| 1 Introduction | 第1-13页 |
| 2 Theoretical bases | 第13-32页 |
| 2．1 The stylistic theory concerning the stylistic deviation | 第13-18页 |
| 2．2 The pragmatic theory and the conversational analysis theory | 第18-25页 |
| 2．2．1 The pragmatic theory | 第19-24页 |
| 2．2．2 The conversational analysis theory | 第24-25页 |
| 2．3 The drama theory | 第25-32页 |
| 2．3．1 The meaning of drama | 第25-27页 |
| 2．3．2 The conventions of drama | 第27页 |
| 2．3．3 The principles of three unities | 第27-30页 |
| 2．3．4 The unity of the dramatic impression | 第30-32页 |
| 3 Deduction Process of the Model | 第32-108页 |
| 3．1 Exploring the general concerns of stylistics | 第32-35页 |
| 3．2 Exploring the general concerns of literary stylistics | 第35-48页 |
| 3．2．1 The bi-planar models in formal stylistics | 第36-38页 |
| 3．2．2 The overlapping tri-planar model of functional stylistics | 第38-39页 |
| 3．2．3 Jakobson's theory of structural equivalence | 第39-41页 |
| 3．2．4 The socio-historical and socio-cultural stylistics | 第41页 |
| 3．2．5 The major models of discourse stylistics | 第41-42页 |
| 3．2．6 Rough summary of 3．2．1-5 | 第42-45页 |
| 3．2．7 Exploring some other famous scholars' literary stylistic models | 第45-47页 |
| 3．2．8 The general concerns of literary stylistics | 第47-48页 |
| 3．3 Exploring the general concerns of dramatic stylistics | 第48-53页 |
| 3．3．1 The difference between drama and poetry, drama and fiction | 第48-50页 |
| 3．3．2 Why should the dramatic stylistic analysis first concern itself with the dramatic text? | 第50-52页 |
| 3．3．3 The general concerns of dramatic stylistics | 第52-53页 |
| 3．4 The establishment of the Model | 第53-108页 |
| 3．4．1 The first component part of the Model: The general literary stylistic analysis of the dramatic text (generality: treating the dramatic text as the general literary text) | 第54-74页 |
| 3．4．1．1 Participant of the general literary text | 第54-55页 |
| 3．4．1．2 The analysis of the general literary stylistic language features | 第55-67页 |
| 3．4．1．3 The literary psychological effect from the LTIIR | 第67-69页 |
| 3．4．1．4 The literary aesthetic effect from the LTIIR | 第69-71页 |
| 3．4．1．5 The understanding of the author from the LTIIR | 第71-72页 |
| 3．4．1．6 The understanding of the social factor from the LTIIR | 第72-73页 |
| 3．4．1．7 The literary theme from the LTIIR and the author | 第73-74页 |
| 3．4．2 The second part of the Model: The dramatic stylistic analysis of the dramatic text (particularity: restoring the dramatic text as what it is) | 第74-103页 |
| 3．4．2．1 The stylistic analysis of the dramatic text itself． | 第75-89页 |
| 3．4．2．1．1 The participant of the dramatic text | 第75-76页 |
| 3．4．2．1．2 The analysis of the dramatic stylistic language features of the dramatic text through the pragmatic and conversational approach | 第76-82页 |
| 3．4．2．1．3 The dramatic psychological effect from the IAPIAIRDTI | 第82-84页 |
| 3．4．2．1．4 The dramatic aesthetic effect from the IAPIAIRDTI | 第84-86页 |
| 3．4．2．1．5 The understanding of the playwright from the APIAIRDTI | 第86-87页 |
| 3．4．2．1．6 The understanding of the social factor from the IAPIAIRDTI | 第87-88页 |
| 3．4．2．1．7 The dramatic theme from the IAPIAIRDTI and the playwright | 第88-89页 |
| 3．4．2．2 The stylistic analysis of the dramatic performance of the dramatic text | 第89-103页 |
| 3．4．2．2．1 The artistic configuration of the dramatic conflict | 第89-91页 |
| 3．4．2．2．2 The artistic configuration of the dramatic principle of 3 unities | 第91-93页 |
| 3．4．2．2．3 The artistic configuration of the unity of the dramatic impression | 第93-95页 |
| 3．4．2．2．4 The artistic configuration of the dramatic conventions | 第95-98页 |
| 3．4．2．2．5 The artistic configuration of the dramatic skills | 第98-100页 |
| 3．4．2．2．6 The consideration of the reader, audience and the theatre | 第100-103页 |
| 3．4．3 The third component part of the Model: The relationship between the first and the second component part of the Mode | 第103-108页 |
| 4 Practical Analysis | 第108-126页 |
| Conclusion | 第126-130页 |
| Acknowledgement | 第130-131页 |
| Notes | 第131-136页 |
| Bibliography | 第136-140页 |
| Articles Published During MA Course | 第140页 |
