本論文試圖經由柏格森與德勒茲的哲學脈絡探討記憶、回憶以及主體三者的關聯性。在傳統的記憶研究中，記憶總是被視為個體過去經驗的儲存室，主體擁有絕對能力透過心智活動將存於記憶中的過去經驗以回憶的形式召回於當下，由此，回憶被歸類為再現機制下的產物，而主體則被視為傳統的超越主體。然而柏格森所提出的「純粹記憶」與德勒茲跟隨其觀點所發展出的「生成主體」概念顛覆並改寫了這種再現機制與超越主體觀的架構下，記憶、回憶與主體所構成的複雜關係。根據柏氏與德氏的觀點，記憶可解讀為純粹過去的內在性平面；過去經驗以隨機散布的方式存有於過去平面上，而回憶雖近似過去的再現記憶影像，但並不等同於過去，而是過去與現在相互作用下所形成的特殊影像，單單屬於當下。而主體在回憶的過程中，不再是超越的主觀封閉主體，相反地，其不斷地自我去領域化，並重新創建新主體，成為自我的他者，也就是生成者。柏德二氏觀點提供我們重新思考自傳敘事體中．敘事主體如何透過回憶重建(抑或拆解)自我主體的關係。以此為本，本文試圖以保羅．奧斯特三部自傳式小說為例，來探討敘事主體如何透過回憶由封閉式的主觀主體轉變為游牧式的生成主體，並在其中不斷創造主體的意義。

This dissertation aims to probe into the interrelation between memory, recollection and the self. Contrary to traditional memory studies which conceives memory as a storehouse of personal lived experiences, this dissertation will explore the issue in terms of Bergson and Deleuze’s concept of pure memory to see how the self is dissolved and recreated in an act of recollection. Bergson-Deleuze’s pure memory reorganizes the image of time—time as undivided duration--- and rejects the image of the self as an agent representing memory via recollection. This concept provides us with a theoretical base to reinvestigate the relations between the self and memory in Paul Auster’s three novels in which the narrators attempt to find out who they are by means of recording their recollections but find no anchorage for their selves. Actually, they are becomers who are recreated by their recollections.
This dissertation is divided into five parts. In chapter one, “A Diagram of Memory: From Plato to Deleuze,” I will offer a comprehensive overview of the concept of memory developed from the image of a storehouse to that of the ontological plane. In chapter two, “The Dissolution of the Recollecting Self in The Invention of Solitude,” the focus will be placed on how the narrator’s self is dissolved from the self as the subject to the self as the other via recollection. In chapter three, “Expressing Senses of the Self in Recollection in Invisible,” I try to connect sense and memory to discover the narrator’s real inner desire and how he recreates new senses of his self via recollecting narratives. In chapter four, “Voices beyond the Narrating Self: Forgetting in Travels in the Scriptorium,” the issue of forgetting will be dealt with. Here, I argue that forgetting is a necessary condition of creativity and the forgotten belongs to part of memory. Forgetting is used as a strategy by Auster which enables him to rethink his position as a writer.