| Acknowledgements | 第1-6页 |
| Abstract(English) | 第6-15页 |
| Abstract(Chinese) | 第15-23页 |
| Abbreviations | 第23-24页 |
| Chapter One:Introduction | 第24-50页 |
| ·A Brief Review of the Critical Response to Willa Cather's Novels | 第24-29页 |
| ·A Survey of Impressionism in Painting | 第29-32页 |
| ·A Bird's-eye View of the Situation between Subject and Object in Traditional Paintings | 第32-39页 |
| ·A General Introduction to Literary Impressionism | 第39-50页 |
| Chapter Two:The Subjective Consciousness in Color | 第50-79页 |
| ·The Use of Color to Paint Pictures in Cather's Mind's Eye | 第55-64页 |
| ·The Use of Color to Suggest Emotion in O Pioneers! and My Antonia | 第64-79页 |
| Chapter Three:The Composition | 第79-163页 |
| ·The Dot Composition | 第80-112页 |
| ·Simplification | 第82-98页 |
| ·Impressions as the Flow of Emotion | 第98-112页 |
| ·The Line:The Conscious Design—Juxtaposition | 第112-137页 |
| ·Juxtaposition in The Professor's House | 第116-130页 |
| ·Juxtaposition as a Means of Spatializing Fictional Structure in The Professor's House | 第130-137页 |
| ·The Tableau:The Inner Point of View | 第137-163页 |
| ·Jim as the First-person Narrator in My Antonia | 第143-150页 |
| ·The Point of view in A Lost Lady | 第150-163页 |
| Chapter Four:The Conscious Selection of Material | 第163-184页 |
| ·Cather's Artistic Pursuit | 第163-167页 |
| ·The Selection of the Material | 第167-184页 |
| Chapter Five:Cather and Literary Impressionism | 第184-215页 |
| ·Cather and Impressionism | 第184-200页 |
| ·The Analogy of Window | 第200-215页 |
| Chapter Six:Conelusion | 第215-225页 |
| Bibliography | 第225-241页 |
