论文要求.docx

1、论文要求5.2.1英语专业的毕业论文1. 英文摘要单独起页，仅限一页。居中位置注明“ABSTRACT”字样（三号Times New Roman字体加粗），空一行打印英文摘要内容及关键词（四号Times New Roman字体），行间距为23磅，摘要内容每段开头留四个字符空格。摘要内容书写完毕以后，往下空一行左顶格标注“KEY WORDS：”字样（四号Times New Roman加粗字体），随后给出能反映全文主要内容的关键词35个，关键词小写，关键词之间用逗号分开，最后一个关键词后不打标点符号。2. 中文摘要即英文摘要之汉译，单独起页，仅限一页。中文摘要应说明工作目的，研究方法、成果和结论。要

2、突出学位论文中的创造性成果和新见解，语言力求精练。居中打印“摘要”二字（三号宋体加粗），字间空两格。“摘要”二字下空一行打印摘要内容（四号宋体），每段开头空二格。摘要内容后空一行左顶格打印“关键词：”三字（四号宋体加粗）,空一格后为关键词（四号宋体）。关键词数量为35个，关键词之间用逗号分开，最后一个关键词后不打标点符号。3. 提纲单独起页。居中位置注OUTLINE字样（三号Times New Roman字体加粗）。空一行左顶格分条目（依照其出现的先后顺序）列出论文的如下各个部分：Introduction、论文的各个章节标题、Conclusion。所有条目的措辞、大小写、以及标点符号与其在文章

3、中的严格一致。标题均为短语，应该简明扼要点出各部分主要内容。一级标题为四号Times New Roman加粗字体，用罗马数字标识出来，并在其后加点“.”后打印标题，标题的第一个字母大写，其余小写；二、三级标题均为小四Times New Roman字体，分别以1.1、1.2等和1.1.1、1.1.2等标识，其后不加点“.”，并且逐级缩进两个字符，然后打印标题。罗马数字的标题加黑，Introduction 和Conclusion加黑，其余标题不加黑。要Introduction（一级标题）和Conclusion（一级标题）各有一小段具体内容。4. 论文正文 Introduction （四号Times

4、 New Roman加粗字体）该部分为全文内容的介绍，字数不得低于300英语单词。 节（小节）每章、节均含该章、节的Introduction、Conclusion内容部分。靠左位置起该章标题（一级标题），第一个单词首字母大写，其余小写。节标题（二级标题）单独占一行，以小四号Times New Roman字体加粗打印，用1.1、1.2、1.3的格式编码层次，左顶格，后空一个字符打印标题。换行后空4字符打印论文正文。小节标题（三级标题）以小四号Times New Roman字体加粗打印，用1.1.1、1.1.2、1.1.3的格式编码层次，左顶格，后空一个字符打印标题，换行后空4字符打印论文正文。正

5、文采用小四号Times New Roman字体。 例句例句较多时，须统一使用（1）、（2）、（3），全文编号。 夹注行文中无需特别说明的引文或文献指引使用夹注形式。常用格式为：直接引文：“（作者姓，著作年代：原文页码）”，如：It is explained that “universal grammar may be thought of as some system of principles, common to the species and available to each individual prior to experience.” (Chomsky , 1981:7)转述：“

6、作者姓（著作年代）”，如：In Chomsky (1981)，the feature composition of PRO is argued to be anaphor，pronominal.提及：“作者姓（著作年代）”，如：For discussion of the classification of verbs in the traditional literature see Aarts Aarts(1982),Huddleston (1984)and Quirk et al (1985).如果文献原文为中文，则用“作者姓的拼音（汉语姓名，著作年代：原文页码）”格式，如ang（王力，1

7、985：67）holds that “”。应该注意文献目录中必须有该中文条目，即：王力.中国语言学史.太原：山西人民出版社，1985.总之，要使“行文”“夹注”“文献”能有机地相互统一和照应。5. 参考文献单独起页。在起始页首行左顶格注明Bibliography字样（三号Times New Roman加粗 ），空一行列写参考文献。所列各条目必须是论文写作过程中参考过，并且与论文内容相关的文献。各条目按作者的姓氏（last name）(中文姓氏按其汉语拼音)的字母顺序，外文文献排前，中文文献排后。英文书目必须斜体。同一作者的不同文献按时间先后排列，同一作者同一年代的不同文献则在出版年代后用a、b

8、、c加以区别，如1998a，1998b。每条文献以1 、2 字样顶格写并且不用“.”， 然后打印文献信息，回行时与上一行文字对齐。 外文文献格式外文书名、博士论文名及期刊名用斜体书写，其中所有的实义词首字母大写；论文篇名用正体书写，仅篇名第一个单词的首字母大写、其余（除专有的名词以外）一律小写。各类型的具体格式如下：（1）期刊式一：作者姓，作者名.论文题目.期刊名（空一字符）期刊期号：论文页码范围.出版年代.例：Chomsky, Noam. On Binding. Linguistic Inquiry 11：144. 1980.（或无期刊号及页码范围）（2）期刊式二：第一作者姓，第一作者名第二

9、作者名 第二作者姓（以此类推）.论文题目.期刊名（空一字符）期刊期号：引文页码范围. 出版年代.例：Chomsky, Noam. Howrad Lasnik. Filters and Control. Linguistic Inquiry 8: 425504. 1997. （或无期刊号及页码范围）（3）专著式：作者姓，作者名.专著名.出版社所在城市名：出版社. 出版年代.例：Chomsky，Noam. Barriers. Cambridge, Mass：MIT Press. 1986a.Chomsky，Noam. Knowledge of Language: Its Nature, Origi

10、n and Use. New York : Praeger. 1986b.(4)编著论文式：作者姓，作者名.论文题目.In编者姓名（ed.）（两人以上用eds.）文集名，论文页码范围，出版社所在城市名：出版社. 出版年代.例：Chomsky, Noam. A minimalist program for linguistic theory. In Kenneth Hale Samuel Jay Keyser (eds.) The View from Building 20:Essays in Linguistics in Honor of Sylvain Bromberger,152. Cam

11、bridge, Mass.: MIT Press. 1993.（注意：著作者在2人以上时，格式按“期刊式二”中对作者的处理方式处理。以上各例中作者姓名的名均可采用两种形式，即：完全形式与缩写形式，如（1）例中可写成：Chomsky, Noam 或Chomsky ,N. 但在学位论文中只能选择其中一种形式、不可混用。） 中文文献格式中文书名和期刊名称放在书名号中。各类型格式如下：（1）期刊式：作者姓名.论文题目，期刊名期刊期号，论文页码范围页，出版年代.例：朱德熙.汉语句法里的歧义现象，中国语文第2期，8189页，1980.（2）专著式：作者姓名.专著名.出版社所在城市名：出版社，出版年代.例：

12、桂诗春.应用语言学.长沙：湖南教育出版社，1988.徐烈炯.生成语法理论.上海：上海外语教育出版社，1988.（3）中文译著式：原著作者姓、名.原著名.原著出版年代.中译本：译著名，译者姓名译. 译著出版社所在城市名：出版社，译著出版年代.例：Chao ,Y . A Grammar of Spoken Chinese, 1968.中译本：汉语口语语法，吕叔湘译.北京：商务印书馆，1979.(4) 网络文献应注明网址。补充要求：只列作者直接阅读过、在正文中被引用的文献资料。参考文献一律列在正文的末尾，不得放在各章之后。在引用别人的科研成果时，应在引用处加以说明，严禁论文抄袭现象的发生。6. 致谢

13、单独起页。在起始页第二行居中位置注明Acknowledgements（加粗三号Times New Roman）字样，空一行缩进5个字符打印内容，对自己在论文写作中提供过实质性帮助的人表达谢意。内容简明、语言得体。7. 篇眉和页码篇眉从正文开始至附录结束，上下2.54CM, 左右2.5CM, 行距23磅；封面与中英文摘要和目录不标记页数；从正文开始一直到参考文献部分的结束一律用阿拉伯数字（1、2、3）标示，居于页面底部居中位置。致谢不标示页面数。8. 引文引文要准确，尽量短小、适度。比较短的直接引文（散文在40单词或诗2行之内）使用段中引文形式，即前后加引号，与论文融为一体、无需独立起段。诗歌的

14、两行之间用斜线（/）分开，且斜线的前后空一格，保留原文的大小写，如：（例1）George Orwell, the English essayist and novelist, explains that“Dickenss criticism of society is almost exclusively moral.”（例2） In his “Hymn to Intellectual Beauty,” Shelley personifies the immaterial, spiritual world:“The awful shadow of some unseen Power / Flo

15、ats though unseen amongst us.”比较长的直接引文（散文超过40单词或诗2行以上）则使用提引文形式，即须单独起段落引入。引文上下空一行 ，整体向后进缩10个字符。如：Williams (1983：5253)explains that the word career has all but lost its original meaning.Career is now so regularly used to describe a persons progress in life, or, by derivation from this, his profession

16、or vocation that it is difficult to remember, in the same context,these survive.Career appeared in EnglishThe Comparison between the Lost Generation and the Beat Generation外国语学院 邹 伟指导教师 任培红AbstractBoth the Lost (Lost Generation) and the Beat (Beat Generation) were tormented by big wars, suppressed b

17、y autocratic governments, and confused by many confusing social problems, but the social and cultural backgrounds in which they appeared were different. And their outlooks on the American society and culture differed from each other, and so did their pursuits. In order to pursue their goals, both of

18、 the Lost and the Beat put their thoughts and feelings into words or actions. However, their ways of pursuing were different from each other. Therefore, their literary and social influences on America would be different.KEY WORDS: Lost, Beat, outlook, pursuitIntroductionThe Lost and the Beat play im

19、portant roles in the American culture. The former came of age during the First World War. It was “lost” in the sense that its inherited values were no longer relevant in the postwar world and because of its spiritual alienation. And the latter is an American social and literary group originating in

20、the 1950s and centered in the bohemian artist communities. This paper will compare the two generations in the following three aspects：In the first place, the backgrounds in which they lived were different. One is the social backgrounds. The Lost lived in the period deeply influenced by WWI，Red Scare

21、 and some social problems of 1920s while the Beat appeared in the decades distorted by WW, Cold War and McCarthy. The other is cultural backgrounds. The Lost lived in the conflict between New Culture and the mainstream culture while the Beat came into being in an era, in which the American literatur

22、e was flourishing. Thus, the two generations outlooks on the American society and culture and their pursuits were different. Holding the belief that America was devoid of cosmopolitan culture, the Lost drifted away from both the mainstream culture and New Culture, and moved to Europe to search for i

23、t. Like the Lost, the Beat was also tired of their country. But the Beats pursued “absolute” freedom through drugs, alcohol, casual sex, etc. Therefore, the two generations social and cultural influences on America differed from each other.It is hoped that this brief comparison will be helpful for c

24、ontemporary intellectuals to get more knowledge of the two generations, and provide Chinese young generations a “mirror” for their own development.I. Differences between the two generations backgroundsIn this part, the definitions of the two generations will be given. And then the similarities and d

25、ifferences between their social and cultural backgrounds will be analyzed.1.1 The definitions of the two generationsThe definitions of the two generations are the starting point to understand them and to analyze the differences between them1.1.1 The definition of the LostThe Lost Generation is also

26、called the post-World War I generation, but specifically a group of U.S. writers who came of age during the war and established their literary reputations in the 1920s. The term stems from a remark made by Gertrude Stein to Ernest Hemingway, “You are all a lost generation.” Hemingway used it as an e

27、pigraph to The Sun Also Rises (1926), a novel that captures the attitudes of a hard-drinking, fast-living set of disillusioned young expatriates in postwar Paris. And the term embraces Hemingway, F. Scott Fitzgerald, John Dos Passos, Cummings, Archibald MacLeish, Hart Crane, and many other writers w

28、ho made Paris the centre of their literary activities in the 1920s.1.1.2 The definition of the Beat GenerationThe Beat Generation, also called Beat Movement, is an American social and literary movement originated in the 1950s and centered in the bohemian artist communities of San Franciscos North Be

29、ach, Los Angeles Venice West, and New York Citys Greenwich Village. Calling this relatively small group of struggling writers, students, hustlers, and drug addicts a generation was to make the claim that they were representative and importantthe beginnings of a new trend, analogous to the influentia

30、l Lost Generation. By about 1960, when the faddish notoriety of the movement had begun to fade, it had produced a number of interesting and promising writers, including Ferlinghetti, Gregory Corso, Philip Whalen, Gary Snyder, etc.1.2 Social backgroundsThe Lost lived in the period, which was deeply i

31、nfluenced by World War I，Red Scare and some confusing social problems of 1920s. And the Beat appeared in the decades which were distorted by World War, Cold War and McCarthy. 1.2.1 The Lost: under the influences of WWI, Red Scare and confusing social problemsFor the Lost, WWI was the most influentia

32、l social background. It was an international conflict during 191418 which embroiled most of the nations of Europe along with Russia, the United States, the Middle East, and other regions. It shattered the Europeans optimistic faith in the ability of society and democracy to create a better future and made the Lost disappointed and unhappy.Whats more, the Lost was confused by some social problems. First, the mainstream culture advocated thri