| 摘要 | 第4-5页 |
| Abstract | 第5-6页 |
| Introduction | 第9-20页 |
| 01. Research Background | 第9-10页 |
| 02. Literature Review | 第10-14页 |
| 03. Significance and Research Method of the Thesis | 第14-16页 |
| 04. Structure of the Thesis | 第16-20页 |
| Chapter One Theoretical Framework of the Thesis | 第20-31页 |
| 1.1 A Brief Introduction to Western Centralism | 第20-22页 |
| 1.2 Fusion of Horizons in Translation | 第22-25页 |
| 1.3 Relevant Concepts of Fusion of Horizons | 第25-31页 |
| 1.3.1 Horizons of Expectations | 第25-26页 |
| 1.3.2 The Implied Readers | 第26-28页 |
| 1.3.3 Full-fusion of Horizons, Partial-fusion of Horizons and Zero-fusion ofHorizons | 第28-31页 |
| Chapter Two Full-fusion of Horizons in Retaining the Stereotypes | 第31-42页 |
| 2.1 Full-fusion of Horizons in Reproducing the Exotic and Tragic Images of OrientalWomen | 第31-34页 |
| 2.2 Full-fusion of Horizons in Re-presenting the Uglified and Demonized Images ofChinese Coolies | 第34-38页 |
| 2.3 Full-fusion of Horizons in Reserving the Savior Images of the Westerners | 第38-42页 |
| Chapter Three Partial-fusion of Horizons in Cutting the Virtues of Heroine34 | 第42-50页 |
| 3.1 Partial-fusion of Horizons in Omitting the Depiction of the Heroine’sCounterattack with Endurance | 第42-45页 |
| 3.2 Partial-fusion of Horizons in Simplifying the Depiction of the Heroine’s Forgiveness | 第45-47页 |
| 3.3 Partial-fusion of Horizons in Deformalizing the Depiction of the Heroine’s Maternity | 第47-50页 |
| Chapter Four Zero-fusion of Horizons in Diverging the CulturalConnotations of Fusang | 第50-59页 |
| 4.1 Zero-fusion of Horizons in Rewriting the Title — from Fusang to The Lost Daughterof Happiness | 第50-55页 |
| 4.2 Zero-fusion of Horizons in Erasing Fusang’s Female Buddha Image | 第55-59页 |
| Conclusion | 第59-62页 |
| Works Cited | 第62-65页 |
| Acknowledgements | 第65-66页 |
| Informative Abstract in Chinese | 第66-70页 |
| Résumé and Publications since Entering the Program | 第70页 |
