声明
致谢
Chapter One INTRODUCTION
1.1 Eugene O’ Neill and his Works
1.2 Eugene O’ Neill’s Affinities with Yin and Yang Principles
1.3 The Structure of the Thesis
Chapter Two LITERATURE REVIEW
2.1 Studies on Eugene O’ Neill at Home
2.2 Studies on Eugene O’ Neill Abroad
Chapter Three TYPICAL YIN AND YANG CHARACTERS IN EUGENE O’NEILL’S WORKS
3.1 Dramatic Polarized Characters
3.1.1 Brown and Dion in The Great God Brown
3.1.2 Macro Polo and Kukachin in Marco Millions
3.1.3 Juan and Maria in The Fountain
3.2 Shifting Dual Personalities
3.2.1 Dion’s dual personality under the mask in The Great God Brown
3.2.2 Kublai’s combination of Yin and Yang in Marco Millions
Chapter Four STAGE DIRECTIONS SYMBOLIZILING YIN AND YANG IN EUGUNE O’NEILL’S WORKS
4.1 Stage Directions Symbolizing Yin in Eugene O’Neill’s Works
4.1.1 Fog in Long Day’s Journey into Night
4.1.2 Sounds in Marco Millions
4.1.3 Women’s singing in Moon of the Caribbees
4.2 Stage Directions Symbolizing Yang in Eugene O’Neill’s Works
4.2.1 Foghorn in Long Day’s Journey into Night
4.2.2 Laughter in Lazarus Laughed
4.2.3 Fountain in The Fountain
4.3 Stage Direction Symbolizing the Conversion between Yin and Young in Eugene O’Neill’s Works
4.3.1 Costumes in Marco Millions
4.3.2 Time proceeding of a day in Long Day’s Journey into Night
4.3.3 Masks in The Great God Brown
Chapter Five THEMES EMBODYING YIN AND YANG PRINCIPLES IN EUGENE O’NEILL’S WORKS
5.1 The Opposites and Unity between Love and Hatred
5.1.1 The family’s relations in Long Day’s Journey into Night
5.1.2 Juan’s love to Beatriz in The Fountain
5.1.3 The complicated love and hatred in The Great God Brown
5.1.4 Marco’s loss of love to Kukachin in Marco Millions
5.2 The Opposites and Unity between Life and Death
5.2.1 Death and resurgence in Lazarus Laughed
5.2.2 Dion’s death and continuation in Brown in The Great God Brown
5.2.3 The attitudes towards life and death in Marco Millions
Chapter Six CONCLUSION
参考文献