本文研究对象是美国新诗运动时期的一部译诗集《松花笺》（1922），由著名意象派女诗人艾米·洛威尔和女性汉学家艾思柯合作翻译。全文共分为四章，引言部分介绍了本文的基本思路和研究方法，第一章介绍了《松花笺》其书的时代背景，介绍了洛威尔如何对中国古诗产生的兴趣，翻译时与艾思柯、朱龙的合作过程；介绍了松花笺的内容构成、国内外研究现状以及历史价值；第二章中使用现代文艺理论来阐释《松花笺》的翻译方法，包括接受美学的翻译理论，介绍了当时有利的接受语境的形成和同时期的汉诗英译情况，并将其他翻译家的作品与洛威尔的译作进行对比；从社会历史的角度分析了《松花笺》中的召唤结构与译者审美体验间的相互影响；也从创作心理学的角度入手，介绍了在《松花笺》的翻译过程中，翻译理论中的“创造性叛逆”是如何呈现出来的，也举出文中实例阐释“误译”与所谓“创造性”的翻译的不同之处。第三章从格式塔意象再造理论的角度，分析了传统汉诗英译中意象紧张度降低的问题和意象主义的处理方式，介绍了汉诗英译过程中对意象是如何处理的，其中包括汉—英意象的转换、叠加以及并置，并与其他译者的作品进行对照分析；最后一章中介绍了译作中重要的翻译实验，包括“拆字”和“拆句”等，介绍了洛威尔本人对自己翻译观念的评价，对“拆字”和“拆句”的手法进行了系统的归纳分类整理；并综合前人观点进行评价。

Amy Lowell, the leader of the later imagist movement, translated Chinese ancient poems as Fir-Flower Tablets with the help of Florence Ayscough the female Sinologist. To study this imagist’ s rendering, I divide this dissertation into 4 parts: In Part 1 I give a retrospection of the research of the book Fir-Flower Tablets and the historical background; deal with how does her cooperate with Florence Aysough and Nung Chu in translation. Next part related to how modern literaray theory influence this rendering, including Receptiong Aexthetics and Creative treason. The Third part uses Gestalt Psychology to analyse the typical problem of image intensity lose in traditional chinese poetry translation; Deals with how did Lowell translated the Chinese images into English, such as juxtaposition\superposition and conversion of images, and also gives a general comparasion with other translater’s work at her time. The last part uses close reading to discuss the translation experiments in the book, including split-up of characters and sentences; gives a general evaluation of this rendering based on former scholars’ opinions.