, le terme " autofiction ", inventé par Serge Doubrovsky, est un " genre " qui s'est surtout épanoui à la fin du XIXe siècle avec " la transposition en fiction des fragments d'une expérience " (Hubier), devenue de plus en plus populaire au fil du temps. La recherche entreprise dans cette thèse porte sur la forme contemporaine de ce mélange entre autobiographie et fiction que l'on trouve chez Paul Auster. Le corpus principal est composé de ses romans dits de la " maturité ", publiés entre 1991 et 2008 : Leviathan, The Book of Illusions, Oracle Night, The Brooklyn Follies, Travels in the Scriptorium et Man in the Dark. C'est ainsi la question de l'évolution de l'autofiction mais également de la métafiction chez cet auteur qui est examinée dans cette thèse. Divisé en trois parties, ce travail porte dans un premier temps sur les repères spatiotemporels dans les romans de Paul Auster avant de se concentrer sur les éléments métafictionnels présents dans les romans du corpus. Dans la première partie, une distinction est faite entre deux espaces : l'espace intérieur et l'espace extérieur et la façon dont ces deux espaces cohabitent. Dans une deuxième partie, la thèse s'intéresse aux repères temporels, qu'ils soient d'ordre mémoriel ou en rapport direct avec la structure du récit. La thèse examine le rôle que jouent certains repères empruntés à l'Histoire contemporaine dans l'histoire personnelle des personnages, en observant qu'ils occupent une place toujours plus importante au fur et à mesure que l'oeuvre austérienne progresse, en particulier à partir des attentats du onze septembre. Enfin, c'est la mise en scène de l'écriture chez Paul Auster et la façon dont elle alimente l'autofiction en mettant l'accent sur l'identité d'écrivain de notre auteur qui est traitée : l'emploi du langage, l'évolution des supports d'écriture chez les personnages, la description de la méthodologie du travail de l'écrivain mais également l'intratextualité qui met en avant le lien entre tous ses romans.
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Engelmann, Jonas. ""Welches Vergessen erinnere ich?" Auschwitz im Werk von Paul Auster und Hubert Fichte." Marburg Tectum-Verl, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2908511&prov=M&dok_var=1&dok_ext=htm.
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Romberger, Julia E. "Quickened mirrors the function of the Doppelgänger in Paul Auster's New York trilogy /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1999. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 1999.<br>Source: Masters Abstracts International, Volume: 45-06, page: 2836. Typescript. Abstract appears on leaf [1]-2. Includes bibliographical references (leaves 92-94).
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Ruiz, Vázquez Luis. "Teacher training through literature building teacher awareness on the process of shift in identity on ESL learners /." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1366.
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Van, der Vlies Andrew Edward. "In search of self explorations of identity in the work of Paul Auster." Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1002251.
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Paul Auster is regarded by some as an important novelist. He has, in a relatively short space of time, produced an intriguing body of work, which has attracted comparatively little critical attention. This study is based on the premise that Auster's art is the record of an entertaining, intelligent and utterly serious engagement with the possibilities of conceiving of the identity of an individual subject in the contemporary, late-twentieth century moment. This study, focussing on Auster's novels, but also considering selected poetry and critical prose, explores the representation of identity in his work. The short Foreword introduces Paul Auster and sketches in outline the concerns of the study. Chapter One explores the manner in which Auster's early (anti-),detective' fiction develops a concern with identity. It is suggested that Squeeze Play, Auster's pseudonymous 'hard-boiled' detective thriller, provided the author with a testing ground for his subsequent appropriation and subversion of the detective genre in The New York Trilogy. Through a close consideration of City of Glass, and an examination of elements in Ghosts, it is shown how the loss of the traditional detective's immunity, and the problematising of strategies which had previously guaranteed him access to interpretive and narrative closure, precipitates a collapse which initiates an interrogation of the nature and construction of ideas about individual identity. Chapter Two develops a suggestion that City of Glass was written in response to particular emotional concerns of the author by turning to an examination of the memoir-novel, The Invention of Solitude. This chapter examines the extent to which Auster's Jewishness is implicated in his understanding of identity, and in the techniques with which he expresses his concerns. It is argued that Auster's engagement with texts and memories important to him in order to find a voice adequate to the task which he assumes in The Invention of Solitude, reveals the ethical imperative of recognizing and accepting a relationship to alterity. The influence on Auster of certain Jewish writers, like Edmond Jabes, is considered in the course of the chapter. The third chapter addresses the issue of the description of Auster's work as postmodernist, in the light of what the study has presented as Auster's ethical engagement with alterity. Critical responses to Auster's texts are canvassed, before it is suggested that aspects of the ethical phenomenology of Emmanuel Levinas may be useful in considering these important issues in Auster's oeuvre. Chapter Four returns to a consideration of The New York Trilogy, examining its final part, The Locked Room, before discussing In the Country of Last Things and Moon Palace. All three novels are narrated by first-person narrators who, in very different situations, come (consciously and unconsciously) to negotiate their own identities in relation either to other people or to adverse circumstances. The chapter thus considers the manner in which these texts figure Auster's concern with relationships between individuals and otherness. Chapter Five seeks, as a means of concluding the study, to consider aspects of Auster's presentation of the manner in which identity is connected to perception, and to an engagement with that which is other than the self This chapter focuses on Auster's figuration of necessary responses to the otherness of the objective world and to chance as a radical alterity. Beginning with a consideration of an early essay, the chapter explores relevant aspects of Moon Palace, The Music of Chance, Leviathan and Mr Vertigo, considers elements in Auster's poetry, and demonstrates the usefulness of exploring the influence on his work of the 'objectivist' poets and aspects of Dada and Surrealist poetics. The seemingly punitive severity of the fates of some of Auster's protagonists is shown ultimately to be positive, and (potentially) redemptive, reflecting Auster's profoundly ethical conception of the responsibilities and possibilities of selfhood.
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Zhang, Meiping. "'Everything ... as a gloss on everything else' : life and work in Paul Auster." Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/23245/.
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The thesis examines a variety of philosophical implications in Paul Auster’s works, crossing American culture with Continental thought. Focusing on such subjects as solitude, community, the idea of America, the idea of the work (of art), the ontology of film, the disastrous and the ordinary, it aims to develop intersections of Auster’s works with the thoughts of Stanley Cavell and Maurice Blanchot. Blanchot has already been introduced into recent Auster criticism. But this is not the main reason why I use Cavell, instead of Blanchot, to set the tone for my study. Contrary to past research, which tends to divide into discrete areas, emphasising either Auster’s postmodern textuality or critical engagement, his American roots or European affiliations, my study is concerned with how these divisions can be reassessed and negotiated. A Cavellian reading of Auster is valuable not only because the themes Cavell discovers in Thoreau and Emerson (such as Moral Perfectionism) provide insight into Auster’s engagement with American Transcendentalism, but also because his way of reading is indissociable from his interests in Continental tradition, as well as in film and literature. I share these interests in my own reading of Auster; they help reconstruct the pictures of life and work, of self and other, of singularity and commonality, of ordinariness and extraordinariness. Additionally, I look at certain Blanchotian aspects of Auster’s writing, highlighting what has not been previously noted, such as the withdrawal and exigency of community in Moon Palace. Blanchot’s ideas of unworking (désoeuvrement) and disaster further define the ethico-ontological dimension of being. This does not essentially counter Cavell’s emphasis on the ordinary but rather reveals its difficulty. On the whole my reading suggests a logic of eternal return that underlies the entwinement of Cavellian and Blanchotian strands in Auster, which reflects both human vulnerability and responsibility.
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Verdun, Jean-Michel. "L'héritage mythologique et littéraire américain dans l'oeuvre de Paul Auster : tradition et modernité." Grenoble 3, 2001. http://www.theses.fr/2001GRE39015.
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L'objectif de cette thèse est d'exposer et d'analyser les différentes sources et influences littéraires américaines qui ont fait de Paul Auster un écrivain américain. Cette étude que l'auteur a voulue aussi systématique que possible ne saurait, bien entendu, se contenter de fournir au lecteur une "liste" uniforme -et sans doute préjudiciable- de ces références. Jean-Michel Verdun a choisi de fonder son argumentaire sur un socle méthodologique apparemment éloigné de ce dernier:l'étude du mouvement et des structures spatiales dans l'oeuvre, afin de mieux organiser le matériau éclectique et dispersé, et de lui donner une forme cohérente. L'auteur a étudié ces thématiques en se basant sur l'oeuvre de théoriciens tels que Gaston Bachelard et Gilbert Durand ; il a également utilisé plusieurs études critiques sur les différents "aspects" de l'Amérique contemporaine que reflète une littérature dite postmoderne. Une autre source d'information féconde a été l'ouvrage de Bernard Poli traitant des myth s de la frontière et de la ville dans le roman américain. Enfin, le matériau critique dont l'auteur désire faire mention est constitué des différents ouvrages sur l'oeuvre de Paul Auster dont Beyond the Red Notebook, compilation d'essais rédigés par divers spécialistes de la littérature contemporaine américaine. Ajoutons qu'en raison de l'intérêt très récent suscité par l'oeuvre de Paul Auster, les études critiques sur cet auteur restent relativement peu abondantes.
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Engelmann, Jonas Dunker Axel. ""Welches Vergessen erinnere ich ?" : Auschwitz im Werk von Paul Auster und Hubert Fichte /." Marburg : Tectum Verl, 2007. http://catalogue.bnf.fr/ark:/12148/cb41112458w.
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Gall, Lionel. "Contextes, représentations, paradoxes et enjeux du sujet et de l'identité dans la fiction de Paul Auster." Lyon 3, 2003. http://www.theses.fr/2003LYO31012.
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Cette thèse en triptyque explore la situation, l'état et les postures, fort ramifiés, du sujet austérien, en fore les apories les plus significatives et interprète les paradoxes soulevés par le travail de décentrement de la notion de "sujet", entendu comme lieu de propriétés classiques (présence et identité à soi, conscience, volonté, uni(ci)té, nom propre, liberté, savoir). Parallèlement, son objectif est de montrer que le projet d'écriture de l'identité chez Auster, notamment par l'importance accordée aux questions éthiques, dépasse celui d'une praxis littéraire postmoderne - anti-humanisme radical; nihilisme ludique - crucifiant toute visée endurante du sujet. Liée à une poétique de l'absence-présence et du devenir-autre, entre affirmation de soi et inquiétude ontologique, la fiction austérienne s'attache moins à dévoiler l'identité qu'à en représenter le façonnement tourmenté, éprouvant la plasticité d'un sujet et d'un moi qui restent à faire et à défaire.
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Washington, David Christopher. "Question slash period." Huntington, WV : [Marshall University Libraries], 2004. http://www.marshall.edu/etd/descript.asp?ref=447.
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Nilsson-Tysklind, Emma. ""I'm still here. Sort of." : Constructed Identities in Paul Auster's City of Glass." Thesis, Högskolan Dalarna, Engelska, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:du-3355.
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Paul Auster’s City of Glass contains a jumble of identities. In fact, the identities are more numerous than the characters, and consequently, characters have several different identities. Some of these identities are obvious constructs, but with others the degree of construction is less evident. Poststructuralist theory, however, puts forward the idea that these seemingly original identities are in fact constructs to the same level as all others. Thus, this essay argues that there are no original identities; identities are constructed by outer factors. This essay discusses three outer factors contributing to the construction of identities, factors commonly discussed in poststructuralist criticism, these three being language, cultural codes and chance.
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Brown, Mark. "The poetics of place : New York and identity in the works of Paul Auster." Thesis, University of Leicester, 2003. http://hdl.handle.net/2381/27780.
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This thesis examines the role of New York City in the construction of identity in the works of Paul Auster. It traces how Auster moves from a position of urban nihilism to one of qualified optimism for forms of social life and community in the contemporary metropolis. The work of cultural geographers offers a theoretical framework appropriate to Auster’s urban spatial imagination. Consequently, the chapters are organised in a continuity of spatial scales and examine the dialogue between urban theory and Auster’s fiction. Chapter 1 introduces cultural geography, and relates its key concerns to those in Auster’s work. Its commentators are organised into three perspectives: the ‘systemic’, the ‘local’, and the ‘global in the local’. Chapter 2 considers Auster’s poetry and early prose to demonstrate how a ‘systemic’ experience of the metropolis forces the writer to retreat to the isolation of his room. Chapters 3 and 4 examine the central themes of alienation and the failure of language on the streets of the metropolis in The New York Trilogy, and consider how, at this early point in his career, Auster understands the practices of writing and their relationship to the metropolis. Chapter 5 explores how Auster presents a ‘local’ experience of intimate social connections in ‘downtown’, and how these provide a fleeting stability for his characters. Chapter 6 journeys out of the metropolis to consider Auster’s representations of non-New York places, and the effects on identity of space and mobility. Chapter 7 examines spaces of the imagination through Auster’s representations of dystopic and utopian places, and the role of magic and illusion. Chapter 8 demonstrates how Auster presents a community able to ground a sense of identity in the collaborative practices of story telling and film making.
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Magalhães, Susana Pinto Leite Vasconcelos Teixeira de. "Histórias de duplos em labirintos pós-modernos : The New York Trilogy, de Paul Auster." Master's thesis, Porto : [Edição do Autor], 1997. http://hdl.handle.net/10216/18116.
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Neste trabalho analisa-se a trilogia austeriana enquanto texto pós-modernista e enquanto reflexão parodiante sobre o pós-modernismo, partindo de um motivo central a estes dois ramos da análise: o duplo. A questão do duplo é investigada no âmbito da identidade e linguagem pós-modernos, no âmbito das relações intra e intertextuais da trilogia, ou seja, focalizando os duplos do próprio texto, e no âmbito das relações do romance de Auster com o pós-modernismo. No presente trabalho procura-se demonstrar que The New York Trilogy não é apenas um texto pós-modernista; é também um texto que parodia a ficção pós-moderna, reflectindo sobre dois temas centrais a esta ficção: o amor e a morte.
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Magalhães, Susana Pinto Leite Vasconcelos Teixeira de. "Histórias de duplos em labirintos pós-modernos : The New York Trilogy, de Paul Auster." Dissertação, Porto : [Edição do Autor], 1997. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000064984.
Full textAbstract:
Neste trabalho analisa-se a trilogia austeriana enquanto texto pós-modernista e enquanto reflexão parodiante sobre o pós-modernismo, partindo de um motivo central a estes dois ramos da análise: o duplo. A questão do duplo é investigada no âmbito da identidade e linguagem pós-modernos, no âmbito das relações intra e intertextuais da trilogia, ou seja, focalizando os duplos do próprio texto, e no âmbito das relações do romance de Auster com o pós-modernismo. No presente trabalho procura-se demonstrar que The New York Trilogy não é apenas um texto pós-modernista; é também um texto que parodia a ficção pós-moderna, reflectindo sobre dois temas centrais a esta ficção: o amor e a morte.
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Widén, Carl. "A Monumental Transgression : Incest, Abjection and the Unrepresentable in Paul Auster's Invisible." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-15814.
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This essay offers an analysis of Paul Auster's novel Invisible. The main focus of the essay is on the incestuous love affair between Adam Walker and his sister Gwyn. It is argued that the novel via this incestuous affair is addressing the issue of the unrepresentable, what Lacan termed the “real” that lies beyond the symbolic order. It is shown that the concept of the unrepresentable has been a central theme in Auster's work throughout his career. The main theoretical foundation of the essay is Julia Kristeva's theories regarding the “abject.” A summary of Kristeva's theories is therefore offered, as well as a summary of research into the incest taboo.