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Chapter 1 Introduction
1£®1 Research Background
1£®2 Theoretical Framework
1£®3 Methodology and Data Collection
1£®4 Significance of the Research
1£®5 Outline of the Research

Chapter 2 Literature Review
2£®1 Style and Translation
2£®1£®1 Studies of the Style
2£®1£®2 Previous Studies of the Stylistic Reproduction in Trailslation
2£®2 Drama and Translation
2£®2£®1 Definitions of Drama
2£®2£®2 Drama Translation
2£®2£®3 Previous Studies on Drama Translation Abroad
2£®2£®4 Previous Studies on Drama Translation at Home
2£®3 Stylistic Reproduction in Drama Translation
2£®4 Summary

Chapter 3 Reproduction of Stylistic Markers in Drama Translation
3£®1 Formal Markers
3£®1£®1 Phonological Markers
3£®1£®2 Register Markers
3£®1£®3 Syntactic Markers
3£®1£®4 Lexical Markers
3£®1£®5 Textual Markers
3£®1£®6 Rhetorical Markers
3£®2 Non-Formal Markers
3£®2£®1 Manners of Expression
3£®2£®2 Inner Qualities
3£®2£®3 Visual Fusion of Receptors
3£®3 Summary

Chapter 4 Reproduction of Stylistic Markers in Drama Translation£º A Case Study of C-E Translation of Cha Guan
4£®1 Introduction of Cha Guan and Its Two English Versions
4£®1£®1 LaoSheand Cha Guan
4£®1£®2 Ying Ruocheng' s Version of Cha Guan
4 1£®3 John Howard-Gibbon' s Version of Cha Guan
4£®2 A Contrastive Study of Ying' s Version and Howard' s Version
4£®2 1Formal Markers
4£®2£®2 Non-Formal Markers
4£®3 Theoretical Implications
4£®3£®1 Principle of Adaptability
4£®3£®2 Translator' s Personality
4£®3£®3 Receptor-Oriented Principle
4£®3£®4 Principle of Integrity
4£®4 Summary

Chapter 5 Conclusion
5£®1 Findings and Significances
5£®2 Limitations and Suggestions
References