《格式塔意象传译的认知翻译过程及认知翻译策略研究》从认知翻译学的角度出发，结合认知语言学、认知心理学的相关概念与理论，采用质性研究方法，以许渊冲所译的中国古典涛词为例，探讨格式塔意象的认知翻译过程和认知翻译策略问题。具体关注译者如何识解源文本中的格式塔意象，并在目标文本中对之进行构建，以及译者采取了何种认知翻译策略，其认知理据又是什么。
　　《格式塔意象传译的认知翻译过程及认知翻译策略研究》通过对格式塔意象传译的研究，主要揭示了译者在格式塔意象传译时的认知心理活动及其规律，总结了多项认知翻译策略。对不同译文的对比研究表明，这些策略在具体的文学翻译实践中切实可行，效果良好。相关研究成果不仅为文学翻译的认知心理研究提供了有价值的参考，对翻译实践也具有重要的指导意义。

　　Structuralistic linguistics believes that language is a true-to-life reflection of the objective world.However，the research on the subjectivity of human beings as cognitive subjects has not been deeply conducted yet in its research field（Newman，2001）.With the revival of humanism，increasing attention has been paid to human beings as cognitive subjects.Cognitive linguistics holds that language is not just a mirror image of the objective world.It is impossible for human beings to understand the objective world without the involvement and effect of their subjective factors，namely，a"reality-cognition-language"process.In other words，the conceptualization of the objective world itself is construed by human being's subjective cognitive processing.Thus construal theory was proposed by Langacker （1987）.He defined construal as a cognitive ability that human being choose different perspectives on the same scene in different scope with different salient point in order to achieve the comprehension of certain scene.This process is to some extent potentially of highly subjective.Conceptualization and categorization，as two important notions in cognitive linguistic，provide a cognitive basis and explanations for construal of image-G which will be illustrated as following.
　　One fundamental viewpoint of cognitive linguistics is that human have no access to a reality independent of human conceptual structure.A feature of linguistic scene is a general commitment to cognitive realism，in other words，to the study that language is a conceptual or cognitive phenomenon.To be sure，on the premise of that language is a conceptual phenomenon，the every phase of language usage will be simplified in presentation or analysis，ultimately，to matters of mental processing.In particular，meaning will be constructed in terms of mental processing.As a matter of fact，Langacker（1996）equated the construal of linguistic items with conceptualization.Conceptualization is almost regarded as identical to cognitive processing and mental experience in the sense that it requires，which is closely related with human mental experience.Thus linguistic meanings are a function of both the conceptual content evoked in human mind and the construal imposed on that content.Meaning construction provides evidence that encyclopedic knowledge of human being's conceptual system is reflected in construal process，including inferencing strategies concerning various aspects of conceptual system，framework and system.The dynamic characteristics of meaning construction have been most profoundly analyzed by Fauconnier （2005）.He demonstrated the functional flow of dynamic construction which involves conceptual interrelatedness between individual mental spaces and conceptual groupings of information.It is accumulated throughout the conceptual process of semantic construction.In sum，perception and conceptioncan be considered as parallel.
　　Thus，it could be concluded that image-G is not objectively given，but subjectively constructed.Even for expressions pertaining to object reality in literary works，they are realized by describing the cognitive routines that constitute a translator's construal of it.The subject matter of semantic analysis of image-G is human conceptualization.The structures of concern are those that translators impose on their mental experience through active cognitive processing.According to this view，semantic meaning of image-G is actually construed at the conceptual level：
　　Meaning construction of image-G is equated with human beings' conceptualization and construal，a dynamic process whereby linguistic units serve as a prompts for a cue of conceptual functioning and the gathering of semantic information in literary discourse.
　　It is in agreement with the opinion that the construal of image-G is a process instead of a separated concept that can be assembled by language.
　　……

Chapter One Introduction
1．1 Research background
1．2 Research questions and significance
1．3 Research methodology
1．4 Layout of the study

Chapter Two Literature Review
2．1 Images in classic Chinese poetry11
2．2 Image-G in classic Chinese poetry
2．3 Research on image translation 15
2．4 Research on image-G actualization29
2．5 Summary

Chapter Three Theoretical Framework
3．1 Introduction
3．2 Embodiment and experiential basis of image-G
3．3 Construal of image-G
3．4 Image-G construal mode
3．5 Theoretical framework of the present study

Chapter Four Translators'Construal of Image-G in Source Text
4．1 Introduction
4．2 Aesthetic embodied basis for translators' construal of image-G
4．3 Gestalt characteristics of translators'recognition of image-G
4．4 Cognitive dimensions of translators'construal of image-G
4．5 Representation of image-G in literary discourse space
4．6 Summary

Chapter Five Translators'Construction of Image-G in Target Text
5．1 Introduction
5．2 Complete correspondence
5．3 Inclusive correspondence
5．4 Crossed correspondence
5．5 Disrelation
5．6 Summary

Chapter Six Cognitive Translation Strategies of Image-G Actualization
6．1 Introduction
6．2 Im age-G preservation strategy
6．3 Image-G reinforcement strategy
6．4 Image-G restructuring strategy
6．5 Image-G accretion strategy
6．6 Image-G modulation strategy
6．7 Summary

Chapter Seven Appraisal of Cognitive Translation Strategies：A Contrastive Analysis of Three Translated Versions of “Jiangxue”
7．1 Introduction
7．2 Images and image-G in“Jiangue”
7．3 Cognitive translation strategies adopled in three translated versions
7．4 Summary

Chapter Eight Conclusion
8．1 Research findings
8．2 Research limitations and research pospts

References
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