| Abstract | 第6-7页 |
| 摘要 | 第8-10页 |
| List of Abbreviations | 第10-11页 |
| Introduction | 第11-23页 |
| 0.1 August Wilson and His "Pittsburgh Cycle" | 第12-13页 |
| 0.2 The Critical Review of August Wilson's "Pittsburgh Cycle" | 第13-19页 |
| 0.3 The Artistic Features of Magical Realism and the Main Argument of the Thesis | 第19-21页 |
| 0.4 The Organization of the Thesis | 第21-23页 |
| Chapter One Amalgam of Magical Elements and Realistic Elements | 第23-35页 |
| 1.1 The Mysterious Character in Gem of the Ocean | 第24-26页 |
| 1.2 The Absurd Plots in Gem of the Ocean | 第26-30页 |
| 1.2.1 Middle Passage: The Nightmare of Death | 第27-29页 |
| 1.2.2 City of Bones: The Holy Land of Redemption | 第29-30页 |
| 1.3 The Social Reality in Gem of the Ocean | 第30-35页 |
| 1.3.1 Enslavement and Freedom | 第31-33页 |
| 1.3.2 Oppression and Revolt | 第33-35页 |
| Chapter Two Employment of Mythological Archetypes | 第35-46页 |
| 2.1 Biblical Archetypes in Joe Turner's Come and Gone | 第35-38页 |
| 2.1.1 Bynum: the Apostle Paul | 第36-37页 |
| 2.1.2 Loomis: the Servant Job | 第37-38页 |
| 2.2 African Mythic Archetypes in Joe Turner's Come and Gone | 第38-40页 |
| 2.2.1 Bynum: The Embodiment of Ancestors | 第38-39页 |
| 2.2.2 Blood Sacrifice | 第39-40页 |
| 2.3 Revelation of the Myths | 第40-46页 |
| 2.3.1 Assimilation and Separation | 第40-42页 |
| 2.3.2 Succession and Abandon | 第42-46页 |
| Chapter Three Utilization of Unique Expression Methods | 第46-59页 |
| 3.1 Structure of Collages in The Piano Lesson | 第46-49页 |
| 3.2 Symbolism in The Piano Lesson | 第49-54页 |
| 3.2.1 The Piano: A Family History Marked by Blood and Tears | 第50-51页 |
| 3.2.2 Sutter: The Ghost of Slavery | 第51-53页 |
| 3.2.3 Train: Freedom and Liberty | 第53-54页 |
| 3.3 Displacement of Narrative Time and Space in The Piano Lesson | 第54-57页 |
| 3.3.1 Spirit Possession of the Holy Ghost | 第55-56页 |
| 3.3.2 The History of the Piano | 第56-57页 |
| 3.4 African Americans' Dilemma | 第57-59页 |
| Conclusion | 第59-61页 |
| Bibliography | 第61-65页 |
| Acknowledgements | 第65页 |
