英语专业本科毕业论文写作指导

1、外国语学院英语专业本科毕业论文写作指导一、选题范围:二、写作基本规范1.论文题目:论文题目应以最恰当、最简明的词语反映该论文的核心内容,并有助于选 定关键词和编制题录;题目中不能用缩略词、首字母缩略词、字符、代号和公式等;其长度 一般不超过 20个字;语意未尽时可用副标题补充说明。2.论文摘要:论文摘要应具有独立性和自含性,它应概括说明论文的主要观点、论证框 架及结论,或说明研究工作的目的、研究方法、研究结果和最终结论。一般说来,英文摘要 在 150-300词之间,中文摘要在 250-500字之间。除了英汉两种语言的表达习惯差异等因素 外,中英文摘要之间应具有严格的对应性。3.关键词:每篇论文

2、必须选取 3-5个能反映该论文主要内容的中、英文关键词,以显著 的字符排在其对应摘要的左下方。4.正文部分:(1论文的基本观点应具体、明确,应做到立论客观,并力求独创性; (2 论据应充分、 翔实, 力求旁征博引, 具有确证性, 且文中所用材料言之有据, 准确可靠; (3 论证过程严密有序, 富有逻辑性, 提出问题、 分析问题和解决问题符合客观事物的发展规律; (4语言准确、规范,无拼写或语法错误; (5各级标题按 1, 1.1, 1.1.1等方式编号; (6 标注合乎规范。The first requirement of the strict Italian, or Petrarchan s

3、onnet was that it be limited to fourteen lines organically divided into an octave rhyming abba abba and a sestet in which everal rhyme schemes were permitted. At the end of the octave there was a volte ,or turn ,so structurally speaking the first eight lines provided the subject and sufficiently amp

4、lified it, and the sestet provided the resolution. While the Shakespearean form of the sonnet does not observe the octave/sestet division. 5.注 释:为了反映文稿的科学依据和作者尊重他人研究成果的严肃态度以及向读者提出有关信息 的出处 , 正文中属于直接引用的他人的话语应给予标记,标记方法是在引用的文字的右上角 按顺序进行标号,并将标号放在 内,然后在“注释”部分对号录入该引文的具体出处。 录入的格式同“参考文献”部分。 “注释”紧随正文之后。6.参考文献

5、:对于作者直接引用过的文献,以及在论文写作过程中亲自阅读且参考过的 发表在公开出版物上的文献,按惯例应录入“参考文献”部分。录入时英文参考文献在先, 汉语参考文献在后,两者内部都按字母顺序排序。原则上,一篇论文的参考文献至少在 15篇以上,且英文文献应占半数。具体的文献著录格式为(参照英语专业本科毕业论文打印 格式 。7.附录:该部分录入论文中使用过的图表、调查问卷等数据资料。三、打印要求 :1. 论文统一用标准 A4规格的白纸单面打印; 2. 论文中所用英文统一使用 Microsoft Word软件中的 Times New Roman 字体,所用中文使用“宋体”字体; 3.论文在打印时,纸张

6、 四周留足空白边缘,每页上方和左侧边距应分别为 25-30mm ,下方和右侧边距为 20-25mm 。 四、装订顺序:1.封面:由学校统一印制,全中文填写 2.内封:英文3.英文摘要、关键词(Abstract 、 Key words 4.中文摘要、关键词:5.论文目录(Contents 6.论文正文:英文7.注释(Notes 8.参考文献(Bibliography The collection of poems called Shakespeare's Sonnets includes 154 short poems composed as sonnets. These were pu

7、blished, together with a poem called "A Lover's Complaint," in 1609. It seems clear, however, primarily on stylistic grounds, that many of the sonnets were written well before that date. There is very little direct evidence in the poems themselves which might point to a specific date (

8、Sonnet 107 is sometimes held to refer to the coronation of James I in 1603, and we have no independent authorities to help us with the dates of composition. The range of styles and attitudes explored in the poems suggests that some of them must have been written during the so-called "problem&qu

9、ot; period (1600-1603, for there is a great similarity between some of the sonnets and the style of Hamlet and Troilus and Cressida. Others seem much earlier than this. The Sonnet ConventionThe sonnet, as a poetic genre, began in Italy in the thirteenth century, and, under the later influence of the

10、 Italian poet Petrarch, became internationally popular. Petrarch established the basic form of the so-called Petrarchan sonnet: 14 lines divided into two clear parts, an opening octet (8 lines and a closing sestet (6 lines with a fixed rhyme scheme (abbaabba cdecde. Often the octet will pose a probl

11、em or paradox which the sestet will resolve. Petrarch also established the convention of the sonnet sequence as a series of love poems written by an adoring lover to an unattainable and unapproachable lady of unsurpassed beauty. The Petrarchan sonnet convention, in other words, established, not mere

12、ly the form of the poem, but also the subject matter.The sonnet form was brought into English poetry in the sixteenth century by Thomas Wyatt and Henry Howard (Earl of Surrey. They introduced some modifications in the form, sometimes substituting for the traditional division into octet八重奏 and sestet

13、 a division into three quatrains 四行诗 (4 lines each and a closing couplet, with a different (but still tightly controlled rhyme scheme. This form later became known as the Shakespearean Sonnet, named after its greatest practitioner. Shakespeare uses both the Petrarchan and the Shakespearean structure

14、 in his sonnets. By Shakespeare's time the sonnet sequence was a very well established literary convention. The Petrarchan convention of love (despairing lover writing to a lovely, unattainable lady in words of reverent praise and worshipful adoration gave rise, as all really popular conventions

15、 do, to its opposite, an anti-Petrarchan convention, in which the woman to whom the poem was addressed was castigated斥责 as a deceitful欺诈的 and often ugly manipulator操纵者 In other words, the sonnet form developed as subject matter both the faithful adoration of the idealized female lover and the spitef

16、ul contempt for a person entirely unworthy of love (which was a continuation of avery old misogynist厌恶女人的人 tradition in European literature.An important part of the sonnet convention was often a celebration of the poet's "wit," that is, of his ability to show his poetic skill in approp

17、riating metaphors and conceits 自负 (extended metaphors in clever ways, so that the poem becomes, not just atribute to the lady but also a testament to his great skill as a poet. Hence, the sonnet convention often encouraged a highly artificial and very literary treatment of feelings of love. One of t

18、he most remarkable features of many of Shakespeare's best sonnets is the way his language transforms this frequently artificial and conventional form of literature into something direct, urgent, and sincerely passionate.The Sequence序列 , 顺序 of Shakespeare's SonnetsThe precise order of the poe

19、ms in Shakespeare's sonnet sequence has occasioned some scholarly dispute, although there is, in general, widespread agreement with a more or less standard order. Conventionally the sonnets fall into three clear groupings: Sonnets 1 to 126 are addressed to or concern a young man; Sonnets 127-152

20、 are addressed to or concern a dark lady (dark in the sense of her hair, her facial features, and her character, and Sonnets 153-154 are fairly free adaptations of two classical Greek poems.Attributing Sonnets 1-126 to a young man and Sonnets 127-152 to a dark lady is somewhat problematical, since i

21、n many of the poems the gender of the person addressed is not at all clear (although sometimes it is. We have no clear mandate to interpret poems invoking "my love" as referring necessarily to a male or to a female, since the term is used to refer to both sexes equally. The Subject Matter

22、of the Shakespeare's Sonnet SequenceOne can study Shakespeare's sonnets as independent poems or, in some cases, as short sequences of a few poems (since many are linked together by subject matter, or as an entire sonnet sequence, trying to make of the total collection some form of coherent o

23、r semi-coherent narrative. We have no particular need or right to construct such a narrative (after all, the poems may be quite independent of each other, but the temptation to do so is almost irresistible.Shakespeare's sonnet sequence begins with a series of poems urging the young man to whom t

24、hey are addressed to get married, so that he will leave the world a copy of his beauty, which will therefore not suffer the ravages of time. The young man is clearly single, very accomplished, good looking, and of noble birth. In Sonnet 18 the theme shifts slightly, as the speaker of the poem (who i

25、dentifies himself as the poet claims that the young man will achieve immortality through these very sonnets, which will preserve his beauty for all time. But the tone of the sonnets quickly becomes much more personal as the speaker explores his love for the young man and, at times, his despair at ab

26、sences from the young man and at the young man's unfaithfulness. In at least one poem (Sonnet 20 there seems to be a very explicit homosexual basis to the relationship between the speaker-poet and the young man. Elsewhere, there is a suggestion that the young man is having an affair with a woman

27、 also loved by the speaker-poet (an issue which Sonnet 42 raises and whichis later explored in Sonnet 144, a poem which suggests that the young man and the dark lady are lovers. Sonnet 78 starts a concern for some rival poet who has engaged the attention and the affection of the young man. The unfai

28、thfulness of the young man leads the speaker to question his moral character with very specific images of infection and disease (which suggests venereal infection-as in Sonnets 94 and 95.The dark lady sequence (which starts with Sonnet 127 also offers tantalizing narrative suggestions. She is conven

29、tionally referred to as the Dark Lady although she is rarely called dark (the adjective "black" is much more commonly applied to her, and we have no evidence that she was a noble (as the term lady might suggest. The speaker establishes that both he and the lady are no longer young, and he

30、knows his love for this lady is wrong (sinful but he cannot escape it. This puts him in a powerful moral anguish (as in Sonnet 129, 144, and 147. She is unfaithful to him, and he is unfaithful to her, and both are committing adultery with others and with each other (including, it seems, the young ma

31、n. And yet at times his expressions of love are unequivocally beautiful and confident (Sonnet 116.What is particularly remarkable about the sequence of poems addressed to or concerning the young man and the dark lady is the extraordinary range of emotions explored, everything from confident declarat

32、ions of total love, to gloom at separation, joy at reunion, bitter disappointment at mutual infidelity, and savage despair at being locked into behaviour which will damn him to hell. What is also remarkable is the range of styles in the sonnets. Some of the poems are relatively conventional sonnets

33、in execution and achievement; and some are inferior poems by any standard. Some are clearly designed to show off the poet's skill at the expense of any real sincerity of feeling. Many have a richly complex style, and others are apparently very simple in vocabulary, syntax, and form (none more so

34、 than Sonnet 66. But the best of the sonnets, the finest love poems in English, display an astonishing synthesis of technical sophistication and passionate eloquence, qualities which transform any lingering conventional attitudes to love into something which registers as uniquely and sincerely felt

35、(e.g., Sonnet 116, Sonnet 138, Sonnet 129, Sonnet 144, Sonnet 147, to name a few.A Biographical Basis for the SonnetsNot surprisingly, many scholars (professional and amateur have seen in Shakespeare's Sonnets a revealing insight into the biography of William Shakespeare. There is, of course, ab

36、solutely no reason why we have to see these poems as based upon real experience; the poems could be about entirely imagined people and experiences. However, given the emotional pressure contained in many of these sonnets and the fact that some of them are about a person named Will, many people belie

37、ve they must contain important clues to Shakespeare's life. And so the scholarly hunt is on. Who is the young man? Who are the rival poet and the dark lady? An enormous amount of energy has been spent on such questions; all suggestions, however, remain inconclusive.There is, so it is alleged, on

38、e vital clue given by the dedication to the Sonnets, which runs as follows:TO.THE.ONL Y.BEGETTER.OF.THESE.ENSUING .SONNETS.MR.W. H.ALL.HAPPINESS.AND.THAT.ETERNITY.PROMISED.BY .OUR.EVER-LIVING .POET.WISHETH.THE.WELL-WISHING .ADVENTURER.IN.SETTING.FORTH.T.T.The initials T.T. at the bottom evidently re

39、fer to Thomas Thorpe, the publisher. But who is Mr. W. H.? If he is "the only begetter of these ensuing sonnets," then he might be the young man. Hence, if there is a biographical basis for the sonnet sequence, we need to find a young, single, rich, handsome, noble young man with the initi

40、als W.H. and with some connection (if possible to William Shakespeare. Depending on when we date the composition of these sonnets about the young man, our candidates for the role will change. There is not time to rehearse all the suggestions, which range from Henry Wriothesley, Third Earl of Southam

41、pton, to Willie Hughes, a homosexual ship's cook or boy actor. The initials may be a misprint for Mr. W. Sh. referring to the author.There have also been many suggestions for the identity of the rival poet and of the dark lady. Again, there is no consensus on a particular candidate. But the sear

42、ch goes on.The Sonnets in English 366In this course we are not undertaking a systematic study of the Sonnets as a totality. We will, however, be looking at a selection of sonnets and discussing them in the newsgroup. The major purpose of this discussion is to explore some of the variety in the colle

43、ction and to improve our ability to interpret lyric poetry.In the discussions of the sonnets, students should remember that the purpose of an interpretative discussion is not simply to reach some agreement on a prose translation of the sonnet (i.e., determine its literal meaning by providing a summa

44、ry of the content. That may be an important initial step. But the real challenge is to explore the range of the feelings illuminated by the particular language of the sonnet, that is, to see how the particular words, images, rhythms,rhymes, and so on help to take us into a range of feelings about th

45、e experience which the speaker is presenting. In carrying out this task, we should bring to bear some evaluative criteria (e.g., Is this a successful poem? What criticisms might one express about it? How does this sonnet compare with others on a similar theme? And so on. It is vitally important that

46、 our discussions do not get bogged down in interminable arguments about the precise denoted meaning of the lines (i.e., into arguments about the literal translation. If we don't discuss elements of the style and explore how those contribute to our understanding of the emotional attitude of the s

47、peaker, then we will be missing the main point of such interpretation.Containing some of the greatest lyric poems in English literature, Shake-speares Sonnets are not just the easy love sentiments of "Shall I compare thee to a summer's day." Many of the poems are bleak cries of emotion

48、al torment and spiritual exhaustion. They tell a story of the struggle of love and forgiveness against anguish and despair. It is this tragic portrait of human love that makes the sonnets immortal.The Shakespeare s SonnetThe sonnet form evolved during the high Italian Middle Ages, most famously in t

49、helyrics of Dante Alighieri (1265-1321 and Francesco Petrarca (1304-1374. The form spread through Spain and France, and was skillfully refined by the French "Pléiade" poets Joachim DuBellay (1522-1560 and Pierre Ronsard (1524-1585.Shakespeare followed the more idiomatic rhyme scheme t

50、hat Philip Sydney used in the first great Elizabethan sonnet cycle, Astrophel and Stella (published posthumously in 1591. This scheme interlaces the rhymes of two pairs of couplets to make a quatrain, then builds the whole sonnet of three differently rhymed quatrains and a concluding couplet:Q1 From

51、 fairest creatures we desire increase, aThat thereby beauty's rose might never die, bBut as the riper should by time decease, aHis tender heir might bear his memory: bQ2 But thou, contracted to thine own bright eyes, cFeed'st thy light's flame with self-substantial fuel, dMaking a famine

52、 where abundance lies, cThyself thy foe, to thy sweet self too cruel. dQ3 Thou that art now the world's fresh ornament, eAnd only herald to the gaudy spring, fWithin thine own bud buriest thy content, eAnd, tender churl, mak'st waste in niggarding: fC Pity the world, or else this glutton be,

53、 gTo eat the world's due, by the grave and thee. gThe Shakespearean sonnet affords two additional rhyme endings (a-g, 7 in all so that each rhyme is heard only once. This not only enlarges the range of rhyme sounds and words the poet can use, it allows the poet to combine the sonnet lines in rhe

54、torically more complex ways. Shakespeare often gave special emphasis to the break between the second and third quatrains (equivalent to the major break between the 8 quatrain lines and the 6 tercet lines in the Italian sonnet, but he also paired and contrasted the quatrains in many other ways, creat

55、ing a great range of argumentative or dramatic effects.Shakespeare invested the couplet with special significance. It often summarizes or characterizes the musings of the three quatrains in a sardonic, detached or aphoristic voice, standing in some way aloof from the more turbulent and heartfelt out

56、pouring of the quatrains.12月 25日 It takes time to appreciate Shakespeare's sonnets, both because of their intricate sentence structure and elaborate pattern of sounds, imagery and ideas. After reading a sonnet once and vaguely understanding its meanings, you need to dwell on its image, sound/rhy

57、thm and logical pattern in order to find out its deeper meanings. It is also important to remember that a Shakespearean sonnet is composed of three quartrains (4-line stanza and a couplet (2 lines. "Shall I Compare Thee to a Summer's Day"Questions for Group Discussion and JournalThis p

58、oem is an extended comparison between the speaker's lover and a summer's day. According to the first two lines, how is the speaker's lover UNLIKE a summer's day?Lines three through eight point out a number of negative characteristics of summer. Identify them. Lines nine through fourt

59、een offer a view of the lover's many contrasts with nature. How is she better than a summer's day?What will keep her young forever? What does this poem suggest about the value of art?Identify the metaphors, personification, and hyperbole in this sonnet.Try to feel and describe the effects pf

60、 spondaic (double stress rhythm in line 3, as opposed to the predominantly iambic rhythm in other lines, esp. ll. 4, 7-8 and 13-14.Shakespeare's Sonnetsby Katy Byrd and Nathan HarrodIn the late 1500's it was fashionable for English gentleman authors to write sonnets, lyric poems composed of 14 lines. The sonnet is composed with a form