约翰·厄普代克是美国当代著名小说家、文论家、诗人，不仅成果累累，且文采熠熠，几乎揽获美国所有的文学大奖，被誉为世界最佳英语小说家之一。其文坛地位祓认为与霍桑和纳博科夫等大师齐名。

本书研究的对象是厄普代克“《红字》三部曲”——《整月都是礼拜天》(1975)、《罗杰教授的版本》(1986)、《S.》(1988)与霍桑《红字》(1850)之间的互文关系。其主要任务是：(1)考证二者之间的互文事实；(2)梳理厄普代克互文小说的创作方法；(3)品评其互文艺术的特点；(4)甄别其世界观在这几部作品中的体现；(5)提高对美国社会文化的认识。

厄普代克在“《红字》三部曲”中的互文艺术体现了他对原型作品既忠诚又反叛的双重态度。其忠诚体现于对《红字》文人物、主题、象征等学要素的仿拟；其反叛体现于在婚外情、宗教信仰、物质与精神、妇女解放等问题上对霍桑理念的颠覆。

这体现他基本的世界观。这包括他对人性和人的欲念所持的宽容态度，包括他对“基督教正在衰败、性正式成为新宗教”的观点，包括他所一贯奉行的“中庸之道”。

厄普代克互文艺术的独特之处，体现于互文层面的多样性、叙事形式的实验性和主要话题的现实性，似“披后现代主义外衣，读现实主义话题”。

Introduction

Chapter 1 Intertextuality and Its Critical Approaches

1.1 The Theory of Intertextuality

1.2 Critical Approaches for Intertextual Investigation

Chapter 2 Imitative Intertextuality: The Prototypal Elements

2.1 Archetypal Projections in the Myth of Eden: The Shared Prototypes

  2.1.1 Archetypal Projections in the Myth of Eden

  2.1.2 Prototypes from the Myth of Eden for The Scarlet Letter

  2.1.3 Direct Connections of Updike's Trilogy with the Myth of Eden

2.2 Prototypes for Updike's Trilogy Deriving from The Scarlet Letter

  2.2.1 The Prototypal Characters

  2.2.2 The Thematic Prototypes

  2.2.3 The Symbolic Prototypes

Chapter 3 Derivative Intertextuality: The Extended Elements

3.1 Revelation of Unpublicized Details

3.2 Exposure of Characters behind the Scenes

3.3 Segmentation of Characters

3.4 Prequel/Sequel Scenarios

3.5 Paratextual Intertextuality

Chapter 4 Subversive Intertextuality: The Aggressive Elements

4.1 The Common Topics

4.2 Hawthorne's Attitudes and Opinions

4.3 Updike's Attitudes: Agreements and Subversions

  4.3.1 The Agreed Elements

  4.3.2 The Subverted Elements

Chapter 5 The Updikian Intertextual Narration: An Assessment

5.1 Rewriting Classics: A Specialty of Updike

5.2 The Updikian Intertextual Narration: Aesthetic Concerns

5.3 Updike's Voice: Thematic Concerns

  5.3.1 Sex and Adultery

  5.3.2 Religious Matters

  5.3.3 Women's Liberation

Conclusion

Notes

Works Cited