| ACKNOWLEDGEMENTS | 第2-3页 |
| ABSTRACT | 第3-4页 |
| 摘要 | 第5-6页 |
| TABLE OF CONTENTS | 第6-7页 |
| INTRODUCTION | 第7-12页 |
| CHAPTER ONE THE ORIGION OF TRAGICOMEDY AND ITS MODERNMANIFESTATION | 第12-20页 |
| The Development of Modern Tragicomedy from Classical Tragicomedy | 第12-13页 |
| Differences between Modern Tragicomedy and Classical Tragicomedy | 第13-17页 |
| Why does Classical Tragicomedy Evolves into Modern Tragicomedy? | 第17-20页 |
| CHAPTER TWO O'NEILL AND MODERN TRAGICOMEDY | 第20-31页 |
| O'Neill,Tragedy and Tragicomedy | 第20-23页 |
| Towards O'Neill's understanding of Modern Tragicomedy | 第23-25页 |
| Reasons for O'Neill's Adoption of Modern Tragicomedy in the Later Period | 第25-31页 |
| CHAPTER THREE HYBRIDITY OF TRAGIC AND COMIC ELEMENTS INO'NEILL'S LATER PLAYS | 第31-45页 |
| Home Journey in Long Day's Joumey into Night | 第31-36页 |
| Forgiveness in A Moon for the Misbegotten | 第36-40页 |
| Pipe Dream in The Iceman Cometh | 第40-45页 |
| CONCLUSION | 第45-48页 |
| WORKS CITED | 第48-50页 |
| APPENDIX PLOT SUMMARIES | 第50-54页 |
| Long Day's Journey into Night | 第50-51页 |
| The Iceman Comth | 第51-53页 |
| A Moon for the Misbegotten | 第53-54页 |
