| Acknowledgements | 第3-4页 |
| Abstract | 第4页 |
| 摘要 | 第5-8页 |
| List of Abbreviations | 第8-9页 |
| Introduction | 第9-16页 |
| Chapter One To Claim the Lost Homeland: The Intertextuality Between Marilyn Chin’s Poetry and Chinese Literary Classics | 第16-46页 |
| 1.1 Indebtedness to Chinese Literary Classics: Quotations and Translations of Tang Poetry and Tao Te Ching | 第17-25页 |
| 1.2 Transformation of Classical Chinese Poetic Forms: Structural Parallelism,“Jue-ju”and“Fu”Forms | 第25-38页 |
| 1.3 Poetic Dialogue with Chinese Poets: Parody of Li Bai and Echo with Ts’ai Yen | 第38-46页 |
| Chapter Two To Reconstruct Chinese American Female Subjectivity: The Intertextuality Between Marilyn Chin’s Poetry and Ezra Pound’s Cathay | 第46-74页 |
| 2.1 To Subvert the Textual Authority of Cathay: Borrowing“Exile’s Letter”and Rewriting“The River-Merchant’s Wife” | 第48-59页 |
| 2.2 To Disrupt the“Model Minority Myth”in Cathay: Marilyn Chin’s“The Last Woman with Lotus Feet”and“Elegy for Chloe Nguyen”.. 51 | 第59-67页 |
| 2.3 To Represent the Diversity of Chinese American Women: Against the Single female Stereotype in Cathay | 第67-74页 |
| Chapter Three To Fuse Chinese and Anglo-American Poetic Traditions: The Acculturation in Marilyn Chin’s Poetry | 第74-91页 |
| 3.1 Inheritance from John Donne: Metaphors and Conceits | 第75-79页 |
| 3.2 Distorted Anglo-American Poetic Forms: Marilyn Chin’s“Shattered Sonnets,”Odes, Aubades and Elegy | 第79-84页 |
| 3.3 Alliance with William Carlos Williams: Direct Quotations, Allusions and Visual Poems | 第84-91页 |
| Conclusion | 第91-94页 |
| Bibliography | 第94-101页 |
