声明
Acknowledgements
Abstract
摘要
Contents
Introduction
Ⅰ Marsha Norman and Her Theatre of Solitary Confinement
1.1 Rise of Marsha Norman in Contemporary American Drama
1.2 Norman’s Theoretical Appropriation of “Solitary Confinement”
Ⅱ Solitary Confinement of Traumatic Subject and Survival
2.1 The Split Traumatic Subject of Arlene/Arlie in Getting Out
2.2 The Impossible Mother-daughter Love and Possible Sisterhood in Survival
Ⅲ Solitary Confinement of Institutions and Communal Survival
3.1 Confined Social Spaces for Jessie and Her Suicide as Survival of Self in ’night,Mother
3.2 Supportive Mother in Equal Confinement and Possible Communal Survival
Conclusion
Works Cited
Appendix A 攻读学位期间发表学术论文
Appendix B