莎士比亚在中国

Preface

Textual Notes

Introduction

Chapter 1 The History of China's Reception of Shakespeare

1.1 Initial Phasefrom the Mid-19th Century to the Turn of the 20th Century）

1.2 Transitional Phasefrom 1903 to 1920）

1.3 Real Beginnings of Chinese Shakespearefrom 1921 to 1949）

1.4 Dawning of Chinese Shakespearean Criticism in the 1950s）

1.5 A Halt to Shakespearean Studiesduring the Cultural Revolution of 1966 to 1976）

1.6 Resuscitation of Shakespearean Studies after the Cultural Revolution）

1.7 The Flowering of Shakespearean Studiesfrom the 1980s to the End of the 20th Century）

1.8 A Promising Future of Chinese Shakespearethe 21st Century）

Chapter 2 Similarities between Shakespearean and Traditional Chinese Theatre

2.1 Script

2.1.1 Source

2.1.2 Structure

2.1.3 Imperial Theme

2.2 Stage

2.2.1 Verbal Image

2.2.2 Supernatural Elements

2.2.3 Use of Aside or Soliloquy

2.2.4 Free Deployment of Time and Space

Chapter 3 Shakespeare,an Translations in China

3.1 Difficulties in Translating Shakespeare

3.1.1 Language Divergences

3.1.2 Cultural Differences

3.2 Methods of Rendering Shakespeare

3.2.1 Chinese Translation Theory

3.2.2 Translating Methods

3.3 Literary Forms in Translating Shakespeare

3.3.1 Fiction Form

3.3.2 Prose Form

3.3.3 Verse Form

3.4 Rendering Complete Plays of Shakespeare ！

3.4.1 Cao Weifeng

Chapter 4 Shakespearean Criticism in China

Chapter 5 Performing Shakespeare on the

Chapter 6 Chinese Productions of Shakespeare

Conclusion

Bibliography

Glossary

Acknowledgements

《莎士比亚在中国》对莎士比亚进行了研究。

Dr. Yanna Sun has undertaken the challenging task to document the culturaland literary exchange between Chinese artists, translators and theatredirectors on the one hand, and English-speaking Shakespearean scholars ofthe West on the other. Thus her book embarks on an important but hithertorather marginalized topic. She does this with an unusual commitment toscholarly learning, going beyond Zhang Xiaoyang's study Shakespeare in China