| 摘要 | 第6-7页 |
| Abstract | 第7页 |
| 1 Introduction | 第9-20页 |
| 1.1 An Overview of Chinese American Drama | 第9-11页 |
| 1.2 David Henry Hwang and M. Butterfly | 第11-13页 |
| 1.3 Constructing the Theory of Cultural Identity | 第13-17页 |
| 1.4 Literature Review | 第17-20页 |
| 1.4.1 Research Abroad | 第17页 |
| 1.4.2 Research at Home | 第17-20页 |
| 2 Confrontation and Conflict of Cultural Identity | 第20-33页 |
| 2.1 Western Cultural Hegemony and Orientalization of China | 第20-22页 |
| 2.2 Stereotypes of Chinese in the Eyes of Americans | 第22-25页 |
| 2.3 Oriental Female Obedience and Occidental Male Hegemony: Song Liling and Gallimard | 第25-33页 |
| 2.3.1 Modesty and Sinisterness: the Image of Song Liling | 第25-29页 |
| 2.3.2 Narcissism and Diffidence: the Image of Gallimard | 第29-33页 |
| 3 Pursuit and Discovery of Cultural Identity | 第33-45页 |
| 3.1 Removal of Orientalism’s Denunciation | 第33-38页 |
| 3.1.1 Deconstruction of East-West Relations | 第33-35页 |
| 3.1.2 Subversion of the Oriental Female Stereotype | 第35-36页 |
| 3.1.3 Deconstruction of the Stereotyped White Men | 第36-38页 |
| 3.2 Deconstruction of the Protagonists’ Gender and Racial Identity | 第38-41页 |
| 3.2.1 Elimination of the Protagonists’ Entrenched Gender Characteristics | 第38-40页 |
| 3.2.2 Simplification of Protagonists’ Racial Identity | 第40-41页 |
| 3.3 Reconstruction of Chinese Cultural Identity | 第41-45页 |
| 3.3.1 Costume Representation and Cultural Identity | 第42-43页 |
| 3.3.2 Reconstruction of Oriental Male Image | 第43-45页 |
| 4 Adhesion and Transcendence of Cultural Identity | 第45-52页 |
| 4.1 Breakthrough on Cultural Identity | 第45-47页 |
| 4.2 Breaking Gender Boundary | 第47-49页 |
| 4.3 Transforming Cultural Identity | 第49-52页 |
| 5 Conclusion | 第52-54页 |
| Acknowledgements | 第54-55页 |
| References | 第55-58页 |
| Papers Published in the Period of Ph.M. Education | 第58页 |
