| Abstract | 第1-14页 |
| 摘要(in Chinese) | 第14-16页 |
| Introduction | 第16-19页 |
| Chapter Ⅰ Drama and Drama Translation | 第19-29页 |
| ·Drama as a Literary Genre | 第19-20页 |
| ·What "Drama" Means | 第19页 |
| ·What Is DRAMA? | 第19-20页 |
| ·Growth of Drama | 第20-22页 |
| ·Early Period | 第20-21页 |
| ·Medieval Drama | 第21-22页 |
| ·Contemporary Drama | 第22页 |
| ·Types of Drama | 第22-25页 |
| ·Tragedy | 第22-23页 |
| ·Comedy | 第23-24页 |
| ·The Theater of the Absurd | 第24-25页 |
| ·Labyrinthine Dramatic Text Translating | 第25-26页 |
| ·Neglected Drama Translation | 第25页 |
| ·Drama as a Performable Literary Genre | 第25-26页 |
| ·Labyrinthine Difficulties in Dramatic Text Translating | 第26-28页 |
| ·Complex Drama Translating | 第26-27页 |
| ·Appeal for Theoretical Studies in theTheatre Translating Area | 第27-28页 |
| Summary | 第28-29页 |
| Chapter Ⅱ The Interpretative School of Translation Theory | 第29-37页 |
| ·Theory Background | 第29-30页 |
| ·Three Stages of Interpreting | 第30-33页 |
| ·Interpretation | 第30页 |
| ·Deverbalization | 第30-31页 |
| ·Sense | 第31-32页 |
| ·Difference between Sense and Words | 第32-33页 |
| ·Essence of Translation in Terms of the Interpretive Theory | 第33-34页 |
| ·Translation as Communicative Behavior | 第34-35页 |
| ·Relationship with Pragmatics | 第35-36页 |
| Summary | 第36-37页 |
| Chapter Ⅲ Cognitive Inputs in Drama Translation | 第37-45页 |
| ·Cognitive Inputs and Extra-linguistic Knowledge | 第37-41页 |
| ·Cognitive and Emotive Inputs | 第37-38页 |
| ·Reactivating the Extra-linguistic Knowledge | 第38-41页 |
| ·Macro-signs and Hypotheses of Sense | 第38-39页 |
| ·Reactivating the Extra-linguistic Knowledge in Translating | 第39-41页 |
| ·Cognitive Inputs in Understanding | 第41-42页 |
| ·Cognitive Inputs in Expressing | 第42-44页 |
| Summary | 第44-45页 |
| Chapter Ⅳ Translating Dramatic Dialogue by Equivalence | 第45-53页 |
| ·Setting up Equivalence | 第45-49页 |
| ·Equivalence and Correspondence | 第45-46页 |
| ·Setting up Equivalence in Dramat Translating | 第46-49页 |
| ·Equivalence and Fidelity | 第49-52页 |
| ·Being Equivalent,Being Faithful | 第49-50页 |
| ·Relationship with Nida's "Dynamic Equivalence" | 第50-52页 |
| Summary | 第52-53页 |
| Chapter Ⅴ Translating Implied Intonation Explicit | 第53-65页 |
| ·Origin Owned in Common by Interpreting and Dramatic Dialogue | 第53-55页 |
| ·Ideal Communicative Situation in Drama Text | 第53-54页 |
| ·The Oral Origins of the Interpretive Explanation of Translation | 第54-55页 |
| ·Implied Intonation and Rhythm | 第55-56页 |
| ·Transpose the Implied Intonation and Rhythm Explicit | 第56-64页 |
| Summary | 第64-65页 |
| Chapter Ⅵ Translator's Subjectivity in Drama Translation | 第65-74页 |
| ·Complicated Reader Group of Drama | 第65-68页 |
| ·What Accounts in Drama | 第65-66页 |
| ·Consideration of Spectators in Dramatic Dialogue Translation | 第66-67页 |
| ·Translating Drama for Spectators | 第67-68页 |
| ·Translator's Subjectivity in Adaptation to TL | 第68-72页 |
| ·To Deverbalize,to Be Subjective | 第68-71页 |
| ·Subjectivity and Identity | 第71-72页 |
| ·Translating Sense and Spiritual Similarity | 第72-73页 |
| Summary | 第73-74页 |
| Conclusion | 第74-77页 |
| Bibliography | 第77-81页 |
| 中文参考书目 | 第81-83页 |
| Acknowledgements | 第83-84页 |
| Appendix | 第84-85页 |
| 附录(in Chinese) | 第85-86页 |
| 学位论文评阅及答辩情况表 | 第86页 |
