论文目录 | |
| Abstract | 第1-16
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| 摘要 | 第16-29
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| List of Abbreviation | 第29-30
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| On Ishmael Reed's Postmoderuist Art of Parody | 第30-31
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| Introduction | 第31-52
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| A.Ishmael Reed and the Literary Tokenism | 第31-35
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| B.Ishmael Reed and His Works | 第35-42
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| C.Ishmael Reed and His Critics | 第42-47
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| D.The Reed Study in China and the Framework of the Present Study | 第47-52
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| Chapter 1 Satire's Edge:Ishmael Reed and the Postmodernist Parody | 第52-88
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| A.Postmodernist Parody as Pastiche-Reedian Parody in Fredric Jameson's Model | 第52-66
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| ·Pastiche,Schizophrenia and the Loss of Historicity | 第53-56
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| ·Simulacra,Historical Fiction and Crisis in Historicity | 第56-58
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| ·Reification,Bricolage,and the Random Play of Signifiers | 第58-61
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| ·Pastiche and Textual Play in Ishmael Reed's Fiction | 第61-66
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| B.Postmodernist Parody as "Double-Coded" Paradox-Reedian Parody in Linda Hutcheon's Model | 第66-79
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| ·A Poetics of Paradox and the Representation of History | 第66-68
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| ·Historiographic Metafiction and the Problematization of History | 第68-71
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| ·Postmodernist Parody and Its Double-Coded Politics | 第71-73
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| ·Parody and Cultural Critique in Ishmael Reed's Fiction | 第73-79
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| C.Towards a Pluralizing Interpretation of Postmodernist Parody | 第79-88
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| Chapter 2 The Black Cowboy in the Marlboro World:Ishmael Reed's Parody of the American Western | 第88-107
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| A.Generic Conventions of the American Western | 第88-91
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| B.Parodic Transgressions in Yellow Back Radio Broke-Down | 第91-107
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| ·Narrative Innovation and Cultural Rewriting | 第95-100
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| ·The Apocryphal History and the Triumph of Voodoo | 第100-107
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| Chapter 3 The Voodoo Houngan on the Case:Ishmael Reed's Parody of the Detective Fiction | 第107-136
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| A.Detective Fiction and Its Generic Conventions | 第107-111
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| B.Detective Fiction and the Postmodernist Proliferation of the Anti-Detective Fiction | 第111-115
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| C.Detective Fiction and Its Revision by the African American Novelists | 第115-117
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| D.Mumbo Jumbo as a Text of Black Anti-Detective Fiction | 第117-136
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| ·The Elusive Mystery,the Missing Text and the Cultural Connotation of the Crime | 第117-120
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| ·The HooDoo Trickster Detective Persona and His Metaphysical Detection of History | 第120-126
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| ·The "Amphibious" Text and the "Game" of Decoding | 第126-136
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| Chapter 4 The Black Raven in the South:Reed's Revision of the Slave Narrative | 第136-161
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| A.The Slave Narrative and Its Paradigmatic Gestures | 第136-139
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| B.The Slave narrative and Its Contemporary Revision—the Neo-Slave Narrative | 第139-141
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| C.Flight to Canada and Its Revision of the Slave Narrative | 第141-161
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| ·Parodic Revision and Reed's Rewriting of Anti-Bellum History | 第141-149
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| ·Character Reversal and Reed's Reexamination of the Dynamics of Slavery and Freedom | 第149-155
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| ·Ex-literary References and Reed's Critique of Cultural Misappropriation | 第155-161
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| Chapter 5 The Black Junior Professor Amidst the Cultural Wars:Ishmael Reed's Parody of the Academic Fiction | 第161-192
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| A.Academic Fiction and Its Satire of the Ivory Tower | 第161-171
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| B.The Multicultural Movement and the American Cultural Wars | 第171-176
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| C.Japanese by Spring and the American Cultural Wars | 第176-192
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| ·Jack London College and the Malaise of Multiculturalism | 第177-179
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| ·Cipher Characters and the Monocultural Factions in Jack London College | 第179-183
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| ·Jazz Inspired Plot Improvisation and Reeds' Critique of Monoculturalism | 第183-185
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| ·The Authorial Intrusion and Reeds' Vision of Multiculturalism | 第185-192
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| Conclusion | 第192-198
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| Works Cited | 第198-207
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| Index | 第207-214
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| Acknowledgements | 第214-215页 |
