【正文】 .......VIntroduction 1Chapter I Metafictional Themes 8A. The problematic relationship between imagination and reality 8B. The overlapping of history and fiction 13Chapter II The Employment of Intertextuality 20A. References to literary figures and works 20B. Biblical allusions 28C. Parody of writing styles 31Chapter III Deceptive Style of Writing 34A. Young Briony’s identity and meditation on writing 34B. Old Briony’s disclosure of fiction writing 41Chapter IV Experimental Techniques 46A. Multiple points of view 46B. Narrative montage and flashback 50C. The hybrid nature of the narrative 52Conclusion…………………………………………………………………………...55Notes…………………………………………………………………………………59Bibliography………………………………………………………………………...62Acknowledgements………………………………………………………………… 65Academic Achievements……………………………………………………………663附錄8：論文尾注格式樣本Notes1. Peter Childs, The Fiction of Ian McEwan (Palgrave Macmillan, 2006), 129.2. John Updike, “Flesh on Flesh”, New Yorker (13 March 2002), 80.3. 4. Patricia Waugh. Metafiction: The Theory and Practice of SelfConscious Fiction, (New York: Methuen 1984), 5.5. ibid, 2.6. Stanley Fogel, “‘And All the Little Typtopus’: Notes on Language Theory in the Contemporary Experimental Novel”, Modern Fiction Studies, XXX (1974) 328336. 7. Scholes Robert, “metafiction”, The Lowa Review, 1, Fall (1970), 10015. 8. Patricia Waugh, Metafiction: The Theory and Practice of SelfConscious Fiction, (New York: Methuen 1984), 21.9. ibid, 1819.10. Rene Welleck, “Some Principles of Criticism” The Critical Moment (London: Faber amp。Faber, 1963), 41.11. 12. Ian McEwan, Atonement (New York: Anchor Books, 2007), 5.（All the quotations in this thesis refer to this book, unless otherwise stated.）13. Pilgar Hidalgo, “Memory and Storytelling in Ian McEwan’s Atonement”, Critique: Studies in Contemporary Fiction (46:2) 2005 Winter, 82.14. ibid, 82.15. Ian McEwan, Black Dogs (UK: vintage, 1992), 140.16. Shone Tom, “White Lie”, The New York Times, March 10, 2002. 17. McEwan Ian, The Imitation Game (London: Picador, 1982), 1516.附錄9：參考文獻格式樣本BibliograpghyAbbott, H. Porter. The Cambridge Introduction to Narrative. Beijing: Peking University Press, 2007. Abrams, M. H. A Glossary of Literary Terms. Beijing: Foreign Language Teaching and Research Press, 2004.Clayton, Jay, and Rothstein Eric. Influence and Intertextuality in Literary History. Madison, Wis.: University of Wisconsin Press, 1991.Dyer, Geoff. “Who’s Afraid of Influence?”, The Guardian (London), 22 September 2001: 8.Harold, James. “Narrative Engagement with Atonement and The Blind Assassin” Philosophy and Literature (April 2005) : 130145.Hidalgo, Pilar. “Memory and Storytelling in Ian McEwan’s Atonement.” Critique: Studies in Contemporary Fiction, 46:2, Winter 2005: 8291.Hermione, Lee. “If Your Memories Serve You Well ...”, The Observer, 23 September 2001.陳榕. “歷史小說的原罪和救贖—— 解析麥克尤恩《贖罪》的元小說結(jié)尾” , 《外國文學》, 2008年 01期, 9198.丁建寧. “贖罪如何可能?——評伊恩麥克尤恩的《贖罪》” , 《外國文學動態(tài)》 , 2004年 06期.海登懷特. 《后現(xiàn)代詩學》，陳永國、張萬芳譯. 北京：中國社會科學出版社，2003.胡全生. 《英美后現(xiàn)代主義小說敘事結(jié)構(gòu)研究》. 上海：復旦大學出版社，2002.劉炳善. 《英國文學簡史》[M], 鄭州: 河南人民出版社, 2004.瞿世鏡. “當代英國青年小說家作品特色” , 《學術(shù)季刊》, 1995年01期, 173182.瞿世鏡. “當代英國小說的現(xiàn)實主義和實驗主義”[J].《學術(shù)季刊》, 1998年01期, 185192.