| ACKNOWLEDGEMENTS | 第8-9页 |
| ABSTRACT | 第9页 |
| 摘要 | 第10-13页 |
| CHAPTER Ⅰ INTRODUCTION | 第13-17页 |
| 1.1 Background Information | 第13-14页 |
| 1.2 Significance of the Study | 第14-15页 |
| 1.3 Thesis Structure | 第15-17页 |
| CHAPTER Ⅱ LITERATURE REVIEW | 第17-25页 |
| 2.1 Previous Study of the Translation of Children’s Films in the West | 第17-20页 |
| 2.2 Previous Study of the Translation of Children’s Films in China | 第20-25页 |
| CHAPTER Ⅲ RECEPTION AESTHETICS | 第25-33页 |
| 3.1 Background Information | 第25-26页 |
| 3.2 Theoretical Roots of Reception Aesthetics | 第26-27页 |
| 3.3 Main Ideas of Reception Aesthetics | 第27-33页 |
| 3.3.1 Reader’s Role in Reception Aesthetics | 第27-29页 |
| 3.3.2 Horizon of Expectations | 第29-31页 |
| 3.3.3 Aesthetic Distance | 第31页 |
| 3.3.4 Indeterminacy of the Text | 第31-33页 |
| CHAPTER Ⅳ ENLIGHTENMENT ON THE TRANSLATION STUDY OFCHILDREN’S FILMS | 第33-48页 |
| 4.1 Children’s Films | 第33-37页 |
| 4.1.1 Definition of Children’s Films | 第33-34页 |
| 4.1.2 Classification of Children’s Films | 第34-36页 |
| 4.1.3 Features of Children’s Films | 第36-37页 |
| 4.2 Dubbing and Its Advantages | 第37-38页 |
| 4.3 Features of Dubbing | 第38-42页 |
| 4.3.1 Lip Synchronization | 第39-41页 |
| 4.3.2 Absence of Notes | 第41-42页 |
| 4.3.3 Colloquialism | 第42页 |
| 4.4 Correlation between Reception Aesthetics and Dubbing of Children’s Films | 第42-48页 |
| 4.4.1 Implication of Horizon of Expectations | 第43-45页 |
| 4.4.2 Implication of Indeterminacy of the Text | 第45-47页 |
| 4.4.3 Implication of Aesthetic Distance | 第47-48页 |
| CHAPTER Ⅴ A CASE STUDY ON KUNG FU PANDA FROM THE PERSPECTIVE OF RECEPTION AESTHETIC | 第48-72页 |
| 5.1 A Brief Introduction to Kung Fu Panda | 第48-50页 |
| 5.2 Consistence with Dubbing Demands | 第50-60页 |
| 5.2.1 Faithfulness to the Movement of Roles’Lips | 第51-58页 |
| 5.2.1.1 The length of Speech Time | 第53-55页 |
| 5.2.1.2 The Speed of Speech | 第55-57页 |
| 5.2.1.3 The Degree of Lip-rounding | 第57-58页 |
| 5.2.2 Faithfulness to the Contents of Pictures | 第58-60页 |
| 5.3 Consistence with Linguistic Styles of Children’s Films | 第60-69页 |
| 5.3.1 Representing Humor | 第61-63页 |
| 5.3.2 Representing Roles’Disposition | 第63-64页 |
| 5.3.3 Fashionable Expressions | 第64-66页 |
| 5.3.4 Vivid Expressions | 第66-67页 |
| 5.3.5 Colloquial Expressions | 第67-69页 |
| 5.4 Domestication as the Chief Translation Strategy | 第69-72页 |
| CHAPTER Ⅵ CONCLUSION | 第72-75页 |
| 6.1 Major Findings | 第72-73页 |
| 6.2 Limitations | 第73页 |
| 6.3 Suggestions for the Further Study | 第73-75页 |
| WORKS CITED | 第75-77页 |
