身份与图像——论保罗？奥斯特《玻璃城》的图像小说改编
Identity and Image—On the Graphic Novel Adaptation of Paul Auster’s City of Glass

集小说家、剧作家、电影导演于一身的保罗？奥斯特被誉为美国当代最勇于创新的小说家之一。本文将聚焦根据《纽约三部曲》中第一部《玻璃城》改编而成的图像小说。该图像小说中多处表现出跨媒介入侵所带来的一种弗洛伊德意义上的“暗恐”，与之相耦合的是小说人物的身份在这种跨媒介入侵中表现出的变动不居。具体而言：传统语言符号的表意受到挑战，身份的迷失获得了一种图像意义上的表达；过去的身份与记忆经由图像不断借尸还魂，对“当下我”的身份造成消解；无家可归之后人物仍在一种“游荡”和“绘图”中试图重建完整的主体，而这种重建很大程度上只是一种“乌托邦式”的幻想。
Paul Auster, a novelist, playwright and film director, is known as one of the most innovative contemporary American novelists. This article will focus on the graphic novel based on City of Glass, the first book in the New York Trilogy. In this graphic novel, there is a Freudian “dark fear” brought by the cross-media invasion in many places, coupled with the change of the identity of the novel characters in this cross-media invasion. To be specific, the meaning of traditional language symbols is challenged, and the loss of identity is expressed in the sense of image. The identity and memory of the past continue to return to the dead through images, resulting in the dissolution of the identity of the “present me”; after being homeless, the characters still try to rebuild the whole subject in a kind of “wandering” and “drawing”, and this reconstruction is largely a “utopian” fantasy.