| 摘要 | 第1-6页 |
| Abstract | 第6-10页 |
| Introduction | 第10-14页 |
| ·Research Background | 第10-12页 |
| ·Research Purpose | 第12页 |
| ·Research Questions | 第12页 |
| ·Research Significance | 第12-13页 |
| ·Research Methodology | 第13-14页 |
| Chapter One:Literature Review | 第14-21页 |
| ·Studies of Functional Equivalence | 第14-16页 |
| ·Studies of Drama Translation | 第16-18页 |
| ·Studies of Long Day's Journey into Night and Its Chinese Versions | 第18页 |
| ·Studies of Gao Keyi and His Translations | 第18-19页 |
| ·Summary | 第19-21页 |
| Chapter Two:Theoretical Framework | 第21-29页 |
| ·Two Different Types of Equivalence | 第21-22页 |
| ·The Improvement of the Theory of Functional Equivalence | 第22-23页 |
| ·Major Types of Functional Equivalence | 第23-25页 |
| ·Principles for Producing Functional Equivalence | 第25-26页 |
| ·Drama Translation | 第26-28页 |
| ·Summary | 第28-29页 |
| Chapter Three:Application of Nida's Theory of Functional Equivalenceto Gao Keyi's Translation of Long Day's Journey into Night | 第29-51页 |
| ·Functional Equivalence on Linguistic level | 第29-39页 |
| ·Functional Equivalence on Cultural Level | 第39-45页 |
| ·Functional Equivalence on Stylistic Level | 第45-49页 |
| ·Summary | 第49-51页 |
| Chapter Four:Proper Principles for Drama Translation Based on Nida'sTheory of Functional Equivalence | 第51-56页 |
| ·Focusing on the Receptors' Response | 第51-52页 |
| ·Being Faithful to the Source Text | 第52-54页 |
| ·Considering the Needs of Stage Performance | 第54-55页 |
| ·Summary | 第55-56页 |
| Conclusion | 第56-58页 |
| ·Major Research Findings | 第56页 |
| ·Research Implications | 第56-57页 |
| ·Research Limitations and Suggestions | 第57-58页 |
| Bibliography | 第58-60页 |
| Acknowledgements | 第60-61页 |
| About the Author | 第61页 |
