| ACKNOWLEDGEMENTS | 第1-6页 |
| 摘要 | 第6-7页 |
| Abstract | 第7-11页 |
| 1. Introduction | 第11-14页 |
| ·Research background | 第11-12页 |
| ·Significance of the study | 第12-13页 |
| ·Structure of the paper | 第13-14页 |
| 2. Theoretical Basis | 第14-22页 |
| ·The aesthetic origins of translation studies | 第14-15页 |
| ·Aesthetic origins of translation studies in the west | 第14-15页 |
| ·Aesthetic origins of translation studies in China | 第15页 |
| ·Translation Aesthetic Object(TAO) and Translation Aesthetic Subject(TAS) | 第15-17页 |
| ·Translation Aesthetic Object | 第15-16页 |
| ·Translation Aesthetic Subject | 第16-17页 |
| ·Process of aesthetic representation in translation | 第17-18页 |
| ·Comprehension | 第17-18页 |
| ·Transformation | 第18页 |
| ·Improvement | 第18页 |
| ·Representation | 第18页 |
| ·Main Types of aesthetic representation in translation | 第18-20页 |
| ·Imitation | 第18-19页 |
| ·Recast or rewriting | 第19-20页 |
| ·Aesthetic criteria for translation | 第20-22页 |
| ·Aesthetic criteria for non-artistic translation | 第20页 |
| ·Aesthetic criteria for artistic translation | 第20-22页 |
| 3. A Brief Introduction to San Guo Yan Yi and Moss Roberts' Translation | 第22-24页 |
| ·A brief introduction to San Guo Yan Yi | 第22页 |
| ·Moss Roberts' translation | 第22-24页 |
| 4. Aesthetic Representation of Three Kingdoms by Moss Roberts | 第24-48页 |
| ·Aesthetic representation of the formal aesthetic constituents | 第24-41页 |
| ·Aesthetical representation at the phonological level | 第24-28页 |
| ·Aesthetical representation at the lexical level | 第28-35页 |
| ·Aesthetical representation at the syntactic level | 第35-41页 |
| ·Aesthetic representation of the non-formal aesthetic constituents | 第41-48页 |
| ·Beauty of image | 第42-44页 |
| ·Beauty of culture | 第44-48页 |
| 5. Conclusion | 第48-49页 |
| Bibliography | 第49-50页 |
