| Acknowledgements | 第1-5页 |
| Abstract | 第5-7页 |
| 摘要 | 第7-11页 |
| Introduction: Paul Auster and The New York Trilogy | 第11-17页 |
| A.A Brief Review of Paul Auster’s Creative Experience | 第11-13页 |
| 1. Auster’s Fundamental Themes as Reflected in His Delineation of New York City | 第11-12页 |
| 2. Auster’s Rise to Fame After the Publication of The New York Trilogy | 第12-13页 |
| B. The Classification of The New York Trilogy | 第13-14页 |
| C. The Three Stories | 第14-17页 |
| 1. The Wandering Tramps in City of Glass | 第14-15页 |
| 2. The Forlorn Beings in Ghosts | 第15-16页 |
| 3. The Impenetrable Self in The Locked Room | 第16-17页 |
| Chapter I Detective Fiction and Anti-detective Fiction | 第17-22页 |
| A. Detective Fiction and Its Rules | 第17-19页 |
| 1. Detective Fiction as a Genre | 第17-18页 |
| 2. Some Basic Rules Detective Fiction Follows | 第18-19页 |
| 3. The Fundamental Logic Working in a Detective Story | 第19页 |
| B. Anti-Detective Fiction and Its Characteristics | 第19-22页 |
| 1. Anti-Detective Fiction as a Genre | 第19-20页 |
| 2. Comparison Between Classic Detective Novel and Auster’s Anti-Detective One | 第20-22页 |
| Chapter II Subversion of Detective Fiction in Narrative Motif | 第22-34页 |
| A. City of Glass: Two Failed Quests and One “Successful”Quest | 第22-26页 |
| 1. Quinn’s Motivation of Losing Himself | 第23-25页 |
| 2. The Two Failed Quests | 第25-26页 |
| 3. Replacement of Causality by Chance | 第26页 |
| B. Ghosts: the Constitution of Oneself in the Process of Gazing at the Other | 第26-29页 |
| 1. B1ue’s Penetration into Superficiality | 第27-28页 |
| 2. Constitution of Oneself in the Act of Looking | 第28-29页 |
| 3. “No One Can Cross the Boundary into Another” | 第29页 |
| C. The Locked Room: Usurpation of His Opponent in the Process of Investigation | 第29-34页 |
| 1. Relationship Between the Narrator and Fanshawe | 第30-31页 |
| 2. Fanshawe’s Heroic Virtues and the Usurpation of Fanshawe’s Self | 第31-33页 |
| 3. “The Locked Room”As a Symbol of the Impenetrable Self | 第33-34页 |
| Chapter III Subversion of Detective Fiction in Narrative Structure | 第34-46页 |
| A. Disruption of the Temporal Frame | 第35-39页 |
| 1. Disruption of the Temporal Frame in City of Glass | 第35-37页 |
| 2. Disruption of the Temporal Frame in Ghosts | 第37-38页 |
| 3. Disruption of the Temporal Frame in The Locked Room | 第38-39页 |
| B. Story Within the Story | 第39-46页 |
| 1. Insertion of Edgar Allan Poe’s detective story in City of Glass | 第40-42页 |
| 2. Insertion of Hawthorne’s “Wakefield”in Ghosts | 第42-43页 |
| 3. Insertions of Thoreau’s Walden in The Locked Room | 第43-46页 |
| Chapter VI: Subversion of the Denotative Function of Language | 第46-52页 |
| A. Transition in the Role of Language | 第46-48页 |
| 1. Language in Realist Text, Classical Detective Fiction Being a Typical Case | 第46-47页 |
| 2. Language in Postmodern Times | 第47-48页 |
| B. Subversion of the Denotative Function of Language in The New York Trilogy | 第48-52页 |
| 1. Biography, Autobiography or Fiction? | 第48页 |
| 2. Victims of the Inadequacy of Language as a Means of Denotation | 第48-50页 |
| 3. Other Victims of the Exhaustion of Language: Allusion to Anthologized Works and Writers | 第50-51页 |
| 4. The Age of Producing Postmodern Text | 第51-52页 |
| Conclusion | 第52-55页 |
| A. Relationship Between Modes of Writing and Motif of Writing | 第52-53页 |
| B. Which One is a More “Faithful”Representation of Life? Detective Story or Anti-Detective Story? | 第53-55页 |
| Works Cited | 第55-57页 |
