外语系实践性论文撰写规范(文字部分).doc

本页至目录页均用A4纸单面打印学生整个论文中不要出现Sample字样Sample 1 原文题材、体裁不限（诗歌除外），学生可采用指导老师提供的原文，也可自选原文，但应征得指导老师同意。所用原文应注明出处及作者，且不得已有与译文相同语种的文本存在，否则视为作弊； Translation of Performers and Critical Comment论文题目：三号Times New Roman加粗，居中Written by: X X作者姓名（汉语拼音）、导师姓名（汉语拼音）：均为四号Times New Roman体，居中Supervised by: XXX系别、学院、学校、完成时间：均为四号Times New Roman体，居中Foreign Languages Departmentof Wanjiang CollegeAnhui Normal University年份、月份需更改为当年论文时间April 2012本页不标页码居中，Times New Roman四号加粗Sample 2AcknowledgementsI would like to express my gratitude to all those who helped me during the writing of this thesis. A special acknowledgement should be shown to Professor X, who from whose lectures I benefited greatly. I am particularly indebted to 两端对齐，小四号Times New Roman体; 首行缩进4字符; 行间距22磅。主要感谢导师和对论文工作有直接贡献及帮助的人士和单位。“Acknowledgements（致谢）页至Contents（目录）页” 用5号罗马数字单独编码，页码位于页面底端居中。I四号Times New Roman体，加粗，左顶格英文题目：Times New Roman四号。加粗，居中。Sample 3小四，Times New Roman体，行距22磅Translation of Performers and Critical Comment摘要要高度概括，表达流畅。200-300词四号Times New Roman体，加粗，左顶格3-5个。浓缩反思的精髓，分号隔开。两端对齐。小四，Times New Roman体Abstract of Critical Comment: Performers by Tang Bingliang is an essay which (according to the original content, literary style and language features). In the process of the translation, difficulties and strategies are(based on your own experience and knowledge with respect to linguistics, literature, culture and translatology. You can analyze deeply one or two points and talk about your own experience and harvest)Key Words: essay; accuracy; sentence pattern小四宋体加粗翻译心得摘要：唐炳良的献艺的人是一篇(梳理原文内容、文体风格、语言特征)。翻译过程中难点及其翻译策略（写作时要根据自己的体验，结合已有的语言学、文学、文化以及翻译学等方面的知识，对某一两个切入点进行深入分析，谈谈自己的体验和收获。） 关键词： 散文；准确性；句式 小四宋体加粗 IISample 4居中，Times New Roman 四号加粗；不用 “outline”左顶格，Times New Roman 小四号；行距22磅；一级标题加粗空1行ContentsAcknowledgementsI各级标题用短语；层次要分明；实词首字母大写。若标题过长，则多出的部分换行，居中。Abstract of Critical Comment. .IIContents.III译后心得(即critical comment)用外语写，不少于2000词，一般应包括：1） 为什么选择该原文；2） 翻译中的难点、困惑等及解决办法；3） 翻译得失（可以从翻译理论、翻译技巧、语言处理、文化差异等层面举例说明）；4） 总结：今后努力方向；Part I The Original Text and the English Translation1Part II A Critical Comment on Performers22.1 Special Difficulties and Strategies2下一级标题序号对齐上一级标题的第一个字母2.1.1 With Respect to the First Difficulty22.1.2 With Respect to the Second Difficulty22.1.3 With Respect to the Third Difficulty22.2 Gains and Losses in Translation22.2.1 The Theories of Translation22.2.2 The Techniques of Translation32.2.3 Relationship between Language and Culture in Translation42.3 Conclusion4Notes.5Works Cited6Appendix.7附录：可选项目录中页码要与正文中的页码一致，无需加粗注：若目录页超过一页，超过的页数单面打印，页码为IVIII全文自本页至附录均用A4纸双面打印各Part标题：居中，四号，Times New Roman体，加粗；上下各空一行Sample 5汉语和英语的内容要左右对称，且汉语每段的第一行与英语每段的第一行须在同一条直线上。中文著作名（小四）及作者名（五号），宋体，加粗，均在左边表格内居中，行距22磅。使用表格（2列1行），再把原文的整个文件拷贝粘贴在左边格子里，把译文的整个文件拷贝粘贴在右边的格子里 （不要使用中间线条的方式来分割） Part I The Original Text and the English Translation献艺的人 唐炳良对于城市的有一部分乞讨者，也许应称之为”献艺的人”，更恰当一些，因为他们并不是徒手乞讨，而是同时操弄着各种器乐的人。 中文正文，宋体，小四，行距22磅 据说，在西方发达国家，献艺的人是受到普遍尊重的。他们是一些小提琴手、吉他手、鼓手、萨克斯管手、圆号手、长笛手、单簧管手、各种电子琴手等等。他们选择在地铁、车站、广场、街头、公园等公共场所献艺，一般收入不菲，行人只要认为他演奏得好，付出了劳动，便愿意掏钱。而他们中有一些人，也并非出于生活所迫，有的甚至是有才华的艺术家，以流浪、献艺作为自己的生活方式，纯粹是出于个人的爱好。这是西方的事。 我们这边，可以操弄的器乐好像不多，常见的是胡琴，还有就是笛子、唢呐、葫芦丝。也许应该说，献艺者能力有限，他可摆弄的器乐就这些，因为简PerformersTang Bingliang注释一律用尾注：文中采用右上标注的方式注释一律用尾注：文中采用右上标注的方式注释一律用尾注：文中采用右上标注的方式英文正文，五号Times New Roman体，行距22磅As for a part of beggars in a city, 注释一律用尾注：文中采用右上标注的方式maybe it is more appropriate to call them “the performers who show their skills”, because they are begging with manipulating a variety of musical instruments instead of with bare hands.It is said that in some western developed countries those performers can always be commonly respected. They are violinists, guitarists, drummers, saxophonists, horn players, flute players, clarinets and keyboard players and so on. They tend to perform in some public places such as the subway stations, stops, squares, streets and parks. Provided that they play well, pedestrians will be willing to pay for their labor, so they generally have a fabulous income. However, some of them are not forced by life, and some are even talented artists, who take vagrancy and performance as a way of life purely out of personal preferences. These are western things.In our country, it seems that there are few musical instruments. There are such common instruments as huqin, flute, suona horn and cucurbit flute. Perhaps it should be said that 原文（无论是汉语或外语）为30003500字，可以单独成篇，也可以是节选。页面设置左右3.17cm，上下2.54cm，不设页眉正文至附录用5号阿拉伯数字标注页码，页面底端居中新Part另起一页，顶上格，后空一行各Part标题：居中，四号，Times New Roman体，加粗；上下各空一行Sample 6其他各级标题：居中，小四号，Times New Roman体，加粗；上下各空一行Part II A Critical Comment on Performers2.1 Special Difficulties and Strategies本句作者Gentzler已在文内出现：圆括号内只标明页码For second part, 书名用斜体；文章名加引号although deconstructionists diverge in their interest and specific views, they agree on their understanding of the basic notions involved. Gentzler, in Contemporary Translation Theories, believes that they are undertaking a radical redrawing of the questions upon which translation theory is founded (145). 注释一律用尾注：文中采用右上标注的方式The development of translation theory is often influenced by the academic and socio-political events internationally. The deconstructive alternative arose primarily in France in the late 1960s during a time of social and political upheaval, reflecting the political and social turmoil of that period (Gentzler 148). Derrida summarizes two interpretations of interpretation, of sign, and of play:超过四行的引文：整段引文左边空10个字符的间距，所引段落上下各空一行，字体用五号；行距为1。作者Derrida在文内已出现，这里最后只标明页码The one seeks to decipher, dreams of deciphering a truth or an origin which escapes play and the order of the sign, and which lives the necessity of interpretation as exile. The other which is no longer turned against the origin, affirms play and tries to pass beyond man and humanism, the name of man being the name of that being who, throughout the history of metaphysics or in other words, throughout his entire history has dreamed of full presence, the reassuring foundation, the origin and the end of play. (93) Guo cited the example of biblical translation to show the importance of translation to the original, and stressed the significance of translation to ancient Chinese literatureThe pseudo-autobiographical narration typical of the picaresque tradition is maintained:如所引原文第一行有缩进，则该行在论文中再缩进三个字符的间距，即引文第一行缩进13个字符My true name is so well known in the records, or registers, at Newgate and in the Old Bailey, and there are some things of such consequence still depending there relating to my particular conduct, that it is not to be expected I should set my name or the account of my family to this work It is enough to tell you, that some of my worst comrades, who are out of the way of doing me harm. (Defoe 27)作者Defoe在文内未出现：圆括号内标明作者姓名，空格，页码句号在括号前2.1.1 With Respect to the First DifficultyThe accurate translation of these musical instruments is one difficulty for me because we rarely learn these aspects of knowledge on our daily basis.However, few have made full use of the materials available to study the old theoretical statements 2.1.2 With Respect to the Second DifficultyThe second difficulty comes from the mechanical principle of the gong and cymbals driving and playing. This is more concerned with mechanical principle. So I need practice to help me understand how it works.2.1.3 With Respect to the Third DifficultyAs for the third difficulty I met is the image and recognition of Liu Tianhuas beautiful essays. I have some difficulty in finding a correct English word to correspond with the original essay.2.2 Gains and Losses in TranslationIn this part, I would like to talk about the gains and losses in the process of translation. Generally speaking, I would analyze this point from three aspects.2.2 Gains and Losses in TranslationIn this part, I would like to talk about the gains and losses in the process of translation. Generally speaking, I would analyze this point from three aspects. They are the theory of translation, the techniques of translation, and the relationship between language and culture in translation2.2.1 The Theories of TranslationFirstly, the theory of translation may be generally composed of the theory of Nidas functional equivalence, the theory of the semantic translation and .2.2.2 The Techniques of TranslationSecondly, it comes to the techniques of translation. From the translation of this essay, little by little, I realize that translation is the overall effect of recreation of the original reproduction. 2.2.3 Relationship between Language and Culture in Translation Last but not least, I would like to say a little about the relationship between language and culture in translation. There is always an interactive influence between language and culture in translation. .2.3 Conclusion For the last part, I would like to draw a conclusion. In the process of translation, I can clearly see that my translation career has a long way to go. I would emphasize the practice of the techniques of translation. .Sample 7另起一页；居中，四号Times New Roman，加粗Notes首行空5字符，序号同文内对应采用右上标注的方式 1 Yang Zijian offers four principles for further researches: (1)顺应时代潮流，立足发展中国译学；(2)用古今中外打通的思想和比较研究的方法；(3)以现代译学的范畴、命题、系统为参照系；(4)对传统译论进行整理、解释、继承、发展转化的工作。2 Lu insisted on the method of foreignization in place of fluent translation. He maintained that the translation, which retained the exotic flavor of the original, was of value in the reconstruction of national culture (Cui 143). This theory resembles Venutis view that translation could be utilized as an ethnodeviant violence: “foreignizing translation can alter the social divisions figured in . . . ideologies, can promote cultural change through its work on the target language” (115).3 Qian spoke highly of Lin Shus translation, which challenged the principle of “faithfulness”. He pointed out Lins abridgement and supplement to the originals were inspiring. Furthermore, Qian believed that the creation was not original either. It could be an imitation, adaptation, or even a translation. This opinion subverted the binary opposition of translation and creation (Huang 281).4Isabel Allende, “Toads Mouth,” trans. Margaret Sayers Peden, A Hammock beneath the Mangoes: St