| 摘要 | 第5-6页 |
| Abstract | 第6-7页 |
| Chapter 1 Introduction | 第9-14页 |
| 1.1 Background of the Research | 第9-10页 |
| 1.2 Significance of the Research | 第10-12页 |
| 1.3 Research Questions and Methodology | 第12-13页 |
| 1.4 Thesis Structure | 第13-14页 |
| Chapter 2 Literature Review | 第14-24页 |
| 2.1 Introduction of Translation Aesthetics | 第14-19页 |
| 2.1.1 Origin and Main Concepts of Translation Aesthetics | 第14-17页 |
| 2.1.2 Contemporary Systematic Theory of Translation Aesthetics | 第17-19页 |
| 2.2 Previous Studies on Drama Translation and Drama Aesthetics | 第19-24页 |
| 2.2.1 Early Fundamental Drama Researches | 第20-21页 |
| 2.2.2 Researches on Drama Translation Aesthetics and Translation ofShakespeare’s Drama | 第21-24页 |
| Chapter 3 Translation Aesthetic Constituents of Drama in Shakespeare’s Othello | 第24-38页 |
| 3.1 Drama Translation Aesthetics | 第24-26页 |
| 3.1.1 Unique Features of Drama Text | 第24-25页 |
| 3.1.2 Translation Aesthetic Constituents of Drama | 第25-26页 |
| 3.2 Analysis on Translation Aesthetic Constituents of Drama in the Source Text ofOthello | 第26-38页 |
| 3.2.1 Poetic Goodness | 第27-30页 |
| 3.2.2 Performing Goodness | 第30-35页 |
| 3.2.3 Cultural Foreign Goodness | 第35-38页 |
| Chapter 4 Representation of Translation Aesthetic Constituents of Drama in ZhuShenghao’s Translation of Othello | 第38-48页 |
| 4.1 Aesthetic Representation of Poetic Goodness | 第38-42页 |
| 4.1.1 Conversation between the Duke and Brabantio | 第39-40页 |
| 4.1.2 Ragged Verse composed by Iago | 第40-42页 |
| 4.2 Aesthetic Representation of Performing Goodness | 第42-45页 |
| 4.2.1 Conversation between Iago and Roderigo | 第42-43页 |
| 4.2.2 Words of Othello and Desdemona | 第43-45页 |
| 4.3 Aesthetic Representation of Cultural Foreign Goodness | 第45-48页 |
| 4.3.1 Allusion from Religion and Historical Figures | 第46-47页 |
| 4.3.2 Story about the Handkerchief | 第47-48页 |
| Conclusion | 第48-50页 |
| References | 第50-53页 |
| Appendix A 攻读学位期间所发表的学术论文 | 第53-54页 |
| Appendix B 详细中文摘要 | 第54-57页 |
| Acknowledgements | 第57页 |
