| Acknowledgements | 第1-6页 |
| 摘要 | 第6-7页 |
| Abstract | 第7-9页 |
| Chapter One Introduction | 第9-19页 |
| ·Brief Introduction to Reception Aesthetics Theory | 第9-14页 |
| ·Formation of Reception Aesthetics Theory | 第9-10页 |
| ·Wolfgang Iser and His Core Concept | 第10-12页 |
| ·Wang Guowei and His Core Concept | 第12-14页 |
| ·Introduction to John Ronald Reuel Tolkien and The Lord of the Rings | 第14-15页 |
| ·Literature Review and Significance of the Thesis | 第15-19页 |
| Chapter Two The Lord of the Rings in China: Viewed by the Reception Aesthetic Theory | 第19-41页 |
| ·The Vision of The Narrator—Specialized Writer | 第19-23页 |
| ·The Vision of The Character—Personal State and Impersonal State | 第23-28页 |
| ·Personal State—Frodo | 第23-26页 |
| ·Impersonal State——Aragorn | 第26-28页 |
| ·The Vision of The Plot—Negative Aesthetic | 第28-35页 |
| ·The Incarnation of Gandalf——From grey to white | 第29-31页 |
| ·Helm‘s Deep——Turn the Tide | 第31-33页 |
| ·The Reverse Ending——Gollum destroyed the Ring | 第33-35页 |
| ·The Vision of The Reader—Descriptive state and Creative state | 第35-41页 |
| ·Descriptive State: Immense Forest | 第36-38页 |
| ·Creative State: Heavenly Places | 第38-41页 |
| Chapter Three Basic Motifs for the Aesthetic Pursuit of Chinese Readers | 第41-46页 |
| ·Basic Motif: Good and Evil | 第41-43页 |
| ·Basic Motif: Home Consciousness | 第43-46页 |
| Chapter Four Conclusion | 第46-48页 |
| Bibliography | 第48-51页 |
| 发表论文和科研情况说明 | 第51-52页 |
