| ACKNOWLEDGEMENTS | 第5-6页 |
| ABSTRACT | 第6页 |
| 摘要 | 第7-9页 |
| CHAPTER ONE INTRODUCTION | 第9-19页 |
| 1.1 Literature Review of I Know Why the Caged Bird Sings | 第11-13页 |
| 1.2 Research Questions and Significance of the Research | 第13-14页 |
| 1.3 Theoretical Framework | 第14-17页 |
| 1.4 Analytical Procedure | 第17-19页 |
| CHAPTER TWO EXISTENCE OF MAYA’S DEATH COMPLEX AND ITS EMOTIONAL CONNOTATIONS | 第19-35页 |
| 2.1 Death-Oriented Images: ASense of Restriction | 第20-25页 |
| 2.2 Death-Oriented Fantasies: AFeeling of Unhomeliness | 第25-30页 |
| 2.3 Death-Oriented Scenes: An Urge for Being Reborn | 第30-35页 |
| CHAPTER THREE ORIGINS OF MAYA’S DEATH COMPLEX | 第35-49页 |
| 3.1 Archetypal Influence of Death on Maya | 第35-39页 |
| 3.2 Maya’s Traumatic Childhood | 第39-49页 |
| 3.2.1 Violent People in Maya’s Early Life | 第40-44页 |
| 3.2.2 Violent Happenings in Maya’s Early Life | 第44-49页 |
| CHAPTER FOUR TRANSCENDENCE OF MAYA’S DEATH COMPLEX | 第49-63页 |
| 4.1 With the Help of Experiences Induced by Rituals | 第49-53页 |
| 4.2 With the Help of Black Community | 第53-59页 |
| 4.3 With the Help of Individuation | 第59-63页 |
| CHAPTER FIVE CONCLUSION | 第63-65页 |
| WORKS CITED | 第65-68页 |
