Acknowledgements | 第1-8页 |
Abstract | 第8-10页 |
摘要 | 第10-11页 |
Chapter One Introduction | 第11-17页 |
·Introduction to the Author:Toni Morrison | 第11-14页 |
·The Novel Beloved | 第14-17页 |
Chapter Two Literature Review | 第17-28页 |
·International Studies | 第17-24页 |
·Cultural Perspective | 第17-20页 |
·Narrative Perspective | 第20-21页 |
·Thematic Perspective | 第21-22页 |
·Linguistic Perspective | 第22-23页 |
·Postmodern Perspective | 第23-24页 |
·Domestic Studies | 第24-26页 |
·New Statements in My Research | 第26-28页 |
Chapter Three Methodology | 第28-47页 |
·American Postmodernistic Narrative Techniques and Discourse | 第28-35页 |
·The Definition of Postmodernism | 第28-31页 |
·The Relation between Toni Morrison's Work and Jameson's Postmodernism | 第31-33页 |
·American Postmodernistic Narratives and Discourse | 第33-35页 |
·The Origin and Development of Jazz | 第35-41页 |
·The Definition of Jazz | 第35-38页 |
·The Origin of Jazz | 第38-41页 |
·Features of Jazz | 第41-45页 |
·Jazz as a Version of Postmodernistic Narrative Techniques and Discourse | 第45-47页 |
Chapter Four Discussion | 第47-83页 |
·Jazz Features as Postmodern Narrative Techniques and Discourse Embodied in Beloved | 第47-74页 |
·Improvisation of Jazz in Beloved | 第47-54页 |
·Rhythm of Jazz in Beloved | 第54-60页 |
·The Blue Notes in a Theme-and-Variation Form Embodied in Beloved | 第60-66页 |
·Call-and-Response Pattern | 第66-68页 |
·Ending without an End | 第68-71页 |
·Repetition of Brief Patterns | 第71-74页 |
·The Functions of Using Jazz Features as Postmodernistic Narrative and Discourse in Beloved | 第74-83页 |
·Celebrating the Power of an Improvisatory Musical Language to Add to the Textual Beauty of the Novel | 第74-78页 |
·Making a Bridge between African Music and Language so as to Stress the Primacy of Music in African American Culture | 第78-79页 |
·Deepening the Themes of the Novel:the Identity of Slaves | 第79-81页 |
·Jazz as Liberation and Consolation | 第81-83页 |
Chapter Five Conclusion | 第83-86页 |
References | 第86-92页 |