| ACKNOWLEDGEMENTS | 第4-5页 |
| ABSTRACT | 第5-6页 |
| ABSTRACT IN CHINESE | 第7-11页 |
| Chapter I INTRODUCTION | 第11-23页 |
| 1.1 Research Background | 第11-12页 |
| 1.2 Research Significance | 第12页 |
| 1.3 Research Subjects | 第12-16页 |
| 1.4 Theoretical Basis | 第16-21页 |
| 1.4.1 Medio-Translatology | 第16-18页 |
| 1.4.2 Robert Escarpit’s“Creative Treason” | 第18-20页 |
| 1.4.3 Andre Lefevere’s Manipulation Theory | 第20-21页 |
| 1.5 Thesis Structure | 第21-23页 |
| Chapter II LITERATURE REVIEW | 第23-30页 |
| 2.1 Studies on English Translations of Mao Zedong’s Poetry at Home | 第23-27页 |
| 2.2 Studies on English Translations of Mao Zedong’s Poetry Abroad | 第27-28页 |
| 2.3 Summary | 第28-30页 |
| Chapter III THE OVERSEA RECEPTION OF THE FOUR ENGLISH TRANSLATIONS OF MAO ZEDONG’S POETRY | 第30-40页 |
| 3.1 The Preface and Postscript of the Four English Translations of Mao Zedong’s Poetry | 第30-36页 |
| 3.1.1 The Preface of Jerome Ch’ên Version: Mao, the Revolutionist and Poet | 第30-31页 |
| 3.1.2 The Preface and Postscript of Hualing Nieh’s Version: Mao, the Politician and Militarist | 第31-33页 |
| 3.1.3 The Preface and Postscript of Willis Barnstone’s Version: Mao, an Easy Poet | 第33-34页 |
| 3.1.4 The Preface and Postscript of Wang Huiming’s Version: Mao, the Calligrapher and Poet | 第34-36页 |
| 3.2 Oversea Readers’ Reception to the Four English Translations of Mao Zedong’s Poetry | 第36-40页 |
| 3.2.1 Oversea readers’ reception to Jerome Ch’ên’s Mao and the Chinese Revolution | 第36-37页 |
| 3.2.2 Oversea readers’ reception to Hualing Nieh’s Poems of Mao Tse-Tung | 第37-38页 |
| 3.2.3 Oversea readers’ reception to Willis Barnstone’s The Poems of Mao Tse-Tung | 第38页 |
| 3.2.4 Oversea readers’ reception to Wang Huiming’s Ten Poems and Lyrics by Mao Tse-Tung | 第38-40页 |
| Chapter IV THE CREATIVE TREASON IN THE FOUR ENGLISH TRANSLATIONS OF MAO ZEDONG’S POETRY | 第40-75页 |
| 4.1 The Creative Treason in the Translating of the Forms | 第40-52页 |
| 4.1.1 The creative treason in translating the visual forms | 第40-48页 |
| 4.1.2 The creative treason in translating the auditory forms | 第48-52页 |
| 4.2 The Creative Treason in the Translating of the Imagery | 第52-64页 |
| 4.2.1 The creative treason in translating with figures of speech | 第52-59页 |
| 4.2.2 The translating of Chinese allusions | 第59-64页 |
| 4.3 The Creative Treason in the Translating of Cultural Elements | 第64-75页 |
| 4.3.1 The translating of color vocabulary | 第64-68页 |
| 4.3.2 The translating of Chinese numerals and measure words | 第68-75页 |
| Chapter V THE MANIPULATION BEHIND THE FOUR ENGLISH TRANSLATIONS OF MAO ZEDONG’S POETRY | 第75-95页 |
| 5.1 The Manipulation of the Ideology | 第75-77页 |
| 5.1.1 The ideological influence from Chinese government | 第75-76页 |
| 5.1.2 The ideological influence from the foreign policy of the U.S | 第76-77页 |
| 5.2 The Manipulation of the Poetics | 第77-90页 |
| 5.2.1 Functional component: Mao’s poetry in translators’ mind | 第78-87页 |
| 5.2.2 Inventory component : translation poetics | 第87-90页 |
| 5.3 The Manipulation of the Patronage | 第90-95页 |
| 5.3.1 The patronage of Jerome Ch’ ên and Michael Bullock’s translation | 第91-92页 |
| 5.3.2 The patronage of Hualing Nieh Engle and Paul Engle’s translation | 第92-93页 |
| 5.3.3 The patronage of Willis Barnstone and Ko Ching-po’s translation | 第93-94页 |
| 5.3.4 The patronage of Wang Huiming’s translation | 第94-95页 |
| CONCLUSION | 第95-98页 |
| WORKS CITED | 第98-100页 |
