| Acknowledgements | 第1-5页 |
| 摘要 | 第5-7页 |
| ABSTRACT | 第7-11页 |
| Introduction | 第11-38页 |
| ·Singer’s Literary Achievements and Studies on His Short Stories | 第11-16页 |
| ·Reasons for Choosing this Topic | 第16-23页 |
| ·Distinctions between “Point of View” and “Focalization” and Their Development | 第23-35页 |
| ·Distinctions between the Two Concepts | 第23-25页 |
| ·Origin and Development of Focalization | 第25-29页 |
| ·Further Development of Focalization | 第29-31页 |
| ·Blending between Focalization and Point of View | 第31-33页 |
| ·Development of Point of View | 第33-35页 |
| ·Terms Used in My Dissertation | 第35-38页 |
| Chapter One Heterodiegetic Point of View in Singer’s Stories | 第38-67页 |
| ·Distinction between Genette and Dan Shen | 第39-43页 |
| ·The Old Woman Point of View—Spokesman of Implied Author | 第43-54页 |
| ·The Old Woman Point of View in “Henne Fire” | 第44-50页 |
| ·The Old Woman Point of View in “Getzel the Monkey” | 第50-53页 |
| ·Summary of the Old Woman Point of View | 第53-54页 |
| ·Demon’s Point of View—More Human than Human Beings | 第54-60页 |
| ·Similarity and Difference between the Old Woman Point of View and Demon’s Point of View | 第55-58页 |
| ·Summary of Demon Point of View—Freer and More Human | 第58-60页 |
| ·Author-Like Writer’s Point of View— the Elusive Recorder | 第60-65页 |
| ·Summary on Chapter One | 第65-67页 |
| Chapter Two First-Person Homodiegetic Point of View in Singer’s (Semi)-Autodiegetic Stories | 第67-92页 |
| ·Distinction of Two Points of View in First-Person Narrator | 第68-77页 |
| ·Distinction between “Narrating Self” and “Experiencing Self” | 第69-74页 |
| ·Reliability of First-Person Point of View and Implied Author | 第74-77页 |
| ·Paralipsis in First-Person Point of View and Implied Author | 第77-85页 |
| ·Paralipsis in “The Bus” and Its Implied Author | 第78-82页 |
| ·Paralipsis in “Three Encounters” and Its Implied Author | 第82-84页 |
| ·Summary of Author-like First-Person Point of View | 第84-85页 |
| ·Infringement and Inclination of First-Person Point of View | 第85-92页 |
| ·Infringement of First-Person Point of View in “Why the Geese Shrieked” | 第85-89页 |
| ·Commentary in Singer’s Autobiographical Stories | 第89-92页 |
| Chapter Three (Limited) Omniscient Point of View and Character’s Homodiegetic Point of View | 第92-130页 |
| ·Alteration and Restriction of Omniscient Point of View | 第95-102页 |
| ·Alteration and Restriction of Point of View in “Spinoza of the Street Market” | 第96-101页 |
| ·Alteration and Restriction of Point of View in “Taibele and Her Demon” | 第101-102页 |
| ·Implied Author in Variable Focalization | 第102-111页 |
| ·Harmony and Conflict between Two Points of View in “Taibele and Her Demon” and “Spinoza of the Street Market” | 第104-109页 |
| ·Lyrical Endings and the Implied Authors in “Taibele and Her Demon” and “Short Friday” | 第109-110页 |
| ·Summary of the Omniscient Point of View | 第110-111页 |
| ·Limited Omniscient Point of View and Its Implied Author | 第111-121页 |
| ·Free Will and Pragmatism in Singer’s Short Stories | 第113-117页 |
| ·Dramatic Commentary and Implied Author | 第117-121页 |
| ·Character Homodiegetic Point of View and Its Implied Author | 第121-130页 |
| ·Character Homodiegetic Point of View and Implied Authors in “The Letter Wrier”and “Old Love” | 第123-128页 |
| ·Summary of Character Homodiegetic Point of View | 第128-130页 |
| Chapter Four Point of View and Authorial Ideology | 第130-147页 |
| ·Summarization of Points of View in Singer’s Short Stories | 第130-133页 |
| ·Points of View in Singer’s Short Stories and His Ideologies | 第133-139页 |
| ·Sources of Ideology—Family Background and Social Environment | 第139-147页 |
| ·The Influence of His Family Background on Him | 第139-143页 |
| ·The Influence of Israel Joshua Singer and Social Environment | 第143-147页 |
| Conclusion | 第147-154页 |
| Works Cited | 第154-159页 |
| Other Reference Works | 第159-161页 |
