文学方向硕士论文模板(后附文献格式细则).doc

单位代码10476学号分类号I106硕士学位论文居中，黑体，小二号。封面、扉页等模板可在研究生处主页下载。儿子与情人中的男性气质学科、专业：英语语言文学研究方向：英美文学申请学位类别：文学硕士申请人：王艳丽指导教师：梁晓冬 教授 二0一一年六月Times New Roman大写，居中，小二号MASCULINITIES IN SONS AND LOVERSA Dissertation Submittedto the Graduate School of Henan Normal Universityin Partial Fulfillment of the Requirementsfor the Degree of Master of Arts 斜体By Wang YanliSupervisor: Prof. Liang Xiaodong Date：June, 20103号加黑，Times New Roman居中，上下行距各16磅左右。AcknowledgementsFirst and foremost, I would like to express my gratitude to and timely strictness and kind understanding have inspired me to maintain composure in face of all difficulties. My interest in Times New Roman；五号字，2倍行距；首行缩进5-7个字符。19居中，小二，宋体，加黑上下保持适当（12磅） 行距摘要D. H. 劳伦斯是20世纪英国的杰出文学家, 儿子与情人是他的第三部小说，也是他的第一部重要的小说。故事发生在19世纪工业化的英国，以一个名叫河川区的矿区为背景，描写了矿工莫瑞尔一家的生活以及他的几个子女的成长经历关键词：儿子与情人；男性气质；共谋性；边缘性宋体（其中的西文仍用Times New Roman）；小四号字，1.5倍行距；首行缩进两个汉字。关键词与摘要正文间隔一行，不缩进；“关键词”三字加黑，其后关键词用分号隔开。居中，3号加黑，Times New Roman上下行距各12磅左右。AbstractD. H. Lawrence is a distinguished British writer in 20th century. Sons and Lovers （SL） is his third and also the first important novel. The story happens in the industrialized England, and its background is a mining community called Bottom Critics at home and abroad Key words: Sons and Lovers; Morel; William; Paul; masculinity; complicit; hegemonic; marginalizedTimes New Roman；五号字，2倍行距；首行缩进5-7个字符。关键词与摘要正文间隔一行，不缩进；Key Words二字加黑，其后关键词用分号隔开。居中，3号加黑，Times New Roman上下行距各16磅左右。Table of ContentsAcknowledgementsI摘要IIIAbstractVTable of ContentsIXIntroduction10.1 Research Background1Chapter I Masculinities and Sons and Lovers31.1 Masculinitys Formation and Study31.2 Connells different Types of Masculinities31.3 The Feasibility of a Masculinity Study4Chapter II The Wounded Complicit Masculinity of Walter Morel52.1 Masculinity Wounded by His Wife52.2 Masculinity Wounded by His Children6Chapter III The Unsuccessful Hegemonic Masculinity of William73.1 An Overt Desire for Hegemonic Masculinity73.2 The Failure of Hegemonic Masculinity Constructing7Chapter IV The Self-made Marginalized Masculinity of Paul94.1 Hidden Desires for Masculinity94.2 The Self-made Marginalized Masculinity9Conclusion11Works Cited13攻读学位期间发表的学术论文目录15独创性说明17关于论文使用授权的说明17Introduction居中，3号加黑，Times New Roman上下行距各16磅左右。从此部分开始是论文主体，要求加页眉。页眉文字与该部分标题一致。Introduction号加黑，Times New Roman上下各倍行距。0.1 Research Background书名须斜体D. H. Lawrence is a prolific and world famous British writer. Sons and Lovers, (SL) published in 1913, is his most popular and most widely studied novel. There are numerous monographs, symposiums and papers on the novel both at home and abroad. 文内注释用“姓页码”（中文姓名用汉语拼音全称）格式，置于圆括号内。注意标点符号的位置。One basic critical book on Sons and Lovers is Michael Blacks D. H. Lawrence: Sons and Lovers. It pays more attention to the background of the novel. The book also comments on the narrative structure, the foreword of the novel and its place in literature. It is a balanced study on the whole. Sons and Lovers: a casebook, including ten articles, is a valuable symposium. Among them, Macdonald Dalys article is worth noted here, for she states that Mrs. Morel gives “psychologically terroristic onslaught on Morel” and “Mrs. Morel takes possession of her sons by directing the course of their futures” (Daly 85). It proves that Mrs. Morel is a possessive woman, and she manipulates the male members in her family. 方括号用来标明引者对原文所作的改动或省略等。Ibid（引文出处同上）同一页中可用，换页则避免使用。Richard D. Beards regards the novel as a Bildungsroman, which focuses on “the conflict between an alienated individual and the cultural forces against which this individual seeks to establish himself ” (Beards 204) He believes that the plot of the novel lies in “Pauls struggle to free his soul from his mother and to become an artist ” (Ibid.) The comment of Beards is insightful, and it inspires the writer of thesis a lot. In fact, it is not only a novel about the growth experience of Paul, but also about Williams. Williams story is often neglected by critics, actually, though the chapters on him are not so many as Pauls, his growth experience is also worth our attention, in a sense, without him, Pauls story will not be a complete one. Chapter I Masculinities and Sons and Lovers居中，3号加黑，Times New Roman上下行距各16磅左右。Chapter I Masculinities and Sons and LoversMasculinity is the distinctive characteristics owned by males. It closely connects with gender, but it does not equal with gender. It is also tightly linked with femininity. In a sense, masculinity is something that is not femininity. However, 号加黑，Times New Roman上下行距各.5倍行距。1.1 Masculinitys Formation and StudyMasculinity studies are closely related to gender studies, so firstly, and very briefly, it is necessary to see the notion of gender. Simon de Beauvoir has claimed that a woman is not born, but rather becomes. Similarly, it is accepted to claim that a man is not born, but rather becomes. Sex is something stable, while gender is not. “Sex, then, is about belonging to a particular biological category,” while gender “refers to the typical social roles and behaviors attributed to, or performed by members of both sexes” (Mangan 8). Biological sex is determined after birth, while gender is hard to construct. 1.2 Connells different Types of MasculinitiesAccording to Connell, there is not only one type of masculinity, but rather four types of masculinities. And he names these four types with hegemony, subordination, complicity, and marginalization. Subordination masculinity has no representation in Sons and Lovers; therefore, it is not necessary to introduce it in this thesis. 1.3 The Feasibility of a Masculinity Study There are three major male characters in Sons and Lovers, the father Walter Morel, his first son William Morel and second son Paul MorelChapter II The Wounded Complicit Masculinity of Walter Morel居中，3号加黑，Times New Roman上下行距各16磅左右。Chapter II The Wounded Complicit Masculinity of Walter MorelIn the beginning, Morel is a miner of complicit masculinity. However, he marries a wrong woman, and his wife tries to change him. Morels wife despises his complicit masculinity, wants him to climb into a higher social ladder and construct a hegemonic masculinity. Morel is unchangeable, so his wife tries her best to wound his masculine dignity. Influenced and taught by their mother, the children of Morel help to emasculate their father, though sometimes, they are not conscious and vicious as their mother. In the end, Morel is half emasculated by his wife and children. The following of this chapter will analyze how Morels masculinity is wounded by his wife and children.号加黑，Times New Roman上下行距各.5倍行距。2.1 Masculinity Wounded by His Wife段落引用整体右缩进个字符左右。首行与下文对齐，无须再缩进。除非原有，引文前后无须加引号。引文与其上下正文间保持2.5倍行距。Morel is full of masculine machismo. He is a miner and a member of the working-class. “He was well-set-up, erect and very smart. Walter Morel also lives in a patriarchal society, and in a patriarchal society, a real man must decisive and powerful. In his small kingdom, family, he is supposed to be a king. His wife is supposed to be gentle and obedient. Critics Jeffers also claims that: In a typical working-class household, then, the father earned the money out in the rough-and-tumble world of men, where long and exhausting hours necessitated the refreshment of drink and camaraderie in the pub. When he finally came home, it was often as a tired, grimy, tipsy intruder. From the childrens point of view he was the heavy-the parent who spoke harshly and spankedas he was the one who performed mysterious and dangerous work in the mostly masculine world of the factory or the all masculine world of the mine.（Jeffers 292）Morel is a humble miner Chapter III The Unsuccessful Hegemonic Masculinity of WilliamChapter III The Unsuccessful Hegemonic Masculinity of WilliamWilliam is a little boy in the beginning of the story. Critic Mangan states that “to be a boy was to be incompletely masculine” (59), and “masculinity is understood as a construction rather than a biological given” (60). As a boy, William is incompletely masculine. He has the potential to be a male, but he has to work hard to build a masculine identity. 3.1 An Overt Desire for Hegemonic MasculinityIf Mr. and Mrs. Morel have loved each other, then William is the fruit of their short love. He inherits different legacies from both parents. When he is young, he loves them both, however, if he must choose one of the two, he will choose his father. 3.2 The Failure of Hegemonic Masculinity ConstructingIt is necessary to count what William takes with him before analyzing his new life in London. He has great ambition on hegemonic masculinity and Chapter IV The Self-made Marginalized Masculinity of PaulChapter IV The Self-made Marginalized Masculinity of PaulPaul has an absent father, dominant mother, and distinguished brother. He hates his father, loves his mother and lives in the shadow of his brother. When he is young, he is obsessed with the feminine beauty of his mother and bitterly hates the masculine machismo of his father. However, as a male, he has to face the question of masculinity building. Comparing with William, who has an overt desire for masculinity since he is a little boy, Paul has a hidden desire for masculinity. And also, he wants to build a different masculinity type from his father and brother. At last, Paul successfully constructs a marginalized masculinity. This chapter will analyze in detail how it is happened 4.1 Hidden Desires for MasculinityPaul hates his father from the beginning. When he is only a little infant, he will cry if his father touches him. When he grows a little older, he learns to hate his father. Paul lives in an industrialized society, and his father, like fathers of many other little boys, has to go out to earn money, so he has no chance to spend much time with his father:4.2 The Self-made Marginalized MasculinityPaul refuses the complicit masculinity of his father, and is confused about his brothers hastily hegemonic masculinity constructing. No one can teach or show him how to become a man. As he grows older, his desire for marginalized masculinity becomes obvious; however, there are many obstacles before he becomes self independent. His masculinity must be a self made one.ConclusionConclusionMasculinity is a core feature of a male persons personality, so male members in Morel family all work hard to construct or hold their masculinities, though not in a linear or / and conscious way. Works CitedWorks CitedBeards, Richard D. “Sons and Lovers as Bildungsroman.” College Literature 1.3 (1974): 204-217.Brandth, Berit, and Elin Kvande. “Masculinity and child care: the reconstruction of fathering.” The Sociological Review 46.2 (1998): 293-313.Castellini, J. D., et al. “Male Spirituality and the Mens Movement: A Factorial Examination of Motivations.” Journal of Psychology and Theology 33 (2005): 41-55.Jeffers, Thomas L. “We children were the in-betweens: Character (De) Formation in Sons and Lovers.” Texas Studies in Literature and Language 42 (2000): 290-313. -. “Lawrence, Sons and Lovers, and the End of Sex.” The Hudson Review 52.2 (1999): 191-204.Ma Fangfang, “The Love-hostility Relationship in Sons and Lovers.” Diss. East China Normal University, 2006. Zhang Lin. “A Study of Sons and Lovers from the Perspective of Ecocriticism.” Diss. Southeast University, 2006.方刚. “男性气概实践的多样性分析.” 暨南学报，6 (2007): 51-56.毛信德. 郁达夫与劳伦斯比较研究. 杭州：浙江大学出版社, 1998. 附：文献格式细则 文献列在正文之后，按照字母顺序排列。使用双倍行距，悬挂式，即每条文献从第二行起，要向右缩进五个空格。其中，要将书籍标题中所有的实词首字母大写，但冠词、并列连词、介词和不定式符号 to（用在句首位置除外）不用大写。英语书名用斜体表示，汉语书名不用斜体，也无须书名号。文献中均用英文标点，英文文献均用Times New Roman，但汉语文献（包括标点在内）都要用宋体。例如：Kilbourne, Jean. Cant Buy My Love: How Advertising Changes the Way We Think and Feel. New York: Simon, 1999.毛信德. 郁达夫与劳伦斯比较研究. 杭州：浙江大学出版社, 1998. 本例需要注意的地方还有，作者姓名要求“姓”在前，“名”在后，中间用逗号和空格分隔。书名后需要标注出版地（后用冒号空格）、出版社（后用逗号空格）和出版年份（后用句号）。1) 由两名到三名作者撰写的文献Peters, Michael A., and Nicholas C. Burbules. Poststructuralism and Educational Research. Lanham: Rowman, 2004.需要注意的是，要把第一作者的姓放在名字前面，其他作者仍然是名在前，姓在后，后两个中间用逗号和and 连接。2) 由三个以上作者撰写的文献Badawi, El Said, et al. Modern Written Arabic. London: Routledge, 2004.或者Badawi, El Said, Daud A. Abdu, Mike Carfer, and Adrian Gully. Modern Written Arabic. London: Routledge, 2004.3) 由同一作者撰写的多份文献Ede, Lisa. Situating Composition: Composition Studies and the Politics of Location. Carbondale: Southern Illinois UP, 2004.-. Work in Progress. 6th ed. Boston: Bedford, 2004.从第二份文献开始，用三个小横线代表同一作者姓名（后跟句号）。文献中的“6th ed.”表示“该书的第六版”。4) 由集体作者撰写的文献American Automobile Association. Western Canada and Alaska. Heathrow: AAA, 2004.将集体作者（或者机构名称）列在作者的位置上即可。5) 编辑的文献Twain, Mark. Adventures of Huckleberry Finn. Ed. Michael Patrick Hearn. New York: Norton, 2001.或者Hearn, Michael Patrick, ed. Adventures of Huckleberry Finn. By Mark Twain. New York: Norton, 2001.编辑的文献有两种列法：如果强调原作者，就将作者列在第一位，编者列在著作后，中间用“Ed.”（意为 edited by）连接。如果强调编者，就将编者列在第一位（后用逗号、空格、ed.），原作者列在著作后，中间用“By”（意为 written by）连接。6) 再版的文献Wilson, Charles Banks. Search for the Native American Purebloods. 3rd ed. Norman: U of Oklahoma P, 2000.再版的文献需要在标题名称后标注版次。7) 重新印刷的文献Wharton, Edith. The House of Mirth. 1905. New York: Scribners, 1975.重新印刷的文献，需要在标题后列出首次印刷时间，最后列出重新印刷的时间。8) 丛书中的文献Davis, Bertram, H. Thomas Percy. Twaynes English Authors Ser. 313. Boston: Twayne, 1981.如果引用的是丛书中的一份文献，需要将丛书名称（如本例中的 Twaynes English Authors）和丛书编号（如本例 Ser. 313）标注在文献之后。9) 多卷本中的文献Fisch, Max H, ed. Writings of Charles S. Peirce: A Chronological Edition. Vol. 4. Bloomington: Indiana UP, 2000.如果只引用了同名多卷本中文献的一卷，需要标出卷号。如果多卷本文献每本标题不同，则不需要写出卷号，只需标出相应卷的书名。比如：Mares, Milan. Fuzzy Cooperative Games: Cooperation with Vague Expectations. New York: Physica-Verlag, 2001.10) 书籍中的前言、序或跋作为文献Campbell, Richard. Preface. Media and Culture: An Introduction to Mass Communication. By Bettina Fabos. Boston: Bedford, 2005. vi-xi.如果引用书籍中的前言、序或者跋作为文献，需要将这些作者列在最前面（后用句号）、后跟前言（Foreword）、序（Preface）或跋（Afterword）；书籍作者放在书名之后，并且在最后标注页码。11) 翻译的文献Garcia Marquez, Gabriel. One Hundred Years of Solitude. Trans. Gregory Rabassa. New York: Avon, 1991.如果引用的作品是译文，一般说来，还是将原作者置于首位，作品后用“Trans.” （意为 translated by）引出译者。12) 圣经作为文献The New English Bible with the Apocrypha: Oxford Study Edition. New York: Oxford UP, 1976.这时要把圣经及其版本整体都用下划线标出。13) 书籍标题中内嵌书籍名称的文献Fulton, Joe B. Mark Twain in the Margins: The Quarry Farm Marginalia and A Connecticut Yankee in King Arthurs Court. Tuscaloosa: U of Alabama P, 2000.如果所引文献标题中内嵌有其他作品标题，那个部分不需要下划线，如本例中的“A Connecticut Yankee in King Arthurs Court 就是一例，不需要下划线。但如果内嵌书籍标题通常用在引号之中，则保留引号，并且加下划线，比如：Hawkins, Hunt, and Brian W. Shaffer, eds. Approaches to Teaching Conrads “Heart of Darkness” and “The Secrete Sharer.” New York: MLA, 2002.14) 编纂文集中的短篇故事、戏剧或者诗歌作为文献Chopin, Kate. “The Storm.” Literature: Reading, Reacting, Writing. Ed. Laurie G. Kirszner and Stephen R. Mandell. 6th ed. Boston: Wadsworth, 2007. 281-85.此时需要注意，要把短篇故事的作者列在首位，然后是作品名称（通常放在引号之内），作品名称后要标注文集的编者，最后还要列出所引部分在文集中的页码。15) 撰写文集中的短片故事、戏剧或者诗歌作为文献Bukowski, Charles. “lovely hearts.” The Flash of Lightning behind the Mountain: New Poems. New York: Ecco, 2004. 115-16.与上例不同的是，如果引用某一作者自创作品文集中的文献，则不需要写出编者。16) 从同一文集中引用多人的多篇文献Agar, Eileen. “Am I a Su