| Abstract | 第1-5页 |
| 摘要 | 第5-11页 |
| Introduction | 第11-20页 |
| ·Don DeLillo, His Works and His Canonical Status | 第11-13页 |
| ·Underworld: Literature Review | 第13-20页 |
| Chapter 1 Theoretical Framework: Artistic Views of Modernism | 第20-32页 |
| ·The Relationship between Modernism and Art | 第20-23页 |
| ·The Revealing and Redemptive Power of Modernist Art | 第23-32页 |
| Chapter 2 A Contentious Issue: Opposing Theoretical Readings of DeLillo | 第32-44页 |
| ·Is DeLillo a Modernist or Postmodernist Novelist? | 第32-36页 |
| ·Underworld as a Typical Modernist Text | 第36-44页 |
| Chapter 3 Artistic Production as Cultural Opposition and Spiritual Salvation in Underworld | 第44-77页 |
| ·Artistic Elements in Don DeLillo’s Works | 第44-47页 |
| ·The Other Voice: Opposition and Salvation—the “Underground”Artists in Underworld | 第47-71页 |
| ·Lenny Bruce: The Spokesman Who Exposes the Cold War Paranoia | 第48-53页 |
| ·Eisenstein: The Prophet and Denouncer of Nuclear Crisis | 第53-60页 |
| ·Ismael Mu?oz: The Ghetto Graffiti Painter Who Wakens the Mass with Art | 第60-65页 |
| ·Klara Sax and Sabato Rodias: Hope and Redemption from the Ashes of Weapon and Waste | 第65-71页 |
| ·The World of Artists in Underworld—an Overview | 第71-77页 |
| Chapter 4 From Underworld’s Artists to DeLillo’s Literary Creation | 第77-87页 |
| ·The Relationship between Underworld’s Artists and DeLillo | 第77-81页 |
| ·DeLillo’s Perception on the Power of Language | 第81-87页 |
| Conclusion | 第87-90页 |
| References | 第90-94页 |
| Acknowledgements | 第94页 |
