| Acknowledgements | 第5-6页 |
| 中文摘要 | 第6-8页 |
| Abstract | 第8-9页 |
| 1. Introduction | 第12-16页 |
| 1.1 Aim and significance | 第12-13页 |
| 1.2 The research background | 第13-14页 |
| 1.3 Structure of the thesis | 第14-16页 |
| 2. Literature review | 第16-18页 |
| 2.1 Previous studies abroad | 第16页 |
| 2.2 Previous studies at home | 第16-18页 |
| 3. Comparison of Pound's imagery and Chinese classical imagery | 第18-54页 |
| 3.1 The comparison of the developmental process | 第18-32页 |
| 3.1.1 The development of Chinese classical imagery | 第18-24页 |
| 3.1.2 Development of Pound's Imagism | 第24-32页 |
| 3.2 Comparison of the fusion of the objective with the subjective | 第32-46页 |
| 3.2.1 The evolution of the relationship between natural scenery and the human emotion in Chinese classical poetics | 第32-34页 |
| 3.2.2 Important poetic theories concerning the fusion of subjective and objective in ancient Chinese aesthetic history | 第34-42页 |
| 3.2.3 Comparison of Pound's fusion of the subjective with the objective and that of the Chinese classical poetry | 第42-46页 |
| 3.3 Comparison of the deepening of the two imageries:vortex vs.ideorealm | 第46-54页 |
| 3.3.1 Vortex | 第46-47页 |
| 3.3.2 Ideorealm | 第47-54页 |
| 4. Reanalysis of Pound's creative rewriting of Chinese imagery in Cathay | 第54-64页 |
| 4.1 Juxtaposition of images | 第54-57页 |
| 4.2 Addition of enjambment | 第57-59页 |
| 4.3 Application of disembodiment | 第59-63页 |
| 4.4 Summary | 第63-64页 |
| 5. Conclusion | 第64-66页 |
| Bibliography | 第66-67页 |
