| 中文摘要 | 第1-5页 |
| ABSTRACT | 第5-8页 |
| CHAPTER ONE INTRODUCTION | 第8-11页 |
| CHAPTER TWO THEORIES AND THOUGHTS OF CI-POETRY TRANSLATION | 第11-20页 |
| ·The Origin and Development of Ci-poetry | 第11-13页 |
| ·Theories and Thoughts on Poetry Translation | 第13-20页 |
| ·Poetry Should be Translated by Poet | 第15页 |
| ·Faithfulness, Expressiveness and Elegance | 第15-16页 |
| ·Free Version and Rhymed Version | 第16-17页 |
| ·Equivalence Theory and Poetry Translation | 第17页 |
| ·Folk Semantics or Semantic Feature | 第17-18页 |
| ·Metaphor and Ci-poetry Translation | 第18页 |
| ·Art of Beautifulization and Creation of the Best as in Rivalry | 第18-19页 |
| ·Cognitive Perspective on Poetry Translation | 第19-20页 |
| CHAPTER THREE CONTEXT OF CULTURE AND TRANSLATION | 第20-34页 |
| ·Context | 第20-27页 |
| ·The Definition of Context | 第20-21页 |
| ·The History and Classification of Context | 第21-27页 |
| ·Context of Culture | 第27-29页 |
| ·The Definition of Context of Culture | 第27页 |
| ·The Levels of Context of Culture | 第27-29页 |
| ·Context of Culture and Translation | 第29-34页 |
| CHAPTER FOUR CONTEXT OF CULTURE AND CI-POETRY TRANSLATION—A CASE STUDY | 第34-45页 |
| ·Cultural Context of To the Tune of Slow, Slow Song | 第35-37页 |
| ·The Version of Kenneth Rexroth | 第37-38页 |
| ·The Version of Dai Naidie (Gladys Yang) | 第38-40页 |
| ·The Version of Xu Yuanzhong | 第40-41页 |
| ·Analysis of the Three Versions from the Five Levels of Context of Culture | 第41-45页 |
| CHAPTER FIVE CONCLUSION | 第45-46页 |
| ACKNOWLEDGEMENTS | 第46-47页 |
| REFERENCES | 第47-51页 |
| APPENDIX | 第51-52页 |
| 独创性声明 | 第52页 |
| 学位论文版权使用授权书 | 第52页 |
