Abstract | 第1-6页 |
中文摘要 | 第6-7页 |
Acknowledgements | 第7-10页 |
CHAFFER ONE Introduction | 第10-15页 |
·Research Background | 第10-11页 |
·Research Questions | 第11-12页 |
·Thesis Structure and Methodology | 第12-13页 |
·Significance of the Research | 第13-15页 |
CHAPTER TWO Literature Review | 第15-22页 |
·Ancient Chinese Poetics: Primacy of Image in Ancient Chinese Poetry | 第15-16页 |
·Russian formalist view on poetry and language | 第16-18页 |
·Major translators and their translations of and commentaries on ancient Chinese poetry translation | 第18-20页 |
·Criteria for selecting materials to be analyzed in the study | 第20-22页 |
CHAPTER THREE Composition of Ancient Chinese Poetry | 第22-35页 |
·Poetry: The best words in the best order | 第22页 |
·The poetic language | 第22-32页 |
·The unity of form and spirit: Being in becoming | 第24-26页 |
·Play of the words: Ostranenie/Defamiliarization/Estrangement | 第26-29页 |
·The Chinese language: the poetic language | 第29-32页 |
·Strongly imagistic | 第30-31页 |
·Syntactically incomplete | 第31-32页 |
·Image: the universal poetry | 第32-34页 |
·Summary | 第34-35页 |
CHAFFER FOUR Translating Ancient Chinese Poetry into English | 第35-55页 |
·The translating process: releasing the spirit into a linguistic form | 第35-42页 |
·Impossible equivalence between Chinese and English verse forms | 第37-38页 |
·Meaning unfixed: Dissolution of one single invariant reading | 第38-40页 |
·Faithful image representation: Key to ancient Chinese poetry translation | 第40-42页 |
·Preservation of the original image | 第42-53页 |
·Two types of image construction in poetry | 第42-44页 |
·Pure scenery depiction | 第43页 |
·Scenery depiction combined with emotional revelation | 第43-44页 |
·Translating image-constructing verse lines | 第44-51页 |
·Macro level operation: Sequence of image presentation | 第45-47页 |
·Micro level operation: Word order and mode of combination | 第47-51页 |
·The translator's transgression in structural modification | 第51-53页 |
·Summary | 第53-55页 |
CHAPTER FIVE Conclusion | 第55-60页 |
Bibliography | 第60-62页 |