| 摘要 | 第5-7页 |
| ABSTRACT | 第7-8页 |
| Introduction | 第10-16页 |
| I. Background: a Brief Introduction of Brian Friel | 第10-11页 |
| II. Significance: an Overview of the Studies of Brian Friel | 第11-14页 |
| III. Content and Structure of This Thesis | 第14-16页 |
| Chapter One Theoretical Foundation of Transferring Narration from Page toStage | 第16-22页 |
| 1.1. Traditional Drama Paradigm in Poetics and Dramatic Narration | 第16-18页 |
| 1.2. Narration Drama and Rhetoric Narratology | 第18-22页 |
| 1.2.1 Brecht’s Narration Play | 第19-21页 |
| 1.2.2 Rhetoric Narratology | 第21-22页 |
| Chapter Two Non -Linear Chronological Narration in The Freedom of the City | 第22-26页 |
| 2.1 Grouping of Characters in the Play | 第22-24页 |
| 2.2 The Round Narration and Juxtaposing Narration | 第24-26页 |
| Chapter Three Faith Healer---Unreliable Narrator on the Stage | 第26-41页 |
| 3.1 Narration Discrepancies as Dramatic Conflict | 第26-30页 |
| 3.2 Polyphonic Narration in the Play | 第30-34页 |
| 3.3 Unreliable Narrator on the Stage | 第34-41页 |
| Chapter Four Dancing at Lughnasa—Narration Strategies in a Memory Play | 第41-53页 |
| 4.1 First-Person Perspective Retrospective Narration on the Stage | 第41-44页 |
| 4.2 The Intertwined Narrative Structure in Dancing at Lughnasa | 第44-53页 |
| Conclusion | 第53-55页 |
| Acknowledgement | 第55-56页 |
| References | 第56-59页 |
| 攻硕期间取得的研究成果 | 第59-60页 |
