| Acknowledgements | 第6-7页 |
| 摘要 | 第7-8页 |
| Abstract | 第8-9页 |
| Introduction | 第11-17页 |
| Chapter One The Feasibility of Adaptation | 第17-29页 |
| 1 Theatrical Interpretations of Shakespeare’s plays on Chinese Operatic Stage | 第17-24页 |
| 1.1 The Boom of Chinese Operatic Adaptations of Shakespeare’s Plays | 第17-22页 |
| 1.2 The Story of the Bloody Hands and A Man’s Woman | 第22-24页 |
| 2 The Feasibility of the Adaptation of Macbeth for Kunqu Opera | 第24-29页 |
| 2.1 Similarities and Parallels between Shakespearean Plays and Chinese Operas | 第25-27页 |
| 2.2 The Affinities between Macbeth and Kunqu Opera | 第27-29页 |
| Chapter Two The Preservation of the Substance of Shakespearean Tragic Figures | 第29-39页 |
| 1 The Lady in A Man’s Woman — a Shakespearean Tragic Figure in General | 第29-32页 |
| 2 The Brilliance of Humanity in A Man’s Woman | 第32-39页 |
| 2.1 Lady Macbeth — A Woman of Common Humanity | 第32-36页 |
| 2.2 The Lady in A Man’s Woman — An Incarnation of Female Affection | 第36-39页 |
| Chapter Three Love vs. Ambition: Thematic Innovation of A Man’s Woman | 第39-48页 |
| 1 Lady Macbeth’s Wild Ambition | 第39-41页 |
| 2 ‘Biyiniao’ and ‘Lianlizhi”: Literary and Cultural Origins of the Concept of Love in A Man’sWoman | 第41-44页 |
| 3 Intercultural Significances of the Innovation | 第44-48页 |
| 3.1 The Significance of A Man’s Woman for Shakespeare’s Plays | 第45页 |
| 3.2 A Farewell to ‘Wang Baochuan’: The Significance of A Man’s Woman for ChineseOperas | 第45-48页 |
| Conclusion | 第48-50页 |
| Bibliography | 第50-53页 |
