| Abstract (in English) | 第1-6页 |
| Abstract (in Chinese) | 第6-10页 |
| Chapter One Introduction | 第10-12页 |
| Chapter Two Facts about Classical Chinese Poetry | 第12-22页 |
| ·Chinese perception of poetry | 第12-15页 |
| ·Poetry and emotion | 第12-14页 |
| ·Poetry and painting | 第14-15页 |
| ·Major modes and genres of classical Chinese poetry | 第15-18页 |
| ·Distinctive features of classical Chinese poetry | 第18-22页 |
| Chapter Three Openness in Classical Chinese Poetry | 第22-45页 |
| ·Openness—a concept of classical Chinese poetics | 第22-25页 |
| ·Openness—an aesthetic category of classical Chinese poetics | 第25-35页 |
| ·Relation between openness and aesthetics | 第26-27页 |
| ·Origin of openness as a classical Chinese aesthetic category | 第27-30页 |
| ·A diachronic approach to "ideorealm"—a core variant of openness in classical Chinese aesthetics | 第30-35页 |
| ·The historical lineage of Openness in classical Chinese poetry | 第35-45页 |
| ·The source and archetype of openness in classical Chinese literary tradition | 第35-40页 |
| ·Major variants of openness in ancient Chinese poetics and poetry | 第40-45页 |
| ·From "concealed beauty" to "double intensions" and "multiple meanings" | 第40-43页 |
| ·From "subtle reserve" to "endless meanings" | 第43-45页 |
| Chapter Four The Means of Realizing Openness in Classical Chinese Poetry | 第45-58页 |
| ·Openness resulting from syntactic flexibility | 第45-48页 |
| ·Openness brought about by the absence of personal pronouns | 第48-53页 |
| ·Openness created by using allusions | 第53-58页 |
| Chapter Five Concluding Remarks | 第58-60页 |
| Bibliography | 第60-64页 |
| Appendix 1 | 第64-68页 |
| Appendix 2 | 第68-69页 |
| Acknowledgements | 第69页 |
