| Acknowledgements | 第1-6页 |
| 摘要 | 第6-9页 |
| abstract | 第9-14页 |
| Abbreviations | 第14-15页 |
| Introduction | 第15-34页 |
| ·Byattian Scholarship Home and Abroad since 1980s | 第16-22页 |
| ·Research Motivations, Objects, Questions and Approaches | 第22-29页 |
| ·Organization of this Dissertation | 第29-34页 |
| Chapter 1. The Shadow of the Sun: The Recognition and Reconstruction of the Shadowy Female Artist | 第34-58页 |
| ·T he Lady of Shalott: A Shadowy Female Artist | 第35-38页 |
| ·A nna: A Modern Lady of Shallot | 第38-48页 |
| ·T he Shadowy Identity Reconstructed on the Model | 第48-51页 |
| ·A rchetypal Images for Identity Recognition and Reconstruction | 第51-54页 |
| ·A nna’s Tragedy: Terror and Pity | 第54-58页 |
| Chapter 2. The Game: The Recognition of the Failed Visionary Female Artist | 第58-81页 |
| ·T he Lady of Shalott & Cassandra: The Entrapped, Alienated Artist | 第58-64页 |
| ·P rophetess Cassandra & Cassandra: The Silent, Mad Visionary Artist | 第64-71页 |
| ·A rchetypal Images of Creation and Death | 第71-76页 |
| ·C assandra’s Tragedy: Terror and Pity | 第76-81页 |
| Chapter 3. Possession: The Reconstruction of the Female Artist Identity | 第81-115页 |
| ·A rachne & LaMotte: The Female Artist of Originality | 第81-88页 |
| ·P rincess & LaMotte: The Female Artist of Autonomy | 第88-94页 |
| ·M elusine & LaMotte: The Female Artist of Androgyny | 第94-102页 |
| ·A rchetypal Images for Self Recognition and Reconstruction | 第102-115页 |
| Conclusion | 第115-122页 |
| Works Cited | 第122-127页 |
