| Abstract | 第1-8页 |
| 摘要 | 第8-10页 |
| Chapter One Introduction | 第10-16页 |
| ·Brief Introduction to Langston Hughes and His Works | 第10-13页 |
| ·Introduction to The Big Sea | 第13-14页 |
| ·The Purpose and Significance of the Thesis | 第14-16页 |
| Chapter Two Literature Review | 第16-20页 |
| ·Studies Abroad | 第16-17页 |
| ·Studies at Home | 第17-20页 |
| Chapter Three Theoretical Framework | 第20-25页 |
| ·Introduction to Metaphor | 第20-22页 |
| ·Cultural Metaphor | 第22-25页 |
| Chapter Four Interpretation of Cultural Metaphor in The Big Sea | 第25-50页 |
| ·The Fiction Title as Cultural Metaphors | 第25-29页 |
| ·The Metaphor of the Life | 第27-28页 |
| ·The Metaphor of the Multi-cultures | 第28-29页 |
| ·The Metaphor of the Human’s Ideal | 第29页 |
| ·Plot as Cultural Metaphors | 第29-34页 |
| ·“Malone ”as Metaphor of a Miniature of Society | 第30-31页 |
| ·The journey to Africa—The Pursuit for the Ideal | 第31页 |
| ·The Reflection on the Culture | 第31-34页 |
| ·Places as Cultural Metaphor | 第34-40页 |
| ·Africa—The Sign of Historical Memory | 第34-37页 |
| ·“Harlem”—A Miniature of the Black Culture | 第37-40页 |
| ·Characters as Cultural Metaphor | 第40-50页 |
| ·Father—As a Metaphor of Double-culture Identity /The Self-negative of Their Identity | 第40-42页 |
| ·Mother—As a Common Negro in America | 第42-43页 |
| ·The author himself—Brown Skin as the Negative Sign of Identity. | 第43-50页 |
| Chapter Five Conclusion | 第50-54页 |
| Bibliography | 第54-57页 |
| Acknowledgements | 第57页 |
