| Introduction | 第1-11页 |
| Chapter One Drama translation | 第11-22页 |
| 1．1 Definition and specifics of drama translation | 第11-15页 |
| 1．1．1 A broad term | 第11-12页 |
| 1．1．2 Specifics of drama translation | 第12-14页 |
| 1．1．3 A tentative definition | 第14-15页 |
| 1．2 Literature review of drama translation: domestic and overseas | 第15-19页 |
| 1．2．1 Drama translation in China | 第15-17页 |
| 1．2．2 Drama translation in the West | 第17-19页 |
| 1．2．2．1 The linguistic trend | 第17-18页 |
| 1．2．2．2 The cultural trend | 第18-19页 |
| 1．3 Beijing Opera translation: a great task | 第19-22页 |
| 1．3．1 A brief introduction to Beijing Opera | 第19-20页 |
| 1．3．2 Beijing Opera translation | 第20页 |
| 1．3．3 Profile of Mrs． Elizabeth Wichmann-Walczak | 第20-22页 |
| Chapter Two Performability: the first prerequisite | 第22-36页 |
| 2．1 A controversial term: Bassnett versus Pavis | 第22-25页 |
| 2．1．1 Bassnett in the early 1980s | 第22-23页 |
| 2．1．2 Bassnett in the mid 1980s | 第23-24页 |
| 2．1．3 Bassnett and Pavis in the 1990s | 第24-25页 |
| 2．2 Performability: Speakability? Playability? Or Saleability | 第25-36页 |
| 2．2．1 Speakability | 第25-35页 |
| 2．2．1．1 Phonetic features of Beijing Opera Arias | 第26-27页 |
| 2．2．1．2 Further analysis of two versions | 第27-34页 |
| 2．2．1．2．1 Lexical analysis | 第27-29页 |
| 2．2．1．2．2 Syntactical analysis | 第29-31页 |
| 2．2．1．2．3 Rhythm | 第31-34页 |
| 2．2．1．3 A few techniques detected | 第34-35页 |
| 2．2．2 Payability | 第35页 |
| 2．2．3 Saleability | 第35-36页 |
| Chapter Three Acceptability: the second prerequisite | 第36-55页 |
| 3．1 The important role of the audience | 第36-37页 |
| 3．2 Cultural elements | 第37-42页 |
| 3．2．1 Definition | 第37-38页 |
| 3．2．2 Importance of culture in translation | 第38-39页 |
| 3．2．3 Domestication versus foreignization | 第39-42页 |
| 3．2．3．1 Overseas development | 第40-41页 |
| 3．2．3．2 Debate in China | 第41-42页 |
| 3．3 Six factors concerning the adoption of translation strategies | 第42-49页 |
| 3．3．1 The purpose of translation | 第43页 |
| 3．3．2 The type of text | 第43-45页 |
| 3．3．3 The intention of the author | 第45-46页 |
| 3．3．4 The readership | 第46-47页 |
| 3．3．5 Ideology | 第47-48页 |
| 3．3．6 Poetics | 第48-49页 |
| 3．4 Adopting domestication for the sake of acceptability | 第49-55页 |
| 3．4．1 Address form | 第50-51页 |
| 3．4．2 Measurement units | 第51-52页 |
| 3．4．3 Pun (Play on words) | 第52-53页 |
| 3．4．4 Allusion | 第53-55页 |
| Chapter Four A step further: aesthetic function | 第55-66页 |
| 4．1 Translation aesthetics | 第55-57页 |
| 4．1．1 Translation aesthetics in the West | 第56页 |
| 4．1．2 Translation aesthetics in China | 第56-57页 |
| 4．2 The principle of "three beauties" | 第57-66页 |
| 4．2．1 Beauty in sense | 第58-61页 |
| 4．2．1．1 Retain the original image and introduce it to the target culture | 第58-59页 |
| 4．2．1．2 Retain the image that inspires the equivalent one in the target culture | 第59-60页 |
| 4．2．1．3 Retain the image with necessary amplification | 第60-61页 |
| 4．2．2 Beauty in sound | 第61-62页 |
| 4．2．3 Beauty in form | 第62-66页 |
| 4．2．3．1 Line length | 第63页 |
| 4．2．3．2 Antithesis | 第63-66页 |
| Conclusion | 第66-67页 |
| Works Cited | 第67-70页 |
| Works Consulted | 第70-71页 |
