引论：我们为您整理了13篇英文毕业论文范文，供您借鉴以丰富您的创作。它们是您写作时的宝贵资源，期望它们能够激发您的创作灵感，让您的文章更具深度。
篇1
XX 英语 X 班 学
篇2
英文摘要在科技论文中具有重要作用，根据EiCompendex数据库对英文摘要的要求，从时态、语态等方面提出了英文摘要的写作规则，列举了论文中存在的常见问题，并提出了一些建议。下面是学术参考网小编为您搜集整理的毕业论文致谢词英文，欢迎阅读！
Acknowledgements
MydeepestgratitudegoesfirstandforemosttoProfessoraaa，mysupervisor，forherconstantencouragementandguidance.Shehaswalkedmethroughallthestagesofthewritingofthisthesis.Withoutherconsistentandilluminatinginstruction，thisthesiscouldnothavereacheditspresentform.
Second，IwouldliketoexpressmyheartfeltgratitudetoProfessoraaa，wholedmeintotheworldoftranslation.IamalsogreatlyindebtedtotheprofessorsandteachersattheDepartmentofEnglish：Professordddd，Professorssss，whohaveinstructedandhelpedmealotinthepasttwoyears.
Lastmythankswouldgotomybelovedfamilyfo
篇3
1.0 前言
近15年，体裁（genre）和体裁分析（genre analysis）成为第一语言和第二语言教学领域里的热门话题（Hyon 1996）。我国不少专家、学者都试图把这种理论应用在具有特定交际目的的篇章上，如分析农业英语论文摘要（易兴霞，2006），分析应用语言学领域学术文章的宏观和微观结构（杨瑞英，2006）毕业论文模板，分析商务促销类语篇（王宏俐, 郭继荣，2006）等。本文拟从Bhatia的英文促销信的体裁分析模式入手，分析主要交际目的为说服潜在客户购买商家所提供的产品或接受其服务的英文促销信的表现形式，图式结构和特殊信息，并通过分析语义的文化预设和搭配意义，加深对促销信的语言表面特征的认识。
2.0理论依据
2.1体裁
语言学中的体裁（genre）不同于文学中的体裁。Swales (1990: 45-58) 认为体裁是在特定社会文化背景下对人类交际事件进行分类的结果。所谓交际事件就是人们按照特定目的和特定程式运用语言在社会中办事的实例。新加坡的Bhatia (1993:13-16)在 Swales的体裁理论基础上做了进一步的完善, 认为:1)体裁是一种可辨认的交际事件;2)体裁不是一般的交际事件 ,而是一种内部结构特征鲜明,高度约定俗成的交际事件;3)在建构语篇时 ,必须遵循某种特定体裁所要求的惯例;4)尽管体裁有其惯例和制约性, 内行人仍可在体裁规定内传达个人意图和交际目的。因此交际目的往往决定应该使用哪种体裁，而体裁的常规性又维我们提供了可以遵循的体裁结构潜势。
2.2体裁分析
体裁分析是20 世纪90 年代由Swales (1990)和Bhatia (1993)发展起来的一种分析方法。他们认为任何体裁都是由一系列的语轮构成，语步(move)和步骤( step)是语篇分析的出发点论文开题报告范文。Swales的层次动向法（move approach）常用在具体的体裁分析中，即根据不同的交际目的，对某一语篇按照意义与功能划出层次，然后再根据层次来考察分析语言的表达形式。Swales 没有对语步和步骤提出明确的定义,但Nwogu (1997)认为语步是一个由一系列词汇,主题意义和修辞特征所标明的具有统一意义倾向的语篇片断，步骤是实现语步的可供选择的修辞策略，一个语步可以由一个或多个步骤来实现。例如毕业论文模板，Bhatia (1993:62)根据体裁“ 语步 (moves) 和步骤( steps)”分析理论，将推销体裁概括成七个 “语步” (move) :1. Establishing credentials (确立资格证明) ; 2. Introducing the offer (介绍推销内容)：⑴offering the product orservice (介绍产品或服务) ,⑵ Essential detailing of the offer (介绍推销内容的重要细节) , ⑶Indicating value of the offer (指明推销内容的价值) ; 3. Offering incentives (激励购买) ; 4.Enclosing documents (附寄文件) ; 5. Soliciting response(请求回复) ; 6. Using pressure tactics (采用压力策略) ; 7. Ending politely (礼貌收尾)。在以上七个“语步” 中 ,第二语步 Introducing the offer 又是由三个步骤(step)组成的。
体裁分析模式为语篇研究提供了新的考察视角与方式。使用体裁和体裁分析理论对某个特定语篇进行分析，是对语篇宏观结构和微观结构分析的有机结合，既注重语篇结构的宏观结构和认知结构，也注重特定的体裁结构在词汇和语法层面的特定表现。
3.0体裁分析在英文促销信中的应用
3.1促销信的体裁界定
促销信是商务英语中常见的一种语篇，它是以书信的格式由促销人员向顾客传递商品或服务的存在及其性能、特征等信息，帮助顾客认识商品或服务所带来的利益，从而达到引起顾客的注意和兴趣、唤起需求、采取购买行为的目的。因此它的本质是销售者和消费者之间的信息沟通，主要交际目的就是通过向消费者的宣传、诱导和提示，促进消费者产生购买动机，影响消费者的购买行为，实现产品由生产领域向消费领域的转移。这样的交际目的决定收信人和写信人通常为并不熟悉的双方，因此语言上谦虚有礼、简洁明晰是必不可少的。
3.2 促销信的内在宏观结构
一封成功的促销信在内在结构上 ,基本遵循Bhatia 的七个 “语步”的模式 ,通过吸引客户的注意、向客户详细介绍所推销的产品或服务并索求回复等语篇片断来实现说服潜在客户购买所推销产品或服务的交际目的。下面我们从Bhatia的英文促销信的体裁分析模式入手毕业论文模板，来具体讨论促销信的层次动向。。
Dear customer,
⑴Theunion bakers would like to announce a great offer this Valentine day. Every two kg cakeyou buy you get raffle ticket which allows you to enter into a draw which willgive you a chance to win a dinner for two at a three star hotel. You can have awonderful dinner with your loved one on the eve of Valentine’s Day.
⑵ Thebakers will arrange for the pickup and drop to the venue and you can enjoy thedinner along with the dance party at the three star hotels.
⑶Don’tyou think it will be fun to take your girlfriend or boyfriend out for dinner ona valentine’s day and make the day a special one? Imagine all that fun you havewith your loved one with tasty cuisine and exciting and thrilling dance party.To top it all you can meet famous singer and dancer who is the guest of honorthat day.
⑷Visitany of our outlets to get more information. Hurry and buy a wonderful tastycake for your loved one.
⑸Sincethe offer is valid till (time how long).please act now.
⑹Sincerely,
这封促销信由五段组成，第一段的第一句是第一个语步: Establishing credentials (确立资格证明),通过提及在情人节要提供的一项服务来吸引顾客的注意力；第一段的第二句到第三段是第二个语步：Introducing the offer (介绍推销内容)。第二个语步由三个步骤组成：⑴offering the product or service (介绍产品或服务) ,⑵ Essentialdetailing of the offer (介绍推销内容的重要细节) , ⑶Indicating value of the offer (指明推销内容的价值) 。第一段的第二句是第一个步骤，主要介绍了即将推出的服务——每买两公斤蛋糕就能抽签，就有机会赢得在三星级宾馆的两人晚宴；第一段的第三句和第二段是第二个步骤，详细介绍推销服务的细节——情人节前夕在三星级宾馆和挚爱共进晚餐、共舞；第三段是第三个步骤，主要指出推销服务的精神价值——使情人节过得特别，并能遇到明星。第二个语步是促销信最为重要的部分，决定能否帮助顾客认识商品或服务所带来的利益，从而达到引起顾客的注意和兴趣、唤起需求、最终采取购买行为的目的。第四段是第三、四个语步：Offering incentives (激励购买)和Soliciting response(请求回复)。第四段第一句是请求顾客做出回复——到销售点寻求更多信息；第二句是鼓励有购买倾向的顾客下定决心。第五段是第五个语步：Using pressure tactics (采用压力策略)，Sincerely和签名是第六个语步：Ending politely (礼貌收尾)，作为传统信件独特的结尾方式，这一语步在促销信中也很常见。
与Bhatia的七个语步模式略有不同的是：这封促销信并没有Enclosing documents (附寄文件)这一语步；而且Offeringincentives (激励购 买)和Soliciting response(请求回复)的顺序也有所不同。王宏俐, 郭继荣(2006)认为，在语篇构建中常使用的语步是核心语步毕业论文模板，不太出现的辅语步是外围语步，在促销信中，第一、二、四语步是核心语步，由于Enclosing documents (附寄文件)这一语步是外围语步，销售者可根据情况决定是否使用；至于语步顺序，尽管促销信是专门用途英语里的一种，有其惯例和制约性，但我们仍可在体裁规定内传达个人意图和交际目的论文开题报告范文。
3.3 促销信的文化预设和搭配意义
这实际是一封是以西方文化为背景的抽奖促销信。促销信的最主要部分——第二语步也是以这个文化预设为先决条件的。销售者想要促销的商品是蛋糕，但在促销信里，抽奖有可能赢得情人节的晚餐却是描述的重点，这主要是商家抓住了顾客消费过程中的侥幸获大利心理——以抽奖赢得与挚爱在情人节共进免费晚餐的机会，设置中奖机会，利用抽奖的形式毕业论文模板，来吸引消费者购买商品蛋糕。令人心动的抽奖活动成功地把顾客的注意力指向拉到了本应大力宣传的产品——蛋糕上面。如果收信人不了解这个文化预设，就不容易达到促销信的交际目的。
Leech（1981:17）认为：搭配意义是指一个词与另一个词连用搭配时使得该词的意义随语境而发生的变化。因此促销信在词的搭配上非常注意。促销信使用的形容词大多是描述性和评价性的，多为褒义词，例如：great, wonderful, special, tasty, exciting, thrilling, famous,wonderful, 这些形容词为收信人勾勒出一幅浪漫、激情、美味的晚餐情景。尽管这是一封书信，但口语词汇多余书面语词汇，浅显易懂、简洁明晰。销售者为了推销商品或者服务，常常直接使用反问疑问句和祈使句，增强引导功能，说服或敦促收信人采取购买行动。
3.4 总结
体裁分析超越了对语篇语言特征的简单描述,力求解释语篇的理据, 探讨语篇结构背后的社会文化因素和心理认知因素, 揭示实现交际背景的特殊方式和语篇结构的规范性。促销信具是专门用途英语的一种，把促销信这一体裁语篇看作是一个有规律的有结构的层次动向的组合的思想, 有助于我们更好地理解这种信函体裁，写出目的明确、结构清晰、用词准确的促销信。
参考文献：
1.Hyon, Sunny. Genre in Three Traditions:Implications for ESL [J]. TESOL Quarterly, 30/ 4 :693-722, 1996.
2.易兴霞.体裁分析与农业英语论文摘要[J]. 西安外国语学院学报，2006(9):28-31.
3.杨瑞英.体裁分析的应用：应用语言学学术文章结构分析[J]. 外语与外语教学，2006(10):29-34.
4.王宏俐,郭继荣.体裁分析与商务促销类语篇[J]. 外语教学，2006(7): 32-37.
5.Swales, J. M. Genre Analysis: English inAcademic and Research Settings [M]. Cambridge: Cambridge University Press, 1990.
6.Bhatia, V. K. Analyzing Genre: Language Usein Professional Settings [M]. London: Longman, 1993.
7.Nwogu, K. N. The Medical Research Paper: Structureand Function [J]. English for Specific Purposes, 199 16 (2): 119-138.
篇4
范例2：大学学位证书
this is to certify that mr. wen huang, born in jiangsu province on august 30, 1973 has studied for 4 years (from sept.1995 to july 1998) in the department of economics & management majoring in marketing,has completed all the courses prescribed in the teaching program, and has passed all the exams necessary for graduation from nanjing niversity. having fulfilled the requirements stipulated by the academic degree regulations of the people's republic of china, he/she
篇5
2.2 Imagism ………………………………………………………… …………...….. .4
3. Imagistic features of Pound's poetry 5
3.1 The use of Image 5
3.1.1 Image progress…..……………………………………………………………… ……6
3.1.2 Image superposition………………………………………………………………….. 8
3.1.3 Image juxtaposition………………………………………………………………...…9
3.2 Concise Language………………..………………….…………………………...…….10
3.3 Musical Rhythm ...……………………………………………………………………..11
4. Influence of Pound’s poetry 12
4.1 The impact on domestic literature ...…………… …………………………………… 13
4.2 The impact on foreign literature ...………….…………………………………………14
5. Conclusion 16
Acknowledgement. 17
Reference 18
1．Introduction
Imagism was a movement in the early 20th-century Anglo-American poetry that favored precision of imagery, and clear, sharp language. The Imagists rejected the sentiment and discursiveness typical of much Romantic and Victorian poetry. This was in contrast to their contemporaries, the Georgian poets, who were by and large content to work within that tradition. Ezra Weston Loomis Pound was an American expatriate poet, critic and intellectual who was a major figure of the Modernist movement in the first half of the 20th century. He is generally considered the poet most responsible for defining and promoting a modernist aesthetic in poetry.11
As the father of Modernism, Ezra Pound plays an important role in Poetry modernization process. Therefore, we can get a clear understanding of imagism poems by studying Pound’s poems and translation works. The thesis will focus on studying image to analysis Ezra Pound’s poems. According to Pound's Imagist poems and other predecessors’ studies of his works, this thesis will summarize the language characteristics of Pound’s poetry and analysis his imagist poetry style, so as to provide some theoretical concept from the view of reading, understanding and appreciating modern English poetry, thus making it easier for Chinese readers to appreciate English poetry.
The first part summarizes Ezra Pound’s life and theoretical basis of Imagism. The second part, as analysis of Pound's poetry, departs into three parts—the use of image, concise language and musical rhythm. It introduces three kinds of combination of images, and uses Pound’s poems to explain the combination of images. The third part is about the influence of Pound poetry on domestic and foreign literature
2. Ezra Pound and Imagism
As the father of modernism which is the main stream of literature in the twentieth century, Ezra Pound definitely plays a predominant role in the evolution of modernist poetry. Its starting point is Imagism.
Ezra Pound’s Imagist theory is mainly based on the aesthetic theories proposed by W. B. Yeats, Ford Madox Ford and T. E. Hulme. Yeats is famous for a symbolist who emphasizes subjective conception and imaginative association，but this school tends to lapse into sentimentality; Ford is famous for an impressionist who emphasizes objective writing with clarity and precision, but this school tends to lapse into the level of description. Pound absorbs the strengths of Yeat’s subjectivity and Ford’s objectivity and finds a way to make natural objects convey subjective emotion by virtue of association of the mind.
2.1 Ezra Pound
Ezra Pound(1885一1972)was born in Hally, Idaho, in October, 1885.Then he attended Hamilton College and the University of Pennsylvania，where he majored in romance Philology while reading through a large Portion of classical and European literature. Dissatisfied with the genteel tradition and Popular romanticism dominating the American literary tastes，Pound moved to Europe in1908一first to London，then to Paris，and finally to Rapallo, Italy. In 1909，Pound met W. B. Yeats and Ford Madox Ford. He was greatly influenced by these two and tried to combine Yeat’s symbolism with Ford’s impressionism. About the same period of time, Pound got in touch with T. E. Hulme and became interested in his Poetic theory.
All these ideas became the theoretical basis of the well-known Imagist and Vortieist Movement. Later，inspired by American sinologist Ernest Fenollosa’s theory on the Chinese writing characters，Pound proposed the Ideogramic Method which was based on the chief principles of the Imagist and Vorticist Movement. As the advocate and leader of the movement Pound exerted a great influence on the Imagist poetry writers. Pound also attempted to combine poetry with music, painting and scu1pture.Vortieism was such a typical example.
Ezra Pound is generally considered the poet most responsible for defining and promoting a modernist aesthetic in poetry. In the early teens of the twentieth century, he opened a seminal exchange of work and ideas between British and American writers, and was famous for the generosity with which he advanced the work of such major contemporaries as W. B. Yeats, Robert Frost, William Carlos Williams, Marianne Moore, H. D., James Joyce, Ernest Hemingway and especially T. S. Eliot. Pound also had a profound influence on Irish writers W. B. Yeats and James Joyce.
Pound is not only a poet, but also a translator, essayist and literary critic. His own significant contributions to poetry begin with his promulgation of Imagism, a movement in poetry which derived its technique from classical Chinese and Japanese poetry which are stressing clarity, precision, and economy of language, and foregoing traditional rhyme and meter in order to, in Pound's words, “compose in the sequence of the musical phrase, not in the sequence of the metronome.” His later work, for nearly fifty years, focused on the encyclopedic epic poem he entitled The Cantos, which was regarded as poetic masterpiece of the twentieth century. He is really an original and creative poet in the twentieth century, a literary giant who plays a prominent role in the development of modernist poetry.
2.2 Imagism
Imagism was a poetic movement which flourished in London between 1910 and 1917 and had an enduring and pervasive influence on English-language poetry in the twentieth century.
The Imagists published four annual anthologies from 1914 to 1917, with a final anthology in 1930. They were led by Ezra Pound who first called them “Les Imagists”, choosing a French term to associate the group with the various French avant-garde movements which became the Roger Fry’s influential Post-Impressionist exhibition in 1910. The group included Hilda Doolittle, John Gould Fletcher, Amy Lowell, Richard Aldington, and, marginally, D. H. Lawrence, but they had only a loose and shifting affiliation and it was mainly Pound’s talents as a promoter and critic that gave a semblance of unity.
Pound’s favored spelling of Imagists was a gesture of homage to the first school of modern poets, the symbolists, whose best-known members were Baudelaire, Mallarme, Verlaine, and Rimbaud, but Pound criticized the French Symbolists as often as he praised them. The first principle of Imagism was “Direct treatment of the thing” [3]72, clearly in contrast to Mallarme’s famous dictum that to name a thing was to take away half the pleasure and whereas Verlaine in his “Art of Poetry” advised an “indefinite music”. Pound spoke for an “absolute rhythm”, a rhythm that is in poetry which corresponds exactly to the emotion or shade of emotion to be expressed.
Nonetheless, Pound’s ascorbic but well-judged criticism of his contemporaries, his accurate sense of what was good in verse, and his own aphoristic brilliance, gave this small movement (which was not really even a movement outside of Pound’s rhetoric) a formative role in defining the twentieth-century poet as someone who was in the intellectual avant-garde, purifying the language of the tribe, spurning flaccid and self-important and merely derived patterns of language use, and generally breaking with the idea of fixed metrical rules. Many of these principles were clearly articulated in the essay “Imagism” in Poetry (March 1913) which was offered as an interview-cum- report by F. S. Flint but shows the hand of Pound throughout. According to Flint, the three principles of Imagism were:
“1. Direct treatment of the “thing”, whether subjective or objective.
2. To use absolutely no word that did not contribute to the presentation.
3. As regarding rhythm: to compose in sequence of the musical phrase, not in sequence of a metronome. ” [4]12
In an essay “A Few Don’ts by An Imagist” by Pound in the same issue offers a definition of the Image as “that which presents an intellectual and emotional complex in an instant of time” [5]54, the key point being the compression of intellectual and emotional experience into an instant. He goes on to offer his own set of “Don’ts”:
“Use no superfluous word, no adjective, which does not reveal something.
Don’t use such an expression as “dim land of peace”. It dulls the image. It mixes an abstraction with the concrete. It comes from the writer’s not realizing that the natural object is always the adequate symbol.
Go in fear of abstractions. Don’t retell in mediocre verse what has already been done in good prose. Don’t think any intelligent person is going to be deceived when you try to shirk all the difficulties of the unspeakably cliff cult art of good prose by chopping your composition into line. ” [6]31
3. Imagistic Features of Pound's Poetry
Imagist poetry has three distinctive artistic characteristics. First, the Imagist poems request to convey the complex imagery directly, use sculpture and painting in the performance of imagery. It objects to musical and mystery object to lyrics. It advances the “Do not say” and “Do not you narrative” [6]9, only to show without comment. Second, the Imagist poems use concise language, no adjectives and qualifier, no decorative “lace” and flaunting words. It writes short lines, with imagery. Third, the Imagist poetry Images focus on the intrinsic rhythm of imagery combination, blend the imagery and the contained idea.
3.1 The use of Image
The word “Image” used in the field of literature is derived from the theory of Chinese poetry. It is an important linguistic terms which have been widely used in Chinese poetry. Therefore, when people refer to “image” in literature, it also refers to “image” poetry. Poetry image is the basic constituent element of poetry. It is the soul and essence features of poetry, and it plays a vital role in poetry.
Pound’s work as poet, critic，editor，and promoter of the new style was crucial to its initial period，in the decade around the First World War，and what was most essential to his conception of what was truly modern was a single word: Image. Pound’s best poems were assured achievement in the Imagist Movement when literature in English became recognizably modern. The modern revolution in literary style came from a main impulse一focus on the image.
Aesthetic theorist and imagist poet T. E. Hulme must be credited with the initial emphasis on the image，for he first formulated the doctrine that “Images in verse are not mere decoration, but the very essence of an intuitive language.”2 It was also Pound who showed in practice how far this definition could be carried into the making of short and then longer poems. Pound emphasized the concentration of intellectual and emotional content possible in a poetic image, though it mirrored only a brief moment of experience. He took the image to be the poet’s “primary pigment” and stressed the hardness, or concreteness, of sensory language, telling poets to “Go in fear of abstractions”. Besides concreteness, Pound stressed exactness of diction, the mot just of Flaubert, and clarity, and “As regarding rhythm: to compose in the sequence of the musical phrase, not in the sequence of the metronome”. Thus, along with the image emerged free verse, newly understood as an appropriate organic rhythm, suited to the mood of the individual poem.
In short, Pound’s Imagism was intended to carry symbolism forward towards a greater poetic realism, keeping the poet’s vision always in touch with the world of his senses, holding firmly to the principle that truth should be visible in things, rather than in visible beyond them.
As we all know ancient Chinese poetry and Japanese haiku had an important influence on Pound, especially the ancient Chinese poetry. Pound didn’t just pay attention to the ‘exotic surface’ of the Chinese language but its linguistic nature and the abstract feelings that lie behind it. He not only translated lots of Chinese poems but also learned the useful and particular writing techniques. It can be seen clearly the imitation of the style of Chinese poetry from Pound’ poems.
In the following text I will focus on three types of combination of image--image progress, image superposition and image juxtaposition. These three modes of combination of image are very typical East or Chinese-style image, which is characterized by only using nouns rather than verbs. This image processing techniques in ancient poetry in China is nothing unusual or surprising. And they are also wildly used in Pound’s poetry and become his representative features.
3.1.1 Image Progress
Image progress is a combination of images which structured in accordance with the objective rule. It is a common writing technique used by ancient Chinese poets. For example, the famous Chinese poetry《敕勒歌》：
“敕勒川，阴山下，天似穹庐，笼盖四野。
天苍苍、野茫茫，风吹草低见牛羊。”
In this poem, the author wrote from the mountains to near grass, from the sky to earth. He ranged the images under the rule of direction--from far to near. Therefore the author could make the meaning of this poem very clear.
Ezra Pound successfully used Image progress writing technique in his poems. Take Pound’s poem “Salutation” for example:
O generation of the thoroughly smug
and thoroughly uncomfortable,
I have seen fishermen picnicking in the sun,
I have seen them with untidy families,
I have seen their smiles full of teeth
and heard ungainly laughter.
And I am happier than you are,
And they were happier than I am;
And the fish swim in the lake
and do not even own clothing.
-----by Ezra Pound “Salutation”
In this poem, Pound first wrote the happy “fishermen”. They eat in the wild, sleep on the ground, with the untidy families, but they laugh to their hearts’ contact. Then he compared “I” with “you”, finding that “I am happier than you”. He compared the “fishermen” with “I”, finding that “they were happier than I am”. At last he described the free “fish”, it swims freely in the lake and even wears nothing. Pound wrote four aspects: the “fishermen”, “I”, “you” and the “fish”. He made a structured comparison of each of the four aspects to challenge those self-appointed writers, and pointed out that the modern poets’ mind should be free roaming like the fish in the water. They should get rid of the old stereotypes of poetry and create poems freely.
Ezra Pound addresses the old-time question of happiness in privileged and underprivileged classes. The “generation of thoroughly smug” refers to middle and upper classes of society who, by conventional means, are uptight, dull, and “smug”, and in Pound's definition are “thoroughly uncomfortable”, with life. Pound parallels the “thoroughly smug” with the “fishermen”. The poem is about perseverance. “Fishermen” are poor, often uneducated, country folk. Pound parallels “fishermen” with struggling poets; both sects trying to survive by their individual means.
3.1.2 Image superposition
Image superposition is to superimpose images with the same meaning, and uses modify, qualifier, metaphor to constitute the relationship between images. Ezra Pound widely used this writing technique. The example is the poem “A Girl” which Pound wrote for his early lover:
The tree has entered my hands,
The sap has ascended my arms,
The tree has grown in my breast -
Downward,
The branches grow out of me, like arms.
Tree you are,
Moss you are,
You are violets with wind above them.
A child - so high - you are,
And all this is folly to the world.
------by Ezra Pound “A Girl”
In this poem, Pound first uses the image “tree” to superimpose and modify “I”, and then uses the image “moss” and “violet” to superposition and modify “tree”. It is clear that the image of the “tree” is a symbol of love and young girl. Pound first described the close relationship between “tree” and “I”. Then he added three images –”moss”, “violet” and “child” to praise the beauty of young girl. The girl is as young and beautiful as violet and moss. And she is also like green trees which full of life. All of these things moisten “my” growth of life, even though they are ungrounded yawp in most people’s eyes. In this superimposed image, we can find that the beauty of the young girl likes violet, and the vital force likes the tree and mo ss.
We can see that those words or images have similar meaning, and their meanings have connected relationship. It is clearly that Pound used modify, qualifier, metaphor to constitute the relationship between images. So this poem uses typical image superposition.
3.1.3 Image juxtaposition
Image juxtaposition is quite similar to Image superposition, but actually they are different. Image juxtaposition is to appose two visible images together which from different time and space, to inspire and arouse the feelings of others. Hume said: “The imagery shows that the combination of the two visible images can be called a visual chord. Their combination gives people an image which is different from either of the two images.” The emotional feeling aroused by juxtaposition of different images has gone beyond the meanings of a particular image, but with an entirely new feel.
Pound said, “Image juxtaposition” can not allow any contact, whether it is an analogy or a synonym. The purpose of this technique is to “cut the lock of association of ideas”, so that the author can make the interaction relationship between images. The reader must take the initiative to use their imagination to explore the relationship between the two. Pound has always been emphasized on “Objective Present”. It is one of the effects of image juxtaposition, which means let the readers to understand the experience in poetry on their own, realize the “Similarity” between images, and get a sudden, new, near-epiphany of understanding.
Juxtaposition is like the Montage practice in the field of poetry. It is also the core writing technique used in Pound’s great work “The Cantos”.
Montage practice is a cinematic technique wildly used in modern film industry. It is a rapid succession of different images or shots in a movie. It composes pictures by juxtaposing or superimposing many pictures or designs. So we can regard it as the art or process of making such a single pictorial composition.
The Cantos by Ezra Pound is a long, incomplete poem in 120 sections, each of which is a canto. Most of it was written between 1915 and 1962, although much of the early work was abandoned and the early cantos, as finally published, date from 1922 onwards. It is a book-length work, widely considered to present formidable difficulties to the reader. Strong claims have been made for it as the most significant work of modernist poetry of the twentieth century. As in Pound's prose writing, the themes of economics, governance, and culture are integral to its content.
The most striking feature of the text, to a casual browser, is the inclusion of Chinese characters as well as quotations in European languages other than English. Here I cite a few lines of chapter forty-ninth of poem “Cantos” as follows:
Rain; empty river; a voyage,
Fire from frozen cloud, heavy rain in the twilight
Under the cabin roof was one lantern.
The reeds are heavy; bent;
and the bamboos speak as if weeping.
-----by Ezra Pound “Cantos”
In this poem, Pound used the melodic appearance of images to achieve an effect that common texts were not readily to gain. When we are reading these few lines, there will be subconscious images come into our mind, just as the words showed. The images change from “rain” to “empty river”, from “frozen cloud” to “heavy rain, from “the cabin roof” to “one lantern”. It is just like a rapid succession of different images or shots in a movie.
We can find that those words or images have different meaning, from different time and space, but they have connected relationship. It is clearly that Pound put those visible images together and achieved an admirable effect to inspire and arouse our feelings. This poem gets a responsive chord in the hearts of its readers.These melodic appearances of images are achieved by juxtaposing or superimposing different images. In other word, this effect is achieved by image juxtaposition or Montage practice.
3.2 Concise Language
Imagist poetry is famous for using concise language, without adjectives, qualifier, decorative “lace” and flaunting words. It writes short lines, with imagery. In the three principles of Imagism made by F. S. Flint, the second principle is “To use absolutely no word that did not contribute to the presentation.” In an essay “A Few Don’ts by An Imagist”, Ezra Pound wrote three “Don’ts” as the principle of image poetry. The first “Don’t” is “Use no superfluous word, no adjective, which does not reveal something.”
Pound strictly obeys these principles. Here we take the landmark work of Pound's Imagist Poetry “In a Station of the Metro” for example:
The apparition of these faces in the crowd;
Petals on a wet, black bough.
-----by Ezra Pound “In a Station of the Metro”
This poem was first published in 1913 and is considered one of the leading poems of the Imagist tradition. Written in a Japanese haiku style, Pound’s process of deletion from thirty lines to only fourteen words typifies Imagism’s focus on economy of language, precision of imagery and experimenting with non-traditional verse forms. The poem is Pound’s written equivalent for the moment of revelation and intense emotion he felt at the Metro at La Concorde, Paris. Pound explains in his article value.
The poem is essentially a set of images that have unexpected likeness and convey the rare emotion that Pound was experiencing at that time. Arguably the heart of the poem is not the first line, nor the second, but the mental process that links the two together. “In a poem of this sort,” as Pound explained, “one is trying to record the precise instant when a thing outward and objective transforms itself, or darts into a thing inward and subjective.”[9]3 This darting takes place between the first and second lines. The pivotal semi-colon has stirred debate as to whether the first line is in fact subordinate to the second or both lines are of equal, independent importance.
Pound contrasts the factual, mundane image that he actually witnessed with a metaphor from nature and thus infuses this “apparition” with visual beauty. There is a quick transition from the statement of the first line to the second line’s vivid metaphor; this ‘super-position’ technique exemplifies the Japanese haiku style. The word “apparition” is considered crucial as it evokes a mystical and supernatural sense of imprecision which is then reinforced by the metaphor of the second line. The plosive word ‘Petals’ conjures ideas of delicate, feminine beauty which contrasts with the bleakness of the ‘wet, black bough’. What the poem signifies is questionable; many critics argue that it deliberately transcends traditional form and therefore its meaning is solely found in its technique as opposed to in its content. However when Pound had the inspiration to write this poem few of these considerations came into view. He simply wished to translate his perception of beauty in the midst of ugliness into a single, perfect image in written form.
3.3 Musical Rhythm
Ezra Pound has a strong musical rhythm in his works, which is mainly embodied in three aspects: firstly, he thinks poetry language should be musical and pays attention to the internal poetic rhythm; secondly, he successfully adopted the fugue melody of western music, and used it in his masterpiece Cantos; moreover, he uses the dapper image poems to load the richest content and emotion to reach the highest level of musical poetry -- quiet voice.
Rhythm is an important factor to form the musical aesthetics of poetry. It gives us pleasure and beauty, and it can unify the individual, coordinate difference, turn lethargy to concentrate. Therefore, the rhythm itself is very charming, and musical rhythm is usually considered to be the core of musical poetry. In the On imagism, Ezra Pound defined poetry that “poetry is the compounds or organization of musical words.”[10]6 In Pound’s view, the so-called music is just rhythm. A poem cannot be called as a poem if without rhythm. In the aspect of poetry, Pound has inherited the free verse of Whitman poems, and made a meaningful attempt. He found a new charming melody in the traditional pentameter poem, and combined the music and expressive force into free verse. The rhythm and sound changes with the emotion in poems, that is, to maintain the true feelings of the poems and gives its beautiful melody. When reading Pound's poetry, we will realize that the beauty of rhythm in his poetry not only exists in the rhythm itself, but more important is in the performance of content.
Pound also believes that poetry do not only need rhythm, but also include: (1) beautiful rhythm. A good poem has a residual sound in the listener's ear, which sounds like organ. (2) Rhythm should contain some surprising elements. That is to say the rhythm should be of innovation. (3) Rhythm should reflect a certain emotion; give reader a shock of soul.
In addition to the repeated experiments of the rhythm of poetry, Pound also innovated the structure of poetry. He changed the way of composing music into poetry skills, in order to further enhance the melody and artistic appeal of poetry. In the “Cantos”—the literary masterpiece which represent the highest achievements of Pound's poetry, Pound used “fugue” structure in the creation of many chapters. Fugue is a common music form in Western music, which includes “theme”, “response”, “counter-subject”, and with several “episodes”. Usually, fugue adopts “counterpoint” to arrange “theme& rdquo;, “response” and “counter-subject” into the music in turn, and achieve polyphonic structure. This structure can overcome the psychological feeling of dull monotonous.
4．Influence of Pound poetry
Ezra Pound is generally considered the poet who is most responsible for defining and promoting a modernist aesthetic in poetry. His own significant contributions to poetry begin with his declare of Imagism, a movement in poetry which derived its technique from classical Chinese and Japanese poetry-stressing clarity, precision, and economy of language, and foregoing traditional rhyme and meter in order to, in Pound's words, “compose in the sequence of the musical phrase, not in the sequence of the metronome.”
Pound appreciated Chinese poetry very much and learned the use of image from it. What’s more, he summarized the key techniques and formed his own imagism theory. His imagism theory, poetry writing skills and translation of Chinese poems not only influenced innumerable British and American writers, but also affected the development of Chinese modern literature.
4.1 The impact on domestic literature
Ezra Pound’s achievements in poetry field or literature field were well recognized. Though he learned a lot of writing skills from Chinese poetry, he also had an important influence on the literature development in China, especially the development of image poetry. We can say the modern Chinese poetry is greatly influenced by Imagism.
Image is an important category with key significance in Chinese poem studying and also an important numeral factor in poetry creation. Poet’s creation inspiration and experience to the life are both condensed in image. Image is the special way to manifest itself for poetry to be distinguished from other literary styles. The ancient Chinese image poetry has a long history. It is featured by clarity, precision, economy of language and combination of images. The western image poem theory was partly derived from Chinese, but later it influenced modern Chinese Poetry.
The genesis stage of Chinese modern image poetry is in 1920s. The representative poets were Hu Shi, Wen Yiduo and Li Jinfa. Hu was well known as the primary advocate for the literary revolution of the era, a movement which aimed to replace scholarly classical Chinese in writing with the vernacular spoken language, and to cultivate and stimulate new forms of literature. “The English and American poetry of image group showed multi-aspects influence on Hu Shi’s poetry point and his vernacular and New Poetry Movement.”[11]119
The whole exploration of poetry image art in1920s, looking the image art of ancient poetry as the control of modern image construction, experiences a process of modern decay and birth of new poem image, that is being intertwined with image tradition of ancient poetry (new vernacular poem in the early period), breaking away from traditional image system (represented by Guo Moruo), close examination of returning to tradition (new metrical poem group represented by Wen Yiduo) and rebel against tradition (represented by Li Jinfa).
The development period of Chinese image poetry is between 1930s and 1940s. It was the historical evolution process of modern image art from genesis，development to maturity and its regularity and phased characteristics. During this period, most school’s image poetry held the point of view with the core of dimness, harmonious theory and artistic conception. The Beijing school’s image poetry theories were including agreement theory, art and temperament and interest theory, revealing and hidden theory, inspiration theory and image connecting theory. The July school’s image theory explaining the poetry point on the center of Ai Qing’s concrete and abstract sensualist, image imagination theory and image and graphic theory and Hu Feng’s experience image theory. The Nine Leaves school’s poetry study is expanded from such aspects as poem quality theory, rational theory, artistic conception, structuralism theory, sinking theory and condensing theory etc. And it represents the basic maturity of modern image poetry theory. The representative poets were Dai Wangshu, He Qifang, Bain Zhilin, Fei Min, Ai Qing.
Up to the present, there are many Chinese scholars studying Ezra Pound’s poetry. Some of them are from the view of the relationship between Ezra Pound and Chinese poetry. Some others research from the perspective of translation to examine the translation skills the translation of Chinese poetry. The most of them use the perspective of traditional rhetorical method, and study images of poetry from perspective of the arts means and effects of literature. The study includes the role of poetic imagery, rhetorical skills, rhetorical effect and its artistic features and so on.
4.2 The impact on foreign literature
American poet, critic, and translator Ezra Pound was an extremely important influence in the shaping of 20th-century poetry. He was one of the most famous and controversial literary figures of the century. No other twentieth century literary figure engaged as much with China as Pound. T. S. Eliot described him as the “inventor of Chinese poetry”.
Though the movement of Imagism only lasted for a short period of time, it is the beginning of New Poetry Movement in the United States. Its experiment on using “image” and free verse poetry changed many American readers’ tastes, and affected the process of American modern poetry. Pound's modernist experiments of the 1910s and 1920s have served as a counterforce to the established traditions of the “American Sublime” and the Anglo-American formalism represented by T. S. Eliot and the New Criticism. Beach, Christopher wrote a complete book length critical study ABC of Influence: Ezra Pound and the Remaking of American Poetic Tradition. “ In this first full-length study of Pound's influence on American poetry after World War II, Beach argues that Pound's experimental mode created a new tradition of poetic writing in America. Often neglected by academic critics and excluded from the “canon” of American poetic writing, Charles Olson, Robert Duncan, and later members of this experimental tradition have maintained the sense of an American avant-garde in keeping with Pound's modernist experiments of the 1910s and 1920s.”[12]87
After the movement of Imagism, there is still a small number of poets, consciously or unconsciously adhered to some of the certain principles of Imagism, and expand the results of Imagism. William C. Williams’ performance is regarded as the most outstanding in this field. Under the guidance of Ezra Pound, he began his business on the road of studying Imagism. Then he combined the writing skills of Imagism with the subject matters and language style of the United States, and created a kind of “direct” Poetry. This kind of Poetry had a dramatic impact on the revolution of United States poetry during the 1950 to 1960.
T. S. Eliot and Irish writers W. B. Yeats were deepest influenced by Pound. T. S. Eliot was a poet, playwright and literary critic. He received the Nobel Prize in Literature in 1948. Among his most famous writings, the Waste Land has become a touchstone of modern literature, a poetic counterpart to a novel published in the same year, James Joyce's Ulysses. Pound made detailed editorial comments and significant cuts to the manuscript. W. B. Yeats was an Irish poet and dramatist and one of the foremost figures of 20th-century literature. Under Pound’s influence Yeats learned Pound's unauthorized alterations and got know of Chinese and Japanese poetry, which affected his later works.
5．Conclusion
The above discussion of Ezra Pound’s image poetry is by no means comprehensive but it can give us a clear point of view of Pound’s writing techniques and features. He successfully combined the features of Western poetry and Eastern poetry, and invited a new poetry theory. His way of combine images, use concise language and pay attention to rhythm are good skills which we can learn and use in poetry writing. The purpose of this paper is to summarize the language characteristics of Pound’s poetry and analysis his imagist poetry style, so as to provide some theoretical ideals from the view of reading, understanding and appreciate modern English poetry, thus making it easier for Chinese readers to appreciate English poetry.
Acknowledgements
My initial thanks to my supervisor Han Xiaoya, without her patient guidance and strict supervision, this paper would not have been written. Her suggestions help me a lot in the writing of this thesis. And her enlightening ideas will greatly influence studies in my academic life.
I am also very grateful to my roommates who have not only offered me their warm encouragements but also shared with me their valuable materials and suggestions on my writing of this thesis. Their kindness cannot be overstated.
I am further indebted to other teachers who have taught me and helped me in the past four years
In addition, any errors and inadequacies in this thesis are my sole responsibility.
References
[1] PARINI, JAY, BRETT C. MILLIER. The Columbia History of American Poetry[M]. Beijing: Foreign Language Teaching and Research Press, 2005.
London: Longman, 1997.
[3] BELL, IAN F.A. Critic As scientist: The Modernist Poetic of Ezra Pound[M]. Methuen, London and New York, 1981
[4] AIMIN, CHENG. Reading American Literature，Nanjing, 1996
[5] CARPENTER, HUMPHERY. A Serious Character: The Life of Ezra Pound[M]. Houghton Miffiin Company, Boston, 1988
[6] Elder, Bruce. The Films of Stan Brakhage in the American Tradition of Ezra Pound, Gertrude Stein and Charles Olson[J]. Wilfrid Laurier University Pre ss, 1998. .
.Ed. Patrick McGuinness. New York: Routledge, 2003.
[8] EZRA POUND. Poems and Translations[M].Library of America/Literary Classics of the United States, Inc., 2003.
.in Ira B. Nadel (ed.) The Cambridge Companion to Ezra Pound, 1999, Cambridge University Press
[10] 王贵明.中国古典诗歌美学与庞德现代主义诗学[J].北京理工大学学报(社会科学版)2004,(6).
篇6
一、高校商务英语专业（方向）毕业论文的现状
高校商务英语专业毕业论文选题学术气氛浓厚、重复率高。多集中于“商务谈判的技巧”、“商标的翻译策略”、“商务广告的语言特色”等，与商务实践密切相关的文章寥寥无几。学生在选题上还是侧重于文学和文化，没有充分体现出商务英语的专业方向性。多数的商务英语专业学生写作内容脱离实际，没有注重毕业论文的自身价值与实际意义。缺乏实证分析，不会运用所学的知识对实际问题进行研究，有的同学撰写的内容与将来所从事的商务活动毫无关系。大多数学生都是根据指导教师布置的论文题目独自搜索文献、分析整理资料、缺乏了团队协作、限制了思想火花的碰撞。如果毕业设计能够以团队的形式来完成撰写必将对学生的实践能力、团队协作能力、组织与沟通交流能力的提升起到非常大的帮助。
二、商务英语专业毕业论文改革探索与实践
1.毕业论文改革的形式和内容。
掌握商务文书的基本知识、写作方法、写作技能，能运用娴熟、得心应手地撰写各类商务文书是衡量现代商务工作者的素质、能力的重要标准。根据我校英语专业国际商务方向学生实际情况和商务文书撰写的难易程度，英语（国际商务）学生选择商务报告中的调查报告（SurveyReport）开展毕业论文改革。调查报告具体要求：调查报告由2人共同完成，学生需进行社会调查、访谈或其他调研方式。要求调查报告的字数不少于5000字英文，其中含1000字中文概要，调查问卷样卷和访谈提纲样卷为中英文对照版。
2.行业人士进行调查报告撰写的指导和培训。
为了帮助学生更好地掌握商务文书的撰写规范，行文要求，专业安排了行业人士对调研报告的撰写进行了指导和培训。调查报告撰写的培训方案：调查报告撰写指导分为三部分：第一部分对调查报告的定义、结构、撰写过程进行宏观指导；第二部分主要讲解调查报告的研究方法、资料的收集与研究、问卷和访谈内容的设计；第三部分调查报告的选题和开题指导。
3.调查报告双导师指导的管理与监控。
毕业论文“双导师制”指导模式是依据北京城市学院办学目标和特色，结合商务英语专业学生特点，通过校内英语指导教师与来自其他学院跨学科或者行业的合作导师“双导师”联合指导，重点实施理论学习环节、调研环节、理论与实践整合环节等双导师式培养的毕业论文指导模式。选题环节。毕业论文的选题是做好毕业论文工作的首要环节，指导教师严格把好选题关是保证毕业论文质量的前提条件。校外合作导师提出若干个用人单位在实际工作操作中遇到的真实问题。毕业论文选题来自于实际工作过程中的问题，既体现了实际应用价值，又能很好地锻炼学生的实践能力。理论学习环节。为了让学生有更充裕的时间进入第七学期的学习和第八学期工作岗位的实习，我们将理论环节的学习提前到夏季小学期。由校内指导教师和行业合作导师进行联合讲解。学生在双导师的指导下，完成选题、开题报告准备等环节。调研实践环节。在夏季小学期结束后的暑期，学生要开展为期约4周的调研活动。在调研实习期间，由实习单位的校外指导教师，监督和指导学生的调研实习实践活动，补充学生理论学习的缺陷，提高学生商务实操能力。在这一环节，校内英语指导教师也需要及时与校外指导老师沟通，协助学生完成调研实践环节。理论与实践整合环节。学生在调研实践活动后，即完成问卷发放和访谈活动，回到学校进行调研报告的撰写。学生需要在这个环节听取校内英语指导教师和校外指导教师的指导建议，展开数据的统计分析，以及调研报告的撰写。双导师综合评定给出毕业设计的成绩。答辩环节。采用校内老师和行业人士联合组成答辩专家组，对调查报告中涉及的理论环节和实践环节进行全面系统的提问，双导师以及答辩专家组综合评定后给出每组同学毕业论文成绩。对于学生各项成绩的评定，第一指导教师占总成绩的60%，第二指导教师占40%。专业要求学生毕业设计完成情况严格进行前期、中期检查与考核。如果因为教师指导不力，学生没有圆满完成毕业设计，将追究校内导师的责任。对于毕业设计工作不认真、投入不够、完成质量差而又达不到专业培养目标的学生，学部将根据毕业设计要求的有关规定严肃处理。毕业论文“双导师制”指导模式强调了基础理论知识和专业实践知识的有机结合，弥补了高校英语教师缺乏商务实战经验的弊病。“双导师制”将显著增强学生的专业能力和社会适应能力，使得学生在进入企业后，能够更快地适应环境，从而直接进入工作状态。学生通过这种模式的训练，巩固发展了专业知识和技能，也为日后的就业打下扎实的基础。
4.调查报告的评审标准要适当调整。
毕业论文评价体系是引导毕业论文工作的杠杆和指挥棒。重点考察学生毕业论文的原创性、实效性，即毕业论文必须是学生经过努力研究真实做出来的，解决了实际工作中的某一个问题，比较真实地反映了学生的实际工作能力与水平。在评价程序上，整个撰写过程采用双导师（校内英语教师与行业专家）综合评定和指导，在评审的各个环节均采用英语教师和行业专家双评审制度。评分标准也相应地区别于传统的学术论文，例如在选题上要评定“选题是否具有较强的现实意义，符合实践性、科学性、创新性要求”；调查问卷的设计上要评定“调查问卷的结构、内容设计科学、合理，较为清楚地说明调查问卷的发放及回收情况”；数据综合分析能力上要评定“能够灵活运用多种形式的图表对调查问卷所得结果和数据进行恰当、科学、有效分析”；在调查报告整体质量上要评定“研究结果摘要部分：论述清晰；正文部分：理论运用正确，数据分析科学、合理，论述充分，结构严谨，条理清晰；结论与建议部分：结论正确，具有创新性，实用性。调查报告结果具有一定的参考、应用价值。全文专业术语使用准确。符号统一，编号齐全，书写规范，图表完备、整洁、正确”；毕业论文的答辩和评审标准都结合实际进行了适当的调整以保证评价的得体性和公平性。
三、政策建议
1.深化毕业论文以及配套商务英语教学改革。
商务英语专业应该以毕业论文改革为契机，不断深化商务英语教学改革，整合各种实践教学资源，使教学理论、人才培养模式与人才培养目标达成一致。在商务英语教学过程中，可以采取多种方式培养学生的商务实践能力和创新能力，例如不断加强校企合作力度；学校与企业和政府建立实践教学合作关系；请行业专家到学校授课或开办讲座；提倡英语教师带领学生到企业现场教学；鼓励英语社团组织承接社会项目；等等。
2.加强实践型教师队伍建设。
学校要通过各种途径增强教师实践意识和实践能力的培养，例如，鼓励教师带领学生参加社会课题研究、对专业教师进行实践教学培训等，并且纳入对教师的考核体系中；学校派青年教师到企事业单位、外企外贸公司挂职锻炼，以此来增进教师对社会的了解，要求教师在授课的过程中渗透实践内容，培养学生的实践能力和创新意识。学校也可以将具有创业经历和实践经验的各类人员融入到教师队伍里。通过上述措施，强化学校的实践人才培养特色，加快相关教学方法的改进与教学条件的改善步伐。
3.毕业论文的体裁和形式多样化。
毕业论文体裁可以多样化，充分体现学生的实践能力和专业特点，体裁不仅局限于传统的学术论文，而且可以将其拓展为商务实用文书的撰写和商务情景的模拟。前者包括标书的撰写、市场调查报告、广告策划、营销方案等，后者包括商务谈判、国际会展、商务洽谈、产品推荐会情景模拟等。毕业论文的各种体裁和形式均采用团队协作的模式，使学生能够各尽所长、发挥集体的智慧。
参考文献：
[2]教育部.教育部办公厅关于加强普通高等学校毕业论文（设计）工作的通知（教高厅[2004]14号）[R].
[3]李志生.建筑工程招投标实务与案例分析[M].北京：机械工业出版社，2011.
[4]刘晓辉，魏俊玲.浅谈经济全球化中商务英语人才的培养[J].中国商贸，2009，（15）.
篇7
经过对08级、09级以及10级的学生的毕业论文撰写情况的调查发现商务英语专业的学生在撰写毕业论文过程中，能够遵循“英语+商务知识+综合素质+职业素养”的商务英语人才培养的目标，但是很难真正达到这一标准，毕业论文写作中存在着很多问题。调查结果显示：
2.1学生书面表达能力差。学生英文书面用语不够规范、正式。学生在书写毕业论文的时候，仍然按照原有的写作风格来写作，口语化语言较多。学生的英语基本功不够扎实，在论文撰写过程中普遍存在基本语法，单词拼写上的错误。这使得指导教师很大精力是在指导学生改正语法错误，而不是论文的内容逻辑性、创新性。论文的构思上不够新颖，但因为论文整体水平较弱，教师指导过程中无暇顾及论文的深度，只能修改论文存在的语法错误。
2.2学术基础薄弱。毕业生在选题时，由于没有前期积累，都是临时选题，这就容易选择题目过大、过于笼统。论文题目选定初衷较好，但是学生无法深入下去进行研究，导致论文在相关商务知识运用方面不够深入，大多数同学都是绕道而行，无法深入研究论文内容。甚至有些学生在撰写论文进行到一半无法进行下去，被迫换题。
2.3可参考英文专业文献少。由于毕业论文强调实践性，学生所选题目大多都是没有英文参考资料的，学生不容易找到针对性较强的英文资料，而大多数材料都是来源于一手资料，二手资料多来源于互联网的即时信息，很多都是需要学生自己翻译中文资料。由于可参考英文专业资料少，这样就导致了论文质量存在很大的问题。
2.4指导教师指导毕业论文学生人数过多。一位讲师一般指导7－11个毕业论文，学生的论文指导质量无法保证。由于商务英语专业毕业论文强调“英语+专业”，这对很多教师来说是一个非常有挑战的工作，需要边学边指导，同时还要有一定的实践经验，对于指导教师要求较高。
3.提高毕业论文的质量，实现商务英语人才培养
通过对毕业论文问题的调查，显示了基于商务英语人才培养的毕业论文写作中存在的问题。根据这些具体问题，笔者提出下列建议。
3.1提高论文语言运用的综合能力在学生整个四年的英语写作课程中应形成阶梯跟进式教学模式。在基础写作的课程上夯实学生的语言基础。在商务英语应用文写作课程中主要培养学生的商务英语正式文体写作的规范性。在论文写作课上应引导学生正确选择在该学生能力范围内的、适中的论文题目。
3.2提高学生的论文写作质量，提早选定毕业论文写作范围大多数毕业生临时选定题目，题目不是随意选定，就是在导师的帮助下选定的，很难做到符合自身需求，所定题目与实习内容不符。在写作过程中更是难以深入下去，所读书目有限，思路肤浅。为了改变现状，应引导学生在学习相关感兴趣的专业过程中，通过撰写课程论文，学期论文，发现较为感兴趣的方向，并逐渐深入研究，最终在大四写毕业论文时，可以游刃有余地完成高质量论文。
3.3加强指导教师对学生的指导力度，调动学生写作积极性在整个毕业论文写作的过程中，是按照过程写作的方法来进行指导的。在这一过程中，在学生选题时，指导教师就应确定学生论文题目的可写性。在论文纲要撰写时也应及时指导学生的写作方向，理清纲领，把论文的脉络弄明白。在论文的撰写过程中，也要时时督促学生，并及时与学生沟通。在整个论文指导的过程中，指导教师与学生沟通可以通过互联网进行有效的交流。指导教师应做到即时回复学生的疑难问题。
篇8
对于一些英文读者来说，英文摘要是他们唯一的信息源，所以英文摘要一定要强调完整性，也就是说它所提供的信息必须是完整的。
2、具有定量分析
撰写英文摘要的过程中应该注意避免笼统的、空洞的阐述，尽量用具体的语言和清晰地思路来论述，这样能给读者一个全面的信息呈现。
3、具有创新性
由于东西方文化差异，西方学者在阅读论文时会注重创新之处，所以中英文摘要不必强求一致，英文摘要需要有自己的特点和风格。
国际标准规定中“摘要”一词定义为原文内容准确、扼要的表达，而不加以解释和评论。各个高校对其也都有自己的相关规定，如新疆农业大学，一般要求英文摘要在200-250字符，单词语法正确，语言流畅、精炼。内容包括目的、方法、结果、結论等4个方面，着重反映论文中的新内容、新见解，但不得加入评论。
二、非英专本科毕业论文中文摘要英译中存在的问题
1、研究过程简述
为了了解本校非英专本科毕业论文英文摘要所存在的问题，笔者进行了两方面的研究。笔者对土管专业的62份问卷结果进行了数据分析，发现77%的非英专学生对英文摘要有强烈的需求；收集了土管专业的57份毕业论文英文摘要，进行详细分析、研究，发现70%的学生借助了网上一些软件翻译，其中有25%的人对译文进行了修改，仅有12%的学生基本了达到英文摘要的要求。
2、英文摘要存在的问题的分析
1）文章题目的翻译。中国学生受到汉语思维习惯的影响，在中文题目中会用到“研究”、“初探”等词，但是在撰写英文摘要中，这些词就可以不用译出。
例如：四平市耕地保护的问题及对策分析
原译：Analysis of Problem and Countermeasures of Farmland Protection in Si Ping City
改译：Problem and Countermeasures of Farmland Protection in Si Ping City
2）标点符号错误。学生常犯的错误：并列成分用分号隔开；书名号没有用斜体；中英文省略号的区别。
例如：农户耕地流转行为受农户文化程度、年龄、农户家庭劳动力资源状况影响。
译文：... is influenced by farmers’ degree of education，age，labor resource status.
3）用词不当。词性和近义词区别分辨不清常会导致用词不当的问题。
例如：但是由此产生的人地矛盾问题却日趋尖锐
原译；but the resulting contradiction between people and land ...
笔者认为“矛盾”一词，根据词义和用途，conflict更为贴切。
改译：but the resulting conflict between people and land...
4）搭配不当。英语单词的搭配纷乱复杂，许多学生的语法基础薄弱，经常会用错搭配导致不规范的表达。
例如：In Urumqi as an example ...
改译：Taking Urumqi as an example...
5）中式翻译
做翻译时，一个普遍问题就是中式思维翻译。如果只顾字面对应，不考虑文化差异，可能会造成简单句泛滥，句子衔接性差。
例如：大量的农业用地转为城市用地，给国家粮食安全问题和生态环境的保护造成了极大的压力。
原译：A great deal transformation of agricultural land into urban land， to the national food security problems and the protection of the ecological environment cause great pressure.
原译文完全是根据中文逐字逐句翻译的，且原文中的“问题”可不用译出。
改译：A great deal transformation ...brings great pressure to the national food security...
三、改进英文摘要质量的对策
英文摘要中存在的问题还有很多，以上几条只是笔者在实践过程中常见问题的简单总结。想要提高摘要质量，笔者认为需要从以下两个方面做出努力：
正确认识英文摘要的意义，了解英文摘要的写作特点和规范。撰写英文摘要时，先用中文完成结构完整、信息全面的摘要，再按照英文思维将其翻译下来。
掌握英文摘要的翻译技巧，加强自身翻译能力。多注重英文摘要的写作规范和行文特点，如用词、句法、时态、语态等。多积累英文摘要常用词、句型，多阅读英文文献资料。（作者单位：新疆农业大学外国语学院）
作者简介：汪南（1994～），新疆农业大学外国语学院英语134班学生。
参考文献
篇9
长期以来英语教学的目标和方法一直是我国大学英语，尤其是专业英语教学所探讨的一个问题。多年以来的应试教育已经给受教育者留下了难以学以致用的问题。不少人拿到四、六级证书依然不能跟外国人交流，不能用英文写作，成了一个语言的拿证者却无法动笔动嘴的“人才”（林莉兰，2006）！已有一些从事英语教学与教育的工作者专门讨论过这方面的问题（田强等，2006；王晓军，2005；张翼翼，2006；贾国栋，2006；周爽等2006）。本文根据我院这几年来在专业英语和专业课双语教学的教学实践，尤其是让工科本科生用英语进行毕业论文写作和进行论文答辩的实践教学尝试，从英语教学延伸和应用的实效性角度探讨了如何检验大学英语教学的效果，如何确定英语教学目标，以及实现这种目标的方法。我们中国地质大学（北京）能源学院一直在专业英语和双语教学的手段和实效性方面进行着探讨。2004年我院获得了学校在“工科教学基地”项目上的资助。为配合国家在石油领域“走出去”的可持续发展战略、培养具有英语实用水平的工科本科毕业生也成了我院教学工作的一个重要任务和目标。我们利用我院大部分教师都有在国外留学、进修和培训方面的经历这个优势，积极开展了密切结合专业的专业英语和双语教学的教学实践。我们鼓励用先进的教学理念进行大胆实践，积累教学经验。在2006届部分工科毕业生中让部分同学用英语进行论文写作和答辩，通过导师的指导，试图将其作为专业英语和双语教学在专业实践方面的延伸。这样做，一方面是希望通过用英语进行论文的撰写和答辩提高同学们英文应用水平，另一方面也为同学们毕业后进入企业或科研岗位、甚至走出国门打下良好的基础。在这次试点中我们在我院资源勘查工程和石油工程两个专业选取了几名优秀学生，从毕业论文写作到答辩全程采用英语。这对学生提出了比较高的要求，要求学生比较熟练或基本掌握专业英语的语法、专业词汇、写作技巧和写作规范等多方面的知识。当然，表达能力也能在答辩的过程中得到充实和提高，对话能力在提问过程中也能实践、发挥和检验。从论文写作和答辩的结果来看，这次尝试是成功的。这几名同学论文的写作用词和语法正确，论文宣读及回答问题都比较清晰流利。同学们和指导教师都从中受到了鼓舞，说明我院的专业英语和双语教学取得了明显的成效。归纳起来，这几年来我们在专业英语和双语教学实践中做法、尝试以及同学们的反馈包括以下几个方面。
一、专业英语和双语课教材
在我院的专业英语和专业课“双语教学”实践中，学院要求在国际通用性的专业课方面应尽量使用外文原版教材，采取多种方式使用外文教材。如专业英语课在教材选用上的做法是从国外的原版教科书上找到适合同学英文能力的相关文章进行讲授；环境地质学和现代试井分析双语课使用了原版的英文教材。
二、授课方法
专业英语授课过程中不是满堂灌，而是让同学自己阅读翻译和讲解，一方面可以检测同学是否预习，另一方面发现同学们在哪些方面存在理解有误的地方，再有重点、有针对性地进行讲解。这种方法效果较好，既激发了同学们学习专业英语的兴趣，同时也在实践中提升和改进了我们的专业英语教学法。在环境地质学和油藏工程这两门课双语教学中，老师以中文和英文交叉、结合进行综合讲解，让所有同学参与到教学中来。让同学们上台用英语讲解自己的观点和见解，大家对一些有争议的问题共同用英语讨论，共同学习。在实践过程中帮助同学们克服了在众人面前讲英语的恐惧心理。在交流沟通过程中英语听说能力得到了提高。这种教学过程是实践“课堂教学应以学生为中心”的教学理念的有效形式。
三、双语课在提高学生学习英语兴趣和水平中的作用
有的同学说，起初对双语教学就有几分好奇，而在刚接触到双语教学课程时，没想到却有些不适应，在经过一段时间的学习之后，发现双语教学比一般的外语教学更能激发兴趣，至少与普通外语教学相比是这样的。双语教学在我院还正在全面展开，可以说现阶段还是处在尝试阶段，但我们确实能体会到它的可行性、有效性和必要性。有的同学还说，大学四年的学业已结束，总感觉以前的外语课还没能使我们的听说读写能力加强多少，反倒是在接受过双语教学之后，发现自己的外语水平有很大提高，课堂上的师生互动使我们敢于用英语和他人进行交流。
四、用英文进行毕业论文写作的作用
用英文进行毕业论文写作能让学生更多的掌握英语的实用知识，可以提高学生学习英语的积极性。与普通的英语学习不同，毕业设计关乎学生的学士学位，学生对它的重视程度会大大提高，特别是专业英语知识。用英文进行毕业论文写作涉及到英语知识的方方面面，从单词的词义到句法的运用，再到成篇构思甚至语言的概括表达。写作的过程就是英语知识的再现和学习效果的过程，也就是提高英语水平的实践过程。同学们说在毕业论文的外国文献翻译过程中，深刻地感受到了专业英语的重要性。尽管我国的科技水平提高得很快，但是在石油工程领域，我国的科技水平仍与国外的先进水平有一定的差距，所以，客观上要求同学们现在和以后不得不有直接阅读外文专业文献的能力，从国外先进的技术中找到我们需要的知识，为我们的国家服务。
五、用英语进行毕业论文答辩的作用
答辩材料的准备和台上的演讲，这些都需要较高的口语能力，经历了这次答辩，不仅提高了口语的表达能力，最重要的是同学们有了勇气去说出英语，这是最大的收获，也是同学们学习语言的最终目的――交流。用英语进行答辩的目标和过程对于提高学生交际能力和综合应用语言能力有重要意义。
六、专业英语与就业的关系
随着我国改革开放程度的不断加深，以及中国加入了世界贸易组织，大量的国外企业涌入中国投资，设立公司，而英语是国际公认的通用语言，因此需要大量双语人才。同学们已注意到在这一届的毕业生找工作的时间段内，越来越多的外国或外资企业也来到我们学校召开宣讲会，希望可以招聘到合适的有能力的毕业生加入他们的公司。招聘的第一道门槛就是英语能力，这恰恰是我们过去的软肋。还有石油领域的国有企业进军海外的石油开发项目越来越多，同样需要大量懂英语的大学毕业生。同学们说“既然这方面的缺口这么大，我们更应该提高我们的英语能力，这既是对市场需求的响应，同时使我们以后的就业前景更光明更广阔”。我们认为大学英语教学目标，不是过四、六级英语考试，而是“可以用英文进行毕业论文写作和答辩”。这个目标里面自然包含了“听、说”能力，并且体现了学生综合应用英语的能力。专业英语和专业课双语教学是实现这个教学目的的有效手段。实践中可对低年级同学较早提出这个目标来引起他们在思想上的重视，从而通过综合效应实现大学英语教学水平的提高。当然，目前还只是少数同学具备这样培养的条件。
鸣谢：本文在成文过程中得到了我校长宣教授的指点和帮助，深表谢意。
参考文献：
[1]林莉兰.大学英语口语教学刍议[J].中国高等教育，2006，（5）.
[2]田强，李洁红，李小红.略论英语教育与几种基本教育概念的关系[J].科教论坛，2006，（1）.
[3]田强.关于我国英语教育的“应试教育”模式的反思[J].科教论坛，2006，（1）.
[4]王晓军.贯彻“大学英语课程教学要求”提高英语教学质量[J].中国地质教育，2005，（1）.
篇10
一、工科毕业设计的重要性与内容
工科毕业设计属于集中性实践教学环节之一，实施时间为大四学年第二学期，占整个大学时间的八分之一，其重要性不言而喻。从教师的角度来说，毕业设计是对学生在整个大学期间所学知识的测试与考评；从学生的角度来说，是将自己所掌握的专业知识进行融合的过程，再通过毕业答辩的形式向老师进行汇报，可以认为是大学期间的最重要最全面的一次考试，同时更是一次知识的融合与提高的过程。
工科毕业设计的主题一般以指导教师的研究方向和科研项目为基础，为学生提供多个可以自由选择的课题。课题性质一般可分为实践类和科研类两大类，其中，前者所占比例远大于后者。
二、工科毕业设计中存在的问题
自2001年教育部印发《关于加强高等学校本科教学工作提高教学质量的若干意见》，国家明确要求提高本科毕业设计质量开始，全国各大高校均已在多个环节上加大了控制力度。然而，仍然有些问题以及新出现的问题值得关注，我们可以从毕业论文与毕业答辩两个方面分别进行总结。
1.内容过于陈旧或选题偏离专业。前者是多年来毕业设计内容完全没有变化，找不到任何创新点；后者是为了响应各高校均提高毕业设计选题的新颖性、内容的创新性的要求，指导老师和学生在选题时过多地考虑“创新”，而出现了部分学生毕业设计偏离本专业这样过犹不及的现象。
2.论文部分存在抄袭现象。在信息化高度发展的今天，信息资源的获取变得较为容易，学生的论文中有的章节（或图纸）率达到百分之八十。再如英文翻译部分，部分同学只是简单借助网络或翻译软件进行作业，经常出现一些啼笑皆非的情况。
3.资料收集与文献综述写作能力欠缺。无论是继续深造还是企业就职，资料收集与整理都是相当重要的技能。学生对文献综述理解的是否透彻、掌握的是否全面，直接影响和决定了其后实验和设计的进展快慢和质量高低。实际上，多数学生使用百度等搜索页面而非专业的科技论文数据库，或者是所搜集的资料多与论文主体内容相去甚远。在文献综述的写作上，也存在着层次不明、归纳不清、语言口语化等问题。
4.论文主体内容（设计计算部分）质量不高。具体表现为：（1）主体部分工作量不够：页数占论文总页数比例较小，有的只能占到四分之一不到。（2）逻辑混乱：有些计算完了就放置下来，后面没有任何使用的说明。（3）图纸设计混乱：以建筑环境与能源工程专业为例，图纸中管道排列混乱，楼层之间纵向管道对应不上，管径选择上存在明显错误，没有看懂建筑图纸就将设备胡乱放置等问题频出。
5.英文翻译敷衍、水平不高。作为毕业设计的重要环节之一，以考察毕业生专业英语水平与英文文献翻译能力为目标，英文文献的阅读与翻译相当重要，但在毕业答辩中无法体现，也并没有真正纳入到毕业设计（论文）评分当中。也正因如此，指导教师和学生在有限的时间和精力里总是选择牺牲掉这一部分，很多学生的翻译存在词不达意、语句不通。而这其中，不乏英语很好的学生。
三、原因分析
（一）学生重视程度不足
这是本科毕业设计质量难以提高的根本原因。由于我国高校毕业生普遍存在“严进宽出”的现象，导致部分学生存在着“反正都能毕业”的侥幸心理；再者，在由于毕业设计成绩评定中存在着“考研成功者优先”这种惯例，而优秀比例又小于考上研究生的比例，因此很多没有考研或者因目标较高复试失手的优秀学生认为“反正拿不到优秀，凑合一下就行”。在这两种心理的影响下，毕业生中常出现以下情况：（1）常以各种借口缺席指导教师组织的讨论、检查和指导；（2）在设计和实验过程中，缺乏主观能动性而只是敷衍完成工作。
（二）指导教师与教学资源相对不足
我国专任教师人数增长率低于毕业生的增长率，其结果表现为：2000年每个教师平均指导毕业生2.05人毕业生，而2014年则增长为3.11人。况且事实上远非如此，排除每年都有的因进修、国外访学等无法指导毕业生的部分教师，每个教师实际指导的毕业生数是大于平均数的，有的专业个别指导教师最多甚至能带十多个毕业生。指导毕业设计需要付出很大的心力，而每个指导教师本身都有着并不轻松的日常教学和科研任务，在这种情况下指导多名毕业生就很难保证质量了。再者，工科的毕业设计需要一定量的实验甚至是实习进行支撑，实验设备、耗材以及实验经费的增加也跟不上毕业生的增加，这也极大地影响了毕业设计质量。
（三）时间不够
按照本科生培养计划的安排，毕业设计的持续时间约为16周。这期间，学生需要完成资料查找、数据整理、工程计算、十多张图纸绘制（有些工科专业是大量的实验）、英文翻译、论文撰写等工作。同时，第八学期往往是学生外出找工作的高峰期，或者是学生考研复试的集中期，去除找工作或复试的时间，毕业设计的实际时间就变得非常有限了。在这种情况下，学生纷纷表示疲于应付，要想提交一份较高质量的毕业论文，无疑太过勉强。
（四）环境影响
受高校扩招的影响，我国每年本科毕业生已经达到三百多万，给就业市场带来了极大的压力，“就业难”成为每个本科毕业生的心头巨石。在这种情况下，找工作成为毕业生的头等大事，在工作定下来之前，学生们往往难以静下心来进行毕业设计；还有不少学生选择从事的职业并非所学专业，这部分同学对待毕业设计的态度就可想而知了。再者，考研在一定程度上缓解了就业压力，但是由于复试安排在第八学期，学生们同样会把复试放在一切之首，在学生之间流传着“只要复试成功，毕业设计的分数就不会太低”这样一种说法。在这种大环境下，再加上由于就业、研究生复试等原因引起的情绪波动，毕业设计的质量难以提高似乎就成为顺理成章的事情了。
四、提高工科毕业设计质量的措施和建议
（一）加强日常教学管理，切实提高教学水平
相较于“教”，毕业设计更贴近“考”的过程。毕业设计是对大学期间所学专业课程的综合性测试，考的是学生对专业知识的掌握、知识融合的程度以及思维总结等多方面能力。也就是说，决定论文质量的诸多因素均是在大学期间学习或培养的，要想真正提高毕业论文质量只有从学生进入大学校园的那一刻开始抓起、从日常教学开始抓起。
（二）严格指导教师制度，增大实验实习投入
1.设置每个指导教师所负责的毕业生人数上限，最大限度地保证指导质量。
2.采取博士生和优秀高年级研究生分担指导任务方法，并明文确定指导资格。这既可以在一定程度上缓解指导教师紧缺的现象，又可以锻炼博士生与研究生，同时还能给他们的就业增加砝码。唯一需要慎重的就是必须有明确的标准，不符合标准的人选坚决不能用。
3.学校尽可能地挤出经费用于增大毕业实验和实习的投入，同时向有关部门申请增加教育经费。
（三）严格毕业设计（论文）评分标准，做到毕业设计成绩实事求是
1.对于毕业设计，也应增设考勤环节，并计入平时分。
2.对于英文翻译，从思想上要给予足够地重视。建议可以减少对英文文献的字数要求，从提高翻译质量的角度多做要求，将英文文献翻译工作也纳入评分范围。
3.对于考勤出席率过低、论文质量过差的学生，坚决不能毕业；对于有抄袭现象的学生，视抄袭量多少处以不同级别的处罚。
4.对于毕业设计（论文）质量较高的学生，给予一定的物质和精神奖励。
5.以毕业设计本身论成绩，不再考虑是否考研成功需额外照顾等因素，以实际行动打消学生的“小算盘”，真正做到毕业设计成绩实事求是。
（四）调整本科期间培养方案，尽可能给毕业设计留出足够时间
部分高校在本科教学中，以卓越工程师培养计划为蓝本，逐步采取“3+1”培养模式，即前三年主要进行专业课程学习，最后一年集中进行毕业设计与毕业实习（有的学校没有毕业实习）。这给我们解决毕业设计时间问题提供了思路：对于专业课比较多的工科专业，可以调整培养方案中专业课时间，将一至六学期的课程安排地更为紧凑一些，第七学期少安排课程甚至不再安排课程，以给毕业设计争取更多的时间。当然，必须正确引导学生，让学生能够合理地安排毕业设计和考研、复试以及找工作之间的关系。
（五）可以尝试将部分入职培训与毕业实践相结合
篇11
对策与建议
篇12
一、毕业论文的目的
毕业论文是教学计划的最后一个重要环节，是落实教育培养目标的重要组成部分，其主要目的是培养学生综合运用所学的知识和语言技能，理论联系实际，独立分析和解决有关专业问题的实际能力，使学生得到从事本专业外语学术论文写作的基本训练。毕业论文的基本教学要求是：
1、通过毕业论文提高学生综合运用、扩展语言知识和专业知识的能力，培养学生独立分析问题、解决问题的能力。
2、通过撰写毕业论文，帮助学生接受科学研究、分析方法的初步训练。
3、培养学生正确的写作思想，理论联系实际的工作作风，严肃认真的科学态度。
4、使学生在外文资料查阅、阅读和翻译，语言表达、写作能力，计算机文字处理等基本技能方面得到进一步的训练和提高。
二、毕业论文题目的确定
(一) 方式：
1、由教研室安排教师做“怎样写毕业论文的报告”，详细介绍撰写论文的每一个环节和具体要求。
2、学生在指导教师指定的范围内选择和初步确定论文的方向。
3、由论文指导教师根据教学要求提供论文选题，在教研室汇总后向学生公布，供学生选题参考。
4、学生可根据自己所学专业，按学院所提供各专业论文参考选题确定题目，也可自选题目，必须报指导教师，征得同意后方可开题。原则上学生不得跨专业选题。
(二) 范围
英美语言文学、文化、语言学(语法、词法、修辞、语义、文体等)、翻译、国际商贸、国际商务、旅游、外语教学法等。
三、毕业论文写作要求
1、论文长度不少于3,000英文单词。
2、论文结构包括：
1) 标题 (title)
2) 作者署名 (name of the author and tutor)
3) 摘要 (abstract)(150—200词，中英文均要)
4) 关键词 (key words)(中英文均要)
5) 正文 (body)
6) 参考文献 (bibliography)
3、摘要(Abstract)通常为一个段落，长度不超过300个单词。
Abstract通常要回答如下问题：
(1)What is the general knowledge of your topic in the academic field?
(2)What research topic is the paper to focus on?
(3)What method or material do you use to support your main point of view?
(4)What conclusion will you draw?
(5)What is the main contribution of the paper?
4、关键词(Keywords)3至5个。除专有名词外，其他词不用大写，词与词之
间以分号隔开。
关键词应能反映论文的主要内容，因此常出现在标题与摘要中，多为名词，如用investigation 而不用investigate。
5、引言(Introduction)
6、在引言(Introduction)与结语(Conclusion)之间的正文部分应分若干章节。章节编号方法应采用分级阿拉伯数字编号方法，第一级为“1”、“2”、“3”等，第二级为“2.1”、“2.2”、“2.3”等,第三级为“2.2.1”、“2.2.2”、“2.2.3”等，但分级阿拉伯数字的编号一般不超过四级，两级之间用下角圆点隔开，每一级的末尾不加标点。
各层标题均单独占行书写。第一级标题居中书写;第二级标题序数顶格书写，后空一格接写标题，末尾不加标点;第三级和第四级标题均空两格书写序数，后空一格书写标题。第四级以下单独占行的标题顺序采用A.B.C……和a.b.c.两层，标题均空两格书写序数，后空一格写标题。正文中对总项包括的分项采用⑴、⑵、⑶…单独序号，对分项中的小项采用①、②、③…的序号或数字加半括号，括号后不再加其他标点。
7、如有注释，应为尾注。注释应编号，并置于参考文献之前。
8、参考文献数目不得少于5篇。排列采用以下格式：
1)参考期刊排列顺序为：作者，题目，期刊名称，出版年，卷(期)，页码
2)参考专著排列顺序为：作者，书名，出版地，出版社，出版年，页码
9、论文为Word形式打印稿，纸型为A4，单倍行距，英文用Times New Roman
字体，中文用宋体。
10、字号要求：大标题为3号字加黑，小标题为4号字加黑，正文、注释与
参考文献为5号字。
11、论文写作过程中，应自觉主动与指导教师联系，虚心接受教师指导。
12、按要求打印装订并上交。装订顺序为：
1)毕业论文封面
2)扉页(毕业设计/论文任务书)
3)毕业论文指导书
4)目录
5)中文摘要(含关键词)
6)英文摘要(含关键词)
7)正文
8)致谢
9)参考文献
13、进度安排：
1、确定选题 第 1 周 ( 09年 2月 22日前)
2、论文提纲 第 2 周 ( 09年 3月 1日前)
3、完成初稿 第3-5周 ( 09年 3月 22日前)
4、完成定稿 第 6 周 ( 09年 3月 29日前)
5、上交论文 第7周 ( 09年 4月 5日前)
14、注意：
1、目录用Word文档自动生成,用1.5倍行距,4号宋体。
2、中文摘要、英文摘要各占一页，按一级标题标示。
四、上交要求
学生按任务书上规定的时间，以班级为单位交辅导员处，辅导员汇总后上交学院。
中州大学外国语学院
参考样文如下
目 录
中文摘要 1
ABSTRACT 2
1 引言 2
2 企业文化的内涵 3
2.1 文化和企业的定义 3
2.1.1 企业组织的法律形态 3
2.1.2 企业组织的管理形态 4
2.2 企业文化 4
2.3 认识企业文化 5
2.4 企业文化的功能 6
3 企业文化对组织创新的影响 7
3.1 组织创新的内容 7
3.2 企业文化对组织创新的影响 7
3.2.1 影响组织结构创新 7
3.2.2 影响组织流程创新 8
3.2.3 组织制度创新 8
4 结语 9
参考文献 9
致谢 10
摘要
随着经济全球化和知识经济时代的到来，国内企业改革的深入发展, 众多企业对传统的组织结构进行了大胆的创新。同时，人们逐渐认识到企业文化是一个成功企业不可或缺的一部分，是影响企业经营业绩的根本，企业文化决定了企业的竞争地位。本文主要讨论了企业文化对企业组织创新的影响。文中首先给出了企业和文化的定义及其内涵，其次提出了企业文化的内容和主要功能，最后揭示了组织创新的内容，论述了企业文化在组织结构、组织流程、组织制度等三方面对企业组织创新的影响。企业文化与创新相互影响，相互促进，共同对企业的发展产生影响。
关键词：文化;企业文化;组织创新
Abstract(用Time New Roman 字体)
Along with the economic globalization and arrival of knowledge-based economy ages, the thorough development of the local business enterprise reform, numerous business enterprises carried on the innovation of the brave to the traditional organization structure. At the same time, the people know that the corporate culture is a gradually successfully a necessary part of the business enterprise, is a root that affects the business enterprise management accomplishment, the corporate culture comes to a decision the competition position of the business enterprise. This text mainly discusses the corporate culture to organize the creative influence to the business enterprise. Give first in the text definition and its contents of the business enterprise and culture, put forward contents and main functions of corporate culture the next in order, announced to public the creative contents of organization finally, discuss the corporate culture to organize the creative influence to the business enterprise in the aspects of organizing the structure, organize process, organize system wait third. The corporate culture and innovation affects mutually, promoting mutually, common to the development creation influence of the business enterprise.
Key Words: culture,corporate culture,System innovation
1 引言
不管您意识到与否，文化每时每刻都在对政治、经济、社会、生活产生着潜在的影响，发挥着不可忽视的作用。本文通过对企业文化的基本内涵、企业文化的重要性以及企业文化的影响，试图让人们认知、认识企业文化。让人们明确，只有继承和发扬中华民族的优秀传统文化，吸收和借鉴人类先进文化，才能建立起优秀的中国企业文化，重视企业文化的影响，据此才能建立起比较完善的社会主义市场经济体制，实现兴企、富民、强国的目标。
2 企业文化的内涵
2.1 文化和企业的定义
文化，从广义上说，是人类在社会实践过程中获得的物质、精神的生产力和创造的物质、精神的总和。从狭义上讲，是指人类精神生产力和精神产品，包括一切社会意识形式：如自然科学、技术科学和社会意识形态等。作为一种历史现象，文化的发展有历史继承性;作为社会意识形态，文化是一定社会政治和经济的反映，同时又对一定社会的政治和经济产生巨大的影响。
作为经济组织实体的企业，为了实现其以行政组织手段替代市场交易来协调生产的功能，就需要有一定的组织形态。
一般地说，企业组织形态包括两个相互关联的方面，其一是企业组织的法律形态，其二是企业组织的管理形态。
2.1.1 企业组织的法律形态
在企业的长期发展过程中企业组织逐步形成三种主要的法律形态，这就是业主制企业，合伙制企业和公司制企业，这种界定的依据是法律认可的企业产权制度，感情。。。。。。
(以下略)
4 结语
二十一世纪，一个最响亮的词语就是创新。创新已成为社会发展、经济增长的最关键动力，而企业文化又与创新有着紧密的联系，所以，企业若要获得长足的发展就必须将企业文化与创新思想相融合，发展现今社会所需要的企业文化，并促进企业文化的建设，同时不断地进行组织创新、技术创新，使企业文化与创新协调发展，相互促进。
致谢
本论文得以完成，首先应该感谢。。。老师。正是她在本论文的写作过程中的悉心指导、热情鼓励，在繁忙的工作中抽出时间来为我修改论文，我才能顺利完成我的双学位论文。
作为中州大学的一名毕业生，我更要感谢管理工程系给了我能够学习不同学科知识的机会。在两年的工商管理专业学习过程中，任课老师们的学识渊博、治学严谨、人品高尚无时不在影响着我。学习的时间是短暂的，但老师们的影响却是我终生收益不尽的。在此对我的老师们深表感谢!
在论文写作过程中，我的一些同学、朋友也给了我巨大的帮助与鼓励。在此一并感谢!
在我的成长、学习过程中，能够在大学阶段同时学习到工科、管理两个学科的知识，是我一生的荣幸与财富。我相信，在未来的日子里我会更加努力学习，充分利用所学知识，回报社会、师长。
参考文献
[1] 罗仲伟.托起辉煌.广州：广东旅游出版社，1997年
[2] 埃德加•沙因.企业文化与领导.北京：中国友谊出版公司，1989年
[3] 威廉•道芬内斯，科林•L•普赖斯.21世纪CEO的经营历理念.北京：华夏出版社，1998年
[4] 杰克琳•谢瑞顿,詹姆斯•L•斯特恩.企业文化:排除企业成功的潜在障碍.上海：上海人民出版社，1998年
[5] 艾伦•迪尔,阿伦肯•尼迪.企业文化.北京：三联书店，1989年
[6] 埃尔文格•罗赫拉.企业组织.北京：经济管理出版社1991年
[7] 窦立夫.论组织效率变革策略 (科学学研究)，1995(2)
[8] 连燕华.企业组织创新的案例研究.科学学研究)，1992(2)
[9] 梁镇,赵国杰.企业管理创新.北京：中国经济出版社，1996年
[10] 林毅夫等.现代企业制度的内涵与国有企业改革方向.经济研究,1997(3)
[11] P F•德鲁克.创新与组织.中外科技政策与管理,1995(12)
[12] 许庆瑞.技术创新管理. 杭州：浙江大学出版社,1990年
[13] 颜光桐,刘正周等.企业再造.上海：上海财经大学出版社,1998
[14] 周振华. 企业改制.上海：上海人民出版社,1996年
篇13
本科毕业论文是本科教学计划中的最后一个重要环节，是落实本科教育培养目标的重要组成部分。与本科院校相比，独立学院学生的学习基础和自主学习能力相对比较薄弱，英文学术论文写作存在一定的难度，因此在论文写作过程中很多学生过多依赖翻译软件，往往造成辞不达义。分析机器翻译的消极影响是非常有必要的，只有找到问题的症结所在，才能准确有效地解决问题。
首先，机器翻译消弱了学生学习的积极性。随着国际互联网络的联接，一些英文软件可以很方便的实现翻译，学生是网络使用的主要群体，比较容易接受新事物带来的便利，由于学生在毕业论文写作阶段忙于找工作或备战研究生考试，学生对毕业写作兴趣不高，为此依赖机器翻译就成了一普遍现象。
其次，机器翻译降低了论文的写作质量。单词翻译是目前翻译软件最大的功能，而文章翻译是最常用的功能之一。虽然每一个单词都翻译的没有问题，但如果作为句子的一部分来看就非常不准确，更不要提把这个单词放在文章整个环境了。句子和整篇文章的翻译对于翻译软件来说是软肋，目前翻译软件百花齐放，软件翻译的结果和人工翻译的结果差距甚大。
那么，如何应对机器翻译对论文写作的消极影响,可借鉴以下几个方面：
第一、提高毕业论文写作认知。
在新生入学教育中，可介绍毕业论文在整个教学环节的地位，也可在低年级的基础课程与高年级的专业理论课程教学过程中灌输论文写作的重要性。充分利用文学、语言学、文化和翻译等课堂教学，帮助学生最大限度地获取各个语言板块的信息，让学生更全面地了解英语语言。课程设置中要求学生完成书面提纲、报告或学期论文，在写作中强化学生对英语语法规则的正确使用及词汇的多样化运用，提高学生谋篇布局的能力，训练其英语语篇思维模式。
第二、开展学术论文写作讲座。
除了理论教学，开展以讲座的形式介绍论文的研究方法，调动学生学习积极性，鼓励要求学生能够运用在校学习的基本知识和理论，结合自身的专业方向及研究兴趣，去分析、解决实际问题，产出形式多样化、质量较高的学术论文。
