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

　　    孙艳娜，1971年生，河南郑州人。郑州轻工业学院外语系校聘副教授。先后获河南大学文学学士学位，德雷斯敦工业大学文学硕士学位和文学博士学位。研究方向为莎士比亚在中国、英美文学。归国两年先后在国内外期刊发表专业论文数篇，完成河南省教育厅人文社科课题一项，河南省哲学社会科学规划项目正在研究之中。

　　《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