| 摘要 | 第3-4页 |
| Abstract | 第4-5页 |
| 1 Introduction | 第8-13页 |
| 1.1 Brief Introduction of Toni Morrison and her Song of Solomon | 第8-10页 |
| 1.2 Literature Review | 第10-13页 |
| 2 Theoretical Basis | 第13-18页 |
| 2.1 Lacan and the Mirror Stage Theory | 第13-15页 |
| 2.2 The Concept of "Self" and "Other" in Mirror Stage | 第15-16页 |
| 2.2.1 "Self" | 第15-16页 |
| 2.2.2 The Big "Other" and the Little "Other" | 第16页 |
| 2.3 The Relationship between Lacanian Theory and Literary Criticism | 第16-18页 |
| 3 Pre-Mirror Stage—Dislocated Manifestations of "Self" Nature under theInfluence of Racial Discrimination | 第18-25页 |
| 3.1 Macon—the Bleached Black Capitalist | 第19-21页 |
| 3.2 Guitar—the Radical Black Nationalist | 第21-23页 |
| 3.3 Milkman—the Rootless Black Lad | 第23-25页 |
| 4 Mirror Stage—Searching for "Self" through the"Other" | 第25-35页 |
| 4.1 Macon's Searching for "Self" through the Big "Other" of Material Wealth | 第25-28页 |
| 4.1.1 Betraying Romantic Love to Gain Wealth | 第26-27页 |
| 4.1.2 Betraying Family Affection to Gain Wealth | 第27页 |
| 4.1.3 Betraying Conscience to Gain Wealth | 第27-28页 |
| 4.2 Guitar's Searching for "Self" through the Big "Other" of Revenge | 第28-31页 |
| 4.2.1 The Revenge to Innocent Whites | 第29-30页 |
| 4.2.2 The Revenge to the Compatriot | 第30-31页 |
| 4.3 Milkman's Searching for "Self" through the Little "Other" | 第31-35页 |
| 4.3.1 The Lifting Force of Introspection | 第31-32页 |
| 4.3.2 The Driving Force of Women | 第32-35页 |
| 5 Post-Mirror Stage—the Consequences of "Self" Constructing | 第35-39页 |
| 5.1 Macon's Dying of the Black Culture Spirit | 第35-36页 |
| 5.2 Guitar's Breaking Away from the Cultural Identity of the Black | 第36-37页 |
| 5.3 Milkman's Completing the Reconstruction of Self-Identity | 第37-39页 |
| Conclusion | 第39-41页 |
| Notes | 第41-44页 |
| Bibliography | 第44-47页 |
| The Published Paper | 第47-48页 |
| Acknowledgements | 第48-49页 |
