| Abstract | 第1-16页 |
| 摘要 | 第16-29页 |
| List of Abbreviation | 第29-30页 |
| On Ishmael Reed's Postmoderuist Art of Parody | 第30-31页 |
| Introduction | 第31-52页 |
| A.Ishmael Reed and the Literary Tokenism | 第31-35页 |
| B.Ishmael Reed and His Works | 第35-42页 |
| C.Ishmael Reed and His Critics | 第42-47页 |
| D.The Reed Study in China and the Framework of the Present Study | 第47-52页 |
| Chapter 1 Satire's Edge:Ishmael Reed and the Postmodernist Parody | 第52-88页 |
| A.Postmodernist Parody as Pastiche-Reedian Parody in Fredric Jameson's Model | 第52-66页 |
| 1.Pastiche,Schizophrenia and the Loss of Historicity | 第53-56页 |
| 2.Simulacra,Historical Fiction and Crisis in Historicity | 第56-58页 |
| 3.Reification,Bricolage,and the Random Play of Signifiers | 第58-61页 |
| 4.Pastiche and Textual Play in Ishmael Reed's Fiction | 第61-66页 |
| B.Postmodernist Parody as "Double-Coded" Paradox-Reedian Parody in Linda Hutcheon's Model | 第66-79页 |
| 1.A Poetics of Paradox and the Representation of History | 第66-68页 |
| 2.Historiographic Metafiction and the Problematization of History | 第68-71页 |
| 3.Postmodernist Parody and Its Double-Coded Politics | 第71-73页 |
| 4.Parody and Cultural Critique in Ishmael Reed's Fiction | 第73-79页 |
| C.Towards a Pluralizing Interpretation of Postmodernist Parody | 第79-88页 |
| Chapter 2 The Black Cowboy in the Marlboro World:Ishmael Reed's Parody of the American Western | 第88-107页 |
| A.Generic Conventions of the American Western | 第88-91页 |
| B.Parodic Transgressions in Yellow Back Radio Broke-Down | 第91-107页 |
| 1.Narrative Innovation and Cultural Rewriting | 第95-100页 |
| 2.The Apocryphal History and the Triumph of Voodoo | 第100-107页 |
| Chapter 3 The Voodoo Houngan on the Case:Ishmael Reed's Parody of the Detective Fiction | 第107-136页 |
| A.Detective Fiction and Its Generic Conventions | 第107-111页 |
| B.Detective Fiction and the Postmodernist Proliferation of the Anti-Detective Fiction | 第111-115页 |
| C.Detective Fiction and Its Revision by the African American Novelists | 第115-117页 |
| D.Mumbo Jumbo as a Text of Black Anti-Detective Fiction | 第117-136页 |
| 1.The Elusive Mystery,the Missing Text and the Cultural Connotation of the Crime | 第117-120页 |
| 2.The HooDoo Trickster Detective Persona and His Metaphysical Detection of History | 第120-126页 |
| 3.The "Amphibious" Text and the "Game" of Decoding | 第126-136页 |
| Chapter 4 The Black Raven in the South:Reed's Revision of the Slave Narrative | 第136-161页 |
| A.The Slave Narrative and Its Paradigmatic Gestures | 第136-139页 |
| B.The Slave narrative and Its Contemporary Revision—the Neo-Slave Narrative | 第139-141页 |
| C.Flight to Canada and Its Revision of the Slave Narrative | 第141-161页 |
| 1.Parodic Revision and Reed's Rewriting of Anti-Bellum History | 第141-149页 |
| 2.Character Reversal and Reed's Reexamination of the Dynamics of Slavery and Freedom | 第149-155页 |
| 3.Ex-literary References and Reed's Critique of Cultural Misappropriation | 第155-161页 |
| Chapter 5 The Black Junior Professor Amidst the Cultural Wars:Ishmael Reed's Parody of the Academic Fiction | 第161-192页 |
| A.Academic Fiction and Its Satire of the Ivory Tower | 第161-171页 |
| B.The Multicultural Movement and the American Cultural Wars | 第171-176页 |
| C.Japanese by Spring and the American Cultural Wars | 第176-192页 |
| 1.Jack London College and the Malaise of Multiculturalism | 第177-179页 |
| 2.Cipher Characters and the Monocultural Factions in Jack London College | 第179-183页 |
| 3.Jazz Inspired Plot Improvisation and Reeds' Critique of Monoculturalism | 第183-185页 |
| 4.The Authorial Intrusion and Reeds' Vision of Multiculturalism | 第185-192页 |
| Conclusion | 第192-198页 |
| Works Cited | 第198-207页 |
| Index | 第207-214页 |
| Acknowledgements | 第214-215页 |
