| 摘要 | 第1-6页 |
| Abstract | 第6-14页 |
| Introduction | 第14-20页 |
| ·The Background of the Study | 第14-17页 |
| ·The Significance of the Study | 第17-18页 |
| ·The Layout of the Thesis | 第18-20页 |
| Chapter 1 Theory of Artistic Conception | 第20-40页 |
| ·Origin and Development of the Theory of Artistic Conception | 第20-24页 |
| ·Definition of Artistic Conception | 第24-26页 |
| ·Components of Artistic Conception | 第26-40页 |
| ·Imageries | 第26-35页 |
| ·Imageries and Artistic Conception | 第27-29页 |
| ·Classification of Imageries | 第29-32页 |
| ·Combination of Imageries | 第32-35页 |
| ·Emotion | 第35-37页 |
| ·"Imageries beyond Imageries" | 第37-40页 |
| Chapter 2 General Charateristics of Artistic Conception and Their Transference in the Translation of CCP | 第40-110页 |
| ·Emotion and Scenes Fused in Expression and Its Transference | 第41-66页 |
| ·Types of the Fusion of Emotion and Scenes | 第43-49页 |
| ·Emotion and Scenes Happily Blended into a Whole | 第43-45页 |
| ·Fusing Emotion into Scenes | 第45-47页 |
| ·Viewing Scenes from Emotion | 第47-49页 |
| ·Translator's Subjective Role in the Transference of Emotion and Scenes Fused in Expression | 第49-57页 |
| ·Completely Comprehending Imageries in Artistic Conception of the Original Poem | 第50-54页 |
| ·Adopting Empathy to Translate Emotion with Emotion | 第54-57页 |
| ·Methods of Reproducing the Fusion of Emotion and Scenes in Translation Practice | 第57-66页 |
| ·Using Dangling Participle to Translate Double Meanings | 第58-60页 |
| ·Diluting the Human Role | 第60-62页 |
| ·Translating Seasons Out | 第62-64页 |
| ·Rendering Imageries'Strong Degree of Fragrance with Enduring Time | 第64-66页 |
| ·Mutual Creation of the Actual and the Virtual in Structure and Its Transference | 第66-91页 |
| ·Deconstruction of Artistic Conception | 第67-78页 |
| ·Actual Realm | 第69-72页 |
| ·Virtual Realm | 第72-75页 |
| ·Inseparability of Actual and Virtual Realm | 第75-78页 |
| ·Translator's Subjectivity in the Transference of Mutual Creation of the Actual and the Virtual in Structure | 第78-83页 |
| ·Giving a Full Play to Imagination | 第79-81页 |
| ·Retaining TL Readers'Freedom of Imagination | 第81-83页 |
| ·Strategies of Reproducing Mutual Creation of the Actual and the Virtual in the Translation Practice | 第83-91页 |
| ·Transferring the Ways of Combination of Imageries | 第83-86页 |
| ·Preserving a Proper Degree of Fuzzy Beauty | 第86-91页 |
| ·The Lingering Taste in Aesthetics and Its Transference | 第91-110页 |
| ·Lingering Taste in Artistic Conception | 第92-94页 |
| ·Lingering Taste and Vacancy of Artistic Conception | 第94-95页 |
| ·Translator's Aesthetic Subjectivity in the Transference of Lingering Taste in the Translation of CCP | 第95-102页 |
| ·Translator's Subjective Aesthetic Re-creation | 第96-99页 |
| ·Keeping an Appropriate Aesthetic Distance for TL Readers | 第99-102页 |
| ·Transference of Vacancy to Retain the Lingering Taste of the Original | 第102-110页 |
| ·Semantic Vacancy and Its transference | 第102-105页 |
| ·Syntactic Vacancy and Its Transference | 第105-107页 |
| ·Structural Vacancy and Its transference | 第107-110页 |
| Chapter 3 Reproduction of Artistic Conception in the English Versions of The Moon over the River on a Spring Night | 第110-124页 |
| ·Appreciation of the Original Poem | 第110-113页 |
| ·Comparison and Appreciation of Two Versions of the Poem | 第113-124页 |
| Conclusion | 第124-127页 |
| Notes | 第127-131页 |
| Bibliography | 第131-135页 |
| Acknowledgements | 第135-136页 |
| 攻读学位期间主要的研究成果 | 第136页 |
