| ACKNOWLEDGEMENTS | 第8-9页 |
| ABSTRACT | 第9页 |
| 摘要 | 第10-13页 |
| CHAPTER Ⅰ INTRODUCTION | 第13-17页 |
| CHAPTER Ⅱ A GENERAL REVIEW ON THE STUDY OF TRANSLATION ETHICS B0TH HOME AND ABROAD | 第17-26页 |
| 2.1 Definition and Analysis of Translation Ethics | 第17-19页 |
| 2.2 Present Studies and Thoughts on Translation Ethics | 第19-24页 |
| 2.2.1 Studies on Translation Ethics Abroad | 第19-23页 |
| 2.2.1.1 Ideas on Translation Ethics by Antoine Berman | 第20页 |
| 2.2.1.2 Claims on Translation Ethics by Lawrence Venuti | 第20-21页 |
| 2.2.1.3 “The Ethics of a Translator”Proposed by Anthony Pym | 第21-23页 |
| 2.2.2 Studies on Translation Ethics at Home | 第23-24页 |
| 2.3 Andrew Chesterman’s Proposal of Five Models of Translation Ethics | 第24-26页 |
| CHAPTER Ⅲ AN OUTSTANDING PERSONAGE IN CHINESE TRANSLATION CIRCLE XU YUANCHONG | 第26-50页 |
| 3.1 Xu Yuanchong as a Translator | 第26-34页 |
| 3.1.1 A General Introduction of Xu’s Life Experience and his Prominent Accomplishments in Translation Practice | 第26-30页 |
| 3.1.2 Xu’s Extraordinary Accomplishments in Translating Classical Chinese poetry into English | 第30-31页 |
| 3.1.3 Analysis of Xu’s Motivation for Classical Chinese Poetry Translation from the Perspective of Translation Ethics | 第31-34页 |
| 3.2 Xu Yuanchong’s Contribution to Translation Theories on Literary Works | 第34-42页 |
| 3.2.1 A Comprehensive Introduction and Analysis of Xu’s Ten Theories on Literary Translation | 第35-39页 |
| 3.2.2 Specific Analysis of Xu’s “Three Beauties”Theory from the Perspective of Translation Ethics | 第39-41页 |
| 3.2.3 Specific Analysis of Xu’s “Sanzhi”Theory from the Perspective of Translation Ethics | 第41-42页 |
| 3.3 Criticisms and Disputes on Xu Yuanchong’s Translation Theories | 第42-50页 |
| CHAPTER Ⅳ COMMENTS ON XU YUANCHONG’S CLASSICAL POETRY TRANSLATION FROM THE PERSPECTIVE OF ETHICS OF REPRESENTATION | 第50-69页 |
| 4.1 Representation of Phonetic Approaches in Chinese Poetry Translation | 第51-58页 |
| 4.1.1 Verse Rendering for Verse | 第52-53页 |
| 4.1.2 Major Strategies to Achieve “Verse Rendering for Verse” | 第53-58页 |
| 4.1.2.1 By Adoption of Rhyme | 第53-55页 |
| 4.1.2.2 By Adoption of Alliteration | 第55-56页 |
| 4.1.2.3 By Adoption of Reduplicated Words | 第56-58页 |
| 4.2 Representation of Image and Artistic Conception in Chinese Poetry Translation | 第58-66页 |
| 4.2.1 The Definition of Image and Artistic Conception in Poetry | 第58-60页 |
| 4.2.2 Differences between the Two Concepts---Image and Artistic Conception | 第60页 |
| 4.2.3 Representation of Image in Poetry Translation | 第60-64页 |
| 4.2.3.1 Representation of Images of the Natural World | 第60-62页 |
| 4.2.3.2 Representation of Images of Social Life and Activity | 第62-63页 |
| 4.2.3.3 Representation of Images of Supernatural Beings or Myths | 第63-64页 |
| 4.2.4 Representation of Artistic Conception in Poetry Translation | 第64-66页 |
| 4.3 Representation of Form in Chinese Poetry Translation | 第66-69页 |
| 4.3.1 By Construction of Line Length and Antithesis | 第66-67页 |
| 4.3.2 By Adoption of Enjambement | 第67-69页 |
| CHAPTER Ⅴ CONCLUSION | 第69-71页 |
| NOTES | 第71-72页 |
| BIBLIOGRAPHY | 第72-73页 |
