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绪论：在寻找写作灵感吗？爱发表网为您精选了8篇英文毕业论文，愿这些内容能够启迪您的思维，激发您的创作热情，欢迎您的阅读与分享！
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Acknowledgements
MydeepestgratitudegoesfirstandforemosttoProfessoraaa，mysupervisor，forherconstantencouragementandguidance.Shehaswalkedmethroughallthestagesofthewritingofthisthesis.Withoutherconsistentandilluminatinginstruction，thisthesiscouldnothavereacheditspresentform.
Second，IwouldliketoexpressmyheartfeltgratitudetoProfessoraaa，wholedmeintotheworldoftranslation.IamalsogreatlyindebtedtotheprofessorsandteachersattheDepartmentofEnglish：Professordddd，Professorssss，whohaveinstructedandhelpedmealotinthepasttwoyears.
Lastmythankswouldgotomybelovedfamilyfo
论文致谢一：
Itisasignificantandunforgettableexperienceformetospendsuchalongtimeonwriting，modifyingandpolishingthisthesis.Manykind-heartedpeoplegivemeagreatamountofhelp，professionaladviceandencouragement.Thus，hereIwouldliketoexpressmysinceregratitudetothem.
Firstofall，IwillshowmysincerethankstomysupervisorProfessorJiaAiwuwhohasgivenmeinvaluableguidanceandconstantsupportandencouragementthroughoutthewholeprocesses.DuringmystudyofEnglisheducationinthistwoahalfyearsandthewittingofthisthesis，shehasalwaysbeengeneroustooffermeusefulsuggestions，answermyquestionanddiscussresearchquestionswithme.Herdetailguidanceandhelpfulcommentsonmythesisencouragemetoovercomedifficultiesandthinkmorecriticallyduringtheprocessesofwriting.
Secondly，IwillalsoexpressmysinceregratitudetootherprofessorandteacherswhohadgivemeconstructivesuggestiontomythesisandthankstothemforinstructingmetoconstructmyknowledgeinEnglishteachinginthepasttwoandahalfyears.
Thirdly，Iwanttothankallmyaffectionateclassmatesandfriends.Duringthetwoahalfyears'studyandthewritingofthisthesis，theyhavegivenmealotofsupportandencouragementintheirownways.
Atlast，Iwillgivethedeepestgratitudetomyfamilyfortheirregretlesssupportandlovetome.
论文致谢二：
Firstandforemost，Iwouldliketoexpressmyheartfeltgratitudetomysupervisor，ProfessorJiaAiwu.Ihavebenefitedtremendouslyfromhercriticalthinkingandinsightfulviewpoint.Throughhispatientinstruction，Ifinallyfocusedontheobjectstudiedinthisthesis，andobtainedvaluableadviceonaspectsrangingfromframeworkconstructinganddatacollectiontoelaboratedanalysis.
Secondly，I'mprofuselygratefultomyrespectedpredecessorsandteachers.
Withouttheirprecioussuggestions，Icouldnothavecomethisfarinthisthesis.
Moreover，Iowemythankstomyfamilyandfriends，whohavealwayssupportedmewiththeirgenerousencouragementsandpraises.
Lastbutnotleast，Isincerelythankmyfellowclassmates.Wesharejoysandanxieties，whichpropelsusforwardtogetherthroughoutthearduousjourney.
论文致谢三：
Theaccomplishmentofthisthesishascoveredhalfayear，sexperimentandanotherhalfayear'sanalysis.Itcannotbedeniedthatwholeprocessisquitetough.Despitealltheproblemsduringresearchandlimitations，thethesisfinallycomesintobeing.However，thiscannotbeachievedwithoutthehelpofmanypeople.
Firstandforemost，Iwouldliketogivemysinceregratitudetomydistinguishedandrespectablesupervisor，Prof.QiYuanfang，forhisall-alongsupportsduringnotonlytheresearchprocess，butthewholepost-graduateyear.Heistheonewhogivesmeinspirationofthethesistopic，enlightensmeempiricalmethodhelpsmeconductteachingexperiment，andinstructsmeanalyzingapproaches.Ihavetosaythatthisthesisisbornfromhisinsightfulinstructionsandwarmencouragement.
Secondly，IalsoownmyappreciationtoProf，Gongrongwhogivesmealotofinspiration，insightfuladviceandinstructions.
Andalso，thisthesiscannotbeaccomplishedwithoutteachersofForeignLanguagesSchoolwhoimpartknowledgetomeandclassmateswhooffermehelp.
Lastbutnotleast，Iwouldliketoextendmythankstothestudentsparticipatinginthisresearchfortheirpatientcorporation.
论文致谢四：
IwouldliketodedicatemypapertoallthosewhohaveofferedmetremendousassistanceduringthethreeyearsinZhejiangUniversityofFinanceandEconomics.
Firstofall，myheartiestthanksflowtomysupervisor，ProfessorCaoDaogen，forhishelpfulguidance，valuablesuggestionsandconstantencouragementbothinmystudyandinmylife.Hisprofoundinsightandaccuratenessaboutmypapertaughtmesomuchthattheyareengravedonmyheart.Heprovidedmewithbeneficialhelpandofferedmepreciouscommentsduringthewholeprocessofmywriting，withoutwhichthepaperwouldnotbewhatitisnow.
Also，Iwouldliketoexpressmysinceregratitudetoalltheprofessorswhohavetaughtmeinthisuniversitythatgreatlybroadenedmyhorizonandenrichedmyknowledgeinmystudy.Theirinspirationalandconscientiousteachinghaveprovidedmewithafirmbasisforthecomposingofthispaperandwillalwaysbeofgreatvaluetomyfutureacademicresearch.
Mythanksalsogotothescholarswhosemonographsandacademicpapershaveenlightenedmeinthewritingofthispaper.
Finally，Iwouldliketoextendmydeepgratefulnesstomyfamilyandfriends，especiallymythreeroommates，ChenLinghua，GongShaandHuangJin，whoseencouragementandsupporthavemademyaccomplishmentspossible.
论文致谢五：
ThisthesiswouldnotcomeintobeingifIhadnotreceivedhelpfrommysupervisor，teachers，classmates，andfamily.Theyofferedmesomuchencouragement，withoutwhichIcouldhavealreadygivenup.ButbeforeIexpressmysincerestgratitudetothem，IwouldthankmyGod.ItwasalwaysHewhofirstcametohelpmewhenmyfaithwasinfluencedbyBlake'sunorthodoxtheologicalthinking.AgainitwasHewhogavemewisdomandpatiencetodowhateverIdidforhisglory.
“Whateveryourhandfindstodo，doitwithallyourmight.”(NIV，Ecclesiastes9：10)AndhereistheprayerwhenIwasinthevalleyofdespair：“MaythefavoroftheLordourGodrestuponus；establishtheworkofourhandsforus-yes，establishtheworkofourhands.”(Psalm91：17)ItisHisfaithfulnessandunfailinglovethaturgedmetowritethethesiswithallmymight.
MysupervisorXuXiaodongdidoffermesomuchhelpthatIfeelsogratefultohim.Hehaslentmeoverthirtyvaluablemonographs，biographies，anthologies，andcollectionsofessays.Nearlyallofthebookswereboughtfromabroadathisownexpense.Hisferventloveforliterature，hisrelentlesspursuitofknowledge，andhismeticulousattitudetowardsresearchmanifestthepersonalitiesandqualitiesIshouldcultivateasaqualifiedscholar.WheneverIsenthimanarticlehealwaysgavemeprecioussuggestionsthatreallyimprovedmycriticalthinkingalot.FormanytimesIfailedtokeepmypromise，heforgavemeandkeptencouragingmetopursuemystudies.Igivemymostgenuinelygratitudetohimforhisgeneroushelp.
Besidesmysupervisor，Ihavebenefitedfrommanyotherteachers.Prof.ZhangRuwen，Prof.YiJianhong，Prof.JiangYuebin，SunJiurongandWeiLina，theyhavetaughtmemanycriticalapproachesandbroadenedthescopeofmyknowledgeinvariousfieldsofliterature.Moreover，Iwouldliketoextendmygratitudetomyclassmatesandroommates.Theytaughtmehowtobalancestudyandrest.Ialsothankmyfamily，especiallymysister，whocametomyschoolmanytimestovisitme.
Hersupportandcomfortgavememuchstrength.
2.作者简介作者真实姓名,作者单位全称,所在城市,邮编;如有多名作者,在每一作者姓名右上角依次标出与作者单位相对应的序号,如:CHUNYu1,DONGXiao-xue2(1.DepartmentofElectronicEngineering,SchoolofInformationScienceandTechnology,BeijingInstituteofTechnology,Beijing100081,China;2.SchoolofMechatronicEngineering,BeijingInstituteofTechnology,Beijing100081,China).中国作者姓名用汉语拼音,姓前名后,姓氏全部字母大写,复姓应连写;名字首字母大写,双名中间加连字符.如:ZHANGYing-hui.单位名的英译名应为完整的,正规的名称,一般不用缩写.于文章首页地脚处注明第一作者的姓名,出生年,性别,学历,E-mail信箱等.
3.论文如有问题或已在公开期刊上发表,请在篇首页地脚处注明.
4.摘要英文摘要一般为150-180个实词,中文摘要一般在300字以内,中英文摘要应基本一致.其内容应包括研究目的,方法,结果,结论等,禁用"本文","作者","Thispaper"等作主语.详见"科技期刊文章摘要的写作要求".
5.关键词每篇文章可选3～8个能反映文章主要内容的单词,词组或术语.英文关键词应与中文关键词相对应.
6.中图分类号请查《中国图书馆分类法》.
7.正文正文篇幅一般希望控制在成书5页(记空格,图表占位)以内.内容力求有创新,论证严谨,语句通顺,文字精炼.
8.文中正体,斜体,黑体字符的用法:
⑴斜体.变量名称用斜体单字母表示;下标若是由变量转化来的则用斜体;坐标轴(如x,y)和变量(如i,j)用斜体.
⑵正体.下标由文字转化来的说明性字符用正体;单位,词头用正体,如nm,pF等;几个特殊常量用正体,如e,i,π等.
⑶黑体.矩阵,矢量名称用黑体表示.
9.图形要求
图中所有线条,文字必须用黑色绘制;用线形或标识符区分;不得有背景;
图中线条须清晰,均匀,刻度线向内侧画,并且间隔应均匀;
图中坐标线粗0.5磅,曲线宽度为坐标线宽度的3倍;
10.表格要求表格采用三线表,表头中使用物理量符号/单位,如下例:
x/cm
I/mA
v/(m·s-1)
h/m
p/MPa
10
30
2.5
4
110
11.参考文献来稿引用他人观点与材料,须将参考文献按正文中出现的先后次序列于文后,文中须在引用处右上角加注"[序号]".中文参考文献必须列出相应的英文,并在后面加注"(inChinese)".引文作者姓名均为姓前名后,最多标3名,余下用"etal."代表.
著录格式为:(按不同析出物分类说明)
[连续出版物]主要作者.题名[J].刊名,年,卷(期):起止页码.
[专著]主要作者.书名[M].出版地(城市名):出版者,出版年.起止页码.
[译著]主要作者.书名[M].译者.出版地(城市名):出版者,出版年.起止页码.
[论文集]主要作者.题名[A].编者.论文集名[C].出版地(城市名):出版者,出版年.起止页码.
[会议论文]主要作者.题名[Z].会议名称,会议召开地(城市名),召开年.
[学位论文]作者.题名[D].所在城市:保存单位,年份.
[研究报告]主要作者.题名[R].报告代码及编号(或:保存地点:责任单位),年份.
[报纸]作者名.文章名[N].报纸名,出版日期(版次).
[电子文献]作者.题名[EB/OL].………,发表或更新日期/引用日期.
[专利]申请者.专利名[P].专利国名:专利号,日期.
[技术标准]技术标准代号,技术标准名称[S].
投稿模拟样本
NewImagingSpectrometricMethodforRotaryObject
CHUNYu1,DONGXiao-xue2
DepartmentofElectronicEngineering,SchoolofInformationScience
andTechnology,BeijingInstituteofTechnology,Beijing100081,
China;2.SchoolofMechatronicEngineering,Beijing
InstituteofTechnology,Beijing100081,China)
Abstract:Anewtechniqueforimagingspectrometerforrotaryobjectbasedon
computed-tomographyisproposed.Adiscretemodelofthisimagingspectrometric
systemisestablished,whichisaccordanttoactualmeasurementsandconvenient
forcomputation.Incomputersimulationswiththismethod,projectionsofthe
objectaredetectedbyCCDwhiletheobjectisrotating,andtheoriginalspectral
imagesarenumericallyreconstructedfromthembyusingthealgorithmof
computed-tomography.Simulationresultsindicatethattheprincipleofthemethod
iscorrectanditperformswellforbothbroadbandandnarrow-bandspectral
objects.
Keywords:aerodynamiccharacteristics;stealthcharacteristics;numericalcalculation;polarization
CLCnumber:TP374.2
引言(不编入章节号)
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该论文为论文,不宜公开张贴或发表
该论文已公开发表
BiographyCHUNYu(1963—),professor,Ph.D.,abcd@.
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955
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706
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12.7
10.2
3
670
21.6
2.17
9.4
11.8
4
642
20.1
2.37
6.38
13.4
References:
SchlkopfB,BurgesCJC,SmolaAJ.Advancesinkernelmethods–Supportvectorlearning[M].Cambridge,MA:MITPress,1999.
HearstMA,SchlkopfB,DumaisS,etal.Trendsandcontroversies–Supportvectormachines[J].IEEEIntelligentSystems,1998,13(4):18-28.
EricC.Hacker''''sattackanalyzeanddefense[M].SuLeitransl.Beijing:PublishingHouseofElectronicsIndustry,2002.
BurgesCJC.Geometryandinvarianceinkernelbasedmethods[A].BurgesC,SmolaA.AdvanceinKernelMethods—SupportVectorLearning[C].Cambridge,MA:MITPress,1999.
CunLY,JackelLD,BottouL,parisonoflearningalgorithmsforhandwrittendigitrecognition[Z].ICANN''''95,Nanterre,France,1995.
ChangCC,LinCJ.LIBSVM:Alibraryforsupportvectormachines[EB/OL].csie.ntu.edu.tw/~cjlin/libsvm,2001-06-19/2002-03-10.
SwansonRS,MusaS.Theestimationofobstacleandterrainclobberprobabilities[R].AIAA75-1118,1975.
YoungS,KershawD,OdellJ,etal.TheHTKBook(version3.0)[R].Cambridge:UniversityofCambridgePress,2000.
GJB736.8-90,Methodofinitiatingexplosivedevicetest,acceleratedlifetest,methodofthetestat71℃[S].(inChinese)
WhiteSA.Trackingfilterandquadrature-phasereferencegenerator[P].USP:5491725,1996-01-13.
JiaYubin.Astudyonmicroquartzangularratesensor[D].Beijing:DepartmentofOpticalEngineering,BeijingInstituteofTechnology,1999.(inChinese)
Fig.1Thedualmeanderlinemonopoleantenna
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Fig.2Flowchartofsimulationforstandingstartaccelerationprocess
end
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adjusting
importingdata
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adjusting
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addingthetrunk
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Y
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Fig.3Regressionresidualerrorvs.time
2. Ezra Pound and Imagism 2
2.1 Ezra Pound 2
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
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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).
[11] 贺庆. 浅析以庞德为代表的意象派与中国诗歌的相互影响[J].辽宁教育行政学院报2008,(1)
论文的集体指导主要在毕业论文着手写作前以讲座的形式进行。集体指导有以下几种方式,即以年级为单位的指导,以班级为单位的指导,以小组（论文答辩分组）为单位的指导和以指导老师为单位的指导等。其中,以年级和班级为单位的指导可由教研室选派科研能力强、指导经验丰富的老师主讲;以小组为单位的指导主要由答辩小组内部安排个别指导老师来完成;以指导老师为单位的指导主要由指导老师本人对所带的学生进行集体指导。在指导内容上,主讲教师可结合自己的经验,就学术论文的性质、功能、写作的意义、选题、材料的收集、论文的写作规范等方面向学生予以解释说明。具体而言,集体指导主要涉及以下几个方面:
（1）认识指导
尽管毕业论文写作是本科教学计划中的一个重要实践环节,但仍有部分学生对其重视不够。许多同学不了解毕业论文写作的性质和意义,认为其可由可无,此外,由于就业压力增大,学生忙于求职,也忽略了论文的写作。所以,教师在指导的过程中,应首先端正学生对毕业论文写作的认识,使其能意识到毕业论文写作的重要性,以积极的态度投入到毕业论文写作中来。
（2）过程指导
毕业论文写作是个系统工程,涉及写前、写中和写后三个阶段。在写前准备中,教师应就材料的收集与整理以及文献检索的方法进行指导;在写中阶段,应就论文写作的谋篇构思、正文的常用结构、引文的规范、参考文献的格式等予以解释说明;在写后阶段应强调论文的修改和润色,使文章更加衔接与连贯,以适应本校的论文写作规范。
（3）写作方法指导
学生毕业论文的选题可谓多种多样,会包括诸如语言学类、文学类、教学法类、翻译类和应用类等选题.在集体指导的过程中,教师应就不同类别毕业论文的写作方法予以简单介绍,使学生对所属类别论文的写作方法有初步认识。
2、个别指导
个别指导主要是指导老师对自己所指导的学生一对一的、有重点的指导。如果说集体指导主要是宏观指导的话,那么个别指导主要是微观方面的指导。教师给予学生的,只能是方向、方法和写作技巧上的指导,而不是有关选题的全部资料、知识和论点⑥。个别指导也可以涉及集体指导的内容,但更应强调对学生论文框架、语言、格式和规范等方面的指导。
（1）选题指导
我们倡导学生自主选题,但并非自由选题,学生选题的过程中离不开教师的指导。选题是否合适决定了最后的论文是否能够写好,因此,要加强学生选题时的主体意识,要求学生选择自己感兴趣而且有能力完成的题目,提倡“小题大做”,老师既要当好参谋,又要尊重学生的选择。
（2）资料选择指导
资料是完成论文的基础。指导教师应对学生搜集资料提供指导和帮助,应根据学生的选题提出搜集材料的具体要求和方法。学生搜集的材料应做到“全”和“新”,应在占有资料的基础上着手论文的写作。只有掌握大量的资料,了解所选题目的研究现状,才能深入分析,提出自己的观点,做到有所创新。
（3）开题指导
开题报告中学生必须提出论文的基本框架,论文的层次和结构是否合理取决于论文的架构是否恰当。在写开题报告前,指导教师必须要求学生广泛、深入地查阅与选题相关的资料。通过查阅资料,学生可以了解学术界对自己所要论证的问题都有哪些观点,已经得出了什么结论,自己从中发现了什么问题,对这些问题有什么看法等等。这样做,一方面可以了解自己选题的背景,避免了重复劳动;另一方面,在占有材料的过程中,也能做到有所发现,为创新提供了可能。指导教师要确认论文结构的合理性、论证方法的可行性、完成论文的可能性,在确定不存在任何问题的情况下,指导老师可以和学生进行讨论,力求达到论文的结构合理,论点突出,论据详实,逻辑性强。
（4）初稿审查
学生在完成初稿后,指导教师要进行审查。在审查之前,教师必须清楚了解与选题相关的已有的研究,以便确认学生是否有抄袭、重复的行为。如有,则要求学生重写,绝不能姑息;若没有,指导老师要认真审查,大到观点是否正确、论据是否充足,小到遣词造句是否准确、行文是否衔接与连贯。还要重点审查文章的规范性,包括格式、引文和参考文献等。英语专业的毕业论文在内容上应该包括封面、原创声明及版权协议、致谢、英文摘要及关键词、中文摘要及关键词、目录、正文和参考文献。论文封面要写明学校、中英文题目、作者、学院、专业、指导老师和完成日期.封面中论文题目中文在前、英文在后,要注意简约精炼,字数控制在20以内。致谢（Acknowledgements）:致谢页放在摘要前,应用英文撰写。主要内容为感谢导师和在论文写作中,对自己有过帮助的人士和单位,以示尊重他人的劳动。摘要（Abstract）:在英语专业毕业论文中,英文摘要在前,中文摘要在后。摘要的语言要精炼;摘要概括了研究的整体状况,主要包含六个结构要素:主题阐述（topicspecification）、背景信息（backgroundinformation）、目的陈述（purposestate-ment）、方法论和语料（methodologyanddata）、研究结果或发现（resultsorfindings）和研究所带来的启示或结论（implicationsorconclusions）⑦。关键词（Keywords）:关键词是为了文献索引便于从论文中选取出用以表示全文主题内容的单词或术语。每篇论文选取3-5个词作为关键词,按词条的外延层次排列（外延大的排在前面）。关键词另立一行排在摘要下面。目录（Contents）:目录按三级标题编写,要求标题层次清晰.目录中的标题要与正文中标题一致。目录中应包括致谢、英文摘要、中文摘要、前言、论文主体、结论、参考文献等。论文正文（Body）:正文是毕业论文的主体和核心部分,—般应包括前言、论文主体及结论等部分。论文正文部分字数在4000-5000字。前言用中文书写,应说明本选题的意义、目的、研究范围及要达到的要求;简述本选题在国内外的发展概况及存在的问题;说明本选题的指导思想;阐述本选题应解决的主要问题。论文主体是毕业论文的主要部分,应该结构合理,层次清楚,重点突出,文字简练、通顺.结论是毕业论文的总结,是整篇论文的归宿。要求精炼、准确地阐述自己的创造性工作或新的见解及其意义和作用,还可进一步提出需要讨论的问题和建议。在正文中,引用别人的观点要注明出处。引用分直接引用和间接引用，直接引用的文字要加引号，引文采取夹注的方式,夹注内容包括引文作者的姓和出版年份以及其它能帮助检索引文出处的信息。这三项内容可以根据行文需要或融入论文的句子中,或另列在括号里。参考文献（References）:参考文献为论文正文引用的文献,是毕业论文不可缺少的组成部分,它反映毕业论文的取材来源、材料的广博程度和材料的可靠程度。它不仅能反映一种治学态度,在一定程度上也表明作者的水平。从参考文献中大致可看出作者研究的范围、重点、方法、知识结构、挖掘的深与浅以及论文的质量。英语专业学生毕业论文中的英文参考文献和中文参考文献应分别归类排列,英文在前,中文在后.英文的参考文献按作者姓名的英文字母顺序排列;中文的按照作者姓名的拼音字母数序排列。在论文写作中,确切表达自己的观点与准确引用别人的话是同等重要的。因此,一定要恪守学术论文的文体与格式规范.Slade⑧认为,文体规范包括词汇、语调、语气、简洁、时态、句型、排比、逻辑、连贯和无偏见的语言等方面;格式规范包括拼写、缩写、斜体、大写规则、标题、数字和符号等。学生在写作的过程中应予以注意和重视。关于引文和参考文献的规范化问题反映了学生的写作态度,也是论文评价的一个重要方面。指导老师在具体的指导过程中,要使学生明确和重视引文出处的标注方式、文献的排序、标点符号、文献标识、大小写、期刊页码表示等。为使学生少走弯路,在论文写作之初就应该加强这方面的教育。教师最好与学生面对面交流,指出需要修改的地方,指导学生对文章进行修改与润色。在初稿审查后,还应对二稿、三稿等进行再检查。科学的指导可以帮助学生排除在论文写作程中的模糊认识、克服焦虑和浮躁的情绪,提高指导工作的效率,避免事倍功半,从而切实可行地一步一步地改进和完成论文。
（5）答辩指导
学生是否能通过答辩,论文的质量将起到决定性的作用。当然,这也与学生的心理素质有很大的关系。心理素质好的学生,临场应变能力和融会贯通能力都会强一些。在论文答辩阶段,教师的指导作用也很重要。在答辩前,指导教师要帮助学生做好答辩前的准备工作。教师可以就论文内涵及外延等提出一些相关问题让学生去思考,必要时可以帮助学生分析。要让学生充分掌握论文的内涵问题,了解论文的外延问题,同时还要注意培养学生的应答能力。论文答辩实质上也是检验和提高学生综合素质的重要环节,指导教师应给予重视。总之,论文写作是个过程,教师的指导也蕴含于写作过程之中,并与论文写作相辅相成。当然,教师的指导只是影响论文质量的其中一个因素。
3、结语
关键词： 高校英语专业 毕业论文 英文摘要 问题 对策
高等学校英语专业英语教学大纲明确指出:“毕业论文是考查学生综合能力，评估学业成绩的一个重要方式。”毕业论文一般应用英语撰写，长度为3，000―5，000个单词，要求文字通顺，思路清晰，内容充实，有一定的独立见解。由此不难看出，毕业论文在整个英语教学和英语学习中占举足轻重的地位。摘要又称概要或内容提要，是论文中不可或缺的一部分，是对论文主要内容进行的简单、易懂、精辟的概括总结。摘要的四个要素分别是研究目的、研究方法、研究内容、研究结果，这也是英文摘要的核心内容［1］。论文的英文摘要适应了信息时代电子文献检索机构的要求，是国际学术交流的重要桥梁。英文摘要的形成是一个由汉语摘要向英文翻译的转化过程，其质量反映了翻译的水平，在一定程度上也对论文的交流产生影响［2］;同时英文摘要的语言质量直接影响了论文本身的信度［3］，因此，我们可以毫不夸张地说，论文的英文摘要是英语专业学生综合英语能力的主要表现形式之一，也是衡量其英语水平的重要标准之一。
一、研究对象与研究方法
以我院英语专业本科毕业生的存档毕业论文为研究对象，从中随机抽取了40份，论文内容涉及语言学（7份）、文学（12份）、翻译（9份）、文化（6份）及教学（6份）等五个不同方面。学生毕业后大多数在外企或者中学就业，其英语水平直接影响对外贸易的结果及中小学的英语教学效果，因此该研究就显得更加重要了。通过认真研读学生毕业论文的英文摘要，我侧重研究其内容是否合乎要求，语言是否流畅通顺、符合英语表达习惯等问题，并且根据研究所发现的问题提出可行对策，以便切实提高学生的语言综合能力，提高其执教能力。
二、结果分析
（一）在内容方面存在的问题
关于摘要的内容，首先研究其是否具备应有的四个要素，以及各个因素在摘要中出现的频率，具体情况见表1和表2。
学生的论文摘要在内容的完整性上还远远不符合要求，只有四分之一的摘要涵盖了所需的四个要素，将近一半的摘要写出了大部分内容，其他的摘要未免过于简单，多余的部分就都是不必要的重复，这与摘要语言简明扼要的特点是相悖的。
表2表明，摘要中出现频率最高的是研究目的，其次就是研究内容和研究结果，频率最低的是研究方法，可见学生对于自己使用何种方法来展开研究不是十分清楚，没有恰当有效的研究方法做保障，那么研究结果的可信度就会大打折扣。
（二）在语言表达方面存在的问题
关于语言表达，本文主要侧重研究其词语/短语是否运用恰当，词语的语体是否合适，句子结构是否合理等问题，具体结果见表3和表4。
摘要的语言要正式严谨、书面化，避免使用非正式的词语，由表3可以看到，在学生的论文摘要中非正式词语数量还是很多的，说明学生在这方面没有给予足够的重视。文体犹如四季，有其鲜明的标记，古希腊哲学家亚里士多德在其《修辞学》一书中提出:既不要把重大的事情说得很随便，又不要把琐碎的小事说得冠冕堂皇。［4］200―201在外语写作或者翻译中最容易出错的地方不是语法，又不是词汇，而是词语的搭配（He「one who writes or speaks in a foreign languagewill be “caught” out every time，not by his grammar ... not by his vocabulary ... but by his unacceptable or improbable collocations.）。［5］85因此，要想用词地道，搭配合理，就需要日积月累，逐步培养良好的英语语感。混淆词语的词性或者用错介词、漏掉介词这些失误都是语言基本功不够扎实，以及不了解英汉差异的表现，这些看似简单实则繁琐的地方往往最容易被学生忽视。
由表4可以看出，摘要中以第一人称作主语的句子数量很少，更多的是使用抽象的名词作主语，即无生命主语，这样作者就可以尽可能地远离评价行为，而把评价的任务交给抽象实体，如研究的课题或其结果;被评价的对象似乎成了世界的本来事实，离作者很远，因而显得无可争议和客观化。［6］30这种做法与学生的论文写作课程及教师的指导有关。相对汉语而言，英语更习惯使用被动语态，而在调查的英文摘要中使用被动语态的句子少之又少，这同样是受母语负迁移的影响，对英汉差异不甚了解所造成的。
当代美国著名翻译理论家奈达在其Translating Meaning（1983）一书中指出:就汉语和英语而言，也许在语言学上最重要的一个区别，就是形合与意合的对比。汉语的哲学背景是儒、道、佛的悟性，用词造句成章的最大特点是意合法，重意义组合而轻形式结构，让读者和听者领悟其中的意义和关系;词没有严格意义的形态变化;句子不受严格的主谓结构的束缚，少用或不用关联词语。而英语的哲学背景是亚里士多德的形式逻辑，以及十六至十八世纪风行欧洲的理性主义，其用词造句成章的最大特点是形合法，重形式结构协调;词有严格的形态变化，用词强调人称、数、格的一致;句子受严谨的主谓结构协调一致的制约，多用关联词，句子结构复杂，犹如参天大树，而学生摘要中的复杂句子使用频率偏低，即使是复合句，也往往存在很多问题，诸如关联词使用不当，或者省略关联词等。
三、对论文写作及论文指导的启示
1.强化英汉对比知识。对于学习中常见的一些语言现象，学生已经熟悉了所谓“习惯用法”的解释，长此以往，他们语言学习的积极性与主动性肯定会受到影响。英汉属于不同的语系，熟悉两者之间的差异会使得英语学习事半功倍，正所谓“授人以鱼不如授人以渔”。掌握了正确的学习方法，了解了其中的奥妙所在，学生的语言水平就会发生质的变化。
2.加强日常大声朗读的训练。汉语中常把“看书”称为“读书”，顾名思义，大声朗读，书读百遍，其义自现。朗读可以调动口、耳、眼、脑等多个器官一起参与复杂的思维活动，极大地提高思维的速度并增强效果。同时，朗读可以激活语言的美感与乐感，强化语感，正确、流畅而富有美感的朗读能使学习者得到听觉享受，增进大脑记忆，增强创造性［7］100―102，从而提高英语学习的效率。
3.培养学生的语体意识。“不同的体裁类型中，措辞、句法结构、成文结构、语体风格等都是各不相同的”［8］85。文体学认为，言语事件发生的语境不同，人们相对使用语言的情况也就不相同。为适应特定语境而运用不同的语言特征系统构成语言的不同功能变体（语体）［9］122。因此，教师在教学中要注重培养学生的语体意识，学会随着语境场合的变化来选择合适的词语，避免发生语体错位的现象。
4.培养严谨、认真的科研态度。有些在论文摘要中出现的失误，稍加注意是完全可以避免的。因此，无论教师还是学生都必须端正态度，认真严肃地对待论文写作，将不必要的错误降低到最少，提高论文写作的质量。
既然称之为英语专业，那么对学生的英语语言能力方面就应该有更高的要求，这是英语专业学生基本、首要的要求，怎么强调都不为过［10］216。通过对学生毕业论文英文摘要的调查，我们发现了一些内容和语言方面的问题，这些也是普遍存在的问题，不仅影响了论文的质量，而且严重影响了课堂教学的效果，因此，值得引起广大师生的关注。
参考文献：
［1］陆元雯.基于语料库的英文论文摘要的语言特点研究［J］.外国语学院学报，2009，（11）.
［2］高艳，毛忠明.期刊英文摘要常见错误剖析［J］.大连海事大学学报（社会科学版），2008，（8）.
［3］潘，简庆闽.外语类学术期刊论文错失析评［J］.外语与外语教学，2008，（1）.
［4］毛荣贵.英译汉技巧新编［M］.外文出版社，2003.
［5］陈宏薇，李亚丹.新编汉英翻译［M］.上海外语教育出版社，2009.
［6］云红.论文摘要中作者身份的显与隐――一项基于2008医学与语言学国际学术期刊的修辞性研究［J］.外语教学，2009，（9）.
［7］毛荣贵.翻译美学［M］.上海交通大学出版社，2005.
［8］朱怡.论文摘要语篇视阈下英语专业学生的综合概括能力探究［J］.中国外语，2008，（7）.
［9］朱建祥.科技论文摘要翻译探讨［J］.商丘师范学报，2003，（8）.
［10］庄智象.外语教育名家谈［M］.上海外语教育出版社，2008.
一、英文摘要的特点及规范
1、具有独立性和自含性
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
[1]陈晓文，王晓农.非英专本科生毕业论文中文摘要英译研究—以鲁东大学2010届非英专部分毕业生为例[J].河北联合大学学报（社科版），2012年（1）.
这个肯定是啊。其实我们说说的影评是影视作品评论。或者叫影视作品分析。而重点在评论，分析上。所以就要以议论文的形式才能表述的清晰明确。如果是散文形式，你可以在中间描述方面写的优美一点。但是大体一定要是议论文的形式。有主题论点，分论点，论据。一般是从故事情节，线索，人物，声画等方面分析。例举语文说明文，议论文，散文的常考题型，只要写解题格式，尽可能多有关中考阅读的答题格式和技巧（说明文，议论文，散文）都要高考作文写议论文好还是散文好topik中级作文一般让写记叙文还是议论文还是说明文还是散文啊?高考作文为什么老师都要求写议论文，我从来都不会写．
英语毕业论文的格式 还有提纲的格式
similarities between English idioms and Chinese idioms In English, . And it can be clearly seen in the below examples:(1) I don’t know。我不知道。 (2) I am not a poet. 我不是诗人。 (正文中的例子以（1），（2）为序号排列，直至最后一个例子；而①, ②则为脚注或尾注的上标序号)3. The differences between English idioms a．英语毕业论文提纲格式英语毕业论文开题报告提纲怎么写英语毕业论文的提纲，帮忙~急。小学生学习英语兴趣 毕业论文提纲英语毕业论文提纲我是英语专业的 要写毕业论文了 请帮忙提供下论文的格式 比如分几部分什么的
《体育科学》杂志的论文格式是怎么样的？
DB/OL——联机网上的数据库 DB/MT——磁带数据库 M/CD——光盘图书 CP/DK——磁盘软件 J/OL——网上期刊 EB/OL——网上电子公告3)参考文献的格式 参考文献条目列于文末。其格式为： a. 专著、论文集、学位论文、研究报告： [序号]作（编）者. 题名[文献类型标识]. 出版地: 出版者，出版年. 示例：[1]钱仁平.中国小提琴音乐[M].长沙:湖南文艺出版社,2001. b. 期刊文章： [序号]作者. 题名[J]. 刊名，年，卷（期）：起止页码. 示例： [2]陈鸿铎.谈马勒《第一交响乐》．和论文一样吗我想知道要投稿林副特产杂志 详细的论文格式要求在工业类杂志上投稿的论文格式（范文）请教，国外（英文）SCI杂志论文投稿流程、格式和注意事项发表在期刊杂志上的论文的格式有一个体育国际论坛 要求投稿论文的格式参照《体育科学》杂志的论文格式 但是我又找不．
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