| Acknowledgements | 第1-7页 |
| Abstract in English | 第7-8页 |
| Abstract in Chinese | 第8-9页 |
| Preface in Chinese | 第9-14页 |
| Introduction | 第14-19页 |
| Ⅰ. A brief introduction to feminist narratology | 第14-15页 |
| Ⅱ. A brief introduction to Amy Tan | 第15-17页 |
| Ⅲ. Two major questions to be figured out | 第17-19页 |
| Chapter One Tan's Identity as a Female writer | 第19-23页 |
| Ⅰ. Carrying forward the female predecessors' mission | 第19-20页 |
| Ⅱ. The influence of postmodernism | 第20-21页 |
| Ⅲ. The impact of the feminist movements | 第21-23页 |
| Chapter Two Tan's Identity as a Chinese American Writer | 第23-27页 |
| Ⅰ. The Chinese Americans, a marginal and oppressed group | 第23-24页 |
| Ⅱ. The prevalence of postcolonialism | 第24-25页 |
| Ⅲ. The flourishing of African American literature | 第25-27页 |
| Chapter Three Authorial Voice | 第27-32页 |
| Ⅰ. Authorial voice in The Joy Luck Club | 第28-30页 |
| Ⅱ. Authorial voice in The Bonesetter's Daughter | 第30-32页 |
| Chapter Four Personal Voice | 第32-38页 |
| Ⅰ. Personal voice in The Kitchen God's Wife | 第33-35页 |
| Ⅱ. Personal voice in The Hundred Secret Senses | 第35-37页 |
| Ⅲ. Personal voice in The Joy Luck Club and The Bonesetter's Daughter | 第37-38页 |
| Chapter Five Communal Voice | 第38-47页 |
| Ⅰ. Communal voice in The Joy Luck Club | 第39-47页 |
| A. Multiple and separate voices | 第39-41页 |
| B. The sequence of voices: the sequence of Mah-jongg game | 第41-42页 |
| C. The effects of communal voice | 第42-47页 |
| Chapter Six Huaben Narrative Model | 第47-56页 |
| Ⅰ. The adoption of talk story | 第47-50页 |
| A. The definition of talk story | 第47-48页 |
| B. Talk story in Tan's novels | 第48-50页 |
| Ⅱ. The minimization of huaben narrative structure | 第50-56页 |
| A. Five sections constituting huaben narrative structure | 第50-52页 |
| B. Huaben narrative structure in The Bonesetter's Daughter | 第52-53页 |
| C. Huaben narrative structure in The Joy Luck Club | 第53-54页 |
| D. The effects of huaben narrative structure | 第54-56页 |
| Conclusion | 第56-58页 |
| Works Cited and Consulted | 第58-60页 |
