新疆医科大学
学士学位论文
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摘要
1962年出版的《金色笔记》是英国当代女作家多丽丝·莱辛最著名的长篇小说。该小说气势宏大，结构独特。小说把人物心理分析、社会政治批评、小说形式实验三者融为一炉，具有深刻的思想内涵和丰富的审美价值。本文主要分析该小说形式方面的创新意义。
多丽丝·莱辛在该小说中对当代小说形式与现实表征之间的关系作了深入地思考与大胆地探索。她模拟现代西方立体主义画派在现实表征中所采用的时空共存、多元角度和反身观察的构成原则和艺术手段构建了一种全新的小说形式。本文运用跨学科的研究视角解读《金色笔记》，分析小说形式与立体主义画派在表现现实方面的共通之处，旨在说明二者在现实表征方面所遵循的构成原则和采取的艺术手段是相同的，对文学艺术表征现实的局限性的认识也是一致的。
本文从三个方面来阐述相关论点。论文的第一章追溯西方小说形式的变迁以及莱辛小说的形式在现实表征过程中所体现的独创性。第二章阐述小说与绘画的关系，进而确立立体主义画派与小说《金色笔记》之间的关系。第三章通过深入分析小说形式中呈现出来的立体主义画派构成原则和艺术手段来论证二者之间的相通之处。
本文运用跨学科的研究方法解读《金色笔记》的小说形式是一种创造性的、有意义的尝试，以期为充实莱辛小说研究提供一个新的视角和研究思路。
关键词：立体主义;小说形式;现实表征;构成原则;时空共存;多元角度;反身观察
Abstract
The Golden Notebook is the most famous work by Doris Lessing. It is remarkable for its rich characterization, sharp political and social criticism, and original experiment on the novel form. The thesis mainly focuses on the significance of Lessing’s experimentation on the novel form.
Doris Lessing reflects upon and explores the relation between representation of reality and novel forms in the book. Based on the shaping principles by Cubism, the most influential Western art movement in modern times, she constructs the novel form of The Golden Notebook. The principles include the union of time and space, multiplicity of perspectives in representing reality and reflexivity in literary and art creation and observation.
The paper expounds the argument from three aspects. Chapter One traces the historical evolution of novel forms and highlights the originality of the novel form in The Golden Notebook. Chapter Two illustrates the close relation between novel and painting and specifies the parallel relation between the novel form in The Golden Notebook and Cubism. Chapter Three analyses in detail the novel form of The Golden Notebook and its parallel relationship with Cubism in terms of shaping principles and dynamics.
The interdisciplinary perspective employed in the thesis intends to provide a different reading and research orientation in evaluating the novel form.
Key words:Cubism; novel form; representation of reality; shaping principle; simultaneity; multiplicity; reflexivity
Contents
Abstract (Chinese & English) Introduction (1)
Chapter One: Forms in Novel (7)
1.1 What Is Form? (7)
1.2 The Evolution of Novel Forms (8)
1.3 What Is New in the Form of The Golden Notebook (11)
Chapter Two: Novel and Painting (15)
2.1 Novel and Painting (15)
2.2 What Is Cubism? (18)
Chapter Three: Cubism in the Form of The Golden Notebook (20)
3.1 Simultaneity: The Union of Time and Space (20)
3.1.1 Temporal Form in The Golden Notebook (22)
3.1.2 Spatial Form in The Golden Notebook (24)
3.2 Multiplicity: Fragments and Unity (26)
3.2.1 Breaking into Fragments: Divided Selves in the Four Notebooks (28)
3.2.2 Parts into Whole: the Golden Notebook (31)
3.2.3 An Irony: Free Women (31)
3.3 Reflexivity: From Reality to Observation (34)
Conclusion (39)
Bibliography (44)
Acknowledgements
学位论文独创性声明
学位论文知识产权权属声明
Introduction
Literary Review of Doris Lessing and The Golden Notebook
After many years of toiling in writing, Doris Lessing has now safely established herself as being “the most extraordinary woman writer” (Greene, 1994: 1) and “very much a representative writer for our time” (Bloom, 1986: 7). Her major work The Golden Notebook has been ranked by many critics as “one of the most powerful of post-war British novels” and “the most r emarkable work by a woman to appear in Britain since Virginia Woolf’s” (Bradbury, 2004: 381).
Doris Lessing’s critical reputation is remarkable from the very beginning of her literary career. Her success as a professional writer began with the publication of her first novel The Grass Is Singing. It was accepted by Michael Joseph in London in 1950 and was an instant success, being immediately recognized as an exceptional novel on colonialism. “I had very good reviews, and I had enough money to keep me going for a bit”(Bookshelf, 1992), as Doris Lessing recalled her early success in an interview by BBC Radio. Her fame has gained steadily ever since.
It took Lessing nearly two decades following her first novel to write her next important work, the series of Children of Violence, between 1952, when Martha Quest was published, and 1969, when The Four-Gated City appeared. In the context of postwar retreat to the conventional and the conservative, The Children of Violence was “something new” (Greene, 1994: 15) indeed. It focuses on Martha Quest’s difficult, painful process of educating herself in search of true identity. Despite its conventional form, the vivid depiction of Martha’s growth in consciousness evokes the warm sympathy from many readers, especially young women who seemed to have undergone similar frustration. True to what Jenny Taylor observes, “Martha’s quest became the epic, archetypal story of our times” (Taylor, 1982: 5).
With the publication of The Golden Notebook, Lessing seems to have reached the peak of her literary fame. The impact it brought to readers as well as critics is tremendous. Gayle Greene frankly evaluates it as “a transformative work and touchstone for a generation” (Greene, 1994: 17).
Despite her intention of minimizing feminism both as a historical and a contemporary influence on her writing, Lessing is regarded as one of the early voices of the feminist movement, and The Golden Notebook one of its key texts. Margaret Drabble hails The Golden Notebook as “a document in the history of (women’s) liberation”(Showalter, 2004: 311). “It was the first book I’ve read, apart from Simone de Beauvoir’s Second Sex, which seemed to be really addressing the problems of women in the contemporary world,” says Margaret Drabble, “Nobody seemed to ha ve written about them in the way that we were experiencing them” (Bookshelf, 1992). Showalter uses the word “monumental” to highlight it among the works of twentieth-century women writers. She interprets the novel as “the work of essential feminist implications”(Showalter, 2004: 311). Elizabeth Wilson describes it as “a manual of woman experience”(Wilson, 1982: 71). Susan Lardner calls it “a feminist gospel, a representative of Modern Woman” (Lardner, 1983: 144). Susan Lyndon describes it as “almost a Little Red Book of women’s liberationists,” “probably the most widely read and deeply appreciated book on the women’s liberation reading list, Simone de
Beauvoir’s The Second Sex and Betty Friedan’s The Feminine Mystique notwithstanding” (Lyndon, 1970: 48). E llen Brooks describes Lessing’s depiction of women as “the most thorough and accurate of any in literature” (Brooks, 1973: 101).
However, Doris Lessing herself is somewhat indignant with such critical categorization. In the 1971 introduction to The Golden Notebook, she clarifies that “the novel was not a trumpet for Women’s Liberation” (Lessing, 1975: 25). She declares that rather than the sex war, the theme of “breakdown” was the point she aimed at in her novel. She questions the validity of grouping her and her work into feminism and the Women’s Liberation Movement by pointing out that the novel came out ten years earlier than the launching of the Movement (Lessing, 1975: 24).
While women are thrilled to find themselves truly depicted and named in the book, the novel receives very different readings from men. To be sure, some men recognize its importance. For example, Louis Kampt describes Lessing’s massive novel as a “significant and exemplary attempt to deal with,”“the central questions of modernism” and “a very true, and very great work of art”(Kampt, 1967: 322,326). Robert Taubman believes it is “unique in it s truthfulness and range”(Taubman, 1964: 402). And Irving Howe calls it “the most absorbing and exciting piece of new fiction I have read in a d ecade” (Howe, 1986: 181). But most other male critics and reviewers find some ways to discount it. Anthony Burgess laments and dismisses The Golden Notebook as “a crusader’s novel,” “unacceptable as a work of art” (Burgess, 1967: 19). P.W. Frederick McDowell similarly criticizes the novel, saying that it is “disorganized,” “subjective” and “a cross between a standard novel and a confession” (McDowell, 1965: 330). Other critics concede that The Golden Notebook has interest for what is revealed about women’s lives but deny that it is art. Walter Ellen concludes that the novel “fails as a work of art” and “the structure is clumsy, complicated rather than complex” (Ellen, 1964: 277). Frederick Karl calls it “the most considerable single work by an English author in the 1960s,” but he too dismisses it on purely literary grounds as “a carefully organized but verbose, almost clumsily written novel” (Karl, 1971: 291). James Gindin, one of the first critics on Doris Lessing, criticizes Lessing’s tendency to condition her characters historically, which suggests an aesthetic shortcoming in creating unforgettable characters that may transcend time and place (Gindin, 1986: 24). Even Harold Bloom, the chief editor of Modern Critical Views, suggests in his introduction to the book that Doris Lessing lacks the style that a piece of art may need when he remarks “Lessing has the spirit, if not the style, of the age” (Bloom, 1986: 7).
More recent criticism shares Doris Lessing’s denial of The Golden Notebook as a feminist text. And many critics are aware of its scope which goes beyond feminist concerns. Ruth Whittaker remarks that reading The Golden Notebook is that of absorbing several different novels (Whittaker, 1988: 75). This observation is true because pe ople’s responses va ry according to their process of growth and changing perceptions. And The Golden Notebook is credited with the title of an “encyclopedia of ideas” (Greene, 1994: 1). Viewed in this light, the title is appropriate because The Golden Notebook takes on a lot of big issues at present, including sex, race, class, imperialism, the hope and failure of communism, mental illness and psychosis, even the art and problems of writing. All of these big things are included in one 600-page, epic-like novel. Joanne Frye’s argument also
supports the view that the novel “does not argue a feminist position or even center exclusively in female experiences; instead it examines broadly the crises of the twentieth century society and the problems of characterizing those crises in n ovelistic form” (Frye, 1986: 172). The criticism listed above seems to prove that t he novel accomplishes quite well Lessing’s ambition “to describe and present the intellectual and moral climate of the time” (Lessing, 1975: 28).
While some critics explore the themes of The Golden Notebook, others notice the innovation Doris Lessing does on the form. Because of its structure of a novel inside a novel, some critics classify The Golden Notebook into metafiction. Malcolm Bradbury is sure of its metafictional category as he says, “The Golden Notebook is no doubt a work of metafiction” (Bradbury, 2004: 380). For other people, the form of The Golden Notebook carries the theme of “fragmentation” or “breakdown”in a way that the novel itself has been fragmented into different sections. In his introduction to the Chinese version of The Golden Notebook, Chen Caiyu maintains that the form of the novel explains the content included in the novel (Chen Caiyu, 1999: 72). And Jiang Hong shares his view as to the form of the novel ( Jiang Hong, 2003: 95).
With The Golden Notebook, Doris Lessing has secured her place in the literary world. Honors from all levels and many countries heap on her ever since. In June 1995, she received an Honorary Degree from Harvard University. She was on the list of nominees for the Nobel Prize for Literature and Britain’s Writer’s Guild Award for Fiction in 1996. And the honors keep on coming: her autobiography was nominated for the 1997 National Book Critics Circle Award in the autobiography/biography category. In May 1999, she was presented with XI Annual International Catalunya Award, an award by the government of Catalunya. On December 31,1999, in the last Honors List before the new Millennium, Doris Lessing was appointed a Companion of Honor, an exclusive honor for those who have done conspicuous national service. It was officially bestowed by Queen Elizabeth II. In 2001, she was awarded the Prince of Asturias Prize in Literature, one of Spain’s most important distinctions, for her brilliant l iterary works in defense of freedom and Third World causes. She has also received the David Cohen British Literature Prize
Doris Lessing is a very prolific writer. Besides The Golden Notebook, she published nineteen novels, eleven volumes of short stories, six works of nonfiction, five plays, and a volume of poetry, and two volumes of autobiography. Her works are widely translated, and she is recognized internationally as a committed novelist dealing with serious issues. Her most recent novel The Sweetest Dream was published in 2001.
The Significance of the Thesis
Many critics have discussed the themes in The Golden Notebook. In fact, widely included in the novel are familiar themes, which have been explored by different generations of writers. What is different and new about The Golden Notebook is its form, with itself echoing the content in its fragmentation so that theme and form reflect each other. As Ruth Whittaker said, “The Golden Notebook was a radical examination of the novel form” (Whittaker, 1988: 76).
However, many critics tend to downplay the significance and the function of the novel form Doris Lessing took pains to elaborate. In one of her letters to the publisher, Doris Lessing claims that The Golden Notebook i s an attempt to “go beyond what has been possible” and “provides a new way of look at life” (Lessing, 1974: 20). She once again asserts in an interview that “It (The Golden Notebook) was a very highly structured book, carefully planned and the point of that book was the relation of its parts to each other” (Lessing, 1975: 51). She also accuses people of their indifference to or misunderstanding with the significance of the shape of the book as she says, “they were not interested in the shape of the novel, and the point of that shape, and what it meant” (Lessing, 1975: 51).
Then, what is the shape of the novel? And what is the point of that shape? And what does it mean? We may as well ask ourselves these questions Doris Lessing once asked us. To her regret, there appears no such article or treatise so far on a thorough exploration of the form of The Golden Notebook to do justice to Lessing’s admirable effort in enriching the novel forms and narrative techniques. Most reviews and criticism bend on the discussion about the themes in the novel while remarking on the novel form in no more than several lines. What Doris Lessing suggests to us is that the key to understanding the book lies in its form. And the writer’s own words cannot afford to be discounted.
Form usually serves as the carrier of the content and the instrument to convey the content to readers. In fact, literature transmits ideology significantly from forms. As Terry Eagleton suggests, “the true bearers of ideology are the very forms,” and “in selecting a form, the writer finds hi s choice already ideologically circumscribed”(Eagleton, 1976: 45). In Fredric Jameson’s view, “formal processes” “carry ideological messages of their own, distinct from the ostensible or manifest content of the works”(Jameson, 1982: 98-99). Raymond Williams describes forms as “involving social assumptions of causation and consequence”(Williams, 1977: 176). In fact, Jameson extends the ideology of form to the aesthetic act itself. He elaborates that “the production of aesthetic or narrative form is an ideological act in its own right, with the function of inventing imaginary or formal solutions to irresolvable social contradictions” (Jameson, 1982: 79).
As is shown from what are quoted above, it’s a shared view that the form an artist or a writer chooses reflects his or her perceptions and outlooks about the outside world. To sum up, the formal study of a work is not only necessary but also important to the understanding of the work and its writer. If, as Lessing claims, she tries something new in the form of The Golden Notebook, which she thinks as being overlooked by most critics of her time and not given a justified consideration, I think it’s necessary to analyze, in my thesis, the form of The Golden Notebook so as to find a key to better understand her and her marvelous work.
Format of the Thesis
The thesis is an attempt to find the plausible explanations to the problems the previous critics have overlooked, or could not foresee, or have not solved, on the study of the novel form in The Golden Notebook.
The thesis falls into three chapters. Chapter One is a survey of novel forms in literature history. Chapter Two provides an introduction to the relation between novel and painting, the theoretical background from which my thesis has been developed. Chapter Three presents a detailed study of the form in The Golden Notebook and its parallel relation with Cubism.
The Golden Notebook is to be abbreviated as GN when the quotations from it are involved.
Chapter One
Forms in Novel
If there is something new in the form of The Golden Notebook, it is necessary for us to be informed of what is old based on the survey of the evolutionary history of novel forms. In doing so, we may understand and appreciate better the innovation in the very form of The Golden Notebook.
Before our brief survey of the historical change in the novel form, it is necessary to explain the word “form” and in what sense of i t that I build on my thesis.
1.1 What Is Form?
“Form” is one of the most frequent ly used terms in literary criticism, but also one of the most diverse in terms of its meanings. It is often used merely to designate a genre or literary type (“the lyric form”, “the short story form”), or for patterns of meter, lines and rhymes (“the verse form”, “the stanza form”). It is also, however, the term for a central critical conception. In this application, the form of a work is the principle that determines how a work is ordered and organized (Abrams, 2004: 101).
The concept of form varies according to critics’ specific assumptions and theoretical orientation. Many neoclassic critics, for example, think of the form of a work as a combination of component parts, matched to each other according to the principle of decorum (a term designating the propriety, or fitness in unity of subject matter, characters, actions and the style). In the early nineteenth century, Samuel Taylor Coleridge distinguished between the mechanic form, which is a fixed, preexistent shape, and the organic form, which is like a growing plant achieving its final form, in which the parts are integral to and interdependent with the whole (Burke, 1973: 27-91). Many New Critics use the word “structure”interchangeably with “form”, and regard it primarily as an interaction or ironic and paradoxical tension in an or ganized totality of “meanings”. Various exponents of Archetypal Theory regard the form of a literary work as a recurrent pattern of human experience which shares with myths, rituals, religions and dreams. And structuralists conceive a literary structure based on the model of linguistic theory (Wellek, 1963: 59-88). Narratologists
concern the general theory and practice of narratives in all literary forms. They deal especially with academic explorations such as types of narrators, the identification of structural elements and their diverse modes of combination, recurrent narrating devices. Narratologists, accordingly, do not treat a narrative in the traditional way, as a fictional representation of life, but as a systematic formal construction. In other words, they focus on the formal patterns and technical devices of narrative to the exclusion of its subject matter and social values. R. S. Crane, a leader of the Chicago School of criticism, however, made a distinction between “form”and “structure”. The form of a literary work is the “dynamics”, the particular working or emotional power that the composition is designed to effect, which functions as its shaping principle. This formal principle controls and synthesizes the “structure” of a work(Crane, 1953: 69). In so doing, he bridges the formal study, or more specifically, the narratological way of formal study of a literary work, with social, historical and cultural study, placing the formal study into a larger social, historical and cultural context. The formal study, thus, acquires a greater depth than before. In this thesis, I base my survey of the novel form in The Golden Notebook mainly on the sense of “form” as proposed by Crane by analyzing first the mechanical structure in form, and then exploring the shaping principle behind it.
1.2 The Evolution of Novel Forms
As far as novel forms are concerned, the classification is quite different based on different standards and criteria. Novels can be classified into dozens of forms, and may belong to several of these categories at the same time. Distinctions among forms can be drawn in many ways. Such distinctions include the form in which the works are written, such as epistolary novels, which take the form of letters written between or among characters; the settings, such as regional novels, which focus on life in a certain area; and the purpose, such as propaganda novels, which try to convince the reader to adopt a certain point of view. Other examples of distinct forms include picaresque novels, which describe the adventures of rogues; Gothic novels, which describe ghosts and other elements of the supernatural; science fiction, which portrays other worlds or other possibilities for our world; and detective stories, which focus on mysteries. A few broad genres of the novel reflect some general tendencies. Social novels tend to focus on the outward behavior of characters and how other characters react. Psychological novels explore the inner workings of an individual’s mind. Education novels recount a person’s de velopment as an individual. Philosophical novels provide a platform for authors to explore intellectual or philosophical questions. Popular novels usually involve adventure, intrigue, romance or mystery to appeal to a wide range of people. Experimental novels are works in which writers make major innovations in form and style. My thesis intends to focus more on the history of narrative experiments done to the novel form itself rather than discussing it in the light of literary genres.
A review of the history of experimentation on the form of novel is of vital importance for a
英语专业毕业论文范文两篇 英语专业毕业论文范文两篇 篇一 摘要：提高中专学生的听力水平，是教师关注的重点。本文提出影响中专学生英语听力水平的两大因素：知识性障碍与非知识性障碍。笔者在分析这两大因素是如何影响学生听力的基础上，得出提高学生英语听力水平的途径，主要从课堂教学及课外活动进行说明。 关键词： 中专英语教育越来越侧重培养英语综合应用的能力，而英语听力是英语学习的基础，也是英语教学过程中比较薄弱的环节。那么影响听力的因素有哪些呢? 一、影响中专学生听力水平的因素 一般而言，影响中专学生听力的因素很多，对这些因素归类整理，主要分为两类：知识性障碍和非知识性障碍。 (一)知识性障碍包括语言知识性障碍和文化背景障碍。 1.语言障碍包括语音、语速、词汇、语法、语言思维等环节存在问题。 (1)发音不标准导致语音的辨别能力低。学生掌握不好英语标准发音，在听的过程中即使是自己认识的单词，会由于发音不同也难以听辨出来。此外英语中发音相似仅有微小差别的单词很多，于是由于发音不标准很容易使单词混淆。 (2)语速连贯能力弱，导致辨音能力差。英语单词有弱读、重读、连读、爆破、语气、语调的升降等，在连贯的语流中该词的发音会发生变化。学生缺乏辨识这些单词的能力，同时英文正常速度比中文正常速度快10倍，因此学生平时能正确发音的单词也不能正确分辨出来。 (3)词汇量的大小，对词汇的熟练掌握程度会影响听力的效果。大多数单词在字典上有多种意思，单词在不同的环境中词义会不同。学生对单词的掌握不够全面，只是知晓某单词的部分意思，他们听的过程中只能根据自己熟悉的词义去理解，往往与听力内容不相符，会误解了听到的句子意思。 (4)语法的掌握程度影响听力理解。学生对句子的结构，英语中的进行时、完成时等没
关于论文结构和格式规范的有关问题，请认真阅读“外国语学院英语本科毕业论文撰写要求”，同时可查阅“MLA格式学位论文写作规范（供查询用）”。（建议：以本范文作为模板，把自己论文的相应部分复制后，以“选择性粘贴”—“无格式文本”的方式，粘贴到范文的相应位置，以保持与范文格式完全一致。）论文单面打印1份，左侧装订（两个钉子）。（这些说明打印时删除） 文学方向的请务必参考此范文（语言学教学、文化类也可参考）。 山东财经大学 本科毕业论文(设计) 范文2 题目：论《诺桑觉寺》的反哥特观念 学院外国语学院 专业英语 班级英语0801（注意原山经、原山财班级名称不同） 学号67 姓名李晓慧 指导教师王俊华 山东财经大学教务处制 二Ｏ一二年五月
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On Anti-Gothicism in Northanger Abbey by Li Xiaohui Under the Supervision of Wang Junhua Submitted in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts School of Foreign Studies Shandong University of Finance and Economics May 2012
英语论文开题报告范文 ----WORD文档，下载后可编辑修改---- 下面是小编收集整理的范本，欢迎您借鉴参考阅读和下载，侵删。您的努力学习是为了更美好的未来！ 英语论文开题报告范文一： function and application of descriptive translation studies 1 introduction the intention of this study is to explore possible advantages of descriptive translation studies as in its application in translation practice and translation analysis. since early 20th century, translation studies gradually broke away from the marginal status within other related disciplines and established itself as an empirical science. from then on, schools of thought have kept coming out and each claims its legitimacy for existence. among these schools is descriptive translation studies (dts). dts approaches translation from an empirical perspective. translation is viewed to be a social activity having significant importance in the receiving culture and for the target community. therefore, translation is dealt with beyond the linguistic realization and language comparison, and is incorporated in social and cultural context. my attention was first directed to dts by its peculiar characteristic of observation, description and explanation. the subject is whatever happens in translation practice, from the determination of prospective function of translation to the process of translator’s choice of strategies, brainstorming and the revision, to the final product making appearance in the target community. the method of dts is basically descriptive. the prescriptive tendency and the problem-solution pattern is abandoned. translation phenomena are
关于论文结构和格式规的有关问题，请认真阅读“外国语学院英语本科毕业论文撰写要求”，同时可查阅“MLA格式学位论文写作规（供查询用）”。（建议：以本文作为模板，把自己论文的相应部分复制后，以“选择性粘贴”—“无格式文本”的方式，粘贴到文的相应位置，以保持与文格式完全一致。） 论文单面打印1份，左侧装订（两个钉子）。（这些说明打印时删除） 请文学方向的参考文2。 财经大学 本科毕业论文(设计) 文1 题目：论转换法在英汉翻译中的应用 学院外国语学院 专业英语 班级英语0802（注意原山经、原山财班级名称不同） 学号2008110107 姓名潇 指导教师文涛 财经大学教务处制 二Ｏ一二年五月
财经大学学士学位论文原创性声明 本人重声明：所呈交的学位论文，是本人在导师的指导下进行研究工作所取得的成果。除文中已经注明引用的容外，本论文不含任何其他个人或集体已经发表或撰写过的研究成果。对本文的研究做出重要贡献的个人和集体，均已在论文中作了明确的说明并表示了意。本声明的法律结果由本人承担。 日期填写定稿日期5月1日。教师学生都要手写签名 学位论文作者签名： 年月日 财经大学关于论文使用授权的说明 本人完全了解财经大学有关保留、使用学士学位论文的规定，即：学校有权保留、送交论文的复印件，允许论文被查阅，学校可以公布论文的全部或部分容，可以采用影印或其他复制手段保存论文。 日期填写定稿日期5月1日。教师学生都要手写签名 指导教师签名：论文作者签名： 年月日年月日
On Application of Conversion in English-Chinese Translation by Liu Xiao Under the Supervision of Li Wentao Submitted in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts School of Foreign Studies Shandong University of Finance and Economics May 2012
Tragic Fates of the Characters in Hardy’s Works INTRODUCTION Hardy is often regarded as a traditional writer. In him readers can see the influence from both the Victorian and modern literature. The three tragic novels The Mayor of Casterbridge, Tess of the D’Urbervilles, and Jude the Obscure show that man is always driven by a combined force of “nature”, both inside and outside…. 1
ChapterⅠA BRIEF INTRODUCTION TO HARDY Hardy was born and brought up in Dorsetshire, a county in the southwest of England. Family conditions did not allow Hardy to receive college education, and beyond the most basic skills in mathematics and Latin he was self-taught…. 2
ChapterⅡAN ANALYSIS OF THE THREE CHARACTERS 2.1 Michael Henchard The Mayor of Casterbridge, reveals the conflict in a deeper and fuller sense. It is a novel of nemesis. The hero Michael Henchard sells his wife and daughter in drunkenness… 3
英语系毕业论文选题参考 以下选题包括语言及语言学、英美文学、翻译理论及实践等方面。所有选题仅作参考。 Part One LANGUAGE AND LINGUISTICS 语言及语言学 1． On Attitude and Motivation in Second Language Learning论第二语言学习的态度及动机 2． Needs Analysis of English Language learners英语语言学习者的需求分析 3． On Teacher-Learner Classroom Communication论教师——学习者课堂交流 4． Influence of Science and Technology on English Vocabulary科学技术对英语词汇的影响 5． A study of English Transitional Words and Expressions英语过渡词及表达法的研究 6.Sex Differentiation and Sexism in English Language英语中的性别及性别歧视 7. Pragmatic Failures in Communication交际中的语用失误探析 8.Euphemistic Expressions in English Language 英语中的委婉语表达 9..On the Functions of Ambiguity in English论英语歧义的功能 10.On Chinese-English Linguistic Taboos论汉英语言禁忌 11.On Cultural Context and its influence toward English learning 论文化语境及其对英语学习的影响 12.Symbolism in Idiomatic Expressions论习语中的象征意义 13.Linguistic Features of Abraham Lincoln’s Address论林肯演说的语言特征 14.A Study of student-Centered English Vocabulary Teaching以学生为中心的英语词汇教学 15.Application of English Idioms in Daily Life英语习语在日常生活中的运用
浅谈广告英语的修辞语言学基础 【摘要】为了实现广告的特殊的劝说功能,广告商用尽各种策略,修辞则是其中重要策略之一。修辞作为一门劝说的艺术能帮助广告商实现其预期的目标。文章从心里语言学的角度,探讨多种修辞格运用的语言学基础。 【关键词】广告英语;修辞格;语言 当今社会广告无处不在,作为引进国外科学技术和介绍国内产品的一座桥梁,广告英语也愈来愈被人们关注。由于广告的劝说功能,使得广告英语在文体方面具有特色。为了能够成功地劝说受众,能激起大众的兴趣以期最终采取购买行为。广告商运用各种策略,而运用修辞格则是其中策略之一。修辞是一门劝说艺术,一种可以控制或改变他人信念乃至行为的工具、技巧或手段。各种修辞格的运用使得广告能更具说服力。 心理语言学是通过研究语言和言语,从而进一步了解心智的本质和结构的科学。广告商运用了多种修辞格使得广告能产生较好的效果,本文将以此为基点,探讨其心理语言学基础。 一隐喻 隐喻研究源远流长,有人说,隐喻是一种修辞格;有人说,隐喻是一种范畴错置。本文将把隐喻作为一种修辞格来看待。Carroll (1999∶145) 指出,隐喻的理解首先要从心理词汇(lexicon) 中提取消息,选择适当的那部分意义,最后识别本体与喻体之间的关系。束定芳(2000∶17) 指出,隐喻中的喻体对说话者或听话者来说要比本体更为熟悉。而在两者发生互动反应时,通常是更为熟悉的事物的特点和结构被影射到相对陌生的事物上,因而喻体可以帮助认识本体的特点和结构,因而也具有了认知的功能。由此可看出,隐喻中喻体与本体的相似性应该说是构成隐喻的基础,对于不能很好地直接地表达出的意义,运用隐喻也就更易被理解。 1) High Efficiency Our Big Bird can be fed even at night2) Kodak is Olympic color 第一则为法国货运航空公司的广告标题。公司的班机被比作随时待命的巨鸟,而货物则是喂“鸟”的食物。如果用“Our planes Pair lines ”代替“Our Big Bird”,那么标题显得平淡无特色,喻体“Big Bird”的运用能使人们产生诸如雄鹰展翅等很多的联想! 使得广告更生动。第二则是柯达彩色相片的广告,喻体“Olympic”首先给予受众是“最好”的直觉,且会联想到运动场上角逐激烈,瞬息万变,精彩的刹那本不易捕捉,但柯达则能快速、精确地把这些灿烂瞬间拍摄下来。 二双关 一般来说,人们为了清楚地表达自己,常常要避免歧义,但歧义并不都是只有负面影响,如果正确地利用,适当的控制则能使歧义产生很好的语言效果。广告商运用的多是词义双关而非句法双关。Carroll (1999∶123 —125) 指出,在语句的理解过程中,歧义的多种意义暂时都激活,但歧义的主要意义和上下文会很快消除歧义性。当上下文和歧义词主要意义都指向同一方面:即都偏向同一主要意义,那么词汇的歧义性对语句的理解不会有何影响,在这种情况下似乎第二种意思都不被激活。因此,在歧义不会影响语句理解的前提下,而且其双关意义被受众解读后能留下深刻印象,不难看出广告商为何如此青睐双关修辞格。
【英语专业】毕业论文参考文献汇总（文学、翻译、语言学、英语教学、跨文化交流）来源：毛立静Regina的日志 【文学类】 戴维洛奇小说的艺术北京：作家出版社，1998 高奋西方现代主义文学源与流宁波：宁波出版社，2000 侯维瑞现代英国小说史上海：上海外语教育出版社，1986 胡经之，王岳川主编文艺学美学法论北京：北京出版社，1994 黄晋凯主编荒诞派戏剧北京：中国人民大学出版社，1996 霍夫曼佛洛伊德主义与文学思想王宁译北京：三联书店，1987 拉曼塞尔顿编文学批评理论刘象愚，陈永国等译北京：北京大学出版社，2000 霍纳韦勒克近代文学批评史（第4卷）上海：上海译文出版社，1997 李维屏英美现代主义文学概观上海：上海外语教育出版社，1998 柳鸣九编选新小说派研究北京中国社会科学出版社，1986 吕同六主编20世纪世界小说理论经典北京：华夏出版社，1995 罗伯特斯皮勒美国文学的周期——历史评论专集王长荣译上海：上海外语出版社，1990 罗德霍顿美国文学思想背景房炜等译北京人民出版社，1991 梅佛里德曼意识流，文学手法研究上海：华东师范大学出版社，1992 米兰昆德拉小说的艺术孟湄译北京：三联书店，1995 史志康主编美国文学背景概观上海：上海：上海外语出版社，1998 徐葆耕西方文学心灵历史北京清华大学出版社，1990 殷企平小说艺术管窥天津：百花文艺出版社，1995 【语言学】 奥马利第二语言习得的学习策略上海：上海外语出版社，2001
陈保亚20 世纪中国语言学方法论济南：山东教育出版社，1999 丁言仁英语语言学纲要上海：上海外语出版社，2001 费尔迪南德索绪尔普通语言学教程长沙：湖南教育出版社，2001 冯翠华英语修辞大全北京：商务印书馆，1996 桂诗春，宁春言主编语言学方法论北京：外语教学与研究出版社，1998 桂诗春应用语言学长沙：湖南教育出版社，1998 何兆熊新编语用学概要上海：上海外语教育出版社，2000 何自然语用学与英语学习上海：上海外语教育出版社，1997 侯维瑞英语语体上海：上海外语教育出版社，1988 胡壮麟语言学教程（修订版）北京：北京大学出版社，2001 黄国文语篇与语言的功能北京：外语教学与研究出版社，2002 黄国文语篇分析概要长沙：湖南教育出版社，1988 李延富主编英语语言学基本读本济南：山东大学出版社，1999 李运兴语篇翻译引论北京：中国对外翻译出版公司，2000 刘润清西方语言学流派北京：外语教学与研究出版社，1999 刘润清等现代语言学名著选读（上下册）北京：测绘出版社，1988 刘润清等语言学入门北京：人民教育出版社，1990 陆国强现代英语词汇学（新版）上海：上海外语教育出版社，1999 戚雨村现代语言学的特点和发展趋势上海外语教育出版社，1997 秦秀白文体学概要长沙：湖南教育出版社，1990 孙志外国语言研究论文索引（1995—1999）上海外语教育出版社，2001 索绪尔普通语言教程北京：商务印书馆，1999
论文中的引用格式 1.1 间接引用（citations） A.如果引用只涉及一个作家的某本专著或文章，而作家的名字在自己的行 文中没有出现, 将该作家的姓氏和出版的时间用括弧括起来，放在句子结尾，注意该括弧算作句子的一部分，标点符号应放在括弧之后。 例: It has been argued that teachers’ role is to provide the students with optimal condition that can facilitate learning so that students can achieve similar results (Bloom, 1976). B.如果引用所涉及到的作家的名字已经出现在行文中, 只需要在名字后面 加上括弧, 填入出版时间即可。 例：Gould (1988) attributes Darwin’s success to his gift for making the appropriate metaphor. C.如果引用涉及到的作家和著作的出版时间在行文中已出现，那就不再需 要单独的夹注了。 例：In a 1988 article, Gould explores some of Darwin’s most effective metaphors. D.如果引用涉及到的著作是由两位作者合著，则每次引用时都需把两位作 者的姓氏注出来，在夹注中用“&”，在行文中则用“and”连接两个作者。例：The disadvantages of the multiple regression analysis is that it cannot show the complex interrelations between independent variable (Bryman & Cramer, 1990). Bryman and Cramer (ibid.) also pointed out that… E.如涉及到的作者超过两人，少于六人，第一次加夹注时，写出所有作者 的姓氏，以后每次引用，只需写出第一作者的姓氏，其后加上“et al.” 即可。 例：Scientists have isolated a gene connected to circadian rhythms in plants (Millar, Straum, Chory, Chua, & Kay, 1995: 1163). They identified the mutations that activated light-dependent pathways (Millar, et al., 1995: 1165) F.如果引用涉及到的著作由六位以上的作者合著，加注时只需写出第一作 者的姓氏，其后加上“et al.”即可。 例：Naiman et al. （1978）found a similar relationship, although I this case effo rt’on the part of the learners was also associated with instrumental motivation (subsequent citations) (Ellis, 1954: 512).
英语专业本科论文范文 A Brief Analysis of english teaching in senior high school Abstract: Classroom teaching is the main way for students to learn En glish. But in senior high school, a lots of probelms still exsit in t he English teaching especially in the teaching of reading and writing. In this paper, the importance and methods of reading and writing wi ll be further discussed. Key words: reading writing techniques Introduction: Classes should be learner-centered, with meaningful, fu nctional activities, often, classes begin by finding out what the stu dents don’t know. These classes operate on the assumption that there is a great deal of information that students lack and that the teache r and textbooks will impact that information to the students. Teacher s who hold this assumption view students as plants waiting passively to be fed and watered. But I think the students should be regarded as explorers, active learners who bring a great deal to the learning pr ocess and at the same time, draw from their environment as they devel op new understandings. The basic principle will be used in the teachi ng of reading and writing. Section One------ How to teach reading I. Why teach reading There are many reasons why getting students to read English texts is an important p art of the teacher’s job. In the first place, many of them want to be able to read texts in English either for their career s, for study purposes or simply for pleasure. Anything we can do to m ake reading easier for them must be a good idea. Reading texts provide good models for English writing, provide oppo rtunities to study language vocabulary, grammar, punctuation, and the way to construct sentences, paragraphs and texts. Lastly, good readi ng texts can introduce interesting topics, stimulate discussion, exci te imaginative responses and be the springboard for well-rounded, fas cinating lessons. The last but not the least, students must read widely because only a fraction of knowledge about the world can come from other experienc es in their short lives. II. What kind of reading should students do? When the teachers give reading class to students, they should notic e a balance----a balance to be struck between real English on the one hand and the students’ capabilities and interests on the other. The re is some authentic written material which beginner students can und erstand to some degree: menus, timetables, signs and basic instructio
成都理工大学英语专业 学士学位论文（设计）学术标准及基本规范 学分：8分执笔人：丁启红、李珊审订人： 一、学士学位论文（设计）的目的 英语专业学士学位论文（设计）是本专业毕业生在教师的指导下，综合运用本学科所学基础理论和专业知识，对本学科中某一学术问题，做出较全面系统的归纳、论证和分析的一个重要教学环节。该过程主要完成以下任务： 1.综合检验学生所学基础理论、基本知识、基本技能； 2.系统培养学生综合运用所学知识，对英语语言和文学以及与英语语言相关的社 会、经济、政治、文化等问题，进行独立分析和解决实际问题的能力； 3.培养学生的创新意识和创新能力，使学生获得科学研究的基础训练； 4.培养学生形成正确的设计思想、理论联系实际的工作作风和严肃认真的科学态 度； 5.进一步提高学生英语语言运用能力和计算机操作能力，以及社会调查、文献资 料查阅和文字表达等基本技能。 总之，这一环节的根本目的在于培养和检验学生四年来的科学态度、观察能力、分析思考能力和最基本的学术训练水平，以及英语的实际综合运用能力。 二、学士学位论文（设计）的选题 （一）选题原则 英语专业毕业论文选题应符合“培养知识面广、有创新思维的外向型、应用型、复合型高级英语专门人才”的目标要求，能体现人才培养水平与质量。 题目来源包括指导教师科研题目、教师拟定、学生自拟。选题范围包括英语语言学研究、英美文学研究、翻译研究、英语国家社会与文化研究、英语教学研究，以及专门用途英语研究（如经贸英语、法律英语、新闻英语、科技英语等）。 学生应结合自己的兴趣与特长选择论文题目，做到一人一题。 （二）选题类型与主要研究设计内容 本专业选题类型主要包括理论研究和应用研究两种： 理论研究类论文主要就某一理论问题充分展开正面论证，阐述自己的理论见解。论文的关键在于有论有述，述论结合，论大于述。选题方向和内容主要涉及西方文论、美学、比较文学、文学史、翻译史、翻译理论、语言哲学等方面。 应用研究类论文主要是运用所学理论和知识来分析和解决某一实际问题。论文侧重 1
A STUDY ON DIFFERENCES IN MARKETING STRATEGIES IMPLEMENTED BY WULIANGYE AND MAOTAI by 拼音姓名 A thesis submitted in partial fulfillment of the requirements for the Degree of BACHELOR OF BUSINESS ADMINISTRATION for Joint Bachelor of Business Administration (BBA) Program between Tianjin University of Technology (TUT), Tianjin City, P. R. China and Thompson Rivers University (TRU), Kamloops, B. C., Canada May 28, 2012
摘要白酒在中国具有悠久的历史 关键词：白酒竞争营销策略
ABSTRACT Wine has a long history in China, and has always been famous for its superb brewing process, the unique taste and legendary culture. However, in recent years, the market share of wine has gradually declined. The competition in the wine industry is becoming increasingly intense. MAOTAI and WULIANGYE are two well-deserved giants of Chinese wine industry and have made great success doing business. Comparing their marketing approach, there are a lot of differences. Recently, the major consumers are gradually aging. In the coming decade, the after eighties and nineties will become the major force of consumption. To change the fate of wine, companies must improve marketing methods to adapt to modern society and the needs of new generation of customers. Referring to the related theory, this thesis will focus on analyzing the differences of marketing strategy and method between MAOTAI and WULIANGYE. Recommendations for the current wine market have also been proposed for companies in this industry to learn from. Key Words: Wine Competition Marketing Strategy
英语专业本科毕业论文范文 [摘要]英语专业本科写作是本科生在毕业之前最重要的一项学习任务。文章针对目 前毕业论文中存在的主要问题，如写作基本功欠缺、学术基础和意识薄弱、选题不合适及论文缺乏深度和创新等问题并对其原因进行了探讨，据此提出相应的改进措施，以期提高毕业的质量。 [关键词]毕业论文;问题;改进措施 高校英语专业英语教学大纲认为毕业论文是考察学生综合能力、评估学业成绩的一个重要方式。在2004年开始实行的高等学校外语专业本科教学评估方案中毕业论文的质量 被列为一级指标“学生创新能力”的主要观测点(教育部高等教育司， 2004)。根据英语专业教学大纲的精神，学生的毕业论文写作不仅是对学生学业和专业成绩的一次综合测评，也是对学校设置和培养方案以及教师教学活动的一次考验。毕业论文写作是高等院校英语专业教学计划中一个不可缺少的组成部分和实践性环节，是考查学生综合能力、评价学生成绩的一个重要方式。 一、毕业论文写作的现状 在国内，近年来各高校英语专业对学生毕业论文的撰写比较重视。为了提高论文的质量，加强论文的严谨性和规范性，各高校近年来都出台了一系列政策，如的撰写、中期检查、抽查评估，有些高等院校从三年级开始增设学年论文教学环节等等。英语专业本科毕业论文的质量虽然有一定的进步，但也存在着一些问题。原上海外国语大学校长戴炜栋教授等的研究和调查证实了高等学校英语专业毕业论文质量的滑坡趋势(戴炜栋2007)。学 生在论文实际的撰写过程中，出现了写作基本功、格式规范、选题、论文的深度、外文资料不足的问题。其中的原因是多方面的，例如:在培养中偏重技能训练，轻视知识吸纳的 连贯性，使学生缺乏学术的内涵和深度，缺乏认识能力和思辨能力(文秋芳2006);在第八 学期才开始毕业论文的写作，不仅毕业生在短时间内无从选题，而且导致论文质量下降。这种现象对本科教学带来的负面影响应引起各高校英语专业的高度关注。 二、毕业论文写作存在的主要问题 目前高校毕业论文存在不少问题，如语言技能较弱，查阅文献资料的能力比较差，不知道怎样确立自己的观点等等，但以下几个方面的问题尤为明显:第一，写作基本功欠缺。英语专业毕业论文中一个显著的问题就是学生的写作能力较差，反映出学生英语语言能力欠缺。例如:论文结构不严谨、松散;一篇论文有多个中心论点;章节之间缺乏连贯性;语法、拼写错误多;学生随意使用非正式文体，书面语和口语混用的现象比比皆是。
特别提醒： （1）翻译作品的论文页眉与页脚按照此模板体例编写，需注意的是：正文中奇数页页眉为“20xx届英语专业学士学位论文”，偶数页页眉为“学生姓名（中文名）论文题目名（统一为“翻译作品”）”。其他非正文部分应该有相应内容的页眉，具体内容见后模板示例。 （2）翻译作品的论文一律用A4纵向打印，上边距为2.5cm，左边距为3cm，右边距为2cm，下边距为2cm，正文页码居中。 （3）参考文献以作者的字母排序。按照先英文，后中文的顺序排列。中文的期刊杂志名不必翻译成英文。 （4）翻译作品的论文参考文献采用APA格式，具体范例见范文批注。
单位代码 10642 密级公开学号 学士学位论文 翻译作品 论文作者： 指导教师： 学科专业：英语专业（） 提交论文日期：年月日 论文答辩日期：年月日 学位授予单位：重庆文理学院 中国 重庆 20XX年XX月
BA Thesis Chongqing University of Arts and Sciences Translation Work BA Candidate: Supervisor: Major: School of Foreign Languages Chongqing University of Arts and Sciences April/ May 20XX
目录（英译汉示例） 译文 (1) 翻译实践报告 (2) 参考文献 (3) 致谢 (4) 附录 (5)
英译汉-译文正文格式如下（论文提交时请删除此行） 译文标题 XXXXXXXXXX XXXXXXXX XXXXXX 结束之灵远足的温特伯恩，隔天就回到了日内瓦，又于一月底去了罗马。他的舅妈在那里已定居几个星期了，期间还写了几封信给他。“你去年夏天在韦维交往的人来这里了，仆人随行的，”信中写到。“他们似乎结实了几个熟人，但是仆人仍是他们最亲密的人。然而这个年轻女士，与一些三流的意大利人非常亲密，这在某种程度上就构成了她是与那些人一起过放荡生活的传言。请给我把那本谢布列的《保罗.米尔》带来，另外，最好不要迟于23日到达。 自然而然，温特伯恩，在到达罗马后，就会到美国银行那里打听米勒太太的地址找到米勒小姐并表达爱意。“鉴于在韦维发生的事情，我想我当然可以去拜访他们，”他对科斯特洛太太说。 "如果，事情发生后—不论是在韦维或者其他地方—你期望与熟人保持联系，那是好的。当然一个男人可以认识每个人。男人喜欢特权!" …… “啊，再等一些时候你们会非常喜欢它的。”伯恩说。 “我越来越讨厌它了！”冉道尔夫大叫道。 “你像幼儿汉尼拔。”伯恩说道。 “不，我不是！”冉道尔夫胡乱地宣称。 “你不太像一个幼儿，”他母亲说。“但是我们看得出有些地方像，”她继续道，“我应该在来罗马之前准备久一点。”对于温特伯恩的审讯的回复，“那是苏黎士，”她总结道，“我觉得苏黎士很可爱；我们反倒没怎么听说它。” “我们见过的最好的地方是里士满城，”冉道尔夫说。 “他指的是船，“他妈妈解释道。”我们乘的那艘船，冉道尔夫在里士满城玩得很愉快。 “他是我见到的最好的地方，”这个孩子重复道，“它仅仅是走错了方向。” “嗯，我们总有一天要往正确的方向走的，”米勒太太轻笑道。伯恩表示，希望她的女儿至少能在罗马找到一些满足。她宣布黛西会被带走。“由于这个社会---社会的繁荣。她随便去任何地方；她已经认识了那么多的熟人。当然了，她去的地方比我多。我必须说他们非常善于交际，他们引导她往这个方向发展。她也认识大量的绅士。哦，
2019优秀英语专业毕业论文题目精选 本文针对英语专业学生提供了128条优秀英语专业毕业论文题目，供大家在写作英语论文过程中的一些参考，论文题目的定位非常重要，希望大家能够认真对待。 1、航海英语教学中培养跨文化交际能力的意义 2、医学检验专业双语教学的思考 3、“微时代”下的军事医学英语微课教学研究 4、浅析中医五行学说一些术语的英译 5、传统美学视角下的散文翻译中情感美的传递 6、目的论视角下的文学翻译策略研究——以《红楼梦》两个英文译本为例 7、茅盾文学奖获奖作品的翻译研究价值——以《穆斯林的葬礼》为例 8、《长恨歌》中认知隐喻的翻译 9、高罗佩《武则天四大奇案》英译之诗学探析 10、诗歌翻译中的“意、音、形”之美——唐诗《江雪》四种英译的对比分析 11、《红楼梦》角色姓名“归化”译法探究 12、论戏剧翻译的可表演性原则 13、《越人歌》的审美再现——从语内翻译到语际翻译 14、早期西方汉学家英译《聊斋志异》中的跨文化操纵 15、“西语哲”视域下的英汉句子形态的差异及启示
16、中英文日常交际用语的差异探析 17、网络环境下英语教学模式改革初探 18、基于图式理论的高职商务英语专业听力作业设计研究 19、翻译工作坊教学模式研究 20、高校英语教学中目的语文化的渗透和本族语文化的回归研究 21、新课改下高校教育硕士(英语)培养模式的探索与反思 22、中小学英语衔接工作的探索与实践 23、信息技术与高校英语教学整合研究 24、探究基于计算机辅助模式的大学英语课堂教学情感因素 25、开元数字化平台大学英语教学模式研究——基于建构主义理论 26、非英语专业大学英语教师课堂话语的互动特征分析——以实习教师课堂为例 27、西部农村中学英语写作在线同伴反馈和教师反馈的对比研究 28、基于网络的高职英语自主学习生态化研究'))));基于网络的高职英语自主学习生态化研究 29、小学英语课堂激励方法的应用策略研究 30、高中英语以读促写的“读写一体化”教学模式探究 31、研究生英语学术论文语体特征多维度对比分析 32、MOOC下的中国职业英语教育改革探索与应对