| Acknowledgements | 第1-6页 |
| Abstract | 第6-9页 |
| Abstract in Chinese | 第9-12页 |
| Introduction | 第12-20页 |
| Chapter Ⅰ The Presentation of Homosexuality | 第20-33页 |
| ·The Historical and Culture Background | 第20-22页 |
| ·The Path Williams Chose to Tread | 第22-33页 |
| ·The Homosexuals Who Are Dead—but Talking | 第22-23页 |
| ·The Homosexuals Who Are Only Apparently Condemned | 第23-25页 |
| ·The Male Body That Becomes the Object of Desire | 第25-26页 |
| ·The Homosexuals Who Wear a Uniform | 第26-27页 |
| ·Hide-and-Seek That Proves More Effective in Revelation | 第27-29页 |
| ·Women Who Are More than the Usual Sisters | 第29-33页 |
| Chapter Ⅱ The Homosexual Subtext in Three Major Plays | 第33-58页 |
| ·Tom Should Have the Spotlight, Not Laura | 第34-43页 |
| ·Blanche Was Shattered by the Homophobic Society,Not Stanley | 第43-50页 |
| ·Brick Is the Cat on the Hot Tin Roof, Not Maggie | 第50-58页 |
| Chapter Ⅲ The Hypocrites and the Paragon | 第58-76页 |
| ·Archie Lee—an Illustration of the Anglo-Saxon Degeneration | 第59-65页 |
| ·Jabe Torrance—a Hades-like Southern Patriarch | 第65-69页 |
| ·Big Daddy—a Paragon in Williams’Utopia | 第69-76页 |
| Chapter Ⅳ The Savior and the Saint | 第76-98页 |
| ·Valentine Xavier—the Savior | 第77-84页 |
| ·Sebastian Venable—the Saint | 第84-98页 |
| Chapter Ⅴ The Portrait of the Artist as a Homosexual | 第98-120页 |
| ·The Overall Image | 第99-100页 |
| ·The Fugitive Kind | 第100-110页 |
| ·The Lonely Heart | 第110-113页 |
| ·The Deviant and Creative Mind | 第113-116页 |
| ·The Forlorn Soul Yearning for Understanding | 第116-120页 |
| Conclusion | 第120-124页 |
| Works Consulted and Cited | 第124-129页 |
