| Acknowledgements | 第1-7页 |
| Abstract (in Chinese) | 第7-12页 |
| Abstract (in English) | 第12-21页 |
| Introduction | 第21-50页 |
| I. Timeless Oedipal revolts | 第21-23页 |
| II. Social Oedipal revolutions since the mid-19~(th) century | 第23-34页 |
| III. Hopes of redemption | 第34-36页 |
| IV. Tennessee Williams as a modernist dramatist | 第36-40页 |
| V. Tennessee's complex relationship with his own father C. C | 第40-43页 |
| VI. The father in Williams'theatre | 第43-50页 |
| Chapter 1 The Glass Menagerie: The Post-Patricide Existential Anarchy | 第50-90页 |
| I. The Disjointed world as a result of the absence of the father | 第54-65页 |
| II. Absence of the father as an expression of bitter disillusionment | 第65-90页 |
| Chapter 2 A Streetcar Named Desire: The Dead Father as a Toxic Legacy | 第90-130页 |
| I. Blanche's visitation and her tragic ending | 第92-99页 |
| II. Return of the dead father and his re-death-a metaphorical reading | 第99-105页 |
| III. Cultural significance of the father's loss: decline of the degraded Apollonian rule and the old Europe | 第105-130页 |
| Chapter 3 Cat on a Hot Tin Roof: The Glorious Comeback of the Father as a Tribute to American Pragmatism | 第130-177页 |
| I. Maggie-the cat on the hot tin roof | 第131-135页 |
| II. Brick-the melancholic prince | 第135-149页 |
| III. The father's saving grace and the "brick-wall-breaking operation" | 第149-160页 |
| IV. A dramatized tribute to King Big Daddy and his America | 第160-177页 |
| Chapter 4 The Night of the Iguana: Communication and Mutual Help Replacing the Quest for the Father | 第177-226页 |
| I. Everyone is hell and is in hell | 第178-189页 |
| II. Everyone can be someone's angel | 第189-194页 |
| III. Williams' attempt to liquidate his old self | 第194-204页 |
| IV. Communicative rationality as the saving grace right at hand | 第204-219页 |
| V. Dethroned father figure integrated into the cycle of redemption | 第219-226页 |
| Conclusion | 第226-235页 |
| Bibliography | 第235-251页 |
