| Acknowledgements | 第5-6页 |
| 摘要 | 第6-7页 |
| Abstract | 第7-8页 |
| 1. Introduction | 第11-13页 |
| 1.1 Background of the Research | 第11-12页 |
| 1.2 Structure of the Thesis | 第12-13页 |
| 2. Literature Review | 第13-16页 |
| 2.1 Previous Studies on Drama Translation Abroad | 第13-14页 |
| 2.2 Previous Study on Drama Translation at Home | 第14-16页 |
| 3. Introduction to Changshengdian and Its Two Translations | 第16-20页 |
| 3.1 A Brief Review of Changshengdian and its Author | 第16-17页 |
| 3.2 The Two translations and Their Translators | 第17-20页 |
| 4. Reception Aesthetics and Its Application in Translation | 第20-28页 |
| 4.1 An overview of Reception Aesthetics | 第20-22页 |
| 4.2 Main Concept of Reception Aesthetics | 第22-26页 |
| 4.2.1 Horizon of Expectation | 第22-23页 |
| 4.2.2 Fusion of Horizons | 第23-24页 |
| 4.2.3 Aesthetic Experience | 第24-25页 |
| 4.2.4 Indeterminacy | 第25-26页 |
| 4.3 Application of Reception Aesthetics in Translation Studies | 第26-28页 |
| 5. Comparative Analysis of the Two Versions of Changshengdian Based on Reception Aesthetics | 第28-54页 |
| 5.1 Text Analysis of Chuanqi Drama | 第28-31页 |
| 5.1.1 Features of Chuanqi Drama at the Linguistic Level | 第28-29页 |
| 5.1.2 Features of Chuanqi Drama at the Structural Level | 第29-30页 |
| 5.1.3 Features of Chuanqi Drama at the Cultural Level | 第30-31页 |
| 5.2 Comparison of the Two Versions of Changshengdian | 第31-54页 |
| 5.2.1 Comparison on the Linguistic Level in Terms of Fusion of Horizons | 第31-47页 |
| 5.2.2 Comparison on the Cultural Level in Terms of Indeterminacy | 第47-54页 |
| 6. Conclusion | 第54-56页 |
| Bibliography | 第56-57页 |
