摘要 3-4 Abstract 4-5 Chapter One Introduction 8-11 1.1 Rationale of the Research 8 1.2 Research Questions and Methods 8-9 1.3 Research Significance 9 1.4 Organization of the Thesis 9-11 Chapter Two Literature Review 11-16 2.1 Previous Studies on Aschenputtel and Yexian in China 11-12 2.2 Previous Studies on Aschenputtel and Yexian in the West 12-16 Chapter Three Theoretical Framework 16-21 3.1 Classical Narratology and Its Basic Terms 16-18 3.2 Greimas’ Six Actants 18-19 3.3 Enlightenment of Classical Narratology and Six Actants on the Comparative Study of Aschenputtel and Yexian 19-21 Chapter Four Comparisons between Stories of Aschenputtel and Yexian 21-37 4.1 Five Motifs 21-34 4.1.1 Motif 1: Stepmother’s Mistreatment 22-24 4.1.2 Motif 2: Difficulty Test 24-26 4.1.3 Motif 3: Help from Divine Power 26-30 4.1.4 Motif 4: Positive Identification by Means of Shoes 30-31 4.1.5 Motif 5: Marriage with the Prince (King) 31-34 4.1.5.1 Heroines’ Attitudes 31-33 4.1.5.2 Heroes’ Actions 33-34 4.2 Typical Images 34-37 4.2.1 Classification of Roles 34-35 4.2.2 Personality of Major Characters 35-37 Chapter Five Comparisons between Narrations of Aschenputtel and Yexian 37-53 5.1 Plots 37-44 5.1.1 Characterization 38-42 5.1.1.1 Direct Characterization in Shaping Personality 38-39 5.1.1.2 Indirect Characterization in Shaping Personality 39-42 5.1.2 Comparative Analysis of Actants 42-44 5.2 Narrative Structure 44-47 5.2.1 Three-section Style Structure in Aschenputtel 44-46 5.2.2 Karma Structure in Yexian 46-47 5.3 Narrative Identity 47-49 5.3.1 Yexian: Explicit Narrator 47-48 5.3.2 Aschenputtel: Implicit Narrator 48-49 5.3.3 Zero-focalization in Aschenputtel and Yexian 49 5.4 Style 49-52 5.4.1 Aschenputtel: a Fantastic Fairy Tale 49-51 5.4.2 Yexian: a Perfect Match of Note and Mystery Story 51-52 Summary 52-53 Chapter Six Conclusion 53-55 6.1 Major Findings 53 6.2 Limitations and Suggestions 53-55 Bibliography 55-58 Appendix 58-65 Acknowledgements 65-66 |
