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Aesthetics of ‘personal intertextuality’ and minimalism in Jon Fosse‘s Draum om hausten Jai-Ung Hong (Hankuk University of Foreign Studies) Jon Fosse, the contemporary Norwegian author and dramatist, is widely considered as one of the world's greatest contemporary playwrights. He is apparently described as the Beckett of the 21st Century. Fosse has been even compared to Pinter and Ibsen. Fosse's style is short, clipped and repetitive dialogues. This paper aims to contribute to the analyses of a play by Fosse, Draum om hausten(Dream of Autumn). What is apparent in Draum om hausten is Fosse's intertextuality and minimalist aesthetic. Fosse's intertextuality is very personal and he links his play to his pre-existing plays. It is a technique that follows the post-modern approach to borrowing from his old works to create a new one. Fosse's typical characters from a narrative point of view are not defined by their atrributes but by their social standing, occupation and ideology, i.e. their condition. Their most important attribute is how they function in relationship to other characters. With its repeated phrases and deft imagery, Fosse gives his minimalist theatrical languages. His dialogue is hypnotic and incorporates hesitations, repetitions and the unsaid, creating both musicality and an atmosphere of anxiety and foreboding. Even a spare vocabulary and minimal stage directions, it's what is happening in between. Fosse attempts to throw the viewer into a state of turmoil with the barest possible means, leaving space to be filled, awkwardness and frustration that weren't always spoken. Fosse establishes a mood of mystery and ambiguity which is crucial to his postmodernist tendencies, infiltrating the whole play.