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Bökös, Borbála: Intermediality and Narrative Identity in Paul Auster’s Oeuvre. Dissertation (PhD), Debreceni Egyetem 2014 (218 S.). 
Added by: joachim (09 Aug 2018 01:25:09 Europe/Berlin)   Last edited by: joachim (10 Aug 2018 16:41:54 Europe/Berlin)
Resource type: Thesis/Dissertation
Languages: englisch
BibTeX citation key: 2014c
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Categories: General
Keywords: "City of Glass", Adaption, Auster. Paul, Intermedialität, Karasik. Paul, Literatur, Mazzucchelli. David, USA
Creators: Bökös
Publisher: Debreceni Egyetem (Debrecen)
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Attachments   URLs   http://hdl.handle.net/2437/202857
Abstract
My dissertation is an examination of a completely unexplored facet of the Paul Auster canon, as it will discuss the aspects of intermediation between different media forms, in relation to the formation of narrative identity in this author’s works such as literary texts, films, and collaborative projects. Although I will occasionally refer to Auster’s critical writing too, my dissertation will primarily be concerned with a selected body of his fiction and films. It will offer an intermedial reading of Auster’s various texts through theories of adaptation as well as theories of image and text, also seeking to discuss the ways in which the visual elements affect storytelling in Auster’s fiction and stimulate an interactive reader engagement. In the present work the field of intermedial references—in the forms of individual reference (reference of a media product to another individual media product) and system reference (reference to another medial semiotic system)—will form the core. On the one hand, it is the way Auster adapts and subverts numerous intermedial references in his works that I will explore. On the other hand, my thematic focus will be on how—by what means—these intermedial relationships influence, and are thematized in, the building up and/or deconstruction of a coherent narrative identity in Auster’s texts, with special emphasis on how media intrusions connect distinct spaces: the represented space inside a specific medium (film, photography, fiction), the space of representation (of the medium itself), and the extra-textual space of the reader/spectator. I will argue that Auster’s works can be classified according to the different forms of intermedial references that they express, regarding both content and form. The forms of references I distinguish in his oeuvre are: the cinema motif, the photograph motif, individual intermedial reference, and intermedial system reference; the last of which, in Rajewsky’s view (52), indicates that the media product uses its own media-specific means, in order to refer to a different semiotic system of another medium.

Table of contents

Introduction (7)

1. Heterotopic Intermediality: Smoke and “Auggie Wren’s Christmas Story” (21)
1.1. Intermedial (Con)figurations: Film, Photography, and Literary Text (26)
1.2. (Intermedial) Nonplace and Shifting Identities (45)

2. Intermedial Sutures: The Book of Illusions and The Inner Life of Martin Frost (70)
2.1. Intermedial References: Thematization and Imitation (74)
2.2. Mirroring Selves and Mutually Reflexive Narratives (96)

3. Palimpsestuous Intermediality: City of Glass and City of Glass: The Graphic Novel (112)
3.1. Media Combinations and Multiple Intertexts (115)
3.2. (Narrative) Identities and Visual Motifs (132)

4. Intermedial Flânerie: Leviathan and Double Game (152)
4.1. (Re)mediated Narratives and Metaintertextual Metaintermediality (157)
4.2. (Authorial) Identities and Metaleptic Turns (173)

Conclusion (186)

Works cited (191)
Appendix (202)


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