| Abstract | 第1-11页 |
| Chapter 1: Introduction | 第11-24页 |
| 1．1 Research Background | 第11-19页 |
| 1．1．1 Brief Introduction to 'The Unbearable Lightness of Being' | 第11-12页 |
| 1．1．2 Early Translation and Publication of Kundera's Novels in China | 第12-14页 |
| 1．1．3 Literature Study of Kundera in China (1987-1992) | 第14-17页 |
| 1．1．4 Problems in Literature Study of Milan Kundera | 第17-19页 |
| 1．2 Research Issues | 第19-20页 |
| 1．3 Methodology | 第20-21页 |
| 1．4 Thesis Structure | 第21-22页 |
| 1．5 Data Collection | 第22-24页 |
| Chapter 2: Literature Review | 第24-39页 |
| 2．1 From Fidelity to "Content and Form" | 第24-25页 |
| 2．2 Conveying the 'Message' of the Original | 第25-29页 |
| 2．2．1 Nida & Taber: Message, Dynamic Equivalence | 第26-28页 |
| 2．2．2 Beekman & Callow: The Idiomatic Translation Approach | 第28-29页 |
| 2．2．3 Larson: An Extension to the Idiomatic Translation Approach | 第29页 |
| 2．3 A Brief Summary of Dynamics Approaches to Translation | 第29-30页 |
| 2．4 Gutt: Explanation of 'Dynamics' in Relevance Theory | 第30-32页 |
| 2．5 Basil Hatim & Ian Mason's Views on "content and form" | 第32-39页 |
| 2．5．1 Form versus Content: the Translation of Style | 第32-33页 |
| 2．5．2 Redefinition of 'Style' | 第33-34页 |
| 2．5．3 Meaning Potential | 第34-35页 |
| 2．5．4 "Structure and Meaning" in the Eyes of Linguistics and Translators | 第35-37页 |
| 2．5．5 "Content and Form" in Discourse Texture | 第37-39页 |
| Chapter 3: Theoretical Discussions | 第39-55页 |
| 3．1 A brief history of poetics | 第39-45页 |
| 3．1．1 The Origin of Poetics | 第40-42页 |
| 3．1．2 Russian Formalism Poetics | 第42-44页 |
| 3．1．3 Jakobson: Linguistics and Poetics | 第44-45页 |
| 3．2 Henri Meschonnic's "Thirty-Six Propositions" | 第45-50页 |
| 3．2．1 The "Home" of Poetics of Translation and Translation theory | 第45-47页 |
| 3．2．2 What Is Translating? | 第47-48页 |
| 3．2．3 Criticism of Nida's "Content and Form" Dichotomy | 第48-50页 |
| 3．3 Mechonnic's Poetics Translation Theory | 第50-53页 |
| 3．4 A Brief Summary of Theoretical Discussions | 第53-55页 |
| Chapter 4: Reading 'Fhe Unbearable Lightness of Being' by Kundera | 第55-71页 |
| 4．1 Chapter's Declaration | 第55页 |
| 4．2 Story: 'The Unbearable Lightness of Being' | 第55-56页 |
| 4．3 Artistic Technique in the Novel: Polyphony and Its Spatial Form | 第56-64页 |
| 4．3．1 History of Polyphony in Novels | 第58-60页 |
| 4．3．2 Polyphony in the Novel and its Spatial Effects | 第60-64页 |
| 4．4 The Exploration of the Novel's "Unified Aesthetic Impression" | 第64-71页 |
| 4．4．1 Artistic Technique: Just a "Hide-and-Seek" Game? | 第64-65页 |
| 4．4．2 Philosophical Research into 'Being'---Hidden behind Artistic Technique | 第65-68页 |
| 4．4．3 Discovery of the "Unified Aesthetic Impression" | 第68-71页 |
| Chapter 5: Translation's Production of "Unified Aesthetic Impression" | 第71-93页 |
| 5．1 Chapter's Declaration | 第71-72页 |
| 5．2 The Comparison between Source Texts and Translations | 第72-93页 |
| 5．2．1 From Polyphony of Different Genres to Translators' Genre Decetrement | 第72-77页 |
| 5．2．1．1 A Brief Introduction to Polyphony of Different Genres | 第72-75页 |
| 5．2．1．2 Analysis of Example 1 | 第75-77页 |
| 5．2．2 From Polyphony of Narrative Perspective to Translators' Philosophical Attitudes | 第77-88页 |
| 5．2．2．1 A Brief Introduction to polyphony of narrative perspective | 第77-82页 |
| 5．2．2．2 Analysis of Example 2 | 第82-88页 |
| 5．2．3 From Polyphony of Narrative Rhythm to Translators' Emotional Involvement | 第88-93页 |
| 5．2．3．1 A Brief Introduction to Narrative Rhythm and Emotional Space | 第88-91页 |
| 5．2．3．2 Analysis of Example 3 | 第91-93页 |
| Chapter 6: Conclusion | 第93-97页 |
| 6．1 Summary of the Thesis | 第93-94页 |
| 6．2 Limitations: Fatal Weakness of Poetics Translation as a Theory | 第94-95页 |
| 6．3 Proposals for Further Research and Study | 第95-97页 |
| Appendix | 第97-100页 |
| Bibliography | 第100-109页 |
