本文欲藉攝影及其相關理論閱讀保羅.奧斯特《孤獨及其所創造的》中「新書寫」的可能。《孤獨及其所創造的》多被歸類為奧斯特的自傳書寫，而在自傳書寫中置入照片似能為文字佐證——自傳與照片兩者長久均被視為具有與真實世界有強烈對（參）照的特質。本文旨在探討奧斯特在書中置入的兩楨照片，由自傳與照片本身亦具有的不確定性切入，試圖瓦解兩者相輔相成的關係。此外，論文也以攝影理論為基礎，重新以視覺角度看待文本，討論新書寫的可能。第一章討論自傳和攝影兩者間如何互補與相互辯證的有趣關係，以及奧斯特有意識地選擇了這兩張置入文本中的相片和兩張相片在不同版本中以不同方式編排對於文本及閱讀上造成的影響和效果。第二章試圖以班雅明、巴特論點分別分析書中的兩張照片，前者談攝影時緬懷已不復追求的靈光，後者以刺點探究照片勾動人心最幽微之處；唯兩者所企求的均是透過照片見證被拍攝者一種無法透過任何形式捕捉到的特質和存在狀態。巴特拒絕呈現「冬園」照，但奧斯特透過兩張照片除了更清楚呈現無法被探求的被拍攝者之主體外，也藉由攝影更加打開了書寫的另一種可能。第三章先探討奧斯特如何將對父親的慾望轉化為以書寫作為治療的慾望，以及因為知道所書寫的是無法企及的而產生的焦慮。本章接著檢視《孤獨及其所創造的》的文本，藉由以攝影圖像式的閱讀，討論遍及書中不同的「房間」，並與暗房、明室和各種記憶空間、族裔空間、故事/預言內的密閉空間等不同的地理、內心空間做連結。照片不再是回憶的媒介，進而開啓了新的想像和新的書寫可能。在討論攝影與自傳性文本後，第四章除了碰觸攝影在當前科技進步下的轉化及其更接近電影特質外，將以奧斯特編寫，與王穎共同執導的電影《煙》為對象，摒棄對攝影技術更新得以改變其他藝術形式的可能，並重新以古典方式看待攝影如何置入電影，在形式及內容上使電影能再被以新視角重新看待。

Paul Auster’s The Invention of Solitude is not merely an autobiography, but an attempt to render such a genre to challenge writing itself by trying to write what is of no possibility to be written. In addition, Auster further adds elements of photography in The Invention of Solitude, which on the one hand enhance the genre itself (as an autobiography with photos attached as solid evidences to the written words), and on the other hand, by doing so, the author as a matter of fact deconstructs everything he has been trying to construct. By adding photographs and descriptions of the photographs very consciously, he actually, beyond the ostensible purpose of trying to lend credibility to the autobiographical work, tries to challenge the solidity of such work.
Lots of researches have been done on Paul Auster, for whom has already recognized world-widely as an important contemporary American writer, most of them focus on his renowned New York Trilogy (1987),The Music of Chance (1990), or The Brooklyn Follys (2005), while little researches have been done to The Invention of Solitude––often referred to as a memoir of Auster. The book is structured with “Portrait of an Invisible Man” and “The Book of Memory;” the former is written right after the sudden death of the author’s father Samuel Auster and the latter is Auster’s own account on matters that later have become his re-occurrent themes throughout his works. I study the utilization of involving photographs in fictional autobiography by looking at the two photographs Paul Auster has reproduced in The Invention of Solitude. Namely, how photography and fiction put together to “renew” each other (Louvel 31). In chapter one I discuss autobiography and photography, the intertextuality between photographs and texts, and the selection of the two photographs in The Invention of Solitude (including different arrangements of the two photographs in various editions). In chapter two, I mainly focus on Walter Benjamin and Roland Barthes’ reading on photographs; I aim to conclude that each of them talks about one particular essence of photography respectively only with different terms––as aura and punctum––the endeavor is to illustrate and attest to a certain and unique quality of human that can never be portrayed any how and by any means. Auster’s usage of putting together the words and the photos is also a means to pursuit the same untraceable human quality; he testifies the unseen by presenting something to be seen. The Invention of Solitude requires reader to treat it with the way of reading photographs and pictures; a pictorial reading of words is of necessity in tackling the work, just as in Liliane Louvel’s words, to treat “the image as a means to study fiction through the lens of what I call the ‘pictorial third’” (31). In chapter three, I delve into the anxiety and hunger for portrayal, linking which to the act of writing that functions as a healing process for the writer. I then concentrate on the text, demonstrating how this text itself can possibly be decoded with ways analyzing a picture. In its form and way of writing, the composition of The Invention of Solitude is just like the early procedure of long exposure in taking photographs, the distance and aura have both remained through the writing and the given photographs. In addition, the text is far more than simply combination of words, each word has been rendered as if an element of photography; that is, words can be read with multiple layers of meanings that are all linked with photographs. And I would explore this point through the reading of “room” in the book. Besides, I’ve involved Susan Sontag, Henri Van Lier, John Berger, Edward W. Said and Thierry de Duve in the three chapters, serving to converse with my argument. Chapter four includes the film Smoke as the subject, the film not only contains photographs as a heavy ingredient and one of the major themes; what’s more, the sequence of weighting smoke also best serves as the footnote, penetrating Benjamin, Barthes and Auster.

Preface
The Story of My Family’s First Camera––22
The Story of My First Camera––45
Chapter One: Introduction––53
1.1 Autobiography and Photography
1.2 What Can Photographs Do To The Text?
1.3 The Selection Of The Photographs In The
Invention of Solitude
1.4 The Different Arrangements Of Photographs In
Different Editions Of The Invention of Solitude
Chapter Two: Benjaminian and Barthesian Readings of The two Photographs––75
2.1 Is Aura Found in Paul Auster’s Two Photographs
In The Invention of Solitude?
–– “Portrait Of An Invisible Man”: two pictures
–– Aura : Distance As The Primary Component
–– Aura: Long Exposure As The Witness
2.2 A Barthesian Reading Of The Two Photographs
In Paul Auster’s The Invention of Solitude
–– The Family Portrait
–– The Trick Photo
Chapter Three: Ciphering the Message––96
3.1 From The Hunger For Father To The Hunger For
Portrayal
3.2 The Anxiety To Portray
3.3 A Pictorial-Reading of the Text
3.4 A Prolong Exposure Way of Writing
3.5 Room: a Camera Obscura or Camera Lucida?
3.6 Room: As a Place of Rebirth
3.7 Room: A Space of Post-Holocaust Memories?
3.8 Room: A Sketch of The Room
Chapter Four: Further Reflections on Photography and Film––123
4.1 Pictures and Motion Pictures
4.2 Cinemagraph
4.3 Smoke: see the film anew through spectacle of
photography
Conclusion––147
Epilogue––154
Works Cited––157
Appendix––163

FILMOGRAPHY

Amelie [Le fabuleux destin d’Amelie Poulain]. Dir. Jean-Pierre Jeunet. UGC-Fox, 2001.
Apocalypse Now. Dir. Francis Ford Coppola. United Artists, 1979.
Blow-Up. Dir. Michelangelo Antonioni. Metro-Goldwyn-Mayer (MFM), 1966.
Citizen Kane. Dir. Orson Welles. RKO, 1941.
City of God [Chided de Deus]. Dir. Fernando Meirelles and Katia Lund. Asmik Ace Entertainment, 2002.
Closer. Dir. Mike Nichols. Sony, 2004.
Crazy/Beautiful. Dir. John Stockwell. Buena Vista Pictures, 2001.
Following. Dir. Christopher Nolan. Zeitgeist, 1998.
Fur [Fur: An Imaginary Portrait Of Diane Arbus]. Dir. Steven Shainberg. Picturehouse Entertainment, 2006.
The Inner Life of Martin Frost. Dir. Paul Auster. Alfama, 2007
Memento . Dir. Christopher Nolan. Newmarket, 2000
Pecker. Dir. John Water. Fine Line Features, 1998.
The Pier [La Jetee]. Dir. Chris Marker. Automat, 1962 .
Rear Window. Dir. Alfred Hitchcock. Paramount, 1954.
Salvador. Dir. Oliver Stone. CEL, 1986.
Smoke. Dir. Wayne Wong and Paul Auster. Miramax, 1995.
Tada, Kimi Wo Aishiteru [ただ、君を愛してる]. Dir. Takehiko Shinjo’s. Toei, 2006.
The Unbearable of Being. Dir. Philip Kaufman. Orion Pictures Corporation, 1988.
Yi Yi [一一, A One and A Two]. Dir. Edward Yang [楊德昌]. Diaphana, 2000. 

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