| Acknowledgement | 第1-6页 |
| 摘要 | 第6-9页 |
| Abstract | 第9-14页 |
| Introduction | 第14-32页 |
| Ⅰ.Basis of the Study | 第14-22页 |
| Ⅱ.Literature Review | 第22-32页 |
| Chapter One A Feminist Reading of Female Characters in Shakespeare’s Romantic Comedies | 第32-68页 |
| ·The Subversion of the Patriarchy in the ‘Carnival’in ‘Another’World | 第32-55页 |
| ·The green woods in The Midsummer Night’s Dream | 第33-37页 |
| ·Belmont in The Merchant of Venice | 第37-45页 |
| ·Olivia’s House in Twelfth Night | 第45-50页 |
| ·Forest of Arden in As You Like It | 第50-55页 |
| ·The Brilliant Female Characters in the Comedies | 第55-68页 |
| ·Helena and Hermia: The brave Venus pursuing love | 第55-58页 |
| ·Portia: the most distinguished of Shakespeare’s learned heroines | 第58-61页 |
| ·Olivia as a pro-feminist: the master of her own life | 第61-65页 |
| ·Rosalind: the princess of Arcadia | 第65-68页 |
| Chapter Two A Feminist Reading of Female Characters in Shakespeare’s Great Tragedies | 第68-145页 |
| ·Shakespeare’s Ophelia and Jephthah’s daughter | 第68-76页 |
| ·Gertrude, Thy Name Is Woman | 第76-85页 |
| ·Desdemona: The victim of misogyny and racism | 第85-97页 |
| ·Cordelia: The daughter of Nature in the cunning human world | 第97-113页 |
| ·Giant or Dwarf?——Lady Macbeth’s ruin in her “unsexed exaltation” | 第113-127页 |
| ·The Absent Mother in Shakespearian Tragedies | 第127-145页 |
| Chapter Three Shakespeare: a Proto-feminist or a misogynist? | 第145-154页 |
| ·Shakespeare’s Duality as the Common Elizabethan and the Great Artist | 第145-149页 |
| ·Shakespeare’s Subversion and Defense of the Patriarchal System in His Works | 第149-154页 |
| Conclusion | 第154-161页 |
| Works Cited | 第161-166页 |
