| 摘要 | 第1-6页 |
| Abstract | 第6-10页 |
| Chapter 1 Introduction | 第10-19页 |
| ·The Author and the Novel | 第10-14页 |
| ·Literature Review | 第14-18页 |
| ·Significance of the Research | 第18-19页 |
| Chapter 2 Academic Connotation of Intertextuality | 第19-31页 |
| ·Theoretical Basis of Intertextuality | 第19-22页 |
| ·Saussure's Linguistic Sign Theory | 第19-21页 |
| ·Bakhtin's Textual Dialogism Theory | 第21-22页 |
| ·The Establishment of Intertextuality:Julia Kristeva | 第22-24页 |
| ·The Development of Intertextuality | 第24-31页 |
| ·The Broad Sense:Barthes' Intertextuality | 第25-27页 |
| ·The Narrow Sense:Genette's Intertextuality | 第27-31页 |
| Chapter 3 Allusion:A Co-present Intertextuality | 第31-45页 |
| ·The Definition of Allusion | 第31-32页 |
| ·The Application of Allusion | 第32-45页 |
| ·Allusion to the Scapegoat Stories | 第32-38页 |
| ·Nathanial Hawthorne's Scarlet Letter | 第32-34页 |
| ·Shirley Jackson's The Lottery | 第34-38页 |
| ·Allusion to the Fairy Tales | 第38-45页 |
| ·The Robber Bridegroom in Grimm's The Robber Bridegroom | 第39-42页 |
| ·Characters in Alice in Wonderland, Sleeping Beauty and So On | 第42-45页 |
| Chapter 4 Parody:A Derivative Intertextuality | 第45-56页 |
| ·A Definition of Parody | 第45-47页 |
| ·The Application of Parody | 第47-56页 |
| ·Parody of the Gothic Novels | 第47-51页 |
| ·Terror in the Traditional Gothic Scenes | 第48-50页 |
| ·Images of Male Characters | 第50-51页 |
| ·Parody of the Traditional Female Ending | 第51-56页 |
| ·Jane Eyre's Ending in Jane Eyre | 第52-53页 |
| ·Adela's Ending in A Passage to India | 第53-56页 |
| Chapter 5 Conclusion | 第56-57页 |
| Bibliography | 第57-60页 |
| Acknowledgements | 第60页 |
