| 摘要 | 第3-4页 |
| Abstract | 第4页 |
| Introduction | 第6-11页 |
| Chapter One Theoretical Discourses on the Artists in Underworld and Falling Man | 第11-20页 |
| 1.1 John N. Duvall: Excavating the Underworld of Race and Waste in Cold WarHistory: Baseball, Aesthetics, and Ideology | 第11-12页 |
| 1.2 Paul Giaimo: Appreciating Don DeLillo: The Moral Force of a Writer’s Work | 第12-15页 |
| 1.3 The Combination of New Historicism and Ethical Literary Criticism | 第15-20页 |
| Chapter Two The Connectedness: The Precondition of the Artists’ Opposition | 第20-28页 |
| 2.1 Connectedness of Underworld and Falling Man | 第20-23页 |
| 2.2 Connectedness of the Artists in Underworld and Falling Man | 第23-25页 |
| 2.3 Precondition of the Artists’ Opposition | 第25-28页 |
| Chapter Three The Artists’ Creation: The Incarnation of Opposition | 第28-41页 |
| 3.1 Aestheticized Politics | 第28-31页 |
| 3.2 Politicized Aesthetics | 第31-34页 |
| 3.3 Textuality of History | 第34-37页 |
| 3.4 Historicity of Text | 第37-41页 |
| Chapter Four The Artists’ Opposition: The Result of Ethical Selection | 第41-49页 |
| 4.1 Klara Sax’s Opposition and Ethical Selection | 第42-44页 |
| 4.2 Ismael Mu?oz’s Opposition and Ethical Selection | 第44-46页 |
| 4.3 Nina’s and Martin’s Opposition and Ethical Selection | 第46-47页 |
| 4.4 Lianne’s and David Janiak’s Opposition and Ethical Selection | 第47-49页 |
| Conclusion | 第49-51页 |
| Works Cited | 第51-54页 |
| Achievements | 第54-55页 |
| Acknowledgements | 第55-56页 |
