| Acknowledgements | 第5-7页 |
| Abstract | 第7-9页 |
| 摘要 | 第10-13页 |
| Chapter One Introduction | 第13-26页 |
| 1.1 A Brief Introduction to Celeste Ng and Her Works | 第13-14页 |
| 1.2 A Brief Summary of Everything I Never Told You | 第14-17页 |
| 1.3 Literature Review | 第17-25页 |
| 1.3.1 Domestic Studies of Everything I Never Told You | 第21-23页 |
| 1.3.2 International Studies of Everything I Never Told You | 第23-24页 |
| 1.3.3 Summary and New Statements of the Thesis | 第24-25页 |
| 1.4 Structure of the Thesis | 第25-26页 |
| Chapter Two Theoretical Framework | 第26-36页 |
| 2.1 A Brief Introduction to Mikhail Bakhtin and Polyphony | 第26-30页 |
| 2.1.1 The Development of Polyphony | 第26-27页 |
| 2.1.2 The Relations between Polyphony and Celeste Ng’s novel | 第27-30页 |
| 2.2 The Post-modernist Context | 第30-36页 |
| 2.2.1 The Post-modernist and the New Left | 第32-34页 |
| 2.2.2 The Postmodernist Context and Everything I Never Told You | 第34-36页 |
| Chapter Three Analysis and Discussion | 第36-79页 |
| 3.1 The Specters for the Characters | 第36-59页 |
| 3.1.1 Lydia’s Specter of Losing Order | 第36-43页 |
| 3.1.2 Marilyn’s Specter of Patriarchal Domination | 第43-50页 |
| 3.1.3 James’ Specter of Social Acceptance | 第50-54页 |
| 3.1.4 The Specter of Searching for Order | 第54-59页 |
| 3.2 Dialogue Analyses of the Texts | 第59-76页 |
| 3.2.1 The Dialogue between the Chapters | 第59-63页 |
| 3.2.2 The Intertextual Dialogues | 第63-66页 |
| 3.2.3 The Performed Dialogue | 第66-71页 |
| 3.2.4 The Dialogue with the Spirit of Contract | 第71-76页 |
| 3.3 Indeterminacy of the Novel | 第76-79页 |
| Chapter Four Conclusion | 第79-83页 |
| 4.1 Major findings | 第79-81页 |
| 4.2 Limitations | 第81-83页 |
| Bibliography | 第83-87页 |
| 读研期间成果 | 第87页 |
