| Acknowledgements | 第6-7页 |
| 摘要 | 第7-9页 |
| Abstract | 第9-10页 |
| Introduction | 第12-17页 |
| Chapter One Auster, Hitchcock and“Anti-Detective”Narrative | 第17-23页 |
| 1.1 Hitchcock’s MacGuffin in The New York Trilogy | 第18-20页 |
| 1.2 Auster’s Self-Referentiality:“Break the Forth Wall” | 第20-23页 |
| Chapter Two Voyeurism as an Art of Watching and BeingWatched | 第23-30页 |
| 2.1 A“Restricted”Narrative Point-of-View: See the World as a“Voyeur”in Trilogy | 第23-27页 |
| 2.1.1 Definition of“Voyeur”and“Voyeurism” | 第23-26页 |
| 2.1.2 Watching the Other is Watching Himself: The Self-Reflexivity in Voyeurism | 第26-27页 |
| 2.2 Eyes in Solitude: New York Trilogy and Walden | 第27-30页 |
| Chapter Three Gender Politics Reflected in the Gaze | 第30-36页 |
| 3.1 Voyeuristic Objectification of Female and Overturn in The New York Trilogy | 第30-33页 |
| 3.2 The Woman in the Eyes of Paul Auster | 第33-36页 |
| Chapter Four Interpretation of Voyeurism in The New York Trilogy | 第36-43页 |
| 4.1 Can“Voyeurism”Be a Way of Personal Redemption? | 第36-41页 |
| 4.1.1 Overpowering Consumerism:“We Are Living in a Material World” | 第38-39页 |
| 4.1.2 Reconstructed Gender in 1980s: Shaping Manhood | 第39-41页 |
| 4.2 Looking for a New Frontier: Auster’s Historiography of Urban Watching Eyes | 第41-43页 |
| Conclusion | 第43-45页 |
| Bibliography | 第45-50页 |
