| 中文摘要 | 第1-4页 |
| Abstract | 第4-5页 |
| Table of Contents | 第5-7页 |
| Introduction | 第7-10页 |
| Chapter One: Metafiction and Its Primary Language Operating Mode | 第10-17页 |
| ·What is metafiction? | 第10-13页 |
| ·The primary language operating mode in metafiction | 第13-17页 |
| Chapter Two: Experimental Techniques in Metafictional Work | 第17-25页 |
| ·Open form | 第17-19页 |
| ·Parody | 第19-21页 |
| ·Collage | 第21-22页 |
| ·Anachronism | 第22-25页 |
| Chapter Three: The Fictionality of Text and the Reconstruction of History | 第25-35页 |
| ·The fictionality of text | 第25-28页 |
| ·Language as a medium of reality | 第25页 |
| ·The fictionality of text | 第25-28页 |
| ·The reconstruction of history | 第28-35页 |
| ·History as a context of the novel | 第28-29页 |
| ·The fictionality of historical narration | 第29-30页 |
| ·History as construct | 第30-33页 |
| ·History and fiction as porous genres | 第33-35页 |
| Chapter Four: The Postmodernity of The French Lieutenant's Woman | 第35-48页 |
| ·What is postmodernism? | 第35-36页 |
| ·The Postmodernity of The French Lieutenant's Woman | 第36-48页 |
| ·Permutation | 第36页 |
| ·Contradiction | 第36-39页 |
| ·Victorian novel vs modern novel | 第37页 |
| ·Sarah's resistance to masculine discouses | 第37-39页 |
| ·Short Circuit | 第39-44页 |
| ·Fictive vs factual | 第40页 |
| ·Subversion of conventions | 第40-41页 |
| ·The question of authorship | 第41-44页 |
| ·Play and Games | 第44-48页 |
| ·Sarah as a player | 第45-46页 |
| ·The reader as a player | 第46-48页 |
| Conclusion | 第48-49页 |
| Bibliography | 第49-52页 |
| Acknowledgements | 第52-53页 |
| 原创声明 | 第53页 |
