| Acknowledgements | 第1-5页 |
| 摘要 | 第5-7页 |
| Abstract | 第7-9页 |
| List of Abbreviations | 第9-10页 |
| A List of Don DeLillo A wards | 第10-11页 |
| A List of Don DeLillo’s Novels, Plays and Screen plays | 第11-15页 |
| Chapter One Introduction | 第15-22页 |
| ·Necessity of the Research | 第15-17页 |
| ·Objectives of the Research | 第17-18页 |
| ·Significance of the Research | 第18-19页 |
| ·Methodologies of the Research | 第19-20页 |
| ·Structure of the Dissertation | 第20-22页 |
| Chapter Two Literature Review | 第22-44页 |
| ·Introduction | 第22页 |
| ·Essential Elements of Screenplay | 第22-26页 |
| ·Origin of Screenplay | 第22-24页 |
| ·Basic Elements | 第24-26页 |
| ·Screenplay Studies at Home and Abroad | 第26-32页 |
| ·Reasons for Limitations in Screenplay Studies | 第26-28页 |
| ·Major Approaches | 第28-32页 |
| ·Don DeLillo's Screenplays and Critical Studies | 第32-43页 |
| ·DeLillo:A Biography | 第32-37页 |
| ·DeLillo's Screenplays | 第37-39页 |
| ·Critical Studies of DeLillo | 第39-43页 |
| ·Summary | 第43-44页 |
| Chapter Three Theoretical Framework | 第44-70页 |
| ·Introduction | 第44页 |
| ·Speech Act Theory | 第44-55页 |
| ·Origin | 第44-45页 |
| ·From Austin to Searle | 第45-51页 |
| ·Indirect Speech Act | 第51-54页 |
| ·Limitations and Development of Speech Act Theory | 第54-55页 |
| ·Intertextuality | 第55-62页 |
| ·Speech Act Theory, Intertextuality and Screenplay Studies | 第62-67页 |
| ·A Screenplay Analytical Framework | 第67-68页 |
| ·Summary | 第68-70页 |
| Chapter Four Speech Acts of Scene Directions, Slug Lines, Monologues and Music in Game 6 | 第70-86页 |
| ·Introduction | 第70页 |
| ·Scene Directions as Speech Acts | 第70-75页 |
| ·Slug Lines as Speech Acts | 第75-78页 |
| ·Monologue as Speech Acts | 第78-80页 |
| ·Music as Speech Acts | 第80-85页 |
| ·Summary | 第85-86页 |
| Chapter Five Speech Acts in Dialogues of Game 6 | 第86-114页 |
| ·Introduction | 第86页 |
| ·The "Happy Promise" of Nicky | 第86-91页 |
| ·Austin's Analysis of "Promising" | 第86-87页 |
| ·Searle's Analysis of "Promising" | 第87-89页 |
| ·The "Happy Promise" of Nicky | 第89-91页 |
| ·The "Apology" of Nicky and Laurel | 第91-98页 |
| ·The Speech Act of Apologies | 第91-94页 |
| ·The "Happy and Unhappy Apologies" of Nicky and "Happy Apology" of Laurel | 第94-98页 |
| ·The "Unhappy 'I divorce thee'" of Lillian | 第98-101页 |
| ·Masculinity and Speech Acts of Nicky and Other Characters | 第101-105页 |
| ·Imperative Sentences and Speech Acts in Game 6 | 第105-113页 |
| ·Summary | 第113-114页 |
| Chapter Six Searle's Constitutive Rules and Baseball Game in Game 6 | 第114-142页 |
| ·Introduction | 第114页 |
| ·Constitutive Rules and Sports Games | 第114-118页 |
| ·Constitutive Rules and Baseball Games | 第118-123页 |
| ·Constitutive Rules and Spectators in Game 6 | 第123-125页 |
| ·Constative Utterances and Baseball Game in Game 6 | 第125-136页 |
| ·"Baseball is life" and "Life is good"-Baseball as America | 第136-140页 |
| ·Summary | 第140-142页 |
| Chapter Seven Intertextuality, Game 6, Cosmopolis, and Underworld | 第142-176页 |
| ·Introduction | 第142页 |
| ·Intertextuality of Game 6 and Underworld | 第142-151页 |
| ·Intertextuality of Game 6 and Cosmopolis | 第151-168页 |
| ·Intertextuality of Game 6, Cosmopolis and Underworld | 第168-175页 |
| ·"I want a haircut" in Game 6 | 第168-170页 |
| ·"I want a haircut" in Cosmopolis | 第170-172页 |
| ·" I want a haircut" in Underworld | 第172-175页 |
| ·Summary | 第175-176页 |
| Chapter Eight Conclusion | 第176-183页 |
| ·Introduction | 第176页 |
| ·Summary of the Research | 第176-178页 |
| ·Major Findings of the Research | 第178-180页 |
| ·Limitations of the Present Research and Suggestions for Further Research | 第180-183页 |
| References | 第183-192页 |
