| 摘要 | 第5-7页 |
| abstract | 第7-8页 |
| Chapter 1 Introduction | 第11-19页 |
| 1.1 Lisa See and Her Novels | 第11-12页 |
| 1.2 Research Background | 第12-17页 |
| 1.3 Theories of Semiotics and Purpose and Significance of the Study | 第17-19页 |
| Chapter 2 Analysis of Snow Flower and the Secret Fan in the Perspective of the Sign ofCulture | 第19-30页 |
| 2.1 Introduction | 第19-22页 |
| 2.1.1 Snow Flower and the Secret Fan | 第19-21页 |
| 2.1.2 Related Theories of Semiotics | 第21-22页 |
| 2.2 The Semiotic Study of NvShu Culture and“Lao Tong”relationship | 第22-28页 |
| 2.2.1 Origin and Development of NvShu Culture | 第22-23页 |
| 2.2.2 NvShu Signs -- the Unique Umbrella of Sisterhood | 第23-24页 |
| 2.2.3 Carriers of NvShu Culture | 第24-28页 |
| 2.3 The Literary Significance of This Novel | 第28-30页 |
| Chapter 3 Analysis of Peony in Love in the Perspective of Literary Signs | 第30-39页 |
| 3.1 Introdution | 第30-32页 |
| 3.1.1 Peony in Love | 第30-31页 |
| 3.1.2 Intertextuality of Symbols | 第31-32页 |
| 3.2 Intertuality in Peony in Love | 第32-36页 |
| 3.2.1 Peony in Love Vs. The Peony Pavillion | 第32-34页 |
| 3.2.2 Peony in Love Vs. The Three Wives’ Commentary | 第34-35页 |
| 3.2.3 Ghosts and the Chinese Afterworld | 第35-36页 |
| 3.3 The Literary Techniques | 第36-39页 |
| Chapter 4 Analysis of Shanghai Girls in the Perspective of the Sign of History | 第39-49页 |
| 4.1 Introduction | 第39-41页 |
| 4.1.1 Shanghai Girls | 第39-40页 |
| 4.1.2 Main Contents of Historical Semiotics | 第40-41页 |
| 4.2 Analysis of Shanghai Girls From A Semiotic Approach of History | 第41-46页 |
| 4.2.1 Historical Events Recorded in Shanghai Girls | 第41-42页 |
| 4.2.2 Traditional Chinese Cultures | 第42-44页 |
| 4.2.3 Marginal Subjects in Shanghai Girls | 第44-46页 |
| 4.3 Writing Strategies in Shanghai Girls | 第46-49页 |
| Chapter 5 Conclusion | 第49-52页 |
| Acknowledgements | 第52-53页 |
| References | 第53-54页 |
| Research Results Obtained During the Study for Master Degree | 第54-55页 |
