(论文正文的模版)外语系毕业论文格式与有关要求.doc

（文件：外语系毕业论文格式与有关要求）装订顺序:论文经审查合格后全部打印在学校统一发的纸上，其装订顺序如下:1封面（将“英语标题”封面打印在学校统一发的封面纸上）2（封面二）英语与汉语题目（单独成页）3Abstract Key Words（单独成页）4汉语摘要关键词（单独成页）5Contents（单独成页）6正文（IntroductionConclusion）7. 致谢8References（单独成页） (一号Times New Roman, 加粗）Some Features of SteinbecksLiterary Style（二号黑体） （空一格） 系 （部）：外语系 专 业 班：英语0320班 姓 名：陈 泉 (小三号宋体)学 号： 20021421989 /指导教师：英贵希 /（空一格） /2007 年 6 月 /（以下表中英语小四号Times New Roman；汉语小四号宋体。行距为: 固定值, 20磅。单独成页IV(一号Times New Roman, 加粗）Some Features of Steinbecks Literary Style 斯坦贝克文学风格的几个特点 （一号黑体加粗） 注意：1. 封一的标题置于页面的下半页，并且左右居中；封二的英、中文标题置于页面正中处。 2标题宜简短。如果标题较长, 第二行的英语开头空三个字母打印，即第二行的首个英语字母与第一行的第四个字母对齐（含空格及符号）; 封二的汉语标题第一个字须对准英语第一行的首个单词, 如果汉字较多, 第二行的汉字须缩进两个汉字。 3. 页边距：上边距34mm、下边距28mm、左边距30mm、右边距26mm。 4英文字体全部用Times New Roman；正文中如有汉字用宋体（如在翻译题材的论文中）。 5页码应是：摘要、关键词、目录用罗马数字I. II. III，正文用阿拉伯数字1. 2. 3，均置于页脚正中处。 （空一行）Abstract （三号Times New Roman, 加粗）（空一行） The studies of Anagram in English and Character-Dividing in Chinese may offer a chance to have a survey of mans wisdom and consciousness. The paper tries to have inquiries into the two figures of speech mentioned above from aesthetic value, semantic connotation and meanings in culture and folklore. Written language may have its own aesthetic value: script can attract ones attention and the aesthetic value of Anagram and Character-Dividing would lay its stress on the aesthetic value of multiple effect of writing. The explanation of the semantic connotation of the two figures of speech involves the two-way interaction between subjective thoughts, linguistic symbols and objective realities. Meanwhile, the paper argues that each of the two figures of speech is a very important phenomenon of culture and folklore in each nation. （小四号Times New Roman）（空一行） （小四号Times New Roman） Key words: anagram; character-dividing; aesthetic value; semantic connotation（四号Times New Roman, 加粗） 注意：1. 英文摘要的单词数至少400个（20行）；开头空四个字符，一段写完，不要再分段落。 2. 关键词可以是单词,也可以是词组或表达方式，只要3-5个，不要超过5 个，除专有名词外，一律小写；关键词之间用分号隔开。 3. 根据学校示例要求英文行距为固定值，20磅（包括Abstract, Contents, 正文，References）。 4. 英文摘要与关键词与中文部分分开，须单独成页。 5为了体现客观性， Abstract中不用第一人称，而用第三人称；时态用一般现在时下列表达方式可供参考：This paper (thesis ) argues（implies）that ; In this paper (thesis), (a theory, a topic, a viewpoint, etc.) is dicussed (expounded, etc.); This paper discusses (deals with) (a theory, a topic, a viewpoint, etc.).（空一行） 摘 要（三号黑体） （空一行） 对英语Anagram与汉语析字格进行的研究，提供了一个研究人自身的智慧与自身意识的机会。本文拟从审美价值、语义内涵与文化民俗三个方面来探讨这两个辞格的意义。文字具有独特的审美价值：形美以感目。Anagram与析字则在于注意复合的字形效果的审美价值。运用奥格登瑞查兹语义三角理论来阐释这两个辞格的语义内涵涉及的是主体思想、词语符号和客体事物的双向互动的话题。同时，本文还指出，Anagram与析字，在各自民族中，均为重要的文化民俗现象。 （空一行） （小四号宋体）关键词：字母易位；析字；审美价值；语义内涵(四号黑体) （小四号宋体）注意：1中文摘要行距是固定值: 23磅。2中文摘要关键词在内容上要与英文摘要关键词一致。3中文摘要与关键词与英文部分分开，单独成页。（空一行） Contents （三号Times New Roman，加粗）（空一行）1. Introduction（小四号，下同）-12. Some views concerning the study of meanings-22.1 The naming theory-22.2 The conceptualist view-23. Lexical meaning-83.1 Sense and reference-103.2 Major sense relations-123.3 Sense relations between sentences-144. Analysis of meaning-164.1 Componential analysis-a way to analyze lexical meaning-194.2 Predication analysis-a way to analyze sentence meaning-225. Conclusion-24Acknowledgements-26References-28注意：1. Contents 要单独成页。 2. Introduction不宜太长; Acknowledgements要写。3Contents 中的标题不宜超过一行，用语尽量用单词、词组表达，避免用句子。固定值为20磅，“段前” 与“段后”为0.5行。 4Contents 中只用一级标题(1.)与二级标题(1.1），不用三级标题（1.1.1），但三级标题可用在正文中；论文中一律不用四级标题（）。5此模板目录中的页码与正文中的不一致，因为部分正文被省略了，但每个学生自己做出的论文目录中的标题、页码与正文中的标题、页码要一致。（下面是正文样本）1Introduction（三号Times New Roman，加粗）（空一格）To begin at the beginning, the airplane from Minneapolis in which Francis Weed was traveling East ran into heavy weather. The sky had been a hazy blue, with the clouds below the plane lying so close together that nothing could be seen of the earth. Then mist began to form outside the windows, and they flew into a white cloud of such density that it reflected the exhaust fres. 1:26 The color of the cloud darkened to gray, and the plane began to rock. Francis had been in heavy weather before, but he had never been shaken up so much. The man in the seat beside him pulled a flask out of his pocket and took a drink. Francis smiled at his neighbor, but the man looked away; he wasnt sharing his painkiller with anyone. The plane had begun to drop and flounder wildly. A child was crying. The air in the cabin was overheated and stale, and Francis left foot went to sleep. He read a little from a paper book that he had bought at the airport, but the violence of the storm divided his attention. It was black outside the ports. 2:66The exhaust fires blazed and shed sparks in the dark, and, in- side, the shaded lights, the stuffiness, and the window curtains gave the cabin an atmosphere of intense and misplaced domesticity. Then the lights flickered and went out. You know what Ive always wanted to do? the man beside Francis said suddenly. Ive always wanted to buy a farm in New Hampshire and raise beef cattle. The stewardess announced that they were going to make an emergency landing. All but the child saw in their minds the spreading wings of the Angel of Death. 3:89 The pilot could be heard singing faintly, Ive got sixpence, jolly, jolly sixpence. Ive got sixpence to last me all my life - There was no other sound. （正文内容用小四号Times New Roman，下同）2. Some views concerning the study of meanings（三号Times New Roman，加粗）（空一格） The loud groaning of the hydraulic valves swallowed up the song, and there was a shrieking high in the air, like automobile brakes, and the plane hit flat on its belly in a cornfield and shook them so violently that an old man up forward howled, Me kidneys! Me kidneys!”（空一格）2.1 The naming theory（四号Times New Roman，加粗，下同）The stewardess flung open the door, and some-one opened an emergency door at the back, letting in the sweet noise of their continuing mortality-the idle splash and smell of heavy rain. Anxious for their lives, they filed out of the doors and scattered over the cornfield in all directions, praying that the thread would hold.4:9 It did. Nothing happened. When it was clear that the plane would not burn or explode, the crew and stewardess gathered the passengers together and led them to the shelter of a barn. They were not far from Philadelphia, and in a little while a string of taxis took them into the city. Its just like the Marne, 5:36someone said, but there was surprisingly little relaxation of that suspiciousness with which many Americans regard their fellow-travelers. In Philadelphia, Francis Weed got a train to New York. At the end of that journey, he crossed the city and caught, just as it was about to pull out, the commuting train that he took five nights a week to his home in Shady Hill.He sat with Trace Bearden. You know, I was in that plane that just crashed outside Philadelphia, he said. We came down in a field . . . He had traveled faster than the newspapers or the rain, and the weather in New York was sunny and mild. It was a day in late September, as fragrant and Shapely as an apple. Trace listened to the story, but how could he get excited? Francis had no powers that would let him re-create a brush with death-particularly in the atmosphere of a commuting train, journeying through a sunny countryside where already, in the slum gardens, there were signs of harvest. Trace picked up his newspaper, and Francis was left alone with his thoughts. He said good night to Trace on the platform at Shady Hill and drove in his secondhand Volkswagen up to the Blenhollow neighborhood, where he lived. （空一格）2.2 The conceptualist view（四号Times New Roman，加粗）The Weeds Dutch Colonial house was larger than it appeared to be from the driveway. The living room was spacious and divided like Gaul into three parts. Around an ell to the left as one entered from the vestibule was the long table, laid for six, with candles and a bowl of fruit in the center. The sounds and smells that came from the open kitchen door were appetizing, for Julia Weed was a good cock. The largest part of the living room centered around a fire- place. On the right were some bookshelves and a piano. The room was polished and tranquil, and from the windows that opened to the west there was some late-summer sunlight, brilliant and as clear as water. Nothing here was neglected; nothing had not been burnished. It was not the kind of household where, after prying open a stuck cigarette box, you would find an old shirt button and a tarnished nickel. The hearth was swept, the roses on the piano were reflected in the polish of the broad top, and there was an album of Schubert waltzes on the rack. Louisa Weed, a pretty girl of nine, was looking out the western windows. Her younger brother Henry was standing beside her. Her still younger brother, Toby, was studying the figures of some tonsured monks drinking beer on the polished brass of the wood box. Francis, taking off his hat and putting down his paper, was not consciously pleased with the scene; he was not that reflective. It was his element, his creation, and he returned to it with that sense of lightness strength with which any creature returns to its home. Hi, everybody, he said. The plane from Minneapolis . . .(空一格)2.2.1 Other methods used（小四号Times New Roman，加粗，下同）Language is a product of cultural development and translation is a transfer from one language and culture to one or several others.6:228Influenced by the differences of English and Chinese cultures, when the original titles of the English movies are short but with implied meaning, the original title of the English movies and TV series can be translated using both literal translation and free translation(paraphrase) in order to highlight the themes and contents of the original titles. (空一格)2.2.2 The use of literal translation combined with the contents of movies and TV seriesSometimes the translation of the titles of English movies and TV series should be done by means of literal translation, and also the contents and plots of the movies or TV series.Thus, the audience can get a clearer idea of the movie or TV series 3. Theories concerned(空一格)The loud groaning of the hydraulic valves swallowed up the song, and here was a shrieking high in the air, like automobile brakes, and the plane hit flat on its belly in a cornfield and shook them so violently that an old man up forward howled.4. Analysis of meaning（三号Times New Roman，加粗）（空一格)The Weeds Dutch Colonial house was larger than it appeared to be from the driveway. The living room was spacious and divided like Gaul into three parts. Around an ell to the left as one entered from the vestibule was the long table, laid for six, with candles and a bowl of fruit in the center. The sounds and smells that came from the open kitchen door were appetizing, for Julia Weed was a good cock. The largest part of the living room centered around a fire- place. On the right were some bookshelves and a piano. The room was polished and tranquil, and from the windows that opened to the west there was some late-summer sunlight, brilliant and as clear as water. Nothing here was neglected; nothing had not been burnished. It was not the kind of household where, after prying open a stuck cigarette box, you would find an old shirt button and a tarnished nickel.5. Conclusion（三号Times New Roman，加粗）（空一格)Children are buoyant and full of puerility. They dare to speak and think, having no scruples and always seeking novelty. We should use this advantage, and never struck their curiosity and thirst for knowledge in an attempt to keep the classroom discipline. Questions are invited in class, and the form and content shouldnt be restricted.It was about to pull out, the commuting train that he took five nights a week to his home in Shady Hill.注意：1、正文(IntroductionConclusion)字数8，000左右，约合21页。 2、每个一级标题都须单独成页。 3、行距为固定值20磅。（空一行）Acknowledgements（三号Times New Roman, 加粗）（空一行）References （三号Times New Roman，加粗, 单独成页）(以下为小四号)1 Nida, E. A. Language and Culture Contexts in Translating M. Shanghai: Shanghai Foreign Language Education Press, 2001.2 Fries, Charles C. Meaning and Linguistic Analysis J. Language, Vol. 30, No. 1, 1954, pp.57-68.3 Ogden， C. K. & I. A. Richards. The Meaning of Meaning M. London: Foris, 1930.4 陈汝东. 瑞查兹及其修辞研究 J. 修辞学习. 1998年第1 期. 第710页.5 陈望道. 陈望道语文论集M. 上海：上海外语教育出版社. 1980.6 李庚元. 李治中.古今辞格及范例 M. 长沙：湖南出版社. 1997.7 沈少华.英语趣味修辞格M. 北京：语文出版社.1999.8 索绪尔著.普通语言学教程M. 高名凯译. 北京：商务印书馆.1980.9 杨信彰. Charles C. Fries的语言交际理论与信号语法 J. 外国语. 2000年第1 期. 第4146页.10 余中先. OULIPO的文学试验 J.读书. 2001年第4期. 第96-102页.11 Downing, A. & J. Lavid. Information Progression Strategies in Administrative focus: a Cross- Linguistic Study A. In A. Sanchez Macarr & R. Carter (eds.). Linguistic Choice Across Genres: Variation in Spoken and Written English C. Amsterdam: Benjamins, 1998, pp. 99-11512 王存