| 摘要 | 第4-6页 |
| Abstract | 第6-8页 |
| Introduction | 第10-24页 |
| I. Difference in“Story” | 第24-52页 |
| A. Distinctions in Plot | 第24-40页 |
| 1. At the Beginning Where the Misunderstanding is Established | 第25-31页 |
| 2. At the Middle Where the Consequence Plays out | 第31-36页 |
| 3. At the End Where the Conflict Is Resolved | 第36-40页 |
| B. Distinctions in Characterization | 第40-52页 |
| 1. Briony: From a Sinner to a Victim | 第41-46页 |
| 2. Robbie: From Being Mild to Being Dramatized | 第46-52页 |
| II. Difference in“Discourse” | 第52-69页 |
| A. Shift of Focalization | 第52-61页 |
| 1. From Internal to Ocular | 第53-57页 |
| 2. From Internal to Audio | 第57-61页 |
| B. Shift from Metafiction to Metacinema | 第61-69页 |
| 1. Metafictional Strategy in the Novel | 第61-64页 |
| 2. Metacinematic Strategy in the Film | 第64-69页 |
| III. Difference in“Aesthetic Value” | 第69-88页 |
| A. Distinctions in Expression | 第69-79页 |
| 1. Presentation of Basic Tone | 第70-76页 |
| 2. Manifestation of Characters | 第76-79页 |
| B. Distinctions of Response | 第79-88页 |
| 1. Novel: Contemplation on Writing | 第80-83页 |
| 2. Film: The Intensified Love and Atonement | 第83-88页 |
| Conclusion | 第88-91页 |
| Works Cited | 第91-95页 |
| Acknowledgements | 第95-96页 |
