引論：我們為您整理了13篇英文畢業論文范文，供您借鑒以豐富您的創作。它們是您寫作時的寶貴資源，期望它們能夠激發您的創作靈感，讓您的文章更具深度。
篇1
XX 英語 X 班 學
篇2
英文摘要在科技論文中具有重要作用，根據EiCompendex數據庫對英文摘要的要求，從時態、語態等方面提出了英文摘要的寫作規則，列舉了論文中存在的常見問題，并提出了一些建議。下面是學術參考網小編為您搜集整理的畢業論文致謝詞英文，歡迎閱讀！
Acknowledgements
MydeepestgratitudegoesfirstandforemosttoProfessoraaa，mysupervisor，forherconstantencouragementandguidance.Shehaswalkedmethroughallthestagesofthewritingofthisthesis.Withoutherconsistentandilluminatinginstruction，thisthesiscouldnothavereacheditspresentform.
Second，IwouldliketoexpressmyheartfeltgratitudetoProfessoraaa，wholedmeintotheworldoftranslation.IamalsogreatlyindebtedtotheprofessorsandteachersattheDepartmentofEnglish：Professordddd，Professorssss，whohaveinstructedandhelpedmealotinthepasttwoyears.
Lastmythankswouldgotomybelovedfamilyfo
篇3
1.0 前言
近15年，體裁（genre）和體裁分析（genre analysis）成為第一語言和第二語言教學領域里的熱門話題（Hyon 1996）。我國不少專家、學者都試圖把這種理論應用在具有特定交際目的的篇章上，如分析農業英語論文摘要（易興霞，2006），分析應用語言學領域學術文章的宏觀和微觀結構（楊瑞英，2006）畢業論文模板，分析商務促銷類語篇（王宏俐, 郭繼榮，2006）等。本文擬從Bhatia的英文促銷信的體裁分析模式入手，分析主要交際目的為說服潛在客戶購買商家所提供的產品或接受其服務的英文促銷信的表現形式，圖式結構和特殊信息，并通過分析語義的文化預設和搭配意義，加深對促銷信的語言表面特征的認識。
2.0理論依據
2.1體裁
語言學中的體裁（genre）不同于文學中的體裁。Swales (1990: 45-58) 認為體裁是在特定社會文化背景下對人類交際事件進行分類的結果。所謂交際事件就是人們按照特定目的和特定程式運用語言在社會中辦事的實例。新加坡的Bhatia (1993:13-16)在 Swales的體裁理論基礎上做了進一步的完善, 認為:1)體裁是一種可辨認的交際事件;2)體裁不是一般的交際事件 ,而是一種內部結構特征鮮明,高度約定俗成的交際事件;3)在建構語篇時 ,必須遵循某種特定體裁所要求的慣例;4)盡管體裁有其慣例和制約性, 內行人仍可在體裁規定內傳達個人意圖和交際目的。因此交際目的往往決定應該使用哪種體裁，而體裁的常規性又維我們提供了可以遵循的體裁結構潛勢。
2.2體裁分析
體裁分析是20 世紀90 年代由Swales (1990)和Bhatia (1993)發展起來的一種分析方法。他們認為任何體裁都是由一系列的語輪構成，語步(move)和步驟( step)是語篇分析的出發點論文開題報告范文。Swales的層次動向法（move approach）常用在具體的體裁分析中，即根據不同的交際目的，對某一語篇按照意義與功能劃出層次，然后再根據層次來考察分析語言的表達形式。Swales 沒有對語步和步驟提出明確的定義,但Nwogu (1997)認為語步是一個由一系列詞匯,主題意義和修辭特征所標明的具有統一意義傾向的語篇片斷，步驟是實現語步的可供選擇的修辭策略，一個語步可以由一個或多個步驟來實現。例如畢業論文模板，Bhatia (1993:62)根據體裁“ 語步 (moves) 和步驟( steps)”分析理論，將推銷體裁概括成七個 “語步” (move) :1. Establishing credentials (確立資格證明) ; 2. Introducing the offer (介紹推銷內容)：⑴offering the product orservice (介紹產品或服務) ,⑵ Essential detailing of the offer (介紹推銷內容的重要細節) , ⑶Indicating value of the offer (指明推銷內容的價值) ; 3. Offering incentives (激勵購買) ; 4.Enclosing documents (附寄文件) ; 5. Soliciting response(請求回復) ; 6. Using pressure tactics (采用壓力策略) ; 7. Ending politely (禮貌收尾)。在以上七個“語步” 中 ,第二語步 Introducing the offer 又是由三個步驟(step)組成的。
體裁分析模式為語篇研究提供了新的考察視角與方式。使用體裁和體裁分析理論對某個特定語篇進行分析，是對語篇宏觀結構和微觀結構分析的有機結合，既注重語篇結構的宏觀結構和認知結構，也注重特定的體裁結構在詞匯和語法層面的特定表現。
3.0體裁分析在英文促銷信中的應用
3.1促銷信的體裁界定
促銷信是商務英語中常見的一種語篇，它是以書信的格式由促銷人員向顧客傳遞商品或服務的存在及其性能、特征等信息，幫助顧客認識商品或服務所帶來的利益，從而達到引起顧客的注意和興趣、喚起需求、采取購買行為的目的。因此它的本質是銷售者和消費者之間的信息溝通，主要交際目的就是通過向消費者的宣傳、誘導和提示，促進消費者產生購買動機，影響消費者的購買行為，實現產品由生產領域向消費領域的轉移。這樣的交際目的決定收信人和寫信人通常為并不熟悉的雙方，因此語言上謙虛有禮、簡潔明晰是必不可少的。
3.2 促銷信的內在宏觀結構
一封成功的促銷信在內在結構上 ,基本遵循Bhatia 的七個 “語步”的模式 ,通過吸引客戶的注意、向客戶詳細介紹所推銷的產品或服務并索求回復等語篇片斷來實現說服潛在客戶購買所推銷產品或服務的交際目的。下面我們從Bhatia的英文促銷信的體裁分析模式入手畢業論文模板，來具體討論促銷信的層次動向。。
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,
這封促銷信由五段組成，第一段的第一句是第一個語步: Establishing credentials (確立資格證明),通過提及在情人節要提供的一項服務來吸引顧客的注意力；第一段的第二句到第三段是第二個語步：Introducing the offer (介紹推銷內容)。第二個語步由三個步驟組成：⑴offering the product or service (介紹產品或服務) ,⑵ Essentialdetailing of the offer (介紹推銷內容的重要細節) , ⑶Indicating value of the offer (指明推銷內容的價值) 。第一段的第二句是第一個步驟，主要介紹了即將推出的服務——每買兩公斤蛋糕就能抽簽，就有機會贏得在三星級賓館的兩人晚宴；第一段的第三句和第二段是第二個步驟，詳細介紹推銷服務的細節——情人節前夕在三星級賓館和摯愛共進晚餐、共舞；第三段是第三個步驟，主要指出推銷服務的精神價值——使情人節過得特別，并能遇到明星。第二個語步是促銷信最為重要的部分，決定能否幫助顧客認識商品或服務所帶來的利益，從而達到引起顧客的注意和興趣、喚起需求、最終采取購買行為的目的。第四段是第三、四個語步：Offering incentives (激勵購買)和Soliciting response(請求回復)。第四段第一句是請求顧客做出回復——到銷售點尋求更多信息；第二句是鼓勵有購買傾向的顧客下定決心。第五段是第五個語步：Using pressure tactics (采用壓力策略)，Sincerely和簽名是第六個語步：Ending politely (禮貌收尾)，作為傳統信件獨特的結尾方式，這一語步在促銷信中也很常見。
與Bhatia的七個語步模式略有不同的是：這封促銷信并沒有Enclosing documents (附寄文件)這一語步；而且Offeringincentives (激勵購 買)和Soliciting response(請求回復)的順序也有所不同。王宏俐, 郭繼榮(2006)認為，在語篇構建中常使用的語步是核心語步畢業論文模板，不太出現的輔語步是外圍語步，在促銷信中，第一、二、四語步是核心語步，由于Enclosing documents (附寄文件)這一語步是外圍語步，銷售者可根據情況決定是否使用；至于語步順序，盡管促銷信是專門用途英語里的一種，有其慣例和制約性，但我們仍可在體裁規定內傳達個人意圖和交際目的論文開題報告范文。
3.3 促銷信的文化預設和搭配意義
這實際是一封是以西方文化為背景的抽獎促銷信。促銷信的最主要部分——第二語步也是以這個文化預設為先決條件的。銷售者想要促銷的商品是蛋糕，但在促銷信里，抽獎有可能贏得情人節的晚餐卻是描述的重點，這主要是商家抓住了顧客消費過程中的僥幸獲大利心理——以抽獎贏得與摯愛在情人節共進免費晚餐的機會，設置中獎機會，利用抽獎的形式畢業論文模板，來吸引消費者購買商品蛋糕。令人心動的抽獎活動成功地把顧客的注意力指向拉到了本應大力宣傳的產品——蛋糕上面。如果收信人不了解這個文化預設，就不容易達到促銷信的交際目的。
Leech（1981:17）認為：搭配意義是指一個詞與另一個詞連用搭配時使得該詞的意義隨語境而發生的變化。因此促銷信在詞的搭配上非常注意。促銷信使用的形容詞大多是描述性和評價性的，多為褒義詞，例如：great, wonderful, special, tasty, exciting, thrilling, famous,wonderful, 這些形容詞為收信人勾勒出一幅浪漫、激情、美味的晚餐情景。盡管這是一封書信，但口語詞匯多余書面語詞匯，淺顯易懂、簡潔明晰。銷售者為了推銷商品或者服務，常常直接使用反問疑問句和祈使句，增強引導功能，說服或敦促收信人采取購買行動。
3.4 總結
體裁分析超越了對語篇語言特征的簡單描述,力求解釋語篇的理據, 探討語篇結構背后的社會文化因素和心理認知因素, 揭示實現交際背景的特殊方式和語篇結構的規范性。促銷信具是專門用途英語的一種，把促銷信這一體裁語篇看作是一個有規律的有結構的層次動向的組合的思想, 有助于我們更好地理解這種信函體裁，寫出目的明確、結構清晰、用詞準確的促銷信。
參考文獻：
1.Hyon, Sunny. Genre in Three Traditions:Implications for ESL [J]. TESOL Quarterly, 30/ 4 :693-722, 1996.
2.易興霞.體裁分析與農業英語論文摘要[J]. 西安外國語學院學報，2006(9):28-31.
3.楊瑞英.體裁分析的應用：應用語言學學術文章結構分析[J]. 外語與外語教學，2006(10):29-34.
4.王宏俐,郭繼榮.體裁分析與商務促銷類語篇[J]. 外語教學，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：大學學位證書
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，陰山下，天似穹廬，籠蓋四野。
天蒼蒼、野茫茫，風吹草低見牛羊。”
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] 王貴明.中國古典詩歌美學與龐德現代主義詩學[J].北京理工大學學報(社會科學版)2004,(6).
篇6
一、高校商務英語專業（方向）畢業論文的現狀
高校商務英語專業畢業論文選題學術氣氛濃厚、重復率高。多集中于“商務談判的技巧”、“商標的翻譯策略”、“商務廣告的語言特色”等，與商務實踐密切相關的文章寥寥無幾。學生在選題上還是側重于文學和文化，沒有充分體現出商務英語的專業方向性。多數的商務英語專業學生寫作內容脫離實際，沒有注重畢業論文的自身價值與實際意義。缺乏實證分析，不會運用所學的知識對實際問題進行研究，有的同學撰寫的內容與將來所從事的商務活動毫無關系。大多數學生都是根據指導教師布置的論文題目獨自搜索文獻、分析整理資料、缺乏了團隊協作、限制了思想火花的碰撞。如果畢業設計能夠以團隊的形式來完成撰寫必將對學生的實踐能力、團隊協作能力、組織與溝通交流能力的提升起到非常大的幫助。
二、商務英語專業畢業論文改革探索與實踐
1.畢業論文改革的形式和內容。
掌握商務文書的基本知識、寫作方法、寫作技能，能運用嫻熟、得心應手地撰寫各類商務文書是衡量現代商務工作者的素質、能力的重要標準。根據我校英語專業國際商務方向學生實際情況和商務文書撰寫的難易程度，英語（國際商務）學生選擇商務報告中的調查報告（SurveyReport）開展畢業論文改革。調查報告具體要求：調查報告由2人共同完成，學生需進行社會調查、訪談或其他調研方式。要求調查報告的字數不少于5000字英文，其中含1000字中文概要，調查問卷樣卷和訪談提綱樣卷為中英文對照版。
2.行業人士進行調查報告撰寫的指導和培訓。
為了幫助學生更好地掌握商務文書的撰寫規范，行文要求，專業安排了行業人士對調研報告的撰寫進行了指導和培訓。調查報告撰寫的培訓方案：調查報告撰寫指導分為三部分：第一部分對調查報告的定義、結構、撰寫過程進行宏觀指導；第二部分主要講解調查報告的研究方法、資料的收集與研究、問卷和訪談內容的設計；第三部分調查報告的選題和開題指導。
3.調查報告雙導師指導的管理與監控。
畢業論文“雙導師制”指導模式是依據北京城市學院辦學目標和特色，結合商務英語專業學生特點，通過校內英語指導教師與來自其他學院跨學科或者行業的合作導師“雙導師”聯合指導，重點實施理論學習環節、調研環節、理論與實踐整合環節等雙導師式培養的畢業論文指導模式。選題環節。畢業論文的選題是做好畢業論文工作的首要環節，指導教師嚴格把好選題關是保證畢業論文質量的前提條件。校外合作導師提出若干個用人單位在實際工作操作中遇到的真實問題。畢業論文選題來自于實際工作過程中的問題，既體現了實際應用價值，又能很好地鍛煉學生的實踐能力。理論學習環節。為了讓學生有更充裕的時間進入第七學期的學習和第八學期工作崗位的實習，我們將理論環節的學習提前到夏季小學期。由校內指導教師和行業合作導師進行聯合講解。學生在雙導師的指導下，完成選題、開題報告準備等環節。調研實踐環節。在夏季小學期結束后的暑期，學生要開展為期約4周的調研活動。在調研實習期間，由實習單位的校外指導教師，監督和指導學生的調研實習實踐活動，補充學生理論學習的缺陷，提高學生商務實操能力。在這一環節，校內英語指導教師也需要及時與校外指導老師溝通，協助學生完成調研實踐環節。理論與實踐整合環節。學生在調研實踐活動后，即完成問卷發放和訪談活動，回到學校進行調研報告的撰寫。學生需要在這個環節聽取校內英語指導教師和校外指導教師的指導建議，展開數據的統計分析，以及調研報告的撰寫。雙導師綜合評定給出畢業設計的成績。答辯環節。采用校內老師和行業人士聯合組成答辯專家組，對調查報告中涉及的理論環節和實踐環節進行全面系統的提問，雙導師以及答辯專家組綜合評定后給出每組同學畢業論文成績。對于學生各項成績的評定，第一指導教師占總成績的60%，第二指導教師占40%。專業要求學生畢業設計完成情況嚴格進行前期、中期檢查與考核。如果因為教師指導不力，學生沒有圓滿完成畢業設計，將追究校內導師的責任。對于畢業設計工作不認真、投入不夠、完成質量差而又達不到專業培養目標的學生，學部將根據畢業設計要求的有關規定嚴肅處理。畢業論文“雙導師制”指導模式強調了基礎理論知識和專業實踐知識的有機結合，彌補了高校英語教師缺乏商務實戰經驗的弊病。“雙導師制”將顯著增強學生的專業能力和社會適應能力，使得學生在進入企業后，能夠更快地適應環境，從而直接進入工作狀態。學生通過這種模式的訓練，鞏固發展了專業知識和技能，也為日后的就業打下扎實的基礎。
4.調查報告的評審標準要適當調整。
畢業論文評價體系是引導畢業論文工作的杠桿和指揮棒。重點考察學生畢業論文的原創性、實效性，即畢業論文必須是學生經過努力研究真實做出來的，解決了實際工作中的某一個問題，比較真實地反映了學生的實際工作能力與水平。在評價程序上，整個撰寫過程采用雙導師（校內英語教師與行業專家）綜合評定和指導，在評審的各個環節均采用英語教師和行業專家雙評審制度。評分標準也相應地區別于傳統的學術論文，例如在選題上要評定“選題是否具有較強的現實意義，符合實踐性、科學性、創新性要求”；調查問卷的設計上要評定“調查問卷的結構、內容設計科學、合理，較為清楚地說明調查問卷的發放及回收情況”；數據綜合分析能力上要評定“能夠靈活運用多種形式的圖表對調查問卷所得結果和數據進行恰當、科學、有效分析”；在調查報告整體質量上要評定“研究結果摘要部分：論述清晰；正文部分：理論運用正確，數據分析科學、合理，論述充分，結構嚴謹，條理清晰；結論與建議部分：結論正確，具有創新性，實用性。調查報告結果具有一定的參考、應用價值。全文專業術語使用準確。符號統一，編號齊全，書寫規范，圖表完備、整潔、正確”；畢業論文的答辯和評審標準都結合實際進行了適當的調整以保證評價的得體性和公平性。
三、政策建議
1.深化畢業論文以及配套商務英語教學改革。
商務英語專業應該以畢業論文改革為契機，不斷深化商務英語教學改革，整合各種實踐教學資源，使教學理論、人才培養模式與人才培養目標達成一致。在商務英語教學過程中，可以采取多種方式培養學生的商務實踐能力和創新能力，例如不斷加強校企合作力度；學校與企業和政府建立實踐教學合作關系；請行業專家到學校授課或開辦講座；提倡英語教師帶領學生到企業現場教學；鼓勵英語社團組織承接社會項目；等等。
2.加強實踐型教師隊伍建設。
學校要通過各種途徑增強教師實踐意識和實踐能力的培養，例如，鼓勵教師帶領學生參加社會課題研究、對專業教師進行實踐教學培訓等，并且納入對教師的考核體系中；學校派青年教師到企事業單位、外企外貿公司掛職鍛煉，以此來增進教師對社會的了解，要求教師在授課的過程中滲透實踐內容，培養學生的實踐能力和創新意識。學校也可以將具有創業經歷和實踐經驗的各類人員融入到教師隊伍里。通過上述措施，強化學校的實踐人才培養特色，加快相關教學方法的改進與教學條件的改善步伐。
3.畢業論文的體裁和形式多樣化。
畢業論文體裁可以多樣化，充分體現學生的實踐能力和專業特點，體裁不僅局限于傳統的學術論文，而且可以將其拓展為商務實用文書的撰寫和商務情景的模擬。前者包括標書的撰寫、市場調查報告、廣告策劃、營銷方案等，后者包括商務談判、國際會展、商務洽談、產品推薦會情景模擬等。畢業論文的各種體裁和形式均采用團隊協作的模式，使學生能夠各盡所長、發揮集體的智慧。
參考文獻：
[2]教育部.教育部辦公廳關于加強普通高等學校畢業論文（設計）工作的通知（教高廳[2004]14號）[R].
[3]李志生.建筑工程招投標實務與案例分析[M].北京：機械工業出版社，2011.
[4]劉曉輝，魏俊玲.淺談經濟全球化中商務英語人才的培養[J].中國商貿，2009，（15）.
篇7
經過對08級、09級以及10級的學生的畢業論文撰寫情況的調查發現商務英語專業的學生在撰寫畢業論文過程中，能夠遵循“英語+商務知識+綜合素質+職業素養”的商務英語人才培養的目標，但是很難真正達到這一標準，畢業論文寫作中存在著很多問題。調查結果顯示：
2.1學生書面表達能力差。學生英文書面用語不夠規范、正式。學生在書寫畢業論文的時候，仍然按照原有的寫作風格來寫作，口語化語言較多。學生的英語基本功不夠扎實，在論文撰寫過程中普遍存在基本語法，單詞拼寫上的錯誤。這使得指導教師很大精力是在指導學生改正語法錯誤，而不是論文的內容邏輯性、創新性。論文的構思上不夠新穎，但因為論文整體水平較弱，教師指導過程中無暇顧及論文的深度，只能修改論文存在的語法錯誤。
2.2學術基礎薄弱。畢業生在選題時，由于沒有前期積累，都是臨時選題，這就容易選擇題目過大、過于籠統。論文題目選定初衷較好，但是學生無法深入下去進行研究，導致論文在相關商務知識運用方面不夠深入，大多數同學都是繞道而行，無法深入研究論文內容。甚至有些學生在撰寫論文進行到一半無法進行下去，被迫換題。
2.3可參考英文專業文獻少。由于畢業論文強調實踐性，學生所選題目大多都是沒有英文參考資料的，學生不容易找到針對性較強的英文資料，而大多數材料都是來源于一手資料，二手資料多來源于互聯網的即時信息，很多都是需要學生自己翻譯中文資料。由于可參考英文專業資料少，這樣就導致了論文質量存在很大的問題。
2.4指導教師指導畢業論文學生人數過多。一位講師一般指導7－11個畢業論文，學生的論文指導質量無法保證。由于商務英語專業畢業論文強調“英語+專業”，這對很多教師來說是一個非常有挑戰的工作，需要邊學邊指導，同時還要有一定的實踐經驗，對于指導教師要求較高。
3.提高畢業論文的質量，實現商務英語人才培養
通過對畢業論文問題的調查，顯示了基于商務英語人才培養的畢業論文寫作中存在的問題。根據這些具體問題，筆者提出下列建議。
3.1提高論文語言運用的綜合能力在學生整個四年的英語寫作課程中應形成階梯跟進式教學模式。在基礎寫作的課程上夯實學生的語言基礎。在商務英語應用文寫作課程中主要培養學生的商務英語正式文體寫作的規范性。在論文寫作課上應引導學生正確選擇在該學生能力范圍內的、適中的論文題目。
3.2提高學生的論文寫作質量，提早選定畢業論文寫作范圍大多數畢業生臨時選定題目，題目不是隨意選定，就是在導師的幫助下選定的，很難做到符合自身需求，所定題目與實習內容不符。在寫作過程中更是難以深入下去，所讀書目有限，思路膚淺。為了改變現狀，應引導學生在學習相關感興趣的專業過程中，通過撰寫課程論文，學期論文，發現較為感興趣的方向，并逐漸深入研究，最終在大四寫畢業論文時，可以游刃有余地完成高質量論文。
3.3加強指導教師對學生的指導力度，調動學生寫作積極性在整個畢業論文寫作的過程中，是按照過程寫作的方法來進行指導的。在這一過程中，在學生選題時，指導教師就應確定學生論文題目的可寫性。在論文綱要撰寫時也應及時指導學生的寫作方向，理清綱領，把論文的脈絡弄明白。在論文的撰寫過程中，也要時時督促學生，并及時與學生溝通。在整個論文指導的過程中，指導教師與學生溝通可以通過互聯網進行有效的交流。指導教師應做到即時回復學生的疑難問題。
篇8
對于一些英文讀者來說，英文摘要是他們唯一的信息源，所以英文摘要一定要強調完整性，也就是說它所提供的信息必須是完整的。
2、具有定量分析
撰寫英文摘要的過程中應該注意避免籠統的、空洞的闡述，盡量用具體的語言和清晰地思路來論述，這樣能給讀者一個全面的信息呈現。
3、具有創新性
由于東西方文化差異，西方學者在閱讀論文時會注重創新之處，所以中英文摘要不必強求一致，英文摘要需要有自己的特點和風格。
國際標準規定中“摘要”一詞定義為原文內容準確、扼要的表達，而不加以解釋和評論。各個高校對其也都有自己的相關規定，如新疆農業大學，一般要求英文摘要在200-250字符，單詞語法正確，語言流暢、精煉。內容包括目的、方法、結果、結論等4個方面，著重反映論文中的新內容、新見解，但不得加入評論。
二、非英專本科畢業論文中文摘要英譯中存在的問題
1、研究過程簡述
為了了解本校非英專本科畢業論文英文摘要所存在的問題，筆者進行了兩方面的研究。筆者對土管專業的62份問卷結果進行了數據分析，發現77%的非英專學生對英文摘要有強烈的需求；收集了土管專業的57份畢業論文英文摘要，進行詳細分析、研究，發現70%的學生借助了網上一些軟件翻譯，其中有25%的人對譯文進行了修改，僅有12%的學生基本了達到英文摘要的要求。
2、英文摘要存在的問題的分析
1）文章題目的翻譯。中國學生受到漢語思維習慣的影響，在中文題目中會用到“研究”、“初探”等詞，但是在撰寫英文摘要中，這些詞就可以不用譯出。
例如：四平市耕地保護的問題及對策分析
原譯：Analysis of Problem and Countermeasures of Farmland Protection in Si Ping City
改譯：Problem and Countermeasures of Farmland Protection in Si Ping City
2）標點符號錯誤。學生常犯的錯誤：并列成分用分號隔開；書名號沒有用斜體；中英文省略號的區別。
例如：農戶耕地流轉行為受農戶文化程度、年齡、農戶家庭勞動力資源狀況影響。
譯文：... is influenced by farmers’ degree of education，age，labor resource status.
3）用詞不當。詞性和近義詞區別分辨不清常會導致用詞不當的問題。
例如：但是由此產生的人地矛盾問題卻日趨尖銳
原譯；but the resulting contradiction between people and land ...
筆者認為“矛盾”一詞，根據詞義和用途，conflict更為貼切。
改譯：but the resulting conflict between people and land...
4）搭配不當。英語單詞的搭配紛亂復雜，許多學生的語法基礎薄弱，經常會用錯搭配導致不規范的表達。
例如：In Urumqi as an example ...
改譯：Taking Urumqi as an example...
5）中式翻譯
做翻譯時，一個普遍問題就是中式思維翻譯。如果只顧字面對應，不考慮文化差異，可能會造成簡單句泛濫，句子銜接性差。
例如：大量的農業用地轉為城市用地，給國家糧食安全問題和生態環境的保護造成了極大的壓力。
原譯：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.
原譯文完全是根據中文逐字逐句翻譯的，且原文中的“問題”可不用譯出。
改譯：A great deal transformation ...brings great pressure to the national food security...
三、改進英文摘要質量的對策
英文摘要中存在的問題還有很多，以上幾條只是筆者在實踐過程中常見問題的簡單總結。想要提高摘要質量，筆者認為需要從以下兩個方面做出努力：
正確認識英文摘要的意義，了解英文摘要的寫作特點和規范。撰寫英文摘要時，先用中文完成結構完整、信息全面的摘要，再按照英文思維將其翻譯下來。
掌握英文摘要的翻譯技巧，加強自身翻譯能力。多注重英文摘要的寫作規范和行文特點，如用詞、句法、時態、語態等。多積累英文摘要常用詞、句型，多閱讀英文文獻資料。（作者單位：新疆農業大學外國語學院）
作者簡介：汪南（1994～），新疆農業大學外國語學院英語134班學生。
參考文獻
篇9
長期以來英語教學的目標和方法一直是我國大學英語，尤其是專業英語教學所探討的一個問題。多年以來的應試教育已經給受教育者留下了難以學以致用的問題。不少人拿到四、六級證書依然不能跟外國人交流，不能用英文寫作，成了一個語言的拿證者卻無法動筆動嘴的“人才”（林莉蘭，2006）！已有一些從事英語教學與教育的工作者專門討論過這方面的問題（田強等，2006；王曉軍，2005；張翼翼，2006；賈國棟，2006；周爽等2006）。本文根據我院這幾年來在專業英語和專業課雙語教學的教學實踐，尤其是讓工科本科生用英語進行畢業論文寫作和進行論文答辯的實踐教學嘗試，從英語教學延伸和應用的實效性角度探討了如何檢驗大學英語教學的效果，如何確定英語教學目標，以及實現這種目標的方法。我們中國地質大學（北京）能源學院一直在專業英語和雙語教學的手段和實效性方面進行著探討。2004年我院獲得了學校在“工科教學基地”項目上的資助。為配合國家在石油領域“走出去”的可持續發展戰略、培養具有英語實用水平的工科本科畢業生也成了我院教學工作的一個重要任務和目標。我們利用我院大部分教師都有在國外留學、進修和培訓方面的經歷這個優勢，積極開展了密切結合專業的專業英語和雙語教學的教學實踐。我們鼓勵用先進的教學理念進行大膽實踐，積累教學經驗。在2006屆部分工科畢業生中讓部分同學用英語進行論文寫作和答辯，通過導師的指導，試圖將其作為專業英語和雙語教學在專業實踐方面的延伸。這樣做，一方面是希望通過用英語進行論文的撰寫和答辯提高同學們英文應用水平，另一方面也為同學們畢業后進入企業或科研崗位、甚至走出國門打下良好的基礎。在這次試點中我們在我院資源勘查工程和石油工程兩個專業選取了幾名優秀學生，從畢業論文寫作到答辯全程采用英語。這對學生提出了比較高的要求，要求學生比較熟練或基本掌握專業英語的語法、專業詞匯、寫作技巧和寫作規范等多方面的知識。當然，表達能力也能在答辯的過程中得到充實和提高，對話能力在提問過程中也能實踐、發揮和檢驗。從論文寫作和答辯的結果來看，這次嘗試是成功的。這幾名同學論文的寫作用詞和語法正確，論文宣讀及回答問題都比較清晰流利。同學們和指導教師都從中受到了鼓舞，說明我院的專業英語和雙語教學取得了明顯的成效。歸納起來，這幾年來我們在專業英語和雙語教學實踐中做法、嘗試以及同學們的反饋包括以下幾個方面。
一、專業英語和雙語課教材
在我院的專業英語和專業課“雙語教學”實踐中，學院要求在國際通用性的專業課方面應盡量使用外文原版教材，采取多種方式使用外文教材。如專業英語課在教材選用上的做法是從國外的原版教科書上找到適合同學英文能力的相關文章進行講授；環境地質學和現代試井分析雙語課使用了原版的英文教材。
二、授課方法
專業英語授課過程中不是滿堂灌，而是讓同學自己閱讀翻譯和講解，一方面可以檢測同學是否預習，另一方面發現同學們在哪些方面存在理解有誤的地方，再有重點、有針對性地進行講解。這種方法效果較好，既激發了同學們學習專業英語的興趣，同時也在實踐中提升和改進了我們的專業英語教學法。在環境地質學和油藏工程這兩門課雙語教學中，老師以中文和英文交叉、結合進行綜合講解，讓所有同學參與到教學中來。讓同學們上臺用英語講解自己的觀點和見解，大家對一些有爭議的問題共同用英語討論，共同學習。在實踐過程中幫助同學們克服了在眾人面前講英語的恐懼心理。在交流溝通過程中英語聽說能力得到了提高。這種教學過程是實踐“課堂教學應以學生為中心”的教學理念的有效形式。
三、雙語課在提高學生學習英語興趣和水平中的作用
有的同學說，起初對雙語教學就有幾分好奇，而在剛接觸到雙語教學課程時，沒想到卻有些不適應，在經過一段時間的學習之后，發現雙語教學比一般的外語教學更能激發興趣，至少與普通外語教學相比是這樣的。雙語教學在我院還正在全面展開，可以說現階段還是處在嘗試階段，但我們確實能體會到它的可行性、有效性和必要性。有的同學還說，大學四年的學業已結束，總感覺以前的外語課還沒能使我們的聽說讀寫能力加強多少，反倒是在接受過雙語教學之后，發現自己的外語水平有很大提高，課堂上的師生互動使我們敢于用英語和他人進行交流。
四、用英文進行畢業論文寫作的作用
用英文進行畢業論文寫作能讓學生更多的掌握英語的實用知識，可以提高學生學習英語的積極性。與普通的英語學習不同，畢業設計關乎學生的學士學位，學生對它的重視程度會大大提高，特別是專業英語知識。用英文進行畢業論文寫作涉及到英語知識的方方面面，從單詞的詞義到句法的運用，再到成篇構思甚至語言的概括表達。寫作的過程就是英語知識的再現和學習效果的過程，也就是提高英語水平的實踐過程。同學們說在畢業論文的外國文獻翻譯過程中，深刻地感受到了專業英語的重要性。盡管我國的科技水平提高得很快，但是在石油工程領域，我國的科技水平仍與國外的先進水平有一定的差距，所以，客觀上要求同學們現在和以后不得不有直接閱讀外文專業文獻的能力，從國外先進的技術中找到我們需要的知識，為我們的國家服務。
五、用英語進行畢業論文答辯的作用
答辯材料的準備和臺上的演講，這些都需要較高的口語能力，經歷了這次答辯，不僅提高了口語的表達能力，最重要的是同學們有了勇氣去說出英語，這是最大的收獲，也是同學們學習語言的最終目的――交流。用英語進行答辯的目標和過程對于提高學生交際能力和綜合應用語言能力有重要意義。
六、專業英語與就業的關系
隨著我國改革開放程度的不斷加深，以及中國加入了世界貿易組織，大量的國外企業涌入中國投資，設立公司，而英語是國際公認的通用語言，因此需要大量雙語人才。同學們已注意到在這一屆的畢業生找工作的時間段內，越來越多的外國或外資企業也來到我們學校召開宣講會，希望可以招聘到合適的有能力的畢業生加入他們的公司。招聘的第一道門檻就是英語能力，這恰恰是我們過去的軟肋。還有石油領域的國有企業進軍海外的石油開發項目越來越多，同樣需要大量懂英語的大學畢業生。同學們說“既然這方面的缺口這么大，我們更應該提高我們的英語能力，這既是對市場需求的響應，同時使我們以后的就業前景更光明更廣闊”。我們認為大學英語教學目標，不是過四、六級英語考試，而是“可以用英文進行畢業論文寫作和答辯”。這個目標里面自然包含了“聽、說”能力，并且體現了學生綜合應用英語的能力。專業英語和專業課雙語教學是實現這個教學目的的有效手段。實踐中可對低年級同學較早提出這個目標來引起他們在思想上的重視，從而通過綜合效應實現大學英語教學水平的提高。當然，目前還只是少數同學具備這樣培養的條件。
鳴謝：本文在成文過程中得到了我校長宣教授的指點和幫助，深表謝意。
參考文獻：
[1]林莉蘭.大學英語口語教學芻議[J].中國高等教育，2006，（5）.
[2]田強，李潔紅，李小紅.略論英語教育與幾種基本教育概念的關系[J].科教論壇，2006，（1）.
[3]田強.關于我國英語教育的“應試教育”模式的反思[J].科教論壇，2006，（1）.
[4]王曉軍.貫徹“大學英語課程教學要求”提高英語教學質量[J].中國地質教育，2005，（1）.
篇10
一、工科畢業設計的重要性與內容
工科畢業設計屬于集中性實踐教學環節之一，實施時間為大四學年第二學期，占整個大學時間的八分之一，其重要性不言而喻。從教師的角度來說，畢業設計是對學生在整個大學期間所學知識的測試與考評；從學生的角度來說，是將自己所掌握的專業知識進行融合的過程，再通過畢業答辯的形式向老師進行匯報，可以認為是大學期間的最重要最全面的一次考試，同時更是一次知識的融合與提高的過程。
工科畢業設計的主題一般以指導教師的研究方向和科研項目為基礎，為學生提供多個可以自由選擇的課題。課題性質一般可分為實踐類和科研類兩大類，其中，前者所占比例遠大于后者。
二、工科畢業設計中存在的問題
自2001年教育部印發《關于加強高等學校本科教學工作提高教學質量的若干意見》，國家明確要求提高本科畢業設計質量開始，全國各大高校均已在多個環節上加大了控制力度。然而，仍然有些問題以及新出現的問題值得關注，我們可以從畢業論文與畢業答辯兩個方面分別進行總結。
1.內容過于陳舊或選題偏離專業。前者是多年來畢業設計內容完全沒有變化，找不到任何創新點；后者是為了響應各高校均提高畢業設計選題的新穎性、內容的創新性的要求，指導老師和學生在選題時過多地考慮“創新”，而出現了部分學生畢業設計偏離本專業這樣過猶不及的現象。
2.論文部分存在抄襲現象。在信息化高度發展的今天，信息資源的獲取變得較為容易，學生的論文中有的章節（或圖紙）率達到百分之八十。再如英文翻譯部分，部分同學只是簡單借助網絡或翻譯軟件進行作業，經常出現一些啼笑皆非的情況。
3.資料收集與文獻綜述寫作能力欠缺。無論是繼續深造還是企業就職，資料收集與整理都是相當重要的技能。學生對文獻綜述理解的是否透徹、掌握的是否全面，直接影響和決定了其后實驗和設計的進展快慢和質量高低。實際上，多數學生使用百度等搜索頁面而非專業的科技論文數據庫，或者是所搜集的資料多與論文主體內容相去甚遠。在文獻綜述的寫作上，也存在著層次不明、歸納不清、語言口語化等問題。
4.論文主體內容（設計計算部分）質量不高。具體表現為：（1）主體部分工作量不夠：頁數占論文總頁數比例較小，有的只能占到四分之一不到。（2）邏輯混亂：有些計算完了就放置下來，后面沒有任何使用的說明。（3）圖紙設計混亂：以建筑環境與能源工程專業為例，圖紙中管道排列混亂，樓層之間縱向管道對應不上，管徑選擇上存在明顯錯誤，沒有看懂建筑圖紙就將設備胡亂放置等問題頻出。
5.英文翻譯敷衍、水平不高。作為畢業設計的重要環節之一，以考察畢業生專業英語水平與英文文獻翻譯能力為目標，英文文獻的閱讀與翻譯相當重要，但在畢業答辯中無法體現，也并沒有真正納入到畢業設計（論文）評分當中。也正因如此，指導教師和學生在有限的時間和精力里總是選擇犧牲掉這一部分，很多學生的翻譯存在詞不達意、語句不通。而這其中，不乏英語很好的學生。
三、原因分析
（一）學生重視程度不足
這是本科畢業設計質量難以提高的根本原因。由于我國高校畢業生普遍存在“嚴進寬出”的現象，導致部分學生存在著“反正都能畢業”的僥幸心理；再者，在由于畢業設計成績評定中存在著“考研成功者優先”這種慣例，而優秀比例又小于考上研究生的比例，因此很多沒有考研或者因目標較高復試失手的優秀學生認為“反正拿不到優秀，湊合一下就行”。在這兩種心理的影響下，畢業生中常出現以下情況：（1）常以各種借口缺席指導教師組織的討論、檢查和指導；（2）在設計和實驗過程中，缺乏主觀能動性而只是敷衍完成工作。
（二）指導教師與教學資源相對不足
我國專任教師人數增長率低于畢業生的增長率，其結果表現為：2000年每個教師平均指導畢業生2.05人畢業生，而2014年則增長為3.11人。況且事實上遠非如此，排除每年都有的因進修、國外訪學等無法指導畢業生的部分教師，每個教師實際指導的畢業生數是大于平均數的，有的專業個別指導教師最多甚至能帶十多個畢業生。指導畢業設計需要付出很大的心力，而每個指導教師本身都有著并不輕松的日常教學和科研任務，在這種情況下指導多名畢業生就很難保證質量了。再者，工科的畢業設計需要一定量的實驗甚至是實習進行支撐，實驗設備、耗材以及實驗經費的增加也跟不上畢業生的增加，這也極大地影響了畢業設計質量。
（三）時間不夠
按照本科生培養計劃的安排，畢業設計的持續時間約為16周。這期間，學生需要完成資料查找、數據整理、工程計算、十多張圖紙繪制（有些工科專業是大量的實驗）、英文翻譯、論文撰寫等工作。同時，第八學期往往是學生外出找工作的高峰期，或者是學生考研復試的集中期，去除找工作或復試的時間，畢業設計的實際時間就變得非常有限了。在這種情況下，學生紛紛表示疲于應付，要想提交一份較高質量的畢業論文，無疑太過勉強。
（四）環境影響
受高校擴招的影響，我國每年本科畢業生已經達到三百多萬，給就業市場帶來了極大的壓力，“就業難”成為每個本科畢業生的心頭巨石。在這種情況下，找工作成為畢業生的頭等大事，在工作定下來之前，學生們往往難以靜下心來進行畢業設計；還有不少學生選擇從事的職業并非所學專業，這部分同學對待畢業設計的態度就可想而知了。再者，考研在一定程度上緩解了就業壓力，但是由于復試安排在第八學期，學生們同樣會把復試放在一切之首，在學生之間流傳著“只要復試成功，畢業設計的分數就不會太低”這樣一種說法。在這種大環境下，再加上由于就業、研究生復試等原因引起的情緒波動，畢業設計的質量難以提高似乎就成為順理成章的事情了。
四、提高工科畢業設計質量的措施和建議
（一）加強日常教學管理，切實提高教學水平
相較于“教”，畢業設計更貼近“考”的過程。畢業設計是對大學期間所學專業課程的綜合性測試，考的是學生對專業知識的掌握、知識融合的程度以及思維總結等多方面能力。也就是說，決定論文質量的諸多因素均是在大學期間學習或培養的，要想真正提高畢業論文質量只有從學生進入大學校園的那一刻開始抓起、從日常教學開始抓起。
（二）嚴格指導教師制度，增大實驗實習投入
1.設置每個指導教師所負責的畢業生人數上限，最大限度地保證指導質量。
2.采取博士生和優秀高年級研究生分擔指導任務方法，并明文確定指導資格。這既可以在一定程度上緩解指導教師緊缺的現象，又可以鍛煉博士生與研究生，同時還能給他們的就業增加砝碼。唯一需要慎重的就是必須有明確的標準，不符合標準的人選堅決不能用。
3.學校盡可能地擠出經費用于增大畢業實驗和實習的投入，同時向有關部門申請增加教育經費。
（三）嚴格畢業設計（論文）評分標準，做到畢業設計成績實事求是
1.對于畢業設計，也應增設考勤環節，并計入平時分。
2.對于英文翻譯，從思想上要給予足夠地重視。建議可以減少對英文文獻的字數要求，從提高翻譯質量的角度多做要求，將英文文獻翻譯工作也納入評分范圍。
3.對于考勤出席率過低、論文質量過差的學生，堅決不能畢業；對于有抄襲現象的學生，視抄襲量多少處以不同級別的處罰。
4.對于畢業設計（論文）質量較高的學生，給予一定的物質和精神獎勵。
5.以畢業設計本身論成績，不再考慮是否考研成功需額外照顧等因素，以實際行動打消學生的“小算盤”，真正做到畢業設計成績實事求是。
（四）調整本科期間培養方案，盡可能給畢業設計留出足夠時間
部分高校在本科教學中，以卓越工程師培養計劃為藍本，逐步采取“3+1”培養模式，即前三年主要進行專業課程學習，最后一年集中進行畢業設計與畢業實習（有的學校沒有畢業實習）。這給我們解決畢業設計時間問題提供了思路：對于專業課比較多的工科專業，可以調整培養方案中專業課時間，將一至六學期的課程安排地更為緊湊一些，第七學期少安排課程甚至不再安排課程，以給畢業設計爭取更多的時間。當然，必須正確引導學生，讓學生能夠合理地安排畢業設計和考研、復試以及找工作之間的關系。
（五）可以嘗試將部分入職培訓與畢業實踐相結合
篇11
對策與建議
篇12
一、畢業論文的目的
畢業論文是教學計劃的最后一個重要環節，是落實教育培養目標的重要組成部分，其主要目的是培養學生綜合運用所學的知識和語言技能，理論聯系實際，獨立分析和解決有關專業問題的實際能力，使學生得到從事本專業外語學術論文寫作的基本訓練。畢業論文的基本教學要求是：
1、通過畢業論文提高學生綜合運用、擴展語言知識和專業知識的能力，培養學生獨立分析問題、解決問題的能力。
2、通過撰寫畢業論文，幫助學生接受科學研究、分析方法的初步訓練。
3、培養學生正確的寫作思想，理論聯系實際的工作作風，嚴肅認真的科學態度。
4、使學生在外文資料查閱、閱讀和翻譯，語言表達、寫作能力，計算機文字處理等基本技能方面得到進一步的訓練和提高。
二、畢業論文題目的確定
(一) 方式：
1、由教研室安排教師做“怎樣寫畢業論文的報告”，詳細介紹撰寫論文的每一個環節和具體要求。
2、學生在指導教師指定的范圍內選擇和初步確定論文的方向。
3、由論文指導教師根據教學要求提供論文選題，在教研室匯總后向學生公布，供學生選題參考。
4、學生可根據自己所學專業，按學院所提供各專業論文參考選題確定題目，也可自選題目，必須報指導教師，征得同意后方可開題。原則上學生不得跨專業選題。
(二) 范圍
英美語言文學、文化、語言學(語法、詞法、修辭、語義、文體等)、翻譯、國際商貿、國際商務、旅游、外語教學法等。
三、畢業論文寫作要求
1、論文長度不少于3,000英文單詞。
2、論文結構包括：
1) 標題 (title)
2) 作者署名 (name of the author and tutor)
3) 摘要 (abstract)(150—200詞，中英文均要)
4) 關鍵詞 (key words)(中英文均要)
5) 正文 (body)
6) 參考文獻 (bibliography)
3、摘要(Abstract)通常為一個段落，長度不超過300個單詞。
Abstract通常要回答如下問題：
(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、關鍵詞(Keywords)3至5個。除專有名詞外，其他詞不用大寫，詞與詞之
間以分號隔開。
關鍵詞應能反映論文的主要內容，因此常出現在標題與摘要中，多為名詞，如用investigation 而不用investigate。
5、引言(Introduction)
6、在引言(Introduction)與結語(Conclusion)之間的正文部分應分若干章節。章節編號方法應采用分級阿拉伯數字編號方法，第一級為“1”、“2”、“3”等，第二級為“2.1”、“2.2”、“2.3”等,第三級為“2.2.1”、“2.2.2”、“2.2.3”等，但分級阿拉伯數字的編號一般不超過四級，兩級之間用下角圓點隔開，每一級的末尾不加標點。
各層標題均單獨占行書寫。第一級標題居中書寫;第二級標題序數頂格書寫，后空一格接寫標題，末尾不加標點;第三級和第四級標題均空兩格書寫序數，后空一格書寫標題。第四級以下單獨占行的標題順序采用A.B.C……和a.b.c.兩層，標題均空兩格書寫序數，后空一格寫標題。正文中對總項包括的分項采用⑴、⑵、⑶…單獨序號，對分項中的小項采用①、②、③…的序號或數字加半括號，括號后不再加其他標點。
7、如有注釋，應為尾注。注釋應編號，并置于參考文獻之前。
8、參考文獻數目不得少于5篇。排列采用以下格式：
1)參考期刊排列順序為：作者，題目，期刊名稱，出版年，卷(期)，頁碼
2)參考專著排列順序為：作者，書名，出版地，出版社，出版年，頁碼
9、論文為Word形式打印稿，紙型為A4，單倍行距，英文用Times New Roman
字體，中文用宋體。
10、字號要求：大標題為3號字加黑，小標題為4號字加黑，正文、注釋與
參考文獻為5號字。
11、論文寫作過程中，應自覺主動與指導教師聯系，虛心接受教師指導。
12、按要求打印裝訂并上交。裝訂順序為：
1)畢業論文封面
2)扉頁(畢業設計/論文任務書)
3)畢業論文指導書
4)目錄
5)中文摘要(含關鍵詞)
6)英文摘要(含關鍵詞)
7)正文
8)致謝
9)參考文獻
13、進度安排：
1、確定選題 第 1 周 ( 09年 2月 22日前)
2、論文提綱 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、上交論文 第7周 ( 09年 4月 5日前)
14、注意：
1、目錄用Word文檔自動生成,用1.5倍行距,4號宋體。
2、中文摘要、英文摘要各占一頁，按一級標題標示。
四、上交要求
學生按任務書上規定的時間，以班級為單位交輔導員處，輔導員匯總后上交學院。
中州大學外國語學院
參考樣文如下
目 錄
中文摘要 1
ABSTRACT 2
1 引言 2
2 企業文化的內涵 3
2.1 文化和企業的定義 3
2.1.1 企業組織的法律形態 3
2.1.2 企業組織的管理形態 4
2.2 企業文化 4
2.3 認識企業文化 5
2.4 企業文化的功能 6
3 企業文化對組織創新的影響 7
3.1 組織創新的內容 7
3.2 企業文化對組織創新的影響 7
3.2.1 影響組織結構創新 7
3.2.2 影響組織流程創新 8
3.2.3 組織制度創新 8
4 結語 9
參考文獻 9
致謝 10
摘要
隨著經濟全球化和知識經濟時代的到來，國內企業改革的深入發展, 眾多企業對傳統的組織結構進行了大膽的創新。同時，人們逐漸認識到企業文化是一個成功企業不可或缺的一部分，是影響企業經營業績的根本，企業文化決定了企業的競爭地位。本文主要討論了企業文化對企業組織創新的影響。文中首先給出了企業和文化的定義及其內涵，其次提出了企業文化的內容和主要功能，最后揭示了組織創新的內容，論述了企業文化在組織結構、組織流程、組織制度等三方面對企業組織創新的影響。企業文化與創新相互影響，相互促進，共同對企業的發展產生影響。
關鍵詞：文化;企業文化;組織創新
Abstract(用Time New Roman 字體)
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
不管您意識到與否，文化每時每刻都在對政治、經濟、社會、生活產生著潛在的影響，發揮著不可忽視的作用。本文通過對企業文化的基本內涵、企業文化的重要性以及企業文化的影響，試圖讓人們認知、認識企業文化。讓人們明確，只有繼承和發揚中華民族的優秀傳統文化，吸收和借鑒人類先進文化，才能建立起優秀的中國企業文化，重視企業文化的影響，據此才能建立起比較完善的社會主義市場經濟體制，實現興企、富民、強國的目標。
2 企業文化的內涵
2.1 文化和企業的定義
文化，從廣義上說，是人類在社會實踐過程中獲得的物質、精神的生產力和創造的物質、精神的總和。從狹義上講，是指人類精神生產力和精神產品，包括一切社會意識形式：如自然科學、技術科學和社會意識形態等。作為一種歷史現象，文化的發展有歷史繼承性;作為社會意識形態，文化是一定社會政治和經濟的反映，同時又對一定社會的政治和經濟產生巨大的影響。
作為經濟組織實體的企業，為了實現其以行政組織手段替代市場交易來協調生產的功能，就需要有一定的組織形態。
一般地說，企業組織形態包括兩個相互關聯的方面，其一是企業組織的法律形態，其二是企業組織的管理形態。
2.1.1 企業組織的法律形態
在企業的長期發展過程中企業組織逐步形成三種主要的法律形態，這就是業主制企業，合伙制企業和公司制企業，這種界定的依據是法律認可的企業產權制度，感情。。。。。。
(以下略)
4 結語
二十一世紀，一個最響亮的詞語就是創新。創新已成為社會發展、經濟增長的最關鍵動力，而企業文化又與創新有著緊密的聯系，所以，企業若要獲得長足的發展就必須將企業文化與創新思想相融合，發展現今社會所需要的企業文化，并促進企業文化的建設，同時不斷地進行組織創新、技術創新，使企業文化與創新協調發展，相互促進。
致謝
本論文得以完成，首先應該感謝。。。老師。正是她在本論文的寫作過程中的悉心指導、熱情鼓勵，在繁忙的工作中抽出時間來為我修改論文，我才能順利完成我的雙學位論文。
作為中州大學的一名畢業生，我更要感謝管理工程系給了我能夠學習不同學科知識的機會。在兩年的工商管理專業學習過程中，任課老師們的學識淵博、治學嚴謹、人品高尚無時不在影響著我。學習的時間是短暫的，但老師們的影響卻是我終生收益不盡的。在此對我的老師們深表感謝!
在論文寫作過程中，我的一些同學、朋友也給了我巨大的幫助與鼓勵。在此一并感謝!
在我的成長、學習過程中，能夠在大學階段同時學習到工科、管理兩個學科的知識，是我一生的榮幸與財富。我相信，在未來的日子里我會更加努力學習，充分利用所學知識，回報社會、師長。
參考文獻
[1] 羅仲偉.托起輝煌.廣州：廣東旅游出版社，1997年
[2] 埃德加•沙因.企業文化與領導.北京：中國友誼出版公司，1989年
[3] 威廉•道芬內斯，科林•L•普賴斯.21世紀CEO的經營歷理念.北京：華夏出版社，1998年
[4] 杰克琳•謝瑞頓,詹姆斯•L•斯特恩.企業文化:排除企業成功的潛在障礙.上海：上海人民出版社，1998年
[5] 艾倫•迪爾,阿倫肯•尼迪.企業文化.北京：三聯書店，1989年
[6] 埃爾文格•羅赫拉.企業組織.北京：經濟管理出版社1991年
[7] 竇立夫.論組織效率變革策略 (科學學研究)，1995(2)
[8] 連燕華.企業組織創新的案例研究.科學學研究)，1992(2)
[9] 梁鎮,趙國杰.企業管理創新.北京：中國經濟出版社，1996年
[10] 林毅夫等.現代企業制度的內涵與國有企業改革方向.經濟研究,1997(3)
[11] P F•德魯克.創新與組織.中外科技政策與管理,1995(12)
[12] 許慶瑞.技術創新管理. 杭州：浙江大學出版社,1990年
[13] 顏光桐,劉正周等.企業再造.上海：上海財經大學出版社,1998
[14] 周振華. 企業改制.上海：上海人民出版社,1996年
篇13
本科畢業論文是本科教學計劃中的最后一個重要環節，是落實本科教育培養目標的重要組成部分。與本科院校相比，獨立學院學生的學習基礎和自主學習能力相對比較薄弱，英文學術論文寫作存在一定的難度，因此在論文寫作過程中很多學生過多依賴翻譯軟件，往往造成辭不達義。分析機器翻譯的消極影響是非常有必要的，只有找到問題的癥結所在，才能準確有效地解決問題。
首先，機器翻譯消弱了學生學習的積極性。隨著國際互聯網絡的聯接，一些英文軟件可以很方便的實現翻譯，學生是網絡使用的主要群體，比較容易接受新事物帶來的便利，由于學生在畢業論文寫作階段忙于找工作或備戰研究生考試，學生對畢業寫作興趣不高，為此依賴機器翻譯就成了一普遍現象。
其次，機器翻譯降低了論文的寫作質量。單詞翻譯是目前翻譯軟件最大的功能，而文章翻譯是最常用的功能之一。雖然每一個單詞都翻譯的沒有問題，但如果作為句子的一部分來看就非常不準確，更不要提把這個單詞放在文章整個環境了。句子和整篇文章的翻譯對于翻譯軟件來說是軟肋，目前翻譯軟件百花齊放，軟件翻譯的結果和人工翻譯的結果差距甚大。
那么，如何應對機器翻譯對論文寫作的消極影響,可借鑒以下幾個方面：
第一、提高畢業論文寫作認知。
在新生入學教育中，可介紹畢業論文在整個教學環節的地位，也可在低年級的基礎課程與高年級的專業理論課程教學過程中灌輸論文寫作的重要性。充分利用文學、語言學、文化和翻譯等課堂教學，幫助學生最大限度地獲取各個語言板塊的信息，讓學生更全面地了解英語語言。課程設置中要求學生完成書面提綱、報告或學期論文，在寫作中強化學生對英語語法規則的正確使用及詞匯的多樣化運用，提高學生謀篇布局的能力，訓練其英語語篇思維模式。
第二、開展學術論文寫作講座。
除了理論教學，開展以講座的形式介紹論文的研究方法，調動學生學習積極性，鼓勵要求學生能夠運用在校學習的基本知識和理論，結合自身的專業方向及研究興趣，去分析、解決實際問題，產出形式多樣化、質量較高的學術論文。
