美国文学课程论文格式规范.doc

小2号黑体山西师范大学现代文理学院英语系美国文学课程论文 封面题目用2号Times New Roman字体加粗Love in the Pavilion Vs Love in the Balcony-Du Liniangs Vs Juliets Love Journey （如果有副标题，则用小2号Times New Roman字体加粗） 姓 名张 莉院 系现代文理学院专 业英语教育3号黑体班 级3号楷体2008级01班学 号成 绩 小2号Times New Roman加粗。2号Times New Roman加粗。Love in the Pavilion Vs Love in the Balcony正文用小四号Times New Roman，2倍行距。-Du Liniangs Vs Juliets Love Journey小标题用小四号Times New Roman, 加粗。The Peony Pavilion by Tang Xian Zu and Romeo and Juliet by William Shakespeare are two extraordinarily significant works about feverish love on eastern and western drama stages. The two great contemporary dramatists, who lived in vastly different cultures of east and west, presented their respective masterpieces almost at the same period (The Peony Pavilion in 1598, and Romeo and Juliet in 1596), which shared similar themes of the hero and the heroines pursuing genuine love relentlessly, even to the sacrifice of death. Further study may help reveal more detailed differences on the historical background and creating beliefs. Following the two female protagonists love journey, this paper attempts to reveal the similarities of seemingly-coincident scheme and then trace the reasons which cause the differences of the two works. I. The background of the two works.The Peony Pavilion was written in an era when China was going through a rigid, repressive style of Neo-Confucianism known as Daoxue, which emphasized proper outward displays of behavior and rituals in the Middle and Later Ming Dynasty. Tang Xianzu, a learned scholar, felt dismayed and suffocated with the society, he resigned from the court official and then devoted to the literary works. Meanwhile in western country, European society was going through the Renaissance, a revolutionary movement of advocacy of humanism. Shakespeare favored the freedom of love, and the stability of society, turned against the family feud and felt hatred for the feudal aristocracy which was a constant threat to a stable social structure. Romeo and Juliets power of youthful love celebrates the capacity of love to conquer ossified social conventions. Its final tragic ending of the death seems to be the only escape to end feud of the two families in that society. In both texts, the deaths of the two heroines, both are from rich and powerful official family, result from lovesickness. Their behaviors are regarded as independent and somewhat rebellious, given the context in which the play was written. The two beautiful adolescents suffer from pain deeply in their love journey, and finally die touchingly of lovesickness. II. Du Liniangs Love Journey Vs Juliets Love JourneyA Sprouting of love.MLA格式的夹注包括姓氏，页码。所参考书 目，刊物须在后面参考文献中详细列出。书名或作品名用斜体。In The Peony Pavilion, Du Liniangs aching for love is aroused firstly by the ancient poem from the Book of Odes about natural emotion between opposite sexes. She can not bear the feudal ethics anymore, so she steals out of the boudoir and into the family garden for a visit. And her lovesickness is derived from her dream in which she encounters the handsome Liu Mengmei, who also gets magic dream in which he is foretold, “Mr. Liu, only when you meet me will you obtain love and rank” by a lady. (Tang 4) The setting of this encounter blurs the line between memory and dream, also it conveys the message that love and fate is often predestined, which may be common in the literary works of Later Ming and Qing Dynasty and could be supported by another love story of Lin Daiyu and Jia Baoyus first meeting in Dream of Red Mansion by Cao Xueqin. Awakening from her dream, Liniang becomes lovesick and restless for the unattainable love in reality, for “he Liu Mengmei had come without a sign and disappeared without a trace.” (Tang 75). She pleads with Heaven and later laments, “I looked up at the sky, pity and sorrow stained my eyes. Who knows what sentiments a heart can hold? Who knows what tears could have stealthily flowed? ” (76) This image associating her life with perishing petals also signifies that her life is drifting away because of her love for Mengmei. This plot may be inconceivable for readers of different culture and age to accept Liniangs ailment of the heart which leads to her death resulted from such imagining reasons. Yet what Tang Xianzu said in his preface to The Peony Pavilion reveals love and passion between the lovers are somewhat unexplainable. 若引用文字超过三行，则另起段落，缩进2个字符，用五号字。 “Love is of course unknown, yet it grows ever deeper. The living may die of it, by its power the dead live again. Love is not love at its fullest if one who lives it is unwilling to die for it, or if it cannot restore to life one who has so died. And must the love that comes in a dream necessarily be unreal? For there is no lack of dream lovers in this world. Only for those whose love must be fulfilled on the pillow and for whom affection deepens only after retirement from office, is it entirely a corporeal matter.” Both east and west have their own legends about the god or goddess of Love. In Chinese mythology there are stories about “the old-man-under-themoon” who ties newborn boys and girls destined to be married with a red silk thread. In Roman mythology, Cupid uses an arrow to shoot the hearts of lovers. Romeo and Julies love is represented as a sudden magic spell, Cupids arrow striking, since it happens to both simultaneously! Romeo is shocked, stunned and bewildered by Juliets beauty at the first sight. Similarly Juliet is overwhelmingly attracted to Romeo as if by a seemingly magnetic force. Their immense affection for each other pours out like a torrent of water in stunning language. Love in Romeo and Juliet is a divine madness, both a wound and a blessing in which no human act of choice was involved. Romeo and Juliet fall in love involuntarily as though a force draws them together. In the balcony scene where the couple make clear their breast, Juliet expresses her concern, struggle and pain, “O Romeo, Romeo, wherefore art thou Romeo? Deny thy father and refuse thy name. Or if thou wilt not, be but sworn my love, And Ill no longer be a Capulet.”(Shakespeare 60) For the feud between the two families, which may make love unattainable, Juliet also experiences lovesickness. In the Prologue, Shakespeare mentions that the tale of Romeos and Juliets love story will be filled with tribulations, pains and disasters, even be a “death-markd love” (31)，partly because of the rather magical and inexplicably powerful moment of their first meeting at the masquerade ball. BFidelity to loveIn The Peony Pavilion the predestined love and marriage between Liniang and Mengmeis is so overwhelming and powerful that Liniang would die for it, yet love is not only a reason for her death, but it is also for her resurrection. After her death, Liniang passes into the ghost world and appears before the Nether Judge Hu. And because of her beauty Judge even wants to make her his concubine. Even though Judge has the power to burn her, slice her, grind her, or turn her into the lowest life form, she refuses and then reveals that she is always longing for love from a young scholar Mengmei. The Judge says of her affection for Mengmei is a “flagrant disregard of maidenly virtues” (Tang 160), and confronts her with the fact that her parents do not approve of the man, or even know him. Obviously Liniangs pursuing for love does not conform to the accepted practices of the society, in which a girls marriage was decided by parents order and on a match-makers words. And feudal ethics, especially chastity, strangled women physically and spiritually. Also women were supposed to be submissive. Living in such a feudal society, the heroine, Li-niang was doomed to suffer the oppression of the feudal ethics. Yet she presents herself as a strong woman who actively pursues the man she loves and reveals her rebellious aspect character. C. Result of loveThe two love stories in the east and west do have similar starting and totally different ending. One leads to a happy reunion and the other results in heart-broken death. Thus dying for love in the two nearly contemporary texts is presented via different approaches in Western and Eastern methodology world. As Zeitlin says, “Conditioned by Western notions of mimesis, we are accustomed to think of literature as an imitation of life. The corresponding ancient Chinese view would be rather that literature originates in the human heart to make a response to external things.” (Li Qing-jun) This explains Romeo and Juliet and The Peony Pavilion belong to two distinct genres. III. Conclusion Love is an “eternal subject” in literary works and has been celebrated by cultures all over the world. Shakespeare and Tang Xian-zu take their own ways to show sympathy for the young people in love and made a bold exposure of the crime committed by the feudal society, to celebrate beautiful love through which they expressed their political point of view. Whats more, the two female protagonists courage to pursue love is greatly depicted and glorified to inspire and touch readers heartstrings. Shifting our eyes from the past to the present, from the literature fabrication to the real world, we feel relieved for the present young people who can shake off the feudal chains and enjoy the freedom and happiness of love, but meanwhile we cannot help feeling concerned that some may go to another extreme and take casual attitudes toward love and sex. Maybe thats why the two great works are still worth discussing today. Going through the time and space, they are always there to evoke the noble virtue and love from the heart of people, to sublimate the value and significance of love, to guide people to know about themselves and the surrounding society, and to live a worthy life.四号Times New Roman 加粗 居中Works Cited进入第二行，缩进5个字符。以后的各行跟第二行对齐。Tang Xian-zu. The Peony Pavilion Trans. Zhang Guang-qian Tourism Education Press1994William Shakespeare. Romeo and Juliet The Penguin Shakepeare Edited From The original Text by G.B.Harrison London 1937 汤显祖.牡丹亭M 上海 上海外语教育出版社, 2000莎士比亚罗密欧与朱丽叶M 北京 外语教育与研究出版社,1997.如果有引用其他文献的,请参看以下MLA格式规范A. MLA格式（Modern Language Association style）在MLA格式下，参考文献称作“Works Cited”，按作者姓以字母表顺序列出所有引用和参考而未引用的文献，如果作者的姓名未知，以文献标题的第一个主要单词（a, an 或the之后）为准；每一条文献条目的第一行不缩进，第二行缩进5个字符。著作文献条目中应包括作者、书名和出版信息如下：Authors last name, first name. Title. Additional information. City of publication: Publisher, publication date.1独著作者的姓在前，名（和中间名）在后。姓之后用逗号，名之后用句号。书名用斜体，书名中主要单词的首字母需大写，书名后加英文句号。接下来的是出版城市、出版商和出版年代；出版城市后用冒号，出版商后用逗号，出版年代后用英文句号。范例：Bambrough, Renford. The Philosophy of Aristotle. New York: The New American Library, 1963.2两至三名作者此种情况只把第一作者的姓与名颠倒；第二、第三作者姓名顺序保持不变。最后两个作者名之间用and连接。范例：Horton, Rod W. and Herbert W. Edwards. Backgrounds of American Literary Thought. New York: Appleton-Century-Crofts, Inc., 1952.Atwan, Robert, Donald Mcquade, and John Wright. Edsels, Luckies, and Frigidaires: Advertising the American Way. New York: Dell, 1979.3. 四名或以上作者第一个作者的名与姓颠倒，姓后用逗号，再接et al.表示“及其他人”，接句号。范例：Belenky, Mary Field, et,al. Womens Ways of Knowing: The Development of Self, Voice, and Mind. New York: Basic, 1986. 4. 作者不详 以集体名称开始。如：American Psychological Association. Publication Manual of the American Psychological Association. 4th ed. Washington: American Psychological Association, 1994.5匿名作者以书名开始，以书名的第一个主要单词（a, an 和 the之后）按字母表顺序列入参考文献中。如：The New York Times Atlas of the World. New York: New York Times Books, 1980.6同一作者两本或更多著作以书名第一个主要单词的首字母按字母表顺序排列先后，作者的姓名放在第一条文献条目前，第二条文献条目前用三个连字号或一个破折号表示。如：Bloom, Harold. The Anxiety of Influence, a Theory of Poetry. New York: Oxford University Press, 1973.A Map of Misreading. New York: Oxford University Press, 1975.7编著一名编者，编者的名和姓后用逗号，加“ed.”(表示editor)。两名或以上编者，在最后一名编者的姓名后加“eds.”。集体编著，在第一位编者的名和姓后+逗号+“et al.”+逗号+“eds.”。如：Frye, Northrop, ed. Romanticism Reconsidered. New York: Columbia University Press, 1963.Glotfelty, Cheryll and Harold Fromm, eds. The Ecocriticism Reader: Landmarks in Literary Ecology. Atherns: The University of Georgia Press, 1966.Donadio, Stephen, et al., eds. Emerson and His Legacy. Carbondale: Southern Illinois University Press, 1986.8译著作者名和姓放在文献条目之首。译者姓名放在书名之后，译者姓名前加入“Trans.”（表示Translator）。Authors last name, first name. Title. Trans. Translators full name. City of publication: Publisher, publication date.范例：Freud, Sigmund. Civilization and Its Discontents. Trans. James Strachey. New York: Norton, 1961.如果是针对译本的研究，先给出译者的名字，后面接逗号和缩略词“trans”而把作者的名字放到书名的后面，前面加上“by”。如：Couslon, Jessie, trans. Crime and Punishment. By Feodor Dostoevsky. Ed. George Gibian. New York: Norton , 1964.9第二版或以上著作 书名后注明第几版。如：Fromkin, Victoria, and Robert Rodman. An Introduction to Language. 5th ed. Ft. Worth: Harcourt, 1993.10. 论文集里的文章作者名和姓放在文献条目之首，文章题目使用双引号，论文集名使用斜体，文集名后+ Ed.（表示editor）+编辑姓名+句号；条目最后注明所在页数。Authors last name, first name. “Article title”. Book title, Ed. Editors full name. City of publication: Publisher, Publication date. Page number.范例：Wellek, Rene. “Romanticism RE-examined.” Romanticism Reconsidered. Ed. Northrop Frye. New York: Columbia University Press, 1963. 75-98.Hall, Stuart, “Minial Selves.” Studying Culture. Eds. Ann Gray and Jim McGuigan. Arnold: Hodder Headline Group, 1993. 131-142.11多卷或多册著作书名后注明第几册或第几卷。如：Plato. Laws. 2 vols. Trans. R. G. Bury. Leob Classical Libery. New York: G. P. Putnams Sons, 1926.12序、前言、后记序言或后记的作者名和姓放在条目之首；之后注明序言或后记；书作者姓名由By引导，放在书名之后；条目最后注明出处所在页数。writers Last name, first name (and middle name) of the introduction. Introduction (or Preface, Foreword, Afterword). Book title. By authors full name of the book. City of Publication: Publisher, publication date. Inclusive pages.范例：Schlesinger, Arthur M., Jr. Introduction. Pioneer Women: Voices from the Kansas Frontier. By Joanna L. Stratton. New York: Simon, 1981. 11-15.13期刊文章文章题目带引号。期刊名称使用斜体。接着是期刊卷目，出版年代和出处所在页数。按期刊类型可以分为两类：(1)Authors last name, first name. “Article.” Journal Volume (year): inclusive pages.(2)Authors last name, first name. “Article title.” Periodical day/month/year: inclusive pages. 范例：Maguire, James H. “The Canon and the Diminished Thing.” American Literature 60 (1988): 645-52.Davis, Sherri Heckler. “The Zen Art of Prewriting.” New Mexico English Journal 12. 1 (1988): 21-2314周刊或双周刊文章Hoagland, Edward. “Standing Tough in the Desert.” New York Times Book Review 7 May 1989: 44-45.15. 月刊或双月刊文章Weiss, Philip. “The Book Thief: A True Tale of Bibliomania.” Harpers Jan. 1994:37-56.16报纸文章Intraub, Anna Jinagwang. “How I learned to Read.” New York Times. 13 Jan., 2002, Section 4, Column 6, Oage 16.如果作者未知，从文章题目中的第一个主要单词开始（a, an, the之后）。如：“Learn English through Football.” 21st Century Supplement 21 Feb. 2002: III.17. 网络著作需要给出浏览日期和详细网址。Author last name, first name. Title. Additional information. Publication information. Date of access范例：Emerson, Ralph waldo. Essays: First Series. 1841. 12 Feb. 1997 Minkova, Donka and Robert Stokwell. English Words. 2001. 22 Sept. 2001.18.网络文章Authors last name, first name. “Title.” Name of the Journal or Periodical Volume or Issue Number (Date of Publication). Date of access.范例：Rogers, Michael. “The Practical Futurist: The Secret of Online Romance.” Newsweek Newsweek Web Exclusive (October, 2002). 28 Dec., 2002.19CD-ROMAuthors last name, first name. Title of the Publication. Additional information. Publication, medium. Edition or release. City of publication: publishing company, publication date.范例：“Communion.” The Oxford English Dictionary. 2nd ed. CD-ROM. Oxford: Oxford UP, 1992.20. 未发表的论文Authors last name, first name. “Title of the dissertation”. Diss. University, graduation date.范例：Sakala, Carol. “Maternity Care Policy in the United States: Toward a More Rational and Effective System.” Diss. Boston U, 1993. （说明：论文名称用双引号，并用Diss 注明。同时附上所属大学及毕业年份的相关信息。）21. 发表的论文Authors last name, first name. “Title of the dissertation”. Diss.University, graduation date. City of publication: publishing company, publication date.范例：Sakala, Carol. Maternity Care Policy in the United States: Toward a More Rational and Effective System. Diss. Boston U, 1993. Paris: PUF, 1982. 中文参考文献格式说明：一 文献类型表示代码M：专著； R：报告；C：论文集； A：论文集中的析出文献；N：报纸文章； S: 标准；J：期刊文章； P：专利；D: 学位论文； Z：不属于上述任何文献类型的采用此标识二专著美亨利詹姆斯 (James, Henry ). 小说的艺术M. 朱雯等译. 上海: 上海译文出版社, 2001. 徐世荣 (Xu, Shirong). 普通话语音常识M. 北京: 语文出版社, 1999a. 徐世荣 (Xu, Shirong). 汉语语音学M. 北京: 语文出版社, 1999b. 申丹 (Shen, Dan). 叙述学与小说文体学研究（第2版）M