英语专业毕业论文翻译类论文

英语专业毕业论文翻译

类论文

Document number：NOCG-YUNOO-BUYTT-UU986-1986UT

毕业论文（设计）Title:The Application of the Iconicity to the Translation of

Chinese Poetry

题目:象似性在中国诗歌翻译中的应用

学生姓名孔令霞

学号 BC09150201

指导教师祁晓菲助教

年级 2009级英语本科（翻译方向）二班

专业英语

系别外国语言文学系

黑龙江外国语学院本科生毕业论文（设计）任务书

摘要

索绪尔提出的语言符号任意性，近些年不断受到质疑，来自语言象似性的研究是最大的挑战。语言象似性理论是针对语言任意性理论提出来的，并在不断发展。象似性是当今认知语言学研究中的一个重要课题，是指语言符号的能指与所指之间的自然联系。本文以中国诗歌英译为例，探讨象似性在中国诗歌翻译中的应用，从以下几个部分阐述：（1）象似性的发展；（2）象似性的定义及分类；（3）中国诗歌翻译的标准；（4）象似性在中国诗歌翻译中的应用，主要从以下几个方面论述：声音象似、顺序象似、数量象似、对称象似方面。通过以上几个方面的探究，探讨了中国诗歌翻译中象似性原则的重大作用，在诗歌翻译过程中有助于得到“形神皆似”和“意美、音美、形美”的理想翻译效果。

关键词：象似性；诗歌；翻译

Abstract

The arbitrariness theory of language signs proposed by Saussure is severely challenged by the study of language iconicity in recent years. The theory of iconicity is put forward in contrast to that of arbitrariness and has been developing gradually. Iconicity, which is an important subject in the research of cognitive linguistics, refers to a natural resemblance or analogy between the form of a sign and the object or concept. This thesis mainly discusses the application of the iconicity to the translation of Chinese poetry. The paper is better described from the following parts: (1) The development of the iconicity; (2) The definition and classification of the iconicity; (3) The standards of the translation to Chinese poetry; (4) The application of the iconicity to the translation of Chinese poetry, mainly discussed from the following aspects: sound iconicity, order iconicity, quantity iconicity, and symmetrical iconicity. Through in-depth discussion of the above aspects, this paper could come to the conclusion that the iconicity is very important in the translation of poetry. It is conductive to reach the ideal effect of “the similarity of form and spirit” and “the three beauties”.

Key words: the iconicity; poetry; translation

黑龙江外国语学院2013届毕业论文

Contents

The Iconicity and the Arbitrariness (3)

Definition of the Iconicity (4)

Classification of the Iconicity (5)

(7)

The Principle of the

I conicity….............................…………………….....……..

.7

.9 Acknowledgements (19)

The Application of the Iconicity to the Translation of Chinese

Poetry

Chapter 1 Introduction

The ancients left a lot of poetry in China which reflects the broad and profound Chinese literature. With the development of Chinese literature, more and more scholars have been widely studied about the translation of Chinese poetry. Among the standards of the translation to Chinese poetry, the iconicity has aroused more and more concern. practicalism and semiotics. Since then this theme has been discussed and studied by many famous researches like Jakobson, Haiman, and so on. Iconicity is one of the

hotly-discussed issues at present in the linguistic and semiotic field. The theory of iconicity is a great challenge to “Saussurean theory of arbitrariness” and a forceful complement as well. Iconicity in language falls into the category of cognitive linguistics,which is regarded as an essential part of cognitive linguistics. Iconicity is not only a challenge but also a complement to Saussure’s arbitrariness of linguistic sign. The discussion over arbitrariness and iconicity is a hot topic in the field of language research, which is actually a problem about the relationship of the signifier and the signified. In fact, the study of iconicity has been carried out in recent years, Many philosophers, semioticians and linguists have been concemed with such phenomenon in language for a long time. Iconicity can be found not only in natural language, but also

in literary language, especially in poetry, which is said to have the richest presence of iconicity in all literary genres, because poetry allows the most complex and innovative use of language on the typographical level(such as special use of fonts and spacing), on the sound level (such as sound symbolism, metre and rhyme), on the morphological and syntactic level (such as changes in regular word order and distancing), and on the textual level.

This thesis attempts to analyze Chinese poetry and its translation from a more integrated and original perspective, an iconic perspective. Much Chinese poetry can be translated from the perspective of iconicity. The iconicity is an important feature of poetry and should be reproduced in its translation. In the application of the principle of

iconicity to the translation of Chinese poetry, it is advisable to grasp the expressive features of iconic discourse in the source version and properly present them in the target version. This article through the following aspects: sound iconicity, order iconicity, quantity iconicity, symmetrical iconicity so as to realize the re-creating in the form as well as in the spirit.

Chapter 2 An Overview of the Iconicity

The theory of iconicity is regarded as a great challenge to Saussure’s arbitrariness of linguistic sign. the founder of American practicalism and semiotics. According to Peirce and Haiman’s classification of iconic signs, this paper gets six subclasses of iconicity: the sound iconicity, the distance iconicity, the order iconicity, the quantity iconicity, the graph iconicity and the symmetry iconicity.

The Iconicity and the Arbitrariness

The arbitrariness theory of language signs proposed by Saussure is severely challenged by the study of language iconicity in recent years. The view that the language sign is arbitrary is the core of Saussure’s linguistic theory. Saussure found the nature of language symbol but he left the link unexplained between the signifier and the signified. The theory of iconicity is put forward in contrast to that of arbitrariness and has been developing gradually. Iconicity, which is an important subject in the research of cognitive linguistics, refers to a natural resemblance or analogy between the form of a sign and the object or concept.

Iconicity has been discussed hotly at present in the linguistic and semiotic field. The theory of iconicity is put forward in contrast to that of arbitrariness and has been developing gradually. Meanwhile, it is a forceful complement to Saussure’s arbitrariness as well. Iconicity in language means that the form of the word or sign conveys the meaning of the word or sign. The theory of iconicity is regarded as a great challenge to Saussure’s arbitrariness of linguistic sign. The study of iconicity has been carried out in recent years.

Definition of Iconicity

the founder of American practicalism and semiotics. Since then this theme has been discussed and studied by many famous researchers like Haiman, Givon, and so on. The following are some of the representative definitions of iconicity.

Haiman characterizes iconicity as a set of “signs whose meaning in some crucial way resembles their form”. He also claims that “…linguistic forms are frequently the way is because, like diagrams, they resemble the conceptual structures they are intended to convey”. The relationship between form and meaning is to a considerable extent motivated. Cognitive linguists maintain that linguistic structure is a reflection of cognitive or experiential structure. Newmeyer argues that iconicity “embodies the idea that the form, length, complexity, or interrelationship of elements in a linguistic representation reflects of communicative strategy that the representation encodes.”Givon claims that any non-arbitrary relation in language qualifies an iconic relation.

Therefore, some scholars usually conclude that iconicity is the similarity between the signifier and the signified. Language iconicity refers to the phenomenon of imitation between the sound, meaning, and form of language and what they signify in the real world. From the above-mentioned definitions, this paper can find that there is still no fixed definition of iconicity so far. Although researchers have made many attempts, none of their definitions is so perfect as to explain all the phenomena in language, and to some extent, its application is dependent on the subjectivity of the researchers and scholars themselves.

The Classification of the Iconicity

Outside world is the source of sign's meaning, according to Peirce, signs can be placed in to three classes. Peirce identifies three types of signs: icon, index and symbol. The three kinds of signs are different from each other in terms of the degree of arbitrariness. He also further divides icons into three types: images, diagrams and metaphors, which differ from each other according to the similarity between the sign and its objects. In accordance with these he concludes three types of iconicity: imagic iconicity, Diagrammatic iconicity and Metaphorical iconicity.

Haiman further develops Peirce’s theory and regards diagrammatic iconicity as “a systematic arrangement of signs, none of which necessarily resembles its referent, but whose relationships to each other mirror the relationships of their referents.”Haiman further classifies diagrammatic icon into two types: isomorphism and motivation.

According to Peirce and Haiman’s classification of iconic signs, this paper gets six subclasses of iconicity: the sound iconicity, the distance iconicity, the order iconicity, the quantity iconicity, the graph iconicity and the symmetry iconicity. The iconicity can be found on the phonological level, lexical level, syntactic level and textual level. This thesis will analyze the four iconicity principles of them.

Chapter 3 The Standards of the Translation to the Chinese Poetry There are many standards of the translation to the Chinese poetry, and among them these three standards are famous. “The similarity of form and spirit” or “the beaut y of sense the beauty of sound the beauty of form” are the ideal standers and goals of translation, but the iconicity is the most important and effective rhetorical device in poetry creation.

The Similarity of Form and Spirit

In the case of literary text, the most optimal state is “the similarity of form and spirit”. However, it is very hard to both express the verve of the original texts and represent the form of the original texts in the translation practice. Sometimes, it is impossible to get the translation effects with “both form and content integrated” And for exactly that reason, Mao dun propose ‘spirit likeness’ and Fu lei stand s for “spirit is much mo re important than form” if you c an’t have your cake and eat it, you should give up the “shape” and leave the “spirit”. Compared to other literary form, poetry has its unique features on the sound, word, sentence, text structure of its organization and selection. Poetry emphasized on the outside world imitation, through mimicking the outside world of sound, form and structure to realize its stylistic effects.

The Three Beauties

Professor Xu Yuanchong proposes that “Three beauties” are the highest standards for poems translation. The “Three beauties” are the beauty of sense, the beauty of sound

and the beauty of form. The “Three beauties” are an organic whole; none of them can be ignored.

Its basic meaning is: Poetry translation in meaning, sound, form structure these several levels, should use the corresponding and appropriate target language to convey vividly the poetic charm. That will give us the beautiful enjoyment of art in vision, feeling and hearing.

Professor Xu Yuanchong stressed that you should put your hand to the meaning, sound and rhymes these three aspects to translate poetry successfully. Cognitively, the principle of “three beauties” is consistent with the iconicity of poetry. The “three beauties” and the “the similarity of form and spirit” are consistent. “B eauty of sound” “beauty of form” correlate “the similarity of form”; “beauty of sense” correlates “the similarity of spirit”.

The Principle of the Iconicity

As “the similarity of form and spirit” or “the beauty of sense the beauty of sound the beauty of form” are the ideal standers and goals of translation, but how to attend it. Lu Weizhong thinks people should adopt the viewpoint of iconicity and throughout the translation of form especially form of extra meaning to achieve the ideal translation effect of “similarity of form and spirit”

Among the types of literature, poetry’s iconicity is the most prominent iconicity. Iconicity is the most important and effective rhetorical device in poetry creation. So, pay attention to recognize and analyze the applying of iconicity technique in the original poems when to translate the poetry that can be able to achieve the ideal goal of “similarity of form and spirit” The iconicity now prevails in the literary works, which is a fact can not be negated. From the perspective of sign iconicity, scholars consider iconicity into literature, which reflects the real life in various ways.

Iconicity is ubiquitous in literary language. It is emphasized as one of the constraints in poetic text structure.

Chapter 4The Application of the Iconicity to the Translation of

Chinese Poetry

This chapter is about the application of the iconicity to the translation of Chinese poetry. According to Peirce and Haiman’s classification of iconic signs, this paper gets six subclasses of iconicity: the sound iconicity, the distance iconicity, the order iconicity, the quantity iconicity, the graph iconicity and Symmetry iconicity. The iconicity can be found on the phonological, lexical, Syntactic and textual level. This chapter will analyze the four iconicity principles in poetry just from the phonological and textual level with examples.

The Application of the Iconicity to the Translation of Chinese Poetry on the Phonological Level

This part is about sound iconicity and its translation on Chinese poetry. Sound iconicity usually includes onomatopoeia and sound symbolism, which belong to the category of imagic iconicity.

Sound Iconicity and Its Translation on Chinese Poetry

Sound iconicity usually includes onomatopoeia and sound symbolism, which belong to the category of imagic iconicity. The purpose of sound iconicity can not only make the linguistic forms directly or indirectly imitate the sound of the objective world, but reinforce the conveyance of the poetic mood.

Now let’s come to Li Qingzhao’s poem:

梧桐更兼细雨,到黄昏,点点滴滴。（李清照,《声声慢》）

Lin Yutang’s translation of this part is as follows:

And the drizzle on the kola nut keeps on droning: Pit-a-pat, pit-a-pat.

In the original poem, “pit-a-pat, pit-a-pat” (点点滴滴) imitates the sound in real world. It is the usage of sound iconicity which combines both onomatopoeia and sound symbolism. Actually, it is hard to express the artistic effect in its translation. But the translation skillfully uses the corresponding onomatopoeic intense melancholy. Therefore, this translation version of this poem is successful, for the original sound iconicity is retained and recreated in the English version.

The Application of the Iconicity to the Translation of Chinese Poetry on the Textual Level

This part is about the order iconicity, the quantity iconicity, and the symmetrical Iconicity. Iconicity of order means that the order of linguistic form or text structure is a reflection of the conceptual or experiential order the form or text structure represents. The quantity of linguistic forms corresponds to the quantity of the referents in the real world or in our concept. The iconicity of symmetry means the information which in concept has the same degree of importance and parallel relationship tends to have symmetrical feature in expression.

Order Iconicity and Its Translation on Chinese Poetry

Iconicity of order means that the order of linguistic form or text structure is a reflection of the conceptual or experiential order the form or text structure represents. There are various types of order which can reflect iconicity in poems, and what is to be discussed in this thesis are the temporal order and spatial order.

An obvious exemplification is the clauses ordered according to the temporal sequence of the events. The narrative sequence of “vain, vidi, vici.” (I came, I saw, I conquered.), a well-known saying said by Caesar has been adduced by Jakobson of a typical iconic structure, for the sequence of the three elements tallies with the order of historical events. Simore also argues that “if not otherwise expressly indicated, people assume that the order of clause resembles that of actions involved.” In other words, the order of elements in language parallels that in physical experience or the order of knowledge: other things being equal, the order of statements in a narrative description corresponds to the order of the events they describe. Thus the cognitive basis of sequence iconicity is built on the narrative sequence of the events, which is accordant with the cognitive process of human’s direct experience.

Haiman argues that iconicity plays a very important role in the grammars of human language. According to him, iconicity of sequence or iconicity of order is an iconic motivation par excellence, since in the case the structure of language directly reflects the temporal structure of reality. Similarly, Givon claims that the order of

clauses in coherent discourse will tend to correspond to the temporal order of the occurrence of the depicted events.

On the syntactic level Chinese complies with the iconicity of sequence to a greater degree than English, but on the textual level both languages employ the iconicity of sequence, for example the creation of literature and historical storied unfolds the descriptions according to the order of the events depicted. Despite of this, in literary works, especially in poetry sometimes there exist a series of flashbacks. Let’s look at an ancient poem and its three English versions:

春眠不觉晓, 处处闻啼鸟。

夜来风雨声, 花落知多少。（孟浩然《春晓》）

Version one: One slumbers late in the morning in spring.

Everywhere, one hears birds warble or sing.

As the night advances, rain spatters; winds moan.

How many flowers have dropped Can that be known

(Translator Xu Zhongjie)

Version two: This morn of spring in bed I’m lying.

Not woke up till I hear birds crying.

After one night of wind and showers,

How many are the fallen flowers

(Translator Xu Yuanchong) Version three: Slumbering, I know not the spring dawn is peeping,

But everywhere the singing birds are cheeping.

Last night I heard the rain dripping and wind weeping,

How many petals are now on the ground sleeping

(Translator Wu Juntao)

This poem is consisted of four lines. The scene described in the first line is observed after the behavior in the second line, that is to say, the poet slumbers in the spring morning, and he does not know that the spring dawn is coming until the birds cry. The third line is the result guessed by the poet because of the fact in the fourth line, that

is to say, last night there must be heavy rain and wind; otherwise there would not be so many flowers on the ground in the morning. From Xu Zhongjie’s and Wu Juntao’s translations, people can get quite different message: Last night the poet heard the heavy rain and wind, and the next morning he guesses how many flowers have fallen. However, the translation of these two lines contradicts with the first line: since the poet is unconscious of the spring dawn, how could he hear all the wind and rain. Xu Yuanchong catches the temporal order of events of the original poem, and he imitates the same structure and he employs the sequence iconicity to express the same message. Thus he reproduces the artistic effect of the original poem.

The second important principle underlying order iconicity is spatial iconicity. Look at the following example:

白日依山尽,黄河入海流。

欲穷千里目,更上一层楼。(王之涣《登鹳雀楼》)

Version one: The setting sun behind the mountains glows,

The muddy yellow river seawards flows.

If more distance views are what you desire,

You simply climb up a storey higher.

(Translator Xu Zhongjie)

Version two: The sun beyond the mountains glows,

The yellow river seawards flows.

You can enjoy a grander sight,

By climbing to a greater height.

(Translator Xu Yuanchong)

Version three: The Mountain is eating away the setting sun,

Going seawards the Yellow River is on the run.

If you desire to have a good and boundless sight,

Come to upper storey, by climbing one more flight.

(Translator Wu Juntao)

In this poem, the poet describes the sight of Yellow River under sunset. This scene

is present from up to down and high to low, which is the natural order for us to get a bird’s-eye view on a high mountain. The above three versions all observe this order. However, the obvious difference can be found in the translation of the third line, “千里” is an uncertain number in Chinese. “千里”means the number of something is large. In this poem, the three translators put the “千里” into “more distant views”,“a grander sight”, and “bondless sight” respectively, and they all catch the right meaning. However, in the last line, Xu Zhongjie and Wu Juntao put “一层楼” into “a storey higher”,“one more flight”. They believe “一” is “one” or “a” exactly. In fact, “一” is also a uncertain number in Chinese, which means “a little” or “a bit” in many situations. For this point, Xu Yuanchong puts it into “a great height”, which meets the humans’ cognitive order in space. Thus Xu Yuanchong keeps the order iconicity successfully. He skillfully recreates the artistic conception of the original poem. Therefore, he reproduces the artistic effect in its translation in the target language.

Quantity Iconicity and Its Translation on Chinese Poetry

The quantity of linguistic forms corresponds to the quantity of the referents in the real world or in our concept. That is to say, the more linguistic signs employed, the more conceptual meanings conveyed. Now let’s look at the following poetry: 劝君莫惜金缕衣, 劝君惜取少年时。

花开堪折直须折, 莫待无花空折枝。(《金缕衣》)

The two translations are to be compared:

Version one: I Spare not, my friend, the gold-embroidered grown

Miss not, the years of youth—enjoy them now

Come, pluck the flower while the plucking is good

Wait not until you pluck the empty bough

(Translator Lin Yuntang) Version two: Go pluck the blooming flower betimes

Lest when thou com’st again

Alas, upon the withered stem

No blooming flowers remain

(Translator Herbert

The original Chinese poem employs the repetitive iconicity of quantity. In this poem, both words and sentence structure are repeated. The first two lines have the same sentence structure, and in the whole poem “劝” and “莫” are respectively repeated twice, and “折” three times. Compare the two translations people can find that Lin Yutang’s translation pays more attention to the form and structure of the original poem. He repeats the sentence structure in the first two lines. In his translation, the words “not” and “pluck” are repeated three times, thus the special structure of the original poem can be conveyed better and recreates the iconicity of quantity well. The other one version expresses the basic meaning of the poem, but fails to realize iconicity of quantity of the original poem. Thus it will lose the artistic effect of the original poem.

Let’s look at another poem：

寻寻觅觅，冷冷清清，凄凄惨惨戚戚。（李清照《声声慢》）

Let’s compare the two translations:

Version one: I’ve a sense of something missing I must seek.

Everything about me looks dismal and bleak.

Even the weather has proved most unkind.

（Translator Xu Zhongjie）

Version two: So dim，so dark，so damp，so dank，

So dense，so dull，so dead!

（Translator Lin Yutang）

In the original poem, there are totally seven Chinese words: 寻, 觅, 冷, 清, 凄, 惨, 戚, these seven words are reduplicated words which can express the sad theme. The

first translation conveys the original poem completely, and there are also three lines. But the quantity iconicity was ignored. The second translation uses seven words: dim, dark, damp, dank, dense, dull and dead, which is the same as the original poem not only in the quantity but also in the form. Lin Yutang also uses the original structure “so+adj”and repeats for seven times. That’s better reappeared the loneliness of the original poem. Symmetrical Iconicity and Its Translation on Chinese Poetry

The iconicity of symmetry means the information which in concept has the same degree of importance and parallel relationship tends to have symmetrical feature in expression. That’s to say, the juxtaposition of the same or similar linguistic forms signify the sameness or parallelism in meaning or thought. The iconicity of symmetry is a typical rhetorical means, so in translation the same means are usually employed in order to convey the same rhetorical and artistic effects.

Guan Jiu has three lines of parallel relationship:

参差荇菜, 左右流之。

参差荇菜, 左右采之。

参差荇菜, 左右芼之。

Version one: Water flows left and right of cresses here and there.

Now gather left and right the cresses sweet and tender.

Feast friends at left and right on cresses cooked tender.

(Translator Xu Yuanchong)

Version two: Short and long the floating water plants.

Left and right you may pluck them.

Short and long the floating water plants.

Left and right you may gather them.

(Translator Yang Xianyi)

These original three lines have similar meanings and structure, and “流”,“采” and “芼” are synonyms which mean plucking. Obviously, the parallel structure in the original poem is ignored by the translator. While, Yang Xianyi’s translation uses the

same parallel structure which appears in the original poem, so it can be better reproduce the original form. Short and long the floating water plants/Left and right you may collect them. Therefore, Yang Xianyi pays close attention to the structure in the original poem, and reproduces the symmetry iconicity, which makes him achieve a better artistic effect in his translation.

Let’s look at another poem:

感时花溅泪,恨别鸟惊心 (杜甫《春望》)

Wu Juntao’s translation of this sentence is as follows:

Blossoms invite my tears as in wild times they bloom,

The flitting birds stir my heart as I’m parted from home.

In the original poem, invite(感时) and stir(恨别), bloom(花)and bird(鸟) are the parallel structure , this translation retain the form of the original poem uses the same parallel structure which appears in the original poem, so it can be better reproduce the original form. Only in this way can people deeply understand the sad meaning in the original poem exactly.

Chapter 5 Conclusion

Based on the above analysis and discussion, this thesis naturally comes to this conclusion. This paper has shown that iconicity is an important feature of poetry and of its translation, so it should be reproduced in its translation.

At the phonological Level, there are many onomatopeias and sound symbolism iconicity existing in poems, and these iconicity principles used in poems get a certain rhetorical effect. The application of sound iconicity expressions imitates the natural in the real world to make the poems more lively and visual. In this thesis, people have seen the example about the sound iconicity.

At the textual level, three categories of iconicity are analyzed in this paper: order iconicity, quantity iconicity and symmetrical iconicity. According to the order of thoughts, the poets rearrange the subject, predicate and object, reflecting the order of importance as the poems require. The poem imitating the shape of the theme becomes more expressive and vivid than in the common writing order. The symmetry iconicity

could be explained in Chinese terms of parallelism, antithesis or anadiplosis. The application of symmetry iconicity helps to strengthen and emphasize what is in the poet’s mind, and get it echoed in the readers’ mind. In this paper, many examples about the above iconicity principles are presented.

The theory of iconicity has great significance to the translation of Chinese poetry. According to the iconicity principles, the translators can understand the original poems properly, pay more attention to the formal function in translation and choose the proper ways to translate them.

Bibliography

[1] Givon,T. Functionalism and Grammar. Cambridge: The MTT Press, 1995.

[2] Givon,, isomorphism and non-arbitrary Coding in Syntax. New York: Liveright

Press, 1985.

[3] Haiman. Nature Syntax—Iconicity and Erosion. Cambridge: Cambridge University

Press, 1995.

[4] Haiman,J. The Iconicity of Grammar. Language, 1980.

[5] Jakobson,R. Quest for the essence of language. Diogences,1965:51,21

[6] Newmeyer, Frederick J. Language Form and Language Function. Cambridge: the

MTT Press,1998.

[7] Norman,R. Form Miming Meaning: Iconicity in Language and literature.

Cambridge: MIT Press,1999.

[8] Pierce,C. The Icon, Index and Symbol. Cambridge: Harvard University Press, 1932.

[9] Simone,R. Iconicity in Language Amsterdam: John Benjamins, 1994:51,162.

[10] V, Dijk. Text and Context. Shanghai: Shanghai Foreign Language Education Press,

1977.

[11] 卢卫中. 《诗歌象似修辞研究》. 外国语言文学, 2003a,(1)

[12] 王寅. 《中国语言象似性研究论文精选》.湖南人民出版社,2009.

[13] 张喆. 《我国的语言符号相似性研究》. 外语学刊. 2007(01).

[14] 赵彦春. 《符号象似性与任意性问题的辨析》. 山东外语教学. 2001（04）.

英语专业毕业论文范文

关于论文结构和格式规范的有关问题，请认真阅读“外国语学院英语本科毕业论文撰写要求”，同时可查阅“MLA格式学位论文写作规范（供查询用）”。（建议：以本范文作为模板，把自己论文的相应部分复制后，以“选择性粘贴”—“无格式文本”的方式，粘贴到范文的相应位置，以保持与范文格式完全一致。）论文单面打印1份，左侧装订（两个钉子）。（这些说明打印时删除） 文学方向的请务必参考此范文（语言学教学、文化类也可参考）。 山东财经大学 本科毕业论文(设计) 范文2 题目：论《诺桑觉寺》的反哥特观念 学院外国语学院 专业英语 班级英语0801（注意原山经、原山财班级名称不同） 学号67 姓名李晓慧 指导教师王俊华 山东财经大学教务处制 二Ｏ一二年五月

山东财经大学学士学位论文原创性声明 本人郑重声明：所呈交的学位论文，是本人在导师的指导下进行研究工作所取得的成果。除文中已经注明引用的内容外，本论文不含任何其他个人或集体已经发表或撰写过的研究成果。对本文的研究做出重要贡献的个人和集体，均已在论文中作了明确的说明并表示了谢意。本声明的法律结果由本人承担。 日期填写定稿日期5月1日。教师学生都要手写签名 学位论文作者签名： 年月日 山东财经大学关于论文使用授权的说明本人完全了解山东财经大学有关保留、使用学士学位论文的规定，即：学校有权保留、送交论文的复印件，允许论文被查阅，学校可以公布论文的全部或部分内容，可以采用影印或其他复制手段保存论文。日期填写定稿日期5月1日。教师学生都要手写签名 指导教师签名：论文作者签名： 年月日年月日

On Anti-Gothicism in Northanger Abbey by Li Xiaohui Under the Supervision of Wang Junhua Submitted in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts School of Foreign Studies Shandong University of Finance and Economics May 2012

英语专业论文正文写法

Tragic Fates of the Characters in Hardy’s Works INTRODUCTION Hardy is often regarded as a traditional writer. In him readers can see the influence from both the Victorian and modern literature. The three tragic novels The Mayor of Casterbridge, Tess of the D’Urbervilles, and Jude the Obscure show that man is always driven by a combined force of “nature”, both inside and outside…. 1

ChapterⅠA BRIEF INTRODUCTION TO HARDY Hardy was born and brought up in Dorsetshire, a county in the southwest of England. Family conditions did not allow Hardy to receive college education, and beyond the most basic skills in mathematics and Latin he was self-taught…. 2

ChapterⅡAN ANALYSIS OF THE THREE CHARACTERS 2.1 Michael Henchard The Mayor of Casterbridge, reveals the conflict in a deeper and fuller sense. It is a novel of nemesis. The hero Michael Henchard sells his wife and daughter in drunkenness… 3

英语专业本科毕业论文模版

毕 业 文 学生姓名： 艾中华 专业班级： 英语2011级1班 指导教师： 赵莉 教授 学 院： 外国语学院 2017年6月 中文题名，一般不宜超过21 字，如果有些细节必须放进标题， 为避免冗长可分成主标题和副标 题。楷体小一 副标题的破折号：插入—>符号—>特殊符号 长划线 ★注意：为避免改变模版格式，题 目建议手工输入。 参照此处格式替换姓名、 班级等内容。楷体小三居中 ★注意：为避免改变模版格式， 此处内容请手工输入替换。 ★注意：为避免改变模版格式，此处内容请手 工输入替换。

论文英文题目 Keywords

摘要 Abstract 1 1.1 1.1.1三级标题一 (1) 1.1.2三级标题二 (1) 1.2二级标题二 (1) 2[单击此处输入标题，页眉会自动更新].................................................. 错误!未定义书签。 2.1二级标题一 (2) 2.1.1三级标题一 (2) 2.1.2三级标题二 (2) 2.2二级标题二 (2) 2.3 Summary ................................................................................................. 错误!未定义书签。3[单击此处输入标题，页眉会自动更新]. (3) 3.1二级标题一 (3) 3.1.1三级标题一 (3) 3.1.2三级标题二 (3) 3.2二级标题二 (3) 3.3 Summary ................................................................................................. 错误!未定义书签。4[单击此处输入标题，页眉会自动更新]. (4) 4.1二级标题一 (4) 4.1.1三级标题一 (4) 4.1.2三级标题二 (4) 4.2二级标题二 (4) 4.2.1三级标题一 (4) 4.2.2三级标题二 (4) 4.3二级标题三 (4) 4.4 Summary (4) Conclusion .................................................................................................... 错误!未定义书签。

java毕业论文外文文献翻译

Advantages of Managed Code Microsoft intermediate language shares with Java byte code the idea that it is a low-level language witha simple syntax , which can be very quickly translated intonative machine code. Having this well-defined universal syntax for code has significant advantages. Platform independence First, it means that the same file containing byte code instructions can be placed on any platform; atruntime the final stage of compilation can then be easily accomplished so that the code will run on thatparticular platform. In other words, by compiling to IL we obtain platform independence for .NET, inmuch the same way as compiling to Java byte code gives Java platform independence. Performance improvement IL is actually a bit more ambitious than Java bytecode. IL is always Just-In-Time compiled (known as JIT), whereas Java byte code was ofteninterpreted. One of the disadvantages of Java was that, on execution, the process of translating from Javabyte code to native executable resulted in a loss of performance. Instead of compiling the entire application in one go (which could lead to a slow start-up time), the JITcompiler simply compiles each portion of code as it is called (just-in-time). When code has been compiled.once, the resultant native executable is stored until the application exits, so that it does not need to berecompiled the next time that portion of code is run. Microsoft argues that this process is more efficientthan compiling the entire application code at the start, because of the likelihood that large portions of anyapplication code will not actually be executed in any given run. Using the JIT compiler, such code willnever be compiled.

英语专业毕业论文参考文献汇总

【英语专业】毕业论文参考文献汇总 【文学类】 柳鸣九编选新小说派研究北京中国社会科学出版社，1986 徐葆耕西方文学心灵历史北京清华大学出版社，1990 殷企平小说艺术管窥天津：百花文艺出版社，1995 戴维洛奇小说的艺术北京：作家出版社，1998 高奋西方现代主义文学源与流宁波：宁波出版社，2000 侯维瑞现代英国小说史上海：上海外语教育出版社，1986 胡经之，王岳川主编文艺学美学法论北京：北京出版社，1994 黄晋凯主编荒诞派戏剧北京：中国人民大学出版社，1996 霍夫曼佛洛伊德主义与文学思想王宁译北京：三联书店，1987 拉曼塞尔顿编文学批评理论刘象愚，陈永国等译北京：北京大学出版社，2000 霍纳韦勒克近代文学批评史（第4卷）上海：上海译文出版社，1997 李维屏英美现代主义文学概观上海：上海外语教育出版社，1998 吕同六主编20世纪世界小说理论经典北京：华夏出版社，1995 罗伯特斯皮勒美国文学的周期——历史评论专集王长荣译上海：上海外语出版社，1990 罗德霍顿美国文学思想背景房炜等译北京人民出版社，1991 梅佛里德曼意识流，文学手法研究上海：华东师范大学出版社，1992 米兰昆德拉小说的艺术孟湄译北京：三联书店，1995 史志康主编美国文学背景概观上海：上海：上海外语出版社，1998 【语言学】 奥马利第二语言习得的学习策略上海：上海外语出版社，2001 陈保亚20 世纪中国语言学方法论济南：山东教育出版社，1999

丁言仁英语语言学纲要上海：上海外语出版社，2001 费尔迪南德索绪尔普通语言学教程长沙：湖南教育出版社，2001 冯翠华英语修辞大全北京：商务印书馆，1996 桂诗春，宁春言主编语言学方法论北京：外语教学与研究出版社，1998 桂诗春应用语言学长沙：湖南教育出版社，1998 何兆熊新编语用学概要上海：上海外语教育出版社，2000 何自然语用学与英语学习上海：上海外语教育出版社，1997 侯维瑞英语语体上海：上海外语教育出版社，1988 胡壮麟语言学教程（修订版）北京：北京大学出版社，2001 黄国文语篇与语言的功能北京：外语教学与研究出版社，2002 黄国文语篇分析概要长沙：湖南教育出版社，1988 李延富主编英语语言学基本读本济南：山东大学出版社，1999 李运兴语篇翻译引论北京：中国对外翻译出版公司，2000 刘润清西方语言学流派北京：外语教学与研究出版社，1999 刘润清等现代语言学名著选读（上下册）北京：测绘出版社，1988 刘润清等语言学入门北京：人民教育出版社，1990 陆国强现代英语词汇学（新版）上海：上海外语教育出版社，1999 戚雨村现代语言学的特点和发展趋势上海外语教育出版社，1997 秦秀白文体学概要长沙：湖南教育出版社，1990 孙志外国语言研究论文索引（1995—1999）上海外语教育出版社，2001 索绪尔普通语言教程北京：商务印书馆，1999

英语专业毕业论文选题

英语系毕业论文选题参考 以下选题包括语言及语言学、英美文学、翻译理论及实践等方面。所有选题仅作参考。 Part One LANGUAGE AND LINGUISTICS 语言及语言学 1． On Attitude and Motivation in Second Language Learning论第二语言学习的态度及动机 2． Needs Analysis of English Language learners英语语言学习者的需求分析 3． On Teacher-Learner Classroom Communication论教师——学习者课堂交流 4． Influence of Science and Technology on English Vocabulary科学技术对英语词汇的影响 5． A study of English Transitional Words and Expressions英语过渡词及表达法的研究 6.Sex Differentiation and Sexism in English Language英语中的性别及性别歧视 7. Pragmatic Failures in Communication交际中的语用失误探析 8.Euphemistic Expressions in English Language 英语中的委婉语表达 9..On the Functions of Ambiguity in English论英语歧义的功能 10.On Chinese-English Linguistic Taboos论汉英语言禁忌 11.On Cultural Context and its influence toward English learning 论文化语境及其对英语学习的影响 12.Symbolism in Idiomatic Expressions论习语中的象征意义 13.Linguistic Features of Abraham Lincoln’s Address论林肯演说的语言特征 14.A Study of student-Centered English Vocabulary Teaching以学生为中心的英语词汇教学 15.Application of English Idioms in Daily Life英语习语在日常生活中的运用

专业英语阅读与写作教学大纲

《专业英语阅读云写作》教学大纲 一、课程基本信息 二、课程性质和目的 专业英语阅读与写作是电气工程及其自动化专业的专业英语课程，是将专业知识的学习与英语的学习有机地结合起来，在基础英语知识的基础上，侧重了专业英语的阅读与翻译技巧的训练。通过本课程的学习，使学生能够熟练阅读本专业外文教材，掌握专业英语翻译技巧和英文写作的基本要求，为从事相关工作打下坚实的基础。 三、课程教学的基本要求 1．熟悉一般科普类英语的文体，掌握科技英语浏览和阅读的基本技巧； 2．掌握科技词汇的一般构词和使用方法； 3．掌握英文正式书信和其他常用应用文的描述与写作方法； 4．掌握英文中图、表和曲线的描述与写作方法； 5．熟悉专业英语文体、阅读及翻译技巧。 6．熟悉专业英语文献的基本结构，如摘要、引用、时态、参考文献等，借鉴IEEE文献格式，掌握专业英语中写作的一般方法。 四、课程教学基本内容 1．科技英语阅读 电气工程及其自动化专业科技英语阅读包括三个阅读单元，每个单元由一篇核心阅读内容（CRT）和一篇补充阅读内容（SRT）构成。每个单元附有大量的阅读练习，包括科技词汇、语法、阅读理解和翻译等。每单元4学时。 (1) CRT：Stampede on the Superhighway SRT：The Complete Survival Guide to the Information Superhighway (2) CRT：Traffic Technology Drivers to clear the road SRT：Factors in the Development of Transportation (3) CRT：Once and Future Landfills SRT：Water Resource Management System

英语专业毕业论文摘要和目录另有正文部分

英语专业毕业论文摘要 和目录另有正文部分 Document number【980KGB-6898YT-769T8CB-246UT-18GG08】

A b s t r a c t: The feature of Hardy`s style is about the description of nature in Hardy`s Wessex novel. The description of Nature not only as a setting, but also a vital part of Hardy`s novels. He pays attention to the interrelations between human, Nature and society. Nature in his novels is personated and melted with the characters together. Hardy believed firmly that man was part of Nature, a guardian of Nature and should always remain true to their closeness with Nature. In all Hardy`s Wessex novels, the characters, who can live in harmony with Nature all deserve a good ending, while those who cannot are by all means go ruining. The conflict between man’s aspirations and his environment is the central unifying force of Hardy`s tragic novels. It stresses that human should live in harmony with Nature. Key Words: Hardy、Nature、Wessex people、fate、harmony

毕业论文5000字英文文献翻译

英文翻译 英语原文： . Introducing Classes The only remaining feature we need to understand before solving our bookstore problem is how to write a data structure to represent our transaction data. In C++ we define our own data structure by defining a class. The class mechanism is one of the most important features in C++. In fact, a primary focus of the design of C++ is to make it possible to define class types that behave as naturally as the built-in types themselves. The library types that we've seen already, such as istream and ostream, are all defined as classesthat is,they are not strictly speaking part of the language. Complete understanding of the class mechanism requires mastering a lot of information. Fortunately, it is possible to use a class that someone else has written without knowing how to define a class ourselves. In this section, we'll describe a simple class that we canuse in solving our bookstore problem. We'll implement this class in the subsequent chapters as we learn more about types,expressions, statements, and functionsall of which are used in defining classes. To use a class we need to know three things: What is its name? Where is it defined? What operations does it support? For our bookstore problem, we'll assume that the class is named Sales_item and that it is defined in a header named Sales_item.h. The Sales_item Class The purpose of the Sales_item class is to store an ISBN and keep track of the number of copies sold, the revenue, and average sales price for that book. How these data are stored or computed is not our concern. To use a class, we need not know anything about how it is implemented. Instead, what we need to know is what operations the class provides. As we've seen, when we use library facilities such as IO, we must include the associated headers. Similarly, for our own classes, we must make the definitions associated with the class available to the compiler. We do so in much the same way. Typically, we put the class definition into a file. Any program that wants to use our class must include that file. Conventionally, class types are stored in a file with a name that, like the name of a program source file, has two parts: a file name and a file suffix. Usually the file name is the same as the class defined in the header. The suffix usually is .h, but some programmers use .H, .hpp, or .hxx. Compilers usually aren't picky about header file names, but IDEs sometimes are. We'll assume that our class is defined in a file named Sales_item.h. Operations on Sales_item Objects

英语专业毕业论文常见几种参考文献的格式及举例

英语专业毕业论文常见几种参考文献的格式及举例 1．期刊类 【格式】[序号]作者.篇名[J].刊名，出版年份，卷号（期号）：起止页码. 【举例】 [1] 周融，任志国，杨尚雷，厉星星.对新形势下毕业设\计管理工作的思考与实践[J].电气电子 教学学报，2003(6)：107-109. [2] 夏鲁惠.高等学校毕业设计（论文）教学情况调研报告[J].高等理科教育，2004(1):46-52. [3] Heider, E.R.& D.C.Oliver. The structure of color space in naming and memory of two languages [J]. Foreign Language Teaching and Research, 1999, (3): 62 – 67. 2．专著类 【格式】[序号]作者.书名[M].出版地：出版社，出版年份：起止页码. 【举例】 [4] 刘国钧，王连成.图书馆史研究[Ｍ].北京：高等教育出版社，1979：15-18，31. [5] Gill, R. Mastering English Literature [M]. London: Macmillan, 1985: 42-45. 3．报纸类 【格式】[序号]作者.篇名[N].报纸名，出版日期（版次）. 【举例】 [6] 李大伦.经济全球化的重要性[N]. 光明日报，1998-12-27(3). [7] French, W. Between Silences: A V oice from China[N]. Atlantic Weekly, 1987-8-15(33). 4．论文集 【格式】[序号]作者.篇名[C].出版地：出版者，出版年份：起始页码. 【举例】 [8] 伍蠡甫.西方文论选[C]. 上海：上海译文出版社，1979：12-17. [9] Spivak,G. “Can the Subaltern Speak?”[A]. In C.Nelson & L. Grossberg(eds.). Victory in Limbo: Imigism [C]. Urbana: University of Illinois Press, 1988, pp.271-313. [10] Almarza, G.G. Student foreign language teacher’s knowledge growth [A]. In D.Freeman and J.C.Richards (eds.). Teacher Learning in Language Teaching [C]. New York: Cambridge University Press. 1996. pp.50-78. 5．学位论文 【格式】[序号]作者.篇名[D].出版地：保存者，出版年份：起始页码. 【举例】 [11] 张筑生.微分半动力系统的不变集[D].北京：北京大学数学系数学研究所, 1983：1-7. 6．研究报告 【格式】[序号]作者.篇名[R].出版地：出版者，出版年份：起始页码. 【举例】 [12] 冯西桥.核反应堆压力管道与压力容器的LBB分析[R].北京：清华大学核能技术设计研究 院, 1997：9-10. 7．电子文献 【格式】[序号]主要责任者.电子文献题名.电子文献出处[电子文献及载体类型标识].或可获得地址，发表或更新日期/引用日期. 【举例】 [13] 王明亮.关于中国学术期刊标准化数据库系统工程的进展[EB/OL]. http: //https://www.sodocs.net/doc/257948181.html,/pub/wml.txt/980810–2.html, 1998–08–16/1998–10–04.

英语专业毕业论文参考文献汇总

【英语专业】毕业论文参考文献汇总（文学、翻译、语言学、英语教学、跨文化交流）来源：毛立静Regina的日志 【文学类】 戴维洛奇小说的艺术北京：作家出版社，1998 高奋西方现代主义文学源与流宁波：宁波出版社，2000 侯维瑞现代英国小说史上海：上海外语教育出版社，1986 胡经之，王岳川主编文艺学美学法论北京：北京出版社，1994 黄晋凯主编荒诞派戏剧北京：中国人民大学出版社，1996 霍夫曼佛洛伊德主义与文学思想王宁译北京：三联书店，1987 拉曼塞尔顿编文学批评理论刘象愚，陈永国等译北京：北京大学出版社，2000 霍纳韦勒克近代文学批评史（第4卷）上海：上海译文出版社，1997 李维屏英美现代主义文学概观上海：上海外语教育出版社，1998 柳鸣九编选新小说派研究北京中国社会科学出版社，1986 吕同六主编20世纪世界小说理论经典北京：华夏出版社，1995 罗伯特斯皮勒美国文学的周期——历史评论专集王长荣译上海：上海外语出版社，1990 罗德霍顿美国文学思想背景房炜等译北京人民出版社，1991 梅佛里德曼意识流，文学手法研究上海：华东师范大学出版社，1992 米兰昆德拉小说的艺术孟湄译北京：三联书店，1995 史志康主编美国文学背景概观上海：上海：上海外语出版社，1998 徐葆耕西方文学心灵历史北京清华大学出版社，1990 殷企平小说艺术管窥天津：百花文艺出版社，1995 【语言学】 奥马利第二语言习得的学习策略上海：上海外语出版社，2001

陈保亚20 世纪中国语言学方法论济南：山东教育出版社，1999 丁言仁英语语言学纲要上海：上海外语出版社，2001 费尔迪南德索绪尔普通语言学教程长沙：湖南教育出版社，2001 冯翠华英语修辞大全北京：商务印书馆，1996 桂诗春，宁春言主编语言学方法论北京：外语教学与研究出版社，1998 桂诗春应用语言学长沙：湖南教育出版社，1998 何兆熊新编语用学概要上海：上海外语教育出版社，2000 何自然语用学与英语学习上海：上海外语教育出版社，1997 侯维瑞英语语体上海：上海外语教育出版社，1988 胡壮麟语言学教程（修订版）北京：北京大学出版社，2001 黄国文语篇与语言的功能北京：外语教学与研究出版社，2002 黄国文语篇分析概要长沙：湖南教育出版社，1988 李延富主编英语语言学基本读本济南：山东大学出版社，1999 李运兴语篇翻译引论北京：中国对外翻译出版公司，2000 刘润清西方语言学流派北京：外语教学与研究出版社，1999 刘润清等现代语言学名著选读（上下册）北京：测绘出版社，1988 刘润清等语言学入门北京：人民教育出版社，1990 陆国强现代英语词汇学（新版）上海：上海外语教育出版社，1999 戚雨村现代语言学的特点和发展趋势上海外语教育出版社，1997 秦秀白文体学概要长沙：湖南教育出版社，1990 孙志外国语言研究论文索引（1995—1999）上海外语教育出版社，2001 索绪尔普通语言教程北京：商务印书馆，1999

英语的专业本科毕业论文论文摘要格式

英语专业本科毕业论文论文摘要格式 中英文摘要对应，内容要基本保持一致；中文在前，英文在后。字数为300-500字左右。 1．中文摘要 ①首行居中打印论文中文标题（宋体四号加粗） ②下空一行居中打印“摘要”二字（宋体小四号加粗），字间空一字符。 ③“摘要”二字下空一行打印摘要内容（宋体小四号）。 ④摘要内容后下空一行打印“关键词”三字（宋体小四号加粗），其后接 着打印关键词（3－7个，宋体小四号），各关键词之间用逗号隔开，最 后一个关键词后不打标点符号。 2．英文摘要 ①首行居中打印论文英文标题（Times New Roman四号加粗） ②下空一行居中打印英文单词“Abstract”（Times New Roman小四号加粗）。 ③下空一行打印摘要内容（Times New Roman小四，1.5倍行距，两端对齐） ④摘要内容后下空一行打印“Key Words”（Times New Roman 小四 号加粗），其后接着打印关键词（3－7个关键词，Times New

Roman 小四号）。除了专有名词外，其他单词的首字母不大写。各关键 词之间用分号隔开，最后一个关键词后不打标点符号。 ⑤摘要正文各自然段首行空5个字符。 （空1 行） （空1行） Having such a After she relationship with she realizes her own faults and acquires self-knowledge of both moral faults and emotion. she comes to know that feelings can not should not force her own idea on beginning of Emma’s self -knowledge. （空1行） Key Words: Emma; characters; match-making; self-knowledge

毕业论文外文翻译模版

长江大学工程技术学院 毕业设计（论文）外文翻译 外 文 题 目 Matlab Based Interactive Simulation Program for 2D Multisegment Mechanical Systems 译 文 题 目 二维多段机械系统基于Matlab 的 交互式仿真程序 系 部 化学工程系 专 业 班 级 化工60801 学 生 姓 名 李泽辉 指 导 教 师 张 铭 辅 导 教 师 张 铭 完 成 日 期 2012.4.15 顶层配置在管路等，要求设备，所有设要求，对调整使案，编是指机确保机组中资料试

外文翻译 二维多段机械系统基于Matlab 的交互式仿真程序 Henryk Josiński, Adam ?witoński, Karol J?drasiak 著；李泽辉 译 摘要：本文介绍了多段机械系统设计原则，代表的是一个模型的一部分的设计系统，然后扩展 形成的几个部分和模型算法的分类与整合的过程，以及简化步骤的过程叫多段系统。本文还介绍了设计过程的二维多段机械系统的数字模型，和使用Matlab 的软件包来实现仿真。本文还讨论测试运行了一个实验，以及几种算法的计算，实现了每个单一步骤的整合。 1 简介 科学家创造了物理模型和数学模型来表示人类在运动中的各种形式。数学模型 使创建数字模型和进行计算机仿真成为可能。模型试验，可以使人们不必真正的实 验就可以虚拟的进行力和力矩的分解。 本文研究的目的是建立一个简单的多段运动模型，以增加模型的连续性和如何 避免不连续为原则。这是创建一个人类运动模型系统的冰山一角。其使用matlab 程 序包创建的数字模型，可以仿真人类运动。 文献中关于这一主题的内容很广泛。运动的模式和力矩的分解在这些文献中都 有涉猎。动态的平面人体运动模型，提出了解决了迭代矩阵的方法。还值得一提的 是这类项目的参考书目，布鲁贝克等人提出了一个模型——人腿模型，这个以人的 物理运动为基础的平面模型仿真了人腿——一个单一的扭簧和冲击碰撞模型。人腿 模型虽然简单，但是它展示人类的步态在水平地面上的运动特征。布鲁贝克等人还 介绍，在人腿模型的双足行走的基础上，从生物力学的角度而言，符合人体步行的 特征。这个模型具有一个躯干，双腿膝盖和脚踝。它能够合理的表现出人多样的步 态风格。一个仿真人类运动的数学模型反应出了人的部分运动状态。 图1. 力的分解 2 力的分解

英语专业本科毕业论文参考文献规范格式

英语专业本科毕业论文参考文献规范格式 一、参考文献的类型 参考文献（即引文出处）的类型以单字母方式标识，具体如下： M——专著C——论文集N——报纸文章 J——期刊文章D——学位论文R——报告 对于不属于上述的文献类型，采用字母“Z”标识。 对于英文参考文献，还应注意以下两点： ①作者姓名采用“姓在前名在后”原则，具体格式是：姓，名字的首字母. 如：Malcolm Richard Cowley 应为：Cowley, M.R.，如果有两位作者，第一位作者方式不变，&之后第二位作者名字的首字母放在前面，姓放在后面，如：Frank Norris 与Irving Gordon应为：Norris, F. & I.Gordon.； ②书名、报刊名使用斜体字，如：Mastering English Literature，English Weekly。 二、参考文献的格式及举例 1.期刊类 【格式】[序号]作者. 篇名[J]. 刊名，出版年份，卷号（期号）：起止页码. 【举例】 [1]陈二春、袁志明. 文化移情能力与跨文化意识研究[J]. 四川外语学院学报，2008(3)：138-139. [2]夏鲁惠.高等学校毕业论文教学情况调研报告[J].高等理科教育，2004(1):46-52. [3] Heider, E.R.& D.C.Oliver. The structure of color space in naming and memory of two languages [J]. Foreign Language Teaching and Research, 1999 (3): 62–67. 2.专著类 【格式】[序号]作者.书名[M].出版地：出版社，出版年份：起止页码. 【举例】 [4]胡文仲. 跨文化交际学概论[M]. 北京：外语教学与研究出版社，1999：42. [5]Gill, R. Mastering English Literature [M]. London: Macmillan, 1985: 42-45. 3.报纸类 【格式】[序号]作者.篇名[N].报纸名，出版日期（版次）. 【举例】 [6]李大伦.经济全球化的重要性[N]. 光明日报，1998-12-27(3). [7] French, W. Between Silences: A V oice from China[N]. Atlantic Weekly, 1987-8-15(33). 4.论文集 【格式】[序号]作者.篇名[C].出版地：出版者，出版年份：起始页码. 【举例】 [8]伍蠡甫. 西方文论选[C]. 上海：上海译文出版社，1979：12-17. [9] Spivak,G. “Can the Subaltern Speak?”[A]. In C.Nelson & L. Grossberg(eds.). Victory in Limbo: Imigism [C]. Urbana: University of Illinois Press, 1988, pp.271-313. [10] Almarza, G.G. Student foreign language teacher’s knowledge growth [A]. In D.Freeman and J.C.Richards (eds.).Teacher Learning in Language Teaching[C]. New York: Cambridge University Press. 1996. pp.50-78. 5.学位论文

《英语专业毕业论文正文格式参考》剖析

本科生毕业论文(设计) 注1：标题需用词组，不可用句子。首页标题单行（只 能占一行），如果英文题目过长，封面可以用中文题 题目：On Environment Protection 学院（系）：外语学院 专业：英语（涉外法律） 班级：10** 学号：10******** 姓名：******** 指导教师：**** 注2：封面所填文字中文为宋体20号字，英文为 Times New Roman20号字，所有下划线保持一

从权利要素来分析，……。 环境权影响并决定人类的生存状况，其实现过程中的矛盾冲突必须得以解决。但历史上曾经出现过的“零增长”论、“无限增长”论不但不能解决现有问题，而且是非理性的，……。 本文的结论是要以可持续发展理论为导向，在实际中发扬“持续”“循环”的理念，众人参与，人人有责。保障公民基本环境权，完善求偿、申诉的程序；把环境使用费纳入企业发展成本中，……。 [关键词]

The Environment Right which has been brought up recently belongs to one kind of the fundamental rights. In my paper, I emphasize on the conflicts in the fulfillment of the Environment Right. and other organizations (in certain situation, countries are also qualified subjects). ……

(1) 1.1 What is the Environment 2 1.1.1 Answers to This Question 2 1.1.2 Definition of the 1.2 Conflicts (4) Chapter 2 The Conflicts for Environment Right (6) 2.1 Analyses: Economic Roots of the C onflicts (6) 2.1.1 Minus Externalities of Economic Activities (6) 2.1.2 Publicity and Competitiveness of Environment Sources (7) 2.2 Discussion: Vicious Circles. (8) 2.2.1 Vicious Circle One (8) 2.2.2 Vicious Circle Two (8) Chapter 3 Solution (10) Chapter 4 Conclusion (16) References (19)