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篇1
XX 英語 X 班 學(xué)
篇2
英文摘要在科技論文中具有重要作用，根據(jù)EiCompendex數(shù)據(jù)庫對(duì)英文摘要的要求，從時(shí)態(tài)、語態(tài)等方面提出了英文摘要的寫作規(guī)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(xué)術(shù)參考網(wǎng)小編為您搜集整理的畢業(yè)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(xué)領(lǐng)域里的熱門話題（Hyon 1996）。我國不少專家、學(xué)者都試圖把這種理論應(yīng)用在具有特定交際目的的篇章上，如分析農(nóng)業(yè)英語論文摘要（易興霞，2006），分析應(yīng)用語言學(xué)領(lǐng)域?qū)W術(shù)文章的宏觀和微觀結(jié)構(gòu)（楊瑞英，2006）畢業(yè)論文模板，分析商務(wù)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(chǎn)品或接受其服務(wù)的英文促銷信的表現(xiàn)形式，圖式結(jié)構(gòu)和特殊信息，并通過分析語義的文化預(yù)設(shè)和搭配意義，加深對(duì)促銷信的語言表面特征的認(rèn)識(shí)。
2.0理論依據(jù)
2.1體裁
語言學(xué)中的體裁（genre）不同于文學(xué)中的體裁。Swales (1990: 45-58) 認(rèn)為體裁是在特定社會(huì)文化背景下對(duì)人類交際事件進(jìn)行分類的結(jié)果。所謂交際事件就是人們按照特定目的和特定程式運(yùn)用語言在社會(huì)中辦事的實(shí)例。新加坡的Bhatia (1993:13-16)在 Swales的體裁理論基礎(chǔ)上做了進(jìn)一步的完善, 認(rèn)為:1)體裁是一種可辨認(rèn)的交際事件;2)體裁不是一般的交際事件 ,而是一種內(nèi)部結(jié)構(gòu)特征鮮明,高度約定俗成的交際事件;3)在建構(gòu)語篇時(shí) ,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(nèi)行人仍可在體裁規(guī)定內(nèi)傳達(dá)個(gè)人意圖和交際目的。因此交際目的往往決定應(yīng)該使用哪種體裁，而體裁的常規(guī)性又維我們提供了可以遵循的體裁結(jié)構(gòu)潛勢(shì)。
2.2體裁分析
體裁分析是20 世紀(jì)90 年代由Swales (1990)和Bhatia (1993)發(fā)展起來的一種分析方法。他們認(rèn)為任何體裁都是由一系列的語輪構(gòu)成，語步(move)和步驟( step)是語篇分析的出發(fā)點(diǎn)論文開題報(bào)告范文。Swales的層次動(dòng)向法（move approach）常用在具體的體裁分析中，即根據(jù)不同的交際目的，對(duì)某一語篇按照意義與功能劃出層次，然后再根據(jù)層次來考察分析語言的表達(dá)形式。Swales 沒有對(duì)語步和步驟提出明確的定義,但Nwogu (1997)認(rèn)為語步是一個(gè)由一系列詞匯,主題意義和修辭特征所標(biāo)明的具有統(tǒng)一意義傾向的語篇片斷，步驟是實(shí)現(xiàn)語步的可供選擇的修辭策略，一個(gè)語步可以由一個(gè)或多個(gè)步驟來實(shí)現(xiàn)。例如畢業(yè)論文模板，Bhatia (1993:62)根據(jù)體裁“ 語步 (moves) 和步驟( steps)”分析理論，將推銷體裁概括成七個(gè) “語步” (move) :1. Establishing credentials (確立資格證明) ; 2. Introducing the offer (介紹推銷內(nèi)容)：⑴offering the product orservice (介紹產(chǎn)品或服務(wù)) ,⑵ Essential detailing of the offer (介紹推銷內(nèi)容的重要細(xì)節(jié)) , ⑶Indicating value of the offer (指明推銷內(nèi)容的價(jià)值) ; 3. Offering incentives (激勵(lì)購買) ; 4.Enclosing documents (附寄文件) ; 5. Soliciting response(請(qǐng)求回復(fù)) ; 6. Using pressure tactics (采用壓力策略) ; 7. Ending politely (禮貌收尾)。在以上七個(gè)“語步” 中 ,第二語步 Introducing the offer 又是由三個(gè)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(duì)某個(gè)特定語篇進(jìn)行分析，是對(duì)語篇宏觀結(jié)構(gòu)和微觀結(jié)構(gòu)分析的有機(jī)結(jié)合，既注重語篇結(jié)構(gòu)的宏觀結(jié)構(gòu)和認(rèn)知結(jié)構(gòu)，也注重特定的體裁結(jié)構(gòu)在詞匯和語法層面的特定表現(xiàn)。
3.0體裁分析在英文促銷信中的應(yīng)用
3.1促銷信的體裁界定
促銷信是商務(wù)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(wù)的存在及其性能、特征等信息，幫助顧客認(rèn)識(shí)商品或服務(wù)所帶來的利益，從而達(dá)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(zhì)是銷售者和消費(fèi)者之間的信息溝通，主要交際目的就是通過向消費(fèi)者的宣傳、誘導(dǎo)和提示，促進(jìn)消費(fèi)者產(chǎn)生購買動(dòng)機(jī)，影響消費(fèi)者的購買行為，實(shí)現(xiàn)產(chǎn)品由生產(chǎn)領(lǐng)域向消費(fèi)領(lǐng)域的轉(zhuǎn)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(jiǎn)潔明晰是必不可少的。
3.2 促銷信的內(nèi)在宏觀結(jié)構(gòu)
一封成功的促銷信在內(nèi)在結(jié)構(gòu)上 ,基本遵循Bhatia 的七個(gè) “語步”的模式 ,通過吸引客戶的注意、向客戶詳細(xì)介紹所推銷的產(chǎn)品或服務(wù)并索求回復(fù)等語篇片斷來實(shí)現(xiàn)說服潛在客戶購買所推銷產(chǎn)品或服務(wù)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(yè)論文模板，來具體討論促銷信的層次動(dòng)向。。
Dear customer,
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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(gè)語步: Establishing credentials (確立資格證明),通過提及在情人節(jié)要提供的一項(xiàng)服務(wù)來吸引顧客的注意力；第一段的第二句到第三段是第二個(gè)語步：Introducing the offer (介紹推銷內(nèi)容)。第二個(gè)語步由三個(gè)步驟組成：⑴offering the product or service (介紹產(chǎn)品或服務(wù)) ,⑵ Essentialdetailing of the offer (介紹推銷內(nèi)容的重要細(xì)節(jié)) , ⑶Indicating value of the offer (指明推銷內(nèi)容的價(jià)值) 。第一段的第二句是第一個(gè)步驟，主要介紹了即將推出的服務(wù)——每買兩公斤蛋糕就能抽簽，就有機(jī)會(huì)贏得在三星級(jí)賓館的兩人晚宴；第一段的第三句和第二段是第二個(gè)步驟，詳細(xì)介紹推銷服務(wù)的細(xì)節(jié)——情人節(jié)前夕在三星級(jí)賓館和摯愛共進(jìn)晚餐、共舞；第三段是第三個(gè)步驟，主要指出推銷服務(wù)的精神價(jià)值——使情人節(jié)過得特別，并能遇到明星。第二個(gè)語步是促銷信最為重要的部分，決定能否幫助顧客認(rèn)識(shí)商品或服務(wù)所帶來的利益，從而達(dá)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(gè)語步：Offering incentives (激勵(lì)購買)和Soliciting response(請(qǐng)求回復(fù))。第四段第一句是請(qǐng)求顧客做出回復(fù)——到銷售點(diǎn)尋求更多信息；第二句是鼓勵(lì)有購買傾向的顧客下定決心。第五段是第五個(gè)語步：Using pressure tactics (采用壓力策略)，Sincerely和簽名是第六個(gè)語步：Ending politely (禮貌收尾)，作為傳統(tǒng)信件獨(dú)特的結(jié)尾方式，這一語步在促銷信中也很常見。
與Bhatia的七個(gè)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(lì)購 買)和Soliciting response(請(qǐng)求回復(fù))的順序也有所不同。王宏俐, 郭繼榮(2006)認(rèn)為，在語篇構(gòu)建中常使用的語步是核心語步畢業(yè)論文模板，不太出現(xiàn)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(jù)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?nèi)钥稍隗w裁規(guī)定內(nèi)傳達(dá)個(gè)人意圖和交際目的論文開題報(bào)告范文。
3.3 促銷信的文化預(yù)設(shè)和搭配意義
這實(shí)際是一封是以西方文化為背景的抽獎(jiǎng)促銷信。促銷信的最主要部分——第二語步也是以這個(gè)文化預(yù)設(shè)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(jiǎng)有可能贏得情人節(jié)的晚餐卻是描述的重點(diǎn)，這主要是商家抓住了顧客消費(fèi)過程中的僥幸獲大利心理——以抽獎(jiǎng)贏得與摯愛在情人節(jié)共進(jìn)免費(fèi)晚餐的機(jī)會(huì)，設(shè)置中獎(jiǎng)機(jī)會(huì)，利用抽獎(jiǎng)的形式畢業(yè)論文模板，來吸引消費(fèi)者購買商品蛋糕。令人心動(dòng)的抽獎(jiǎng)活動(dòng)成功地把顧客的注意力指向拉到了本應(yīng)大力宣傳的產(chǎn)品——蛋糕上面。如果收信人不了解這個(gè)文化預(yù)設(shè)，就不容易達(dá)到促銷信的交際目的。
Leech（1981:17）認(rèn)為：搭配意義是指一個(gè)詞與另一個(gè)詞連用搭配時(shí)使得該詞的意義隨語境而發(fā)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(píng)價(jià)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(jiǎn)潔明晰。銷售者為了推銷商品或者服務(wù)，常常直接使用反問疑問句和祈使句，增強(qiáng)引導(dǎo)功能，說服或敦促收信人采取購買行動(dòng)。
3.4 總結(jié)
體裁分析超越了對(duì)語篇語言特征的簡(jiǎn)單描述,力求解釋語篇的理據(jù), 探討語篇結(jié)構(gòu)背后的社會(huì)文化因素和心理認(rèn)知因素, 揭示實(shí)現(xiàn)交際背景的特殊方式和語篇結(jié)構(gòu)的規(guī)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(gè)有規(guī)律的有結(jié)構(gòu)的層次動(dòng)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(jié)構(gòu)清晰、用詞準(zhǔn)確的促銷信。
參考文獻(xiàn)：
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(nóng)業(yè)英語論文摘要[J]. 西安外國語學(xué)院學(xué)報(bào)，2006(9):28-31.
3.楊瑞英.體裁分析的應(yīng)用：應(yīng)用語言學(xué)學(xué)術(shù)文章結(jié)構(gòu)分析[J]. 外語與外語教學(xué)，2006(10):29-34.
4.王宏俐,郭繼榮.體裁分析與商務(wù)促銷類語篇[J]. 外語教學(xué)，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(xué)學(xué)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(fēng)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.
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篇6
一、高校商務(wù)英語專業(yè)（方向）畢業(yè)論文的現(xiàn)狀
高校商務(wù)英語專業(yè)畢業(yè)論文選題學(xué)術(shù)氣氛濃厚、重復(fù)率高。多集中于“商務(wù)談判的技巧”、“商標(biāo)的翻譯策略”、“商務(wù)廣告的語言特色”等，與商務(wù)實(shí)踐密切相關(guān)的文章寥寥無幾。學(xué)生在選題上還是側(cè)重于文學(xué)和文化，沒有充分體現(xiàn)出商務(wù)英語的專業(yè)方向性。多數(shù)的商務(wù)英語專業(yè)學(xué)生寫作內(nèi)容脫離實(shí)際，沒有注重畢業(yè)論文的自身價(jià)值與實(shí)際意義。缺乏實(shí)證分析，不會(huì)運(yùn)用所學(xué)的知識(shí)對(duì)實(shí)際問題進(jìn)行研究，有的同學(xué)撰寫的內(nèi)容與將來所從事的商務(wù)活動(dòng)毫無關(guān)系。大多數(shù)學(xué)生都是根據(jù)指導(dǎo)教師布置的論文題目獨(dú)自搜索文獻(xiàn)、分析整理資料、缺乏了團(tuán)隊(duì)協(xié)作、限制了思想火花的碰撞。如果畢業(yè)設(shè)計(jì)能夠以團(tuán)隊(duì)的形式來完成撰寫必將對(duì)學(xué)生的實(shí)踐能力、團(tuán)隊(duì)協(xié)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(wù)英語專業(yè)畢業(yè)論文改革探索與實(shí)踐
1.畢業(yè)論文改革的形式和內(nèi)容。
掌握商務(wù)文書的基本知識(shí)、寫作方法、寫作技能，能運(yùn)用嫻熟、得心應(yīng)手地撰寫各類商務(wù)文書是衡量現(xiàn)代商務(wù)工作者的素質(zhì)、能力的重要標(biāo)準(zhǔn)。根據(jù)我校英語專業(yè)國際商務(wù)方向?qū)W生實(shí)際情況和商務(wù)文書撰寫的難易程度，英語（國際商務(wù)）學(xué)生選擇商務(wù)報(bào)告中的調(diào)查報(bào)告（SurveyReport）開展畢業(yè)論文改革。調(diào)查報(bào)告具體要求：調(diào)查報(bào)告由2人共同完成，學(xué)生需進(jìn)行社會(huì)調(diào)查、訪談或其他調(diào)研方式。要求調(diào)查報(bào)告的字?jǐn)?shù)不少于5000字英文，其中含1000字中文概要，調(diào)查問卷樣卷和訪談提綱樣卷為中英文對(duì)照版。
2.行業(yè)人士進(jìn)行調(diào)查報(bào)告撰寫的指導(dǎo)和培訓(xùn)。
為了幫助學(xué)生更好地掌握商務(wù)文書的撰寫規(guī)范，行文要求，專業(yè)安排了行業(yè)人士對(duì)調(diào)研報(bào)告的撰寫進(jìn)行了指導(dǎo)和培訓(xùn)。調(diào)查報(bào)告撰寫的培訓(xùn)方案：調(diào)查報(bào)告撰寫指導(dǎo)分為三部分：第一部分對(duì)調(diào)查報(bào)告的定義、結(jié)構(gòu)、撰寫過程進(jìn)行宏觀指導(dǎo)；第二部分主要講解調(diào)查報(bào)告的研究方法、資料的收集與研究、問卷和訪談內(nèi)容的設(shè)計(jì)；第三部分調(diào)查報(bào)告的選題和開題指導(dǎo)。
3.調(diào)查報(bào)告雙導(dǎo)師指導(dǎo)的管理與監(jiān)控。
畢業(yè)論文“雙導(dǎo)師制”指導(dǎo)模式是依據(jù)北京城市學(xué)院辦學(xué)目標(biāo)和特色，結(jié)合商務(wù)英語專業(yè)學(xué)生特點(diǎn)，通過校內(nèi)英語指導(dǎo)教師與來自其他學(xué)院跨學(xué)科或者行業(yè)的合作導(dǎo)師“雙導(dǎo)師”聯(lián)合指導(dǎo)，重點(diǎn)實(shí)施理論學(xué)習(xí)環(huán)節(jié)、調(diào)研環(huán)節(jié)、理論與實(shí)踐整合環(huán)節(jié)等雙導(dǎo)師式培養(yǎng)的畢業(yè)論文指導(dǎo)模式。選題環(huán)節(jié)。畢業(yè)論文的選題是做好畢業(yè)論文工作的首要環(huán)節(jié)，指導(dǎo)教師嚴(yán)格把好選題關(guān)是保證畢業(yè)論文質(zhì)量的前提條件。校外合作導(dǎo)師提出若干個(gè)用人單位在實(shí)際工作操作中遇到的真實(shí)問題。畢業(yè)論文選題來自于實(shí)際工作過程中的問題，既體現(xiàn)了實(shí)際應(yīng)用價(jià)值，又能很好地鍛煉學(xué)生的實(shí)踐能力。理論學(xué)習(xí)環(huán)節(jié)。為了讓學(xué)生有更充裕的時(shí)間進(jìn)入第七學(xué)期的學(xué)習(xí)和第八學(xué)期工作崗位的實(shí)習(xí)，我們將理論環(huán)節(jié)的學(xué)習(xí)提前到夏季小學(xué)期。由校內(nèi)指導(dǎo)教師和行業(yè)合作導(dǎo)師進(jìn)行聯(lián)合講解。學(xué)生在雙導(dǎo)師的指導(dǎo)下，完成選題、開題報(bào)告準(zhǔn)備等環(huán)節(jié)。調(diào)研實(shí)踐環(huán)節(jié)。在夏季小學(xué)期結(jié)束后的暑期，學(xué)生要開展為期約4周的調(diào)研活動(dòng)。在調(diào)研實(shí)習(xí)期間，由實(shí)習(xí)單位的校外指導(dǎo)教師，監(jiān)督和指導(dǎo)學(xué)生的調(diào)研實(shí)習(xí)實(shí)踐活動(dòng)，補(bǔ)充學(xué)生理論學(xué)習(xí)的缺陷，提高學(xué)生商務(wù)實(shí)操能力。在這一環(huán)節(jié)，校內(nèi)英語指導(dǎo)教師也需要及時(shí)與校外指導(dǎo)老師溝通，協(xié)助學(xué)生完成調(diào)研實(shí)踐環(huán)節(jié)。理論與實(shí)踐整合環(huán)節(jié)。學(xué)生在調(diào)研實(shí)踐活動(dòng)后，即完成問卷發(fā)放和訪談活動(dòng)，回到學(xué)校進(jìn)行調(diào)研報(bào)告的撰寫。學(xué)生需要在這個(gè)環(huán)節(jié)聽取校內(nèi)英語指導(dǎo)教師和校外指導(dǎo)教師的指導(dǎo)建議，展開數(shù)據(jù)的統(tǒng)計(jì)分析，以及調(diào)研報(bào)告的撰寫。雙導(dǎo)師綜合評(píng)定給出畢業(yè)設(shè)計(jì)的成績(jī)。答辯環(huán)節(jié)。采用校內(nèi)老師和行業(yè)人士聯(lián)合組成答辯專家組，對(duì)調(diào)查報(bào)告中涉及的理論環(huán)節(jié)和實(shí)踐環(huán)節(jié)進(jìn)行全面系統(tǒng)的提問，雙導(dǎo)師以及答辯專家組綜合評(píng)定后給出每組同學(xué)畢業(yè)論文成績(jī)。對(duì)于學(xué)生各項(xiàng)成績(jī)的評(píng)定，第一指導(dǎo)教師占總成績(jī)的60%，第二指導(dǎo)教師占40%。專業(yè)要求學(xué)生畢業(yè)設(shè)計(jì)完成情況嚴(yán)格進(jìn)行前期、中期檢查與考核。如果因?yàn)榻處熤笇?dǎo)不力，學(xué)生沒有圓滿完成畢業(yè)設(shè)計(jì)，將追究校內(nèi)導(dǎo)師的責(zé)任。對(duì)于畢業(yè)設(shè)計(jì)工作不認(rèn)真、投入不夠、完成質(zhì)量差而又達(dá)不到專業(yè)培養(yǎng)目標(biāo)的學(xué)生，學(xué)部將根據(jù)畢業(yè)設(shè)計(jì)要求的有關(guān)規(guī)定嚴(yán)肅處理。畢業(yè)論文“雙導(dǎo)師制”指導(dǎo)模式強(qiáng)調(diào)了基礎(chǔ)理論知識(shí)和專業(yè)實(shí)踐知識(shí)的有機(jī)結(jié)合，彌補(bǔ)了高校英語教師缺乏商務(wù)實(shí)戰(zhàn)經(jīng)驗(yàn)的弊病。“雙導(dǎo)師制”將顯著增強(qiáng)學(xué)生的專業(yè)能力和社會(huì)適應(yīng)能力，使得學(xué)生在進(jìn)入企業(yè)后，能夠更快地適應(yīng)環(huán)境，從而直接進(jìn)入工作狀態(tài)。學(xué)生通過這種模式的訓(xùn)練，鞏固發(fā)展了專業(yè)知識(shí)和技能，也為日后的就業(yè)打下扎實(shí)的基礎(chǔ)。
4.調(diào)查報(bào)告的評(píng)審標(biāo)準(zhǔn)要適當(dāng)調(diào)整。
畢業(yè)論文評(píng)價(jià)體系是引導(dǎo)畢業(yè)論文工作的杠桿和指揮棒。重點(diǎn)考察學(xué)生畢業(yè)論文的原創(chuàng)性、實(shí)效性，即畢業(yè)論文必須是學(xué)生經(jīng)過努力研究真實(shí)做出來的，解決了實(shí)際工作中的某一個(gè)問題，比較真實(shí)地反映了學(xué)生的實(shí)際工作能力與水平。在評(píng)價(jià)程序上，整個(gè)撰寫過程采用雙導(dǎo)師（校內(nèi)英語教師與行業(yè)專家）綜合評(píng)定和指導(dǎo)，在評(píng)審的各個(gè)環(huán)節(jié)均采用英語教師和行業(yè)專家雙評(píng)審制度。評(píng)分標(biāo)準(zhǔn)也相應(yīng)地區(qū)別于傳統(tǒng)的學(xué)術(shù)論文，例如在選題上要評(píng)定“選題是否具有較強(qiáng)的現(xiàn)實(shí)意義，符合實(shí)踐性、科學(xué)性、創(chuàng)新性要求”；調(diào)查問卷的設(shè)計(jì)上要評(píng)定“調(diào)查問卷的結(jié)構(gòu)、內(nèi)容設(shè)計(jì)科學(xué)、合理，較為清楚地說明調(diào)查問卷的發(fā)放及回收情況”；數(shù)據(jù)綜合分析能力上要評(píng)定“能夠靈活運(yùn)用多種形式的圖表對(duì)調(diào)查問卷所得結(jié)果和數(shù)據(jù)進(jìn)行恰當(dāng)、科學(xué)、有效分析”；在調(diào)查報(bào)告整體質(zhì)量上要評(píng)定“研究結(jié)果摘要部分：論述清晰；正文部分：理論運(yùn)用正確，數(shù)據(jù)分析科學(xué)、合理，論述充分，結(jié)構(gòu)嚴(yán)謹(jǐn)，條理清晰；結(jié)論與建議部分：結(jié)論正確，具有創(chuàng)新性，實(shí)用性。調(diào)查報(bào)告結(jié)果具有一定的參考、應(yīng)用價(jià)值。全文專業(yè)術(shù)語使用準(zhǔn)確。符號(hào)統(tǒng)一，編號(hào)齊全，書寫規(guī)范，圖表完備、整潔、正確”；畢業(yè)論文的答辯和評(píng)審標(biāo)準(zhǔn)都結(jié)合實(shí)際進(jìn)行了適當(dāng)?shù)恼{(diào)整以保證評(píng)價(jià)的得體性和公平性。
三、政策建議
1.深化畢業(yè)論文以及配套商務(wù)英語教學(xué)改革。
商務(wù)英語專業(yè)應(yīng)該以畢業(yè)論文改革為契機(jī)，不斷深化商務(wù)英語教學(xué)改革，整合各種實(shí)踐教學(xué)資源，使教學(xué)理論、人才培養(yǎng)模式與人才培養(yǎng)目標(biāo)達(dá)成一致。在商務(wù)英語教學(xué)過程中，可以采取多種方式培養(yǎng)學(xué)生的商務(wù)實(shí)踐能力和創(chuàng)新能力，例如不斷加強(qiáng)校企合作力度；學(xué)校與企業(yè)和政府建立實(shí)踐教學(xué)合作關(guān)系；請(qǐng)行業(yè)專家到學(xué)校授課或開辦講座；提倡英語教師帶領(lǐng)學(xué)生到企業(yè)現(xiàn)場(chǎng)教學(xué)；鼓勵(lì)英語社團(tuán)組織承接社會(huì)項(xiàng)目；等等。
2.加強(qiáng)實(shí)踐型教師隊(duì)伍建設(shè)。
學(xué)校要通過各種途徑增強(qiáng)教師實(shí)踐意識(shí)和實(shí)踐能力的培養(yǎng)，例如，鼓勵(lì)教師帶領(lǐng)學(xué)生參加社會(huì)課題研究、對(duì)專業(yè)教師進(jìn)行實(shí)踐教學(xué)培訓(xùn)等，并且納入對(duì)教師的考核體系中；學(xué)校派青年教師到企事業(yè)單位、外企外貿(mào)公司掛職鍛煉，以此來增進(jìn)教師對(duì)社會(huì)的了解，要求教師在授課的過程中滲透實(shí)踐內(nèi)容，培養(yǎng)學(xué)生的實(shí)踐能力和創(chuàng)新意識(shí)。學(xué)校也可以將具有創(chuàng)業(yè)經(jīng)歷和實(shí)踐經(jīng)驗(yàn)的各類人員融入到教師隊(duì)伍里。通過上述措施，強(qiáng)化學(xué)校的實(shí)踐人才培養(yǎng)特色，加快相關(guān)教學(xué)方法的改進(jìn)與教學(xué)條件的改善步伐。
3.畢業(yè)論文的體裁和形式多樣化。
畢業(yè)論文體裁可以多樣化，充分體現(xiàn)學(xué)生的實(shí)踐能力和專業(yè)特點(diǎn)，體裁不僅局限于傳統(tǒng)的學(xué)術(shù)論文，而且可以將其拓展為商務(wù)實(shí)用文書的撰寫和商務(wù)情景的模擬。前者包括標(biāo)書的撰寫、市場(chǎng)調(diào)查報(bào)告、廣告策劃、營銷方案等，后者包括商務(wù)談判、國際會(huì)展、商務(wù)洽談、產(chǎn)品推薦會(huì)情景模擬等。畢業(yè)論文的各種體裁和形式均采用團(tuán)隊(duì)協(xié)作的模式，使學(xué)生能夠各盡所長、發(fā)揮集體的智慧。
參考文獻(xiàn)：
[2]教育部.教育部辦公廳關(guān)于加強(qiáng)普通高等學(xué)校畢業(yè)論文（設(shè)計(jì)）工作的通知（教高廳[2004]14號(hào)）[R].
[3]李志生.建筑工程招投標(biāo)實(shí)務(wù)與案例分析[M].北京：機(jī)械工業(yè)出版社，2011.
[4]劉曉輝，魏俊玲.淺談經(jīng)濟(jì)全球化中商務(wù)英語人才的培養(yǎng)[J].中國商貿(mào)，2009，（15）.
篇7
經(jīng)過對(duì)08級(jí)、09級(jí)以及10級(jí)的學(xué)生的畢業(yè)論文撰寫情況的調(diào)查發(fā)現(xiàn)商務(wù)英語專業(yè)的學(xué)生在撰寫畢業(yè)論文過程中，能夠遵循“英語+商務(wù)知識(shí)+綜合素質(zhì)+職業(yè)素養(yǎng)”的商務(wù)英語人才培養(yǎng)的目標(biāo)，但是很難真正達(dá)到這一標(biāo)準(zhǔn)，畢業(yè)論文寫作中存在著很多問題。調(diào)查結(jié)果顯示：
2.1學(xué)生書面表達(dá)能力差。學(xué)生英文書面用語不夠規(guī)范、正式。學(xué)生在書寫畢業(yè)論文的時(shí)候，仍然按照原有的寫作風(fēng)格來寫作，口語化語言較多。學(xué)生的英語基本功不夠扎實(shí)，在論文撰寫過程中普遍存在基本語法，單詞拼寫上的錯(cuò)誤。這使得指導(dǎo)教師很大精力是在指導(dǎo)學(xué)生改正語法錯(cuò)誤，而不是論文的內(nèi)容邏輯性、創(chuàng)新性。論文的構(gòu)思上不夠新穎，但因?yàn)檎撐恼w水平較弱，教師指導(dǎo)過程中無暇顧及論文的深度，只能修改論文存在的語法錯(cuò)誤。
2.2學(xué)術(shù)基礎(chǔ)薄弱。畢業(yè)生在選題時(shí)，由于沒有前期積累，都是臨時(shí)選題，這就容易選擇題目過大、過于籠統(tǒng)。論文題目選定初衷較好，但是學(xué)生無法深入下去進(jìn)行研究，導(dǎo)致論文在相關(guān)商務(wù)知識(shí)運(yùn)用方面不夠深入，大多數(shù)同學(xué)都是繞道而行，無法深入研究論文內(nèi)容。甚至有些學(xué)生在撰寫論文進(jìn)行到一半無法進(jìn)行下去，被迫換題。
2.3可參考英文專業(yè)文獻(xiàn)少。由于畢業(yè)論文強(qiáng)調(diào)實(shí)踐性，學(xué)生所選題目大多都是沒有英文參考資料的，學(xué)生不容易找到針對(duì)性較強(qiáng)的英文資料，而大多數(shù)材料都是來源于一手資料，二手資料多來源于互聯(lián)網(wǎng)的即時(shí)信息，很多都是需要學(xué)生自己翻譯中文資料。由于可參考英文專業(yè)資料少，這樣就導(dǎo)致了論文質(zhì)量存在很大的問題。
2.4指導(dǎo)教師指導(dǎo)畢業(yè)論文學(xué)生人數(shù)過多。一位講師一般指導(dǎo)7－11個(gè)畢業(yè)論文，學(xué)生的論文指導(dǎo)質(zhì)量無法保證。由于商務(wù)英語專業(yè)畢業(yè)論文強(qiáng)調(diào)“英語+專業(yè)”，這對(duì)很多教師來說是一個(gè)非常有挑戰(zhàn)的工作，需要邊學(xué)邊指導(dǎo)，同時(shí)還要有一定的實(shí)踐經(jīng)驗(yàn)，對(duì)于指導(dǎo)教師要求較高。
3.提高畢業(yè)論文的質(zhì)量，實(shí)現(xiàn)商務(wù)英語人才培養(yǎng)
通過對(duì)畢業(yè)論文問題的調(diào)查，顯示了基于商務(wù)英語人才培養(yǎng)的畢業(yè)論文寫作中存在的問題。根據(jù)這些具體問題，筆者提出下列建議。
3.1提高論文語言運(yùn)用的綜合能力在學(xué)生整個(gè)四年的英語寫作課程中應(yīng)形成階梯跟進(jìn)式教學(xué)模式。在基礎(chǔ)寫作的課程上夯實(shí)學(xué)生的語言基礎(chǔ)。在商務(wù)英語應(yīng)用文寫作課程中主要培養(yǎng)學(xué)生的商務(wù)英語正式文體寫作的規(guī)范性。在論文寫作課上應(yīng)引導(dǎo)學(xué)生正確選擇在該學(xué)生能力范圍內(nèi)的、適中的論文題目。
3.2提高學(xué)生的論文寫作質(zhì)量，提早選定畢業(yè)論文寫作范圍大多數(shù)畢業(yè)生臨時(shí)選定題目，題目不是隨意選定，就是在導(dǎo)師的幫助下選定的，很難做到符合自身需求，所定題目與實(shí)習(xí)內(nèi)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(xiàn)狀，應(yīng)引導(dǎo)學(xué)生在學(xué)習(xí)相關(guān)感興趣的專業(yè)過程中，通過撰寫課程論文，學(xué)期論文，發(fā)現(xiàn)較為感興趣的方向，并逐漸深入研究，最終在大四寫畢業(yè)論文時(shí)，可以游刃有余地完成高質(zhì)量論文。
3.3加強(qiáng)指導(dǎo)教師對(duì)學(xué)生的指導(dǎo)力度，調(diào)動(dòng)學(xué)生寫作積極性在整個(gè)畢業(yè)論文寫作的過程中，是按照過程寫作的方法來進(jìn)行指導(dǎo)的。在這一過程中，在學(xué)生選題時(shí)，指導(dǎo)教師就應(yīng)確定學(xué)生論文題目的可寫性。在論文綱要撰寫時(shí)也應(yīng)及時(shí)指導(dǎo)學(xué)生的寫作方向，理清綱領(lǐng)，把論文的脈絡(luò)弄明白。在論文的撰寫過程中，也要時(shí)時(shí)督促學(xué)生，并及時(shí)與學(xué)生溝通。在整個(gè)論文指導(dǎo)的過程中，指導(dǎo)教師與學(xué)生溝通可以通過互聯(lián)網(wǎng)進(jìn)行有效的交流。指導(dǎo)教師應(yīng)做到即時(shí)回復(fù)學(xué)生的疑難問題。
篇8
對(duì)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(qiáng)調(diào)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(yīng)該注意避免籠統(tǒng)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(gè)全面的信息呈現(xiàn)。
3、具有創(chuàng)新性
由于東西方文化差異，西方學(xué)者在閱讀論文時(shí)會(huì)注重創(chuàng)新之處，所以中英文摘要不必強(qiáng)求一致，英文摘要需要有自己的特點(diǎn)和風(fēng)格。
國際標(biāo)準(zhǔn)規(guī)定中“摘要”一詞定義為原文內(nèi)容準(zhǔn)確、扼要的表達(dá)，而不加以解釋和評(píng)論。各個(gè)高校對(duì)其也都有自己的相關(guān)規(guī)定，如新疆農(nóng)業(yè)大學(xué)，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(nèi)容包括目的、方法、結(jié)果、結(jié)論等4個(gè)方面，著重反映論文中的新內(nèi)容、新見解，但不得加入評(píng)論。
二、非英專本科畢業(yè)論文中文摘要英譯中存在的問題
1、研究過程簡(jiǎn)述
為了了解本校非英專本科畢業(yè)論文英文摘要所存在的問題，筆者進(jìn)行了兩方面的研究。筆者對(duì)土管專業(yè)的62份問卷結(jié)果進(jìn)行了數(shù)據(jù)分析，發(fā)現(xiàn)77%的非英專學(xué)生對(duì)英文摘要有強(qiáng)烈的需求；收集了土管專業(yè)的57份畢業(yè)論文英文摘要，進(jìn)行詳細(xì)分析、研究，發(fā)現(xiàn)70%的學(xué)生借助了網(wǎng)上一些軟件翻譯，其中有25%的人對(duì)譯文進(jìn)行了修改，僅有12%的學(xué)生基本了達(dá)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(xué)生受到漢語思維習(xí)慣的影響，在中文題目中會(huì)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(hù)的問題及對(duì)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(biāo)點(diǎn)符號(hào)錯(cuò)誤。學(xué)生常犯的錯(cuò)誤：并列成分用分號(hào)隔開；書名號(hào)沒有用斜體；中英文省略號(hào)的區(qū)別。
例如：農(nóng)戶耕地流轉(zhuǎn)行為受農(nóng)戶文化程度、年齡、農(nóng)戶家庭勞動(dòng)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(dāng)。詞性和近義詞區(qū)別分辨不清常會(huì)導(dǎo)致用詞不當(dāng)?shù)膯栴}。
例如：但是由此產(chǎn)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(rèn)為“矛盾”一詞，根據(jù)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(dāng)。英語單詞的搭配紛亂復(fù)雜，許多學(xué)生的語法基礎(chǔ)薄弱，經(jīng)常會(huì)用錯(cuò)搭配導(dǎo)致不規(guī)范的表達(dá)。
例如：In Urumqi as an example ...
改譯：Taking Urumqi as an example...
5）中式翻譯
做翻譯時(shí)，一個(gè)普遍問題就是中式思維翻譯。如果只顧字面對(duì)應(yīng)，不考慮文化差異，可能會(huì)造成簡(jiǎn)單句泛濫，句子銜接性差。
例如：大量的農(nóng)業(yè)用地轉(zhuǎn)為城市用地，給國家糧食安全問題和生態(tài)環(huán)境的保護(hù)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(jù)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(jìn)英文摘要質(zhì)量的對(duì)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(shí)踐過程中常見問題的簡(jiǎn)單總結(jié)。想要提高摘要質(zhì)量，筆者認(rèn)為需要從以下兩個(gè)方面做出努力：
正確認(rèn)識(shí)英文摘要的意義，了解英文摘要的寫作特點(diǎn)和規(guī)范。撰寫英文摘要時(shí)，先用中文完成結(jié)構(gòu)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(qiáng)自身翻譯能力。多注重英文摘要的寫作規(guī)范和行文特點(diǎn)，如用詞、句法、時(shí)態(tài)、語態(tài)等。多積累英文摘要常用詞、句型，多閱讀英文文獻(xiàn)資料。（作者單位：新疆農(nóng)業(yè)大學(xué)外國語學(xué)院）
作者簡(jiǎn)介：汪南（1994～），新疆農(nóng)業(yè)大學(xué)外國語學(xué)院英語134班學(xué)生。
參考文獻(xiàn)
篇9
長期以來英語教學(xué)的目標(biāo)和方法一直是我國大學(xué)英語，尤其是專業(yè)英語教學(xué)所探討的一個(gè)問題。多年以來的應(yīng)試教育已經(jīng)給受教育者留下了難以學(xué)以致用的問題。不少人拿到四、六級(jí)證書依然不能跟外國人交流，不能用英文寫作，成了一個(gè)語言的拿證者卻無法動(dòng)筆動(dòng)嘴的“人才”（林莉蘭，2006）！已有一些從事英語教學(xué)與教育的工作者專門討論過這方面的問題（田強(qiáng)等，2006；王曉軍，2005；張翼翼，2006；賈國棟，2006；周爽等2006）。本文根據(jù)我院這幾年來在專業(yè)英語和專業(yè)課雙語教學(xué)的教學(xué)實(shí)踐，尤其是讓工科本科生用英語進(jìn)行畢業(yè)論文寫作和進(jìn)行論文答辯的實(shí)踐教學(xué)嘗試，從英語教學(xué)延伸和應(yīng)用的實(shí)效性角度探討了如何檢驗(yàn)大學(xué)英語教學(xué)的效果，如何確定英語教學(xué)目標(biāo)，以及實(shí)現(xiàn)這種目標(biāo)的方法。我們中國地質(zhì)大學(xué)（北京）能源學(xué)院一直在專業(yè)英語和雙語教學(xué)的手段和實(shí)效性方面進(jìn)行著探討。2004年我院獲得了學(xué)校在“工科教學(xué)基地”項(xiàng)目上的資助。為配合國家在石油領(lǐng)域“走出去”的可持續(xù)發(fā)展戰(zhàn)略、培養(yǎng)具有英語實(shí)用水平的工科本科畢業(yè)生也成了我院教學(xué)工作的一個(gè)重要任務(wù)和目標(biāo)。我們利用我院大部分教師都有在國外留學(xué)、進(jìn)修和培訓(xùn)方面的經(jīng)歷這個(gè)優(yōu)勢(shì)，積極開展了密切結(jié)合專業(yè)的專業(yè)英語和雙語教學(xué)的教學(xué)實(shí)踐。我們鼓勵(lì)用先進(jìn)的教學(xué)理念進(jìn)行大膽實(shí)踐，積累教學(xué)經(jīng)驗(yàn)。在2006屆部分工科畢業(yè)生中讓部分同學(xué)用英語進(jìn)行論文寫作和答辯，通過導(dǎo)師的指導(dǎo)，試圖將其作為專業(yè)英語和雙語教學(xué)在專業(yè)實(shí)踐方面的延伸。這樣做，一方面是希望通過用英語進(jìn)行論文的撰寫和答辯提高同學(xué)們英文應(yīng)用水平，另一方面也為同學(xué)們畢業(yè)后進(jìn)入企業(yè)或科研崗位、甚至走出國門打下良好的基礎(chǔ)。在這次試點(diǎn)中我們?cè)谖以嘿Y源勘查工程和石油工程兩個(gè)專業(yè)選取了幾名優(yōu)秀學(xué)生，從畢業(yè)論文寫作到答辯全程采用英語。這對(duì)學(xué)生提出了比較高的要求，要求學(xué)生比較熟練或基本掌握專業(yè)英語的語法、專業(yè)詞匯、寫作技巧和寫作規(guī)范等多方面的知識(shí)。當(dāng)然，表達(dá)能力也能在答辯的過程中得到充實(shí)和提高，對(duì)話能力在提問過程中也能實(shí)踐、發(fā)揮和檢驗(yàn)。從論文寫作和答辯的結(jié)果來看，這次嘗試是成功的。這幾名同學(xué)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(xué)們和指導(dǎo)教師都從中受到了鼓舞，說明我院的專業(yè)英語和雙語教學(xué)取得了明顯的成效。歸納起來，這幾年來我們?cè)趯I(yè)英語和雙語教學(xué)實(shí)踐中做法、嘗試以及同學(xué)們的反饋包括以下幾個(gè)方面。
一、專業(yè)英語和雙語課教材
在我院的專業(yè)英語和專業(yè)課“雙語教學(xué)”實(shí)踐中，學(xué)院要求在國際通用性的專業(yè)課方面應(yīng)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(yè)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(xué)英文能力的相關(guān)文章進(jìn)行講授；環(huán)境地質(zhì)學(xué)和現(xiàn)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(yè)英語授課過程中不是滿堂灌，而是讓同學(xué)自己閱讀翻譯和講解，一方面可以檢測(cè)同學(xué)是否預(yù)習(xí)，另一方面發(fā)現(xiàn)同學(xué)們?cè)谀男┓矫娲嬖诶斫庥姓`的地方，再有重點(diǎn)、有針對(duì)性地進(jìn)行講解。這種方法效果較好，既激發(fā)了同學(xué)們學(xué)習(xí)專業(yè)英語的興趣，同時(shí)也在實(shí)踐中提升和改進(jìn)了我們的專業(yè)英語教學(xué)法。在環(huán)境地質(zhì)學(xué)和油藏工程這兩門課雙語教學(xué)中，老師以中文和英文交叉、結(jié)合進(jìn)行綜合講解，讓所有同學(xué)參與到教學(xué)中來。讓同學(xué)們上臺(tái)用英語講解自己的觀點(diǎn)和見解，大家對(duì)一些有爭(zhēng)議的問題共同用英語討論，共同學(xué)習(xí)。在實(shí)踐過程中幫助同學(xué)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(xué)過程是實(shí)踐“課堂教學(xué)應(yīng)以學(xué)生為中心”的教學(xué)理念的有效形式。
三、雙語課在提高學(xué)生學(xué)習(xí)英語興趣和水平中的作用
有的同學(xué)說，起初對(duì)雙語教學(xué)就有幾分好奇，而在剛接觸到雙語教學(xué)課程時(shí)，沒想到卻有些不適應(yīng)，在經(jīng)過一段時(shí)間的學(xué)習(xí)之后，發(fā)現(xiàn)雙語教學(xué)比一般的外語教學(xué)更能激發(fā)興趣，至少與普通外語教學(xué)相比是這樣的。雙語教學(xué)在我院還正在全面展開，可以說現(xiàn)階段還是處在嘗試階段，但我們確實(shí)能體會(huì)到它的可行性、有效性和必要性。有的同學(xué)還說，大學(xué)四年的學(xué)業(yè)已結(jié)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(qiáng)多少，反倒是在接受過雙語教學(xué)之后，發(fā)現(xiàn)自己的外語水平有很大提高，課堂上的師生互動(dòng)使我們敢于用英語和他人進(jìn)行交流。
四、用英文進(jìn)行畢業(yè)論文寫作的作用
用英文進(jìn)行畢業(yè)論文寫作能讓學(xué)生更多的掌握英語的實(shí)用知識(shí)，可以提高學(xué)生學(xué)習(xí)英語的積極性。與普通的英語學(xué)習(xí)不同，畢業(yè)設(shè)計(jì)關(guān)乎學(xué)生的學(xué)士學(xué)位，學(xué)生對(duì)它的重視程度會(huì)大大提高，特別是專業(yè)英語知識(shí)。用英文進(jìn)行畢業(yè)論文寫作涉及到英語知識(shí)的方方面面，從單詞的詞義到句法的運(yùn)用，再到成篇構(gòu)思甚至語言的概括表達(dá)。寫作的過程就是英語知識(shí)的再現(xiàn)和學(xué)習(xí)效果的過程，也就是提高英語水平的實(shí)踐過程。同學(xué)們說在畢業(yè)論文的外國文獻(xiàn)翻譯過程中，深刻地感受到了專業(yè)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(lǐng)域，我國的科技水平仍與國外的先進(jìn)水平有一定的差距，所以，客觀上要求同學(xué)們現(xiàn)在和以后不得不有直接閱讀外文專業(yè)文獻(xiàn)的能力，從國外先進(jìn)的技術(shù)中找到我們需要的知識(shí)，為我們的國家服務(wù)。
五、用英語進(jìn)行畢業(yè)論文答辯的作用
答辯材料的準(zhǔn)備和臺(tái)上的演講，這些都需要較高的口語能力，經(jīng)歷了這次答辯，不僅提高了口語的表達(dá)能力，最重要的是同學(xué)們有了勇氣去說出英語，這是最大的收獲，也是同學(xué)們學(xué)習(xí)語言的最終目的――交流。用英語進(jìn)行答辯的目標(biāo)和過程對(duì)于提高學(xué)生交際能力和綜合應(yīng)用語言能力有重要意義。
六、專業(yè)英語與就業(yè)的關(guān)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(mào)易組織，大量的國外企業(yè)涌入中國投資，設(shè)立公司，而英語是國際公認(rèn)的通用語言，因此需要大量雙語人才。同學(xué)們已注意到在這一屆的畢業(yè)生找工作的時(shí)間段內(nèi)，越來越多的外國或外資企業(yè)也來到我們學(xué)校召開宣講會(huì)，希望可以招聘到合適的有能力的畢業(yè)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(lǐng)域的國有企業(yè)進(jìn)軍海外的石油開發(fā)項(xiàng)目越來越多，同樣需要大量懂英語的大學(xué)畢業(yè)生。同學(xué)們說“既然這方面的缺口這么大，我們更應(yīng)該提高我們的英語能力，這既是對(duì)市場(chǎng)需求的響應(yīng)，同時(shí)使我們以后的就業(yè)前景更光明更廣闊”。我們認(rèn)為大學(xué)英語教學(xué)目標(biāo)，不是過四、六級(jí)英語考試，而是“可以用英文進(jìn)行畢業(yè)論文寫作和答辯”。這個(gè)目標(biāo)里面自然包含了“聽、說”能力，并且體現(xiàn)了學(xué)生綜合應(yīng)用英語的能力。專業(yè)英語和專業(yè)課雙語教學(xué)是實(shí)現(xiàn)這個(gè)教學(xué)目的的有效手段。實(shí)踐中可對(duì)低年級(jí)同學(xué)較早提出這個(gè)目標(biāo)來引起他們?cè)谒枷肷系闹匾暎瑥亩ㄟ^綜合效應(yīng)實(shí)現(xiàn)大學(xué)英語教學(xué)水平的提高。當(dāng)然，目前還只是少數(shù)同學(xué)具備這樣培養(yǎng)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(diǎn)和幫助，深表謝意。
參考文獻(xiàn)：
[1]林莉蘭.大學(xué)英語口語教學(xué)芻議[J].中國高等教育，2006，（5）.
[2]田強(qiáng)，李潔紅，李小紅.略論英語教育與幾種基本教育概念的關(guān)系[J].科教論壇，2006，（1）.
[3]田強(qiáng).關(guān)于我國英語教育的“應(yīng)試教育”模式的反思[J].科教論壇，2006，（1）.
[4]王曉軍.貫徹“大學(xué)英語課程教學(xué)要求”提高英語教學(xué)質(zhì)量[J].中國地質(zhì)教育，2005，（1）.
篇10
一、工科畢業(yè)設(shè)計(jì)的重要性與內(nèi)容
工科畢業(yè)設(shè)計(jì)屬于集中性實(shí)踐教學(xué)環(huán)節(jié)之一，實(shí)施時(shí)間為大四學(xué)年第二學(xué)期，占整個(gè)大學(xué)時(shí)間的八分之一，其重要性不言而喻。從教師的角度來說，畢業(yè)設(shè)計(jì)是對(duì)學(xué)生在整個(gè)大學(xué)期間所學(xué)知識(shí)的測(cè)試與考評(píng)；從學(xué)生的角度來說，是將自己所掌握的專業(yè)知識(shí)進(jìn)行融合的過程，再通過畢業(yè)答辯的形式向老師進(jìn)行匯報(bào)，可以認(rèn)為是大學(xué)期間的最重要最全面的一次考試，同時(shí)更是一次知識(shí)的融合與提高的過程。
工科畢業(yè)設(shè)計(jì)的主題一般以指導(dǎo)教師的研究方向和科研項(xiàng)目為基礎(chǔ)，為學(xué)生提供多個(gè)可以自由選擇的課題。課題性質(zhì)一般可分為實(shí)踐類和科研類兩大類，其中，前者所占比例遠(yuǎn)大于后者。
二、工科畢業(yè)設(shè)計(jì)中存在的問題
自2001年教育部印發(fā)《關(guān)于加強(qiáng)高等學(xué)校本科教學(xué)工作提高教學(xué)質(zhì)量的若干意見》，國家明確要求提高本科畢業(yè)設(shè)計(jì)質(zhì)量開始，全國各大高校均已在多個(gè)環(huán)節(jié)上加大了控制力度。然而，仍然有些問題以及新出現(xiàn)的問題值得關(guān)注，我們可以從畢業(yè)論文與畢業(yè)答辯兩個(gè)方面分別進(jìn)行總結(jié)。
1.內(nèi)容過于陳舊或選題偏離專業(yè)。前者是多年來畢業(yè)設(shè)計(jì)內(nèi)容完全沒有變化，找不到任何創(chuàng)新點(diǎn)；后者是為了響應(yīng)各高校均提高畢業(yè)設(shè)計(jì)選題的新穎性、內(nèi)容的創(chuàng)新性的要求，指導(dǎo)老師和學(xué)生在選題時(shí)過多地考慮“創(chuàng)新”，而出現(xiàn)了部分學(xué)生畢業(yè)設(shè)計(jì)偏離本專業(yè)這樣過猶不及的現(xiàn)象。
2.論文部分存在抄襲現(xiàn)象。在信息化高度發(fā)展的今天，信息資源的獲取變得較為容易，學(xué)生的論文中有的章節(jié)（或圖紙）率達(dá)到百分之八十。再如英文翻譯部分，部分同學(xué)只是簡(jiǎn)單借助網(wǎng)絡(luò)或翻譯軟件進(jìn)行作業(yè)，經(jīng)常出現(xiàn)一些啼笑皆非的情況。
3.資料收集與文獻(xiàn)綜述寫作能力欠缺。無論是繼續(xù)深造還是企業(yè)就職，資料收集與整理都是相當(dāng)重要的技能。學(xué)生對(duì)文獻(xiàn)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(shí)驗(yàn)和設(shè)計(jì)的進(jìn)展快慢和質(zhì)量高低。實(shí)際上，多數(shù)學(xué)生使用百度等搜索頁面而非專業(yè)的科技論文數(shù)據(jù)庫，或者是所搜集的資料多與論文主體內(nèi)容相去甚遠(yuǎn)。在文獻(xiàn)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(nèi)容（設(shè)計(jì)計(jì)算部分）質(zhì)量不高。具體表現(xiàn)為：（1）主體部分工作量不夠：頁數(shù)占論文總頁數(shù)比例較小，有的只能占到四分之一不到。（2）邏輯混亂：有些計(jì)算完了就放置下來，后面沒有任何使用的說明。（3）圖紙?jiān)O(shè)計(jì)混亂：以建筑環(huán)境與能源工程專業(yè)為例，圖紙中管道排列混亂，樓層之間縱向管道對(duì)應(yīng)不上，管徑選擇上存在明顯錯(cuò)誤，沒有看懂建筑圖紙就將設(shè)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(yè)設(shè)計(jì)的重要環(huán)節(jié)之一，以考察畢業(yè)生專業(yè)英語水平與英文文獻(xiàn)翻譯能力為目標(biāo)，英文文獻(xiàn)的閱讀與翻譯相當(dāng)重要，但在畢業(yè)答辯中無法體現(xiàn)，也并沒有真正納入到畢業(yè)設(shè)計(jì)（論文）評(píng)分當(dāng)中。也正因如此，指導(dǎo)教師和學(xué)生在有限的時(shí)間和精力里總是選擇犧牲掉這一部分，很多學(xué)生的翻譯存在詞不達(dá)意、語句不通。而這其中，不乏英語很好的學(xué)生。
三、原因分析
（一）學(xué)生重視程度不足
這是本科畢業(yè)設(shè)計(jì)質(zhì)量難以提高的根本原因。由于我國高校畢業(yè)生普遍存在“嚴(yán)進(jìn)寬出”的現(xiàn)象，導(dǎo)致部分學(xué)生存在著“反正都能畢業(yè)”的僥幸心理；再者，在由于畢業(yè)設(shè)計(jì)成績(jī)?cè)u(píng)定中存在著“考研成功者優(yōu)先”這種慣例，而優(yōu)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(biāo)較高復(fù)試失手的優(yōu)秀學(xué)生認(rèn)為“反正拿不到優(yōu)秀，湊合一下就行”。在這兩種心理的影響下，畢業(yè)生中常出現(xiàn)以下情況：（1）常以各種借口缺席指導(dǎo)教師組織的討論、檢查和指導(dǎo)；（2）在設(shè)計(jì)和實(shí)驗(yàn)過程中，缺乏主觀能動(dòng)性而只是敷衍完成工作。
（二）指導(dǎo)教師與教學(xué)資源相對(duì)不足
我國專任教師人數(shù)增長率低于畢業(yè)生的增長率，其結(jié)果表現(xiàn)為：2000年每個(gè)教師平均指導(dǎo)畢業(yè)生2.05人畢業(yè)生，而2014年則增長為3.11人。況且事實(shí)上遠(yuǎn)非如此，排除每年都有的因進(jìn)修、國外訪學(xué)等無法指導(dǎo)畢業(yè)生的部分教師，每個(gè)教師實(shí)際指導(dǎo)的畢業(yè)生數(shù)是大于平均數(shù)的，有的專業(yè)個(gè)別指導(dǎo)教師最多甚至能帶十多個(gè)畢業(yè)生。指導(dǎo)畢業(yè)設(shè)計(jì)需要付出很大的心力，而每個(gè)指導(dǎo)教師本身都有著并不輕松的日常教學(xué)和科研任務(wù)，在這種情況下指導(dǎo)多名畢業(yè)生就很難保證質(zhì)量了。再者，工科的畢業(yè)設(shè)計(jì)需要一定量的實(shí)驗(yàn)甚至是實(shí)習(xí)進(jìn)行支撐，實(shí)驗(yàn)設(shè)備、耗材以及實(shí)驗(yàn)經(jīng)費(fèi)的增加也跟不上畢業(yè)生的增加，這也極大地影響了畢業(yè)設(shè)計(jì)質(zhì)量。
（三）時(shí)間不夠
按照本科生培養(yǎng)計(jì)劃的安排，畢業(yè)設(shè)計(jì)的持續(xù)時(shí)間約為16周。這期間，學(xué)生需要完成資料查找、數(shù)據(jù)整理、工程計(jì)算、十多張圖紙繪制（有些工科專業(yè)是大量的實(shí)驗(yàn)）、英文翻譯、論文撰寫等工作。同時(shí)，第八學(xué)期往往是學(xué)生外出找工作的高峰期，或者是學(xué)生考研復(fù)試的集中期，去除找工作或復(fù)試的時(shí)間，畢業(yè)設(shè)計(jì)的實(shí)際時(shí)間就變得非常有限了。在這種情況下，學(xué)生紛紛表示疲于應(yīng)付，要想提交一份較高質(zhì)量的畢業(yè)論文，無疑太過勉強(qiáng)。
（四）環(huán)境影響
受高校擴(kuò)招的影響，我國每年本科畢業(yè)生已經(jīng)達(dá)到三百多萬，給就業(yè)市場(chǎng)帶來了極大的壓力，“就業(yè)難”成為每個(gè)本科畢業(yè)生的心頭巨石。在這種情況下，找工作成為畢業(yè)生的頭等大事，在工作定下來之前，學(xué)生們往往難以靜下心來進(jìn)行畢業(yè)設(shè)計(jì)；還有不少學(xué)生選擇從事的職業(yè)并非所學(xué)專業(yè)，這部分同學(xué)對(duì)待畢業(yè)設(shè)計(jì)的態(tài)度就可想而知了。再者，考研在一定程度上緩解了就業(yè)壓力，但是由于復(fù)試安排在第八學(xué)期，學(xué)生們同樣會(huì)把復(fù)試放在一切之首，在學(xué)生之間流傳著“只要復(fù)試成功，畢業(yè)設(shè)計(jì)的分?jǐn)?shù)就不會(huì)太低”這樣一種說法。在這種大環(huán)境下，再加上由于就業(yè)、研究生復(fù)試等原因引起的情緒波動(dòng)，畢業(yè)設(shè)計(jì)的質(zhì)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(yè)設(shè)計(jì)質(zhì)量的措施和建議
（一）加強(qiáng)日常教學(xué)管理，切實(shí)提高教學(xué)水平
相較于“教”，畢業(yè)設(shè)計(jì)更貼近“考”的過程。畢業(yè)設(shè)計(jì)是對(duì)大學(xué)期間所學(xué)專業(yè)課程的綜合性測(cè)試，考的是學(xué)生對(duì)專業(yè)知識(shí)的掌握、知識(shí)融合的程度以及思維總結(jié)等多方面能力。也就是說，決定論文質(zhì)量的諸多因素均是在大學(xué)期間學(xué)習(xí)或培養(yǎng)的，要想真正提高畢業(yè)論文質(zhì)量只有從學(xué)生進(jìn)入大學(xué)校園的那一刻開始抓起、從日常教學(xué)開始抓起。
（二）嚴(yán)格指導(dǎo)教師制度，增大實(shí)驗(yàn)實(shí)習(xí)投入
1.設(shè)置每個(gè)指導(dǎo)教師所負(fù)責(zé)的畢業(yè)生人數(shù)上限，最大限度地保證指導(dǎo)質(zhì)量。
2.采取博士生和優(yōu)秀高年級(jí)研究生分擔(dān)指導(dǎo)任務(wù)方法，并明文確定指導(dǎo)資格。這既可以在一定程度上緩解指導(dǎo)教師緊缺的現(xiàn)象，又可以鍛煉博士生與研究生，同時(shí)還能給他們的就業(yè)增加砝碼。唯一需要慎重的就是必須有明確的標(biāo)準(zhǔn)，不符合標(biāo)準(zhǔn)的人選堅(jiān)決不能用。
3.學(xué)校盡可能地?cái)D出經(jīng)費(fèi)用于增大畢業(yè)實(shí)驗(yàn)和實(shí)習(xí)的投入，同時(shí)向有關(guān)部門申請(qǐng)?jiān)黾咏逃?jīng)費(fèi)。
（三）嚴(yán)格畢業(yè)設(shè)計(jì)（論文）評(píng)分標(biāo)準(zhǔn)，做到畢業(yè)設(shè)計(jì)成績(jī)實(shí)事求是
1.對(duì)于畢業(yè)設(shè)計(jì)，也應(yīng)增設(shè)考勤環(huán)節(jié)，并計(jì)入平時(shí)分。
2.對(duì)于英文翻譯，從思想上要給予足夠地重視。建議可以減少對(duì)英文文獻(xiàn)的字?jǐn)?shù)要求，從提高翻譯質(zhì)量的角度多做要求，將英文文獻(xiàn)翻譯工作也納入評(píng)分范圍。
3.對(duì)于考勤出席率過低、論文質(zhì)量過差的學(xué)生，堅(jiān)決不能畢業(yè)；對(duì)于有抄襲現(xiàn)象的學(xué)生，視抄襲量多少處以不同級(jí)別的處罰。
4.對(duì)于畢業(yè)設(shè)計(jì)（論文）質(zhì)量較高的學(xué)生，給予一定的物質(zhì)和精神獎(jiǎng)勵(lì)。
5.以畢業(yè)設(shè)計(jì)本身論成績(jī)，不再考慮是否考研成功需額外照顧等因素，以實(shí)際行動(dòng)打消學(xué)生的“小算盤”，真正做到畢業(yè)設(shè)計(jì)成績(jī)實(shí)事求是。
（四）調(diào)整本科期間培養(yǎng)方案，盡可能給畢業(yè)設(shè)計(jì)留出足夠時(shí)間
部分高校在本科教學(xué)中，以卓越工程師培養(yǎng)計(jì)劃為藍(lán)本，逐步采取“3+1”培養(yǎng)模式，即前三年主要進(jìn)行專業(yè)課程學(xué)習(xí)，最后一年集中進(jìn)行畢業(yè)設(shè)計(jì)與畢業(yè)實(shí)習(xí)（有的學(xué)校沒有畢業(yè)實(shí)習(xí)）。這給我們解決畢業(yè)設(shè)計(jì)時(shí)間問題提供了思路：對(duì)于專業(yè)課比較多的工科專業(yè)，可以調(diào)整培養(yǎng)方案中專業(yè)課時(shí)間，將一至六學(xué)期的課程安排地更為緊湊一些，第七學(xué)期少安排課程甚至不再安排課程，以給畢業(yè)設(shè)計(jì)爭(zhēng)取更多的時(shí)間。當(dāng)然，必須正確引導(dǎo)學(xué)生，讓學(xué)生能夠合理地安排畢業(yè)設(shè)計(jì)和考研、復(fù)試以及找工作之間的關(guān)系。
（五）可以嘗試將部分入職培訓(xùn)與畢業(yè)實(shí)踐相結(jié)合
篇11
對(duì)策與建議
篇12
一、畢業(yè)論文的目的
畢業(yè)論文是教學(xué)計(jì)劃的最后一個(gè)重要環(huán)節(jié)，是落實(shí)教育培養(yǎng)目標(biāo)的重要組成部分，其主要目的是培養(yǎng)學(xué)生綜合運(yùn)用所學(xué)的知識(shí)和語言技能，理論聯(lián)系實(shí)際，獨(dú)立分析和解決有關(guān)專業(yè)問題的實(shí)際能力，使學(xué)生得到從事本專業(yè)外語學(xué)術(shù)論文寫作的基本訓(xùn)練。畢業(yè)論文的基本教學(xué)要求是：
1、通過畢業(yè)論文提高學(xué)生綜合運(yùn)用、擴(kuò)展語言知識(shí)和專業(yè)知識(shí)的能力，培養(yǎng)學(xué)生獨(dú)立分析問題、解決問題的能力。
2、通過撰寫畢業(yè)論文，幫助學(xué)生接受科學(xué)研究、分析方法的初步訓(xùn)練。
3、培養(yǎng)學(xué)生正確的寫作思想，理論聯(lián)系實(shí)際的工作作風(fēng)，嚴(yán)肅認(rèn)真的科學(xué)態(tài)度。
4、使學(xué)生在外文資料查閱、閱讀和翻譯，語言表達(dá)、寫作能力，計(jì)算機(jī)文字處理等基本技能方面得到進(jìn)一步的訓(xùn)練和提高。
二、畢業(yè)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(yè)論文的報(bào)告”，詳細(xì)介紹撰寫論文的每一個(gè)環(huán)節(jié)和具體要求。
2、學(xué)生在指導(dǎo)教師指定的范圍內(nèi)選擇和初步確定論文的方向。
3、由論文指導(dǎo)教師根據(jù)教學(xué)要求提供論文選題，在教研室匯總后向?qū)W生公布，供學(xué)生選題參考。
4、學(xué)生可根據(jù)自己所學(xué)專業(yè)，按學(xué)院所提供各專業(yè)論文參考選題確定題目，也可自選題目，必須報(bào)指導(dǎo)教師，征得同意后方可開題。原則上學(xué)生不得跨專業(yè)選題。
(二) 范圍
英美語言文學(xué)、文化、語言學(xué)(語法、詞法、修辭、語義、文體等)、翻譯、國際商貿(mào)、國際商務(wù)、旅游、外語教學(xué)法等。
三、畢業(yè)論文寫作要求
1、論文長度不少于3,000英文單詞。
2、論文結(jié)構(gòu)包括：
1) 標(biāo)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(guān)鍵詞 (key words)(中英文均要)
5) 正文 (body)
6) 參考文獻(xiàn) (bibliography)
3、摘要(Abstract)通常為一個(gè)段落，長度不超過300個(gè)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(guān)鍵詞(Keywords)3至5個(gè)。除專有名詞外，其他詞不用大寫，詞與詞之
間以分號(hào)隔開。
關(guān)鍵詞應(yīng)能反映論文的主要內(nèi)容，因此常出現(xiàn)在標(biāo)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(jié)語(Conclusion)之間的正文部分應(yīng)分若干章節(jié)。章節(jié)編號(hào)方法應(yīng)采用分級(jí)阿拉伯?dāng)?shù)字編號(hào)方法，第一級(jí)為“1”、“2”、“3”等，第二級(jí)為“2.1”、“2.2”、“2.3”等,第三級(jí)為“2.2.1”、“2.2.2”、“2.2.3”等，但分級(jí)阿拉伯?dāng)?shù)字的編號(hào)一般不超過四級(jí)，兩級(jí)之間用下角圓點(diǎn)隔開，每一級(jí)的末尾不加標(biāo)點(diǎn)。
各層標(biāo)題均單獨(dú)占行書寫。第一級(jí)標(biāo)題居中書寫;第二級(jí)標(biāo)題序數(shù)頂格書寫，后空一格接寫標(biāo)題，末尾不加標(biāo)點(diǎn);第三級(jí)和第四級(jí)標(biāo)題均空兩格書寫序數(shù)，后空一格書寫標(biāo)題。第四級(jí)以下單獨(dú)占行的標(biāo)題順序采用A.B.C……和a.b.c.兩層，標(biāo)題均空兩格書寫序數(shù)，后空一格寫標(biāo)題。正文中對(duì)總項(xiàng)包括的分項(xiàng)采用⑴、⑵、⑶…單獨(dú)序號(hào)，對(duì)分項(xiàng)中的小項(xiàng)采用①、②、③…的序號(hào)或數(shù)字加半括號(hào)，括號(hào)后不再加其他標(biāo)點(diǎn)。
7、如有注釋，應(yīng)為尾注。注釋應(yīng)編號(hào)，并置于參考文獻(xiàn)之前。
8、參考文獻(xiàn)數(shù)目不得少于5篇。排列采用以下格式：
1)參考期刊排列順序?yàn)椋鹤髡撸}目，期刊名稱，出版年，卷(期)，頁碼
2)參考專著排列順序?yàn)椋鹤髡撸瑫霭娴兀霭嫔纾霭婺辏摯a
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(hào)要求：大標(biāo)題為3號(hào)字加黑，小標(biāo)題為4號(hào)字加黑，正文、注釋與
參考文獻(xiàn)為5號(hào)字。
11、論文寫作過程中，應(yīng)自覺主動(dòng)與指導(dǎo)教師聯(lián)系，虛心接受教師指導(dǎo)。
12、按要求打印裝訂并上交。裝訂順序?yàn)椋?/p>
1)畢業(yè)論文封面
2)扉頁(畢業(yè)設(shè)計(jì)/論文任務(wù)書)
3)畢業(yè)論文指導(dǎo)書
4)目錄
5)中文摘要(含關(guān)鍵詞)
6)英文摘要(含關(guān)鍵詞)
7)正文
8)致謝
9)參考文獻(xiàn)
13、進(jìn)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(dòng)生成,用1.5倍行距,4號(hào)宋體。
2、中文摘要、英文摘要各占一頁，按一級(jí)標(biāo)題標(biāo)示。
四、上交要求
學(xué)生按任務(wù)書上規(guī)定的時(shí)間，以班級(jí)為單位交輔導(dǎo)員處，輔導(dǎo)員匯總后上交學(xué)院。
中州大學(xué)外國語學(xué)院
參考樣文如下
目 錄
中文摘要 1
ABSTRACT 2
1 引言 2
2 企業(yè)文化的內(nèi)涵 3
2.1 文化和企業(yè)的定義 3
2.1.1 企業(yè)組織的法律形態(tài) 3
2.1.2 企業(yè)組織的管理形態(tài) 4
2.2 企業(yè)文化 4
2.3 認(rèn)識(shí)企業(yè)文化 5
2.4 企業(yè)文化的功能 6
3 企業(yè)文化對(duì)組織創(chuàng)新的影響 7
3.1 組織創(chuàng)新的內(nèi)容 7
3.2 企業(yè)文化對(duì)組織創(chuàng)新的影響 7
3.2.1 影響組織結(jié)構(gòu)創(chuàng)新 7
3.2.2 影響組織流程創(chuàng)新 8
3.2.3 組織制度創(chuàng)新 8
4 結(jié)語 9
參考文獻(xiàn) 9
致謝 10
摘要
隨著經(jīng)濟(jì)全球化和知識(shí)經(jīng)濟(jì)時(shí)代的到來，國內(nèi)企業(yè)改革的深入發(fā)展, 眾多企業(yè)對(duì)傳統(tǒng)的組織結(jié)構(gòu)進(jìn)行了大膽的創(chuàng)新。同時(shí)，人們逐漸認(rèn)識(shí)到企業(yè)文化是一個(gè)成功企業(yè)不可或缺的一部分，是影響企業(yè)經(jīng)營業(yè)績(jī)的根本，企業(yè)文化決定了企業(yè)的競(jìng)爭(zhēng)地位。本文主要討論了企業(yè)文化對(duì)企業(yè)組織創(chuàng)新的影響。文中首先給出了企業(yè)和文化的定義及其內(nèi)涵，其次提出了企業(yè)文化的內(nèi)容和主要功能，最后揭示了組織創(chuàng)新的內(nèi)容，論述了企業(yè)文化在組織結(jié)構(gòu)、組織流程、組織制度等三方面對(duì)企業(yè)組織創(chuàng)新的影響。企業(yè)文化與創(chuàng)新相互影響，相互促進(jìn)，共同對(duì)企業(yè)的發(fā)展產(chǎn)生影響。
關(guān)鍵詞：文化;企業(yè)文化;組織創(chuàng)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(shí)到與否，文化每時(shí)每刻都在對(duì)政治、經(jīng)濟(jì)、社會(huì)、生活產(chǎn)生著潛在的影響，發(fā)揮著不可忽視的作用。本文通過對(duì)企業(yè)文化的基本內(nèi)涵、企業(yè)文化的重要性以及企業(yè)文化的影響，試圖讓人們認(rèn)知、認(rèn)識(shí)企業(yè)文化。讓人們明確，只有繼承和發(fā)揚(yáng)中華民族的優(yōu)秀傳統(tǒng)文化，吸收和借鑒人類先進(jìn)文化，才能建立起優(yōu)秀的中國企業(yè)文化，重視企業(yè)文化的影響，據(jù)此才能建立起比較完善的社會(huì)主義市場(chǎng)經(jīng)濟(jì)體制，實(shí)現(xiàn)興企、富民、強(qiáng)國的目標(biāo)。
2 企業(yè)文化的內(nèi)涵
2.1 文化和企業(yè)的定義
文化，從廣義上說，是人類在社會(huì)實(shí)踐過程中獲得的物質(zhì)、精神的生產(chǎn)力和創(chuàng)造的物質(zhì)、精神的總和。從狹義上講，是指人類精神生產(chǎn)力和精神產(chǎn)品，包括一切社會(huì)意識(shí)形式：如自然科學(xué)、技術(shù)科學(xué)和社會(huì)意識(shí)形態(tài)等。作為一種歷史現(xiàn)象，文化的發(fā)展有歷史繼承性;作為社會(huì)意識(shí)形態(tài)，文化是一定社會(huì)政治和經(jīng)濟(jì)的反映，同時(shí)又對(duì)一定社會(huì)的政治和經(jīng)濟(jì)產(chǎn)生巨大的影響。
作為經(jīng)濟(jì)組織實(shí)體的企業(yè)，為了實(shí)現(xiàn)其以行政組織手段替代市場(chǎng)交易來協(xié)調(diào)生產(chǎn)的功能，就需要有一定的組織形態(tài)。
一般地說，企業(yè)組織形態(tài)包括兩個(gè)相互關(guān)聯(lián)的方面，其一是企業(yè)組織的法律形態(tài)，其二是企業(yè)組織的管理形態(tài)。
2.1.1 企業(yè)組織的法律形態(tài)
在企業(yè)的長期發(fā)展過程中企業(yè)組織逐步形成三種主要的法律形態(tài)，這就是業(yè)主制企業(yè)，合伙制企業(yè)和公司制企業(yè)，這種界定的依據(jù)是法律認(rèn)可的企業(yè)產(chǎn)權(quán)制度，感情。。。。。。
(以下略)
4 結(jié)語
二十一世紀(jì)，一個(gè)最響亮的詞語就是創(chuàng)新。創(chuàng)新已成為社會(huì)發(fā)展、經(jīng)濟(jì)增長的最關(guān)鍵動(dòng)力，而企業(yè)文化又與創(chuàng)新有著緊密的聯(lián)系，所以，企業(yè)若要獲得長足的發(fā)展就必須將企業(yè)文化與創(chuàng)新思想相融合，發(fā)展現(xiàn)今社會(huì)所需要的企業(yè)文化，并促進(jìn)企業(yè)文化的建設(shè)，同時(shí)不斷地進(jìn)行組織創(chuàng)新、技術(shù)創(chuàng)新，使企業(yè)文化與創(chuàng)新協(xié)調(diào)發(fā)展，相互促進(jìn)。
致謝
本論文得以完成，首先應(yīng)該感謝。。。老師。正是她在本論文的寫作過程中的悉心指導(dǎo)、熱情鼓勵(lì)，在繁忙的工作中抽出時(shí)間來為我修改論文，我才能順利完成我的雙學(xué)位論文。
作為中州大學(xué)的一名畢業(yè)生，我更要感謝管理工程系給了我能夠?qū)W習(xí)不同學(xué)科知識(shí)的機(jī)會(huì)。在兩年的工商管理專業(yè)學(xué)習(xí)過程中，任課老師們的學(xué)識(shí)淵博、治學(xué)嚴(yán)謹(jǐn)、人品高尚無時(shí)不在影響著我。學(xué)習(xí)的時(shí)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(duì)我的老師們深表感謝!
在論文寫作過程中，我的一些同學(xué)、朋友也給了我巨大的幫助與鼓勵(lì)。在此一并感謝!
在我的成長、學(xué)習(xí)過程中，能夠在大學(xué)階段同時(shí)學(xué)習(xí)到工科、管理兩個(gè)學(xué)科的知識(shí)，是我一生的榮幸與財(cái)富。我相信，在未來的日子里我會(huì)更加努力學(xué)習(xí)，充分利用所學(xué)知識(shí)，回報(bào)社會(huì)、師長。
參考文獻(xiàn)
[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(yè)文化與領(lǐng)導(dǎo).北京：中國友誼出版公司，1989年
[3] 威廉•道芬內(nèi)斯，科林•L•普賴斯.21世紀(jì)CEO的經(jīng)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(yè)文化:排除企業(yè)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(yè)文化.北京：三聯(lián)書店，1989年
[6] 埃爾文格•羅赫拉.企業(yè)組織.北京：經(jīng)濟(jì)管理出版社1991年
[7] 竇立夫.論組織效率變革策略 (科學(xué)學(xué)研究)，1995(2)
[8] 連燕華.企業(yè)組織創(chuàng)新的案例研究.科學(xué)學(xué)研究)，1992(2)
[9] 梁鎮(zhèn),趙國杰.企業(yè)管理創(chuàng)新.北京：中國經(jīng)濟(jì)出版社，1996年
[10] 林毅夫等.現(xiàn)代企業(yè)制度的內(nèi)涵與國有企業(yè)改革方向.經(jīng)濟(jì)研究,1997(3)
[11] P F•德魯克.創(chuàng)新與組織.中外科技政策與管理,1995(12)
[12] 許慶瑞.技術(shù)創(chuàng)新管理. 杭州：浙江大學(xué)出版社,1990年
[13] 顏光桐,劉正周等.企業(yè)再造.上海：上海財(cái)經(jīng)大學(xué)出版社,1998
[14] 周振華. 企業(yè)改制.上海：上海人民出版社,1996年
篇13
本科畢業(yè)論文是本科教學(xué)計(jì)劃中的最后一個(gè)重要環(huán)節(jié)，是落實(shí)本科教育培養(yǎng)目標(biāo)的重要組成部分。與本科院校相比，獨(dú)立學(xué)院學(xué)生的學(xué)習(xí)基礎(chǔ)和自主學(xué)習(xí)能力相對(duì)比較薄弱，英文學(xué)術(shù)論文寫作存在一定的難度，因此在論文寫作過程中很多學(xué)生過多依賴翻譯軟件，往往造成辭不達(dá)義。分析機(jī)器翻譯的消極影響是非常有必要的，只有找到問題的癥結(jié)所在，才能準(zhǔn)確有效地解決問題。
首先，機(jī)器翻譯消弱了學(xué)生學(xué)習(xí)的積極性。隨著國際互聯(lián)網(wǎng)絡(luò)的聯(lián)接，一些英文軟件可以很方便的實(shí)現(xiàn)翻譯，學(xué)生是網(wǎng)絡(luò)使用的主要群體，比較容易接受新事物帶來的便利，由于學(xué)生在畢業(yè)論文寫作階段忙于找工作或備戰(zhàn)研究生考試，學(xué)生對(duì)畢業(yè)寫作興趣不高，為此依賴機(jī)器翻譯就成了一普遍現(xiàn)象。
其次，機(jī)器翻譯降低了論文的寫作質(zhì)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(gè)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(zhǔn)確，更不要提把這個(gè)單詞放在文章整個(gè)環(huán)境了。句子和整篇文章的翻譯對(duì)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(jié)果和人工翻譯的結(jié)果差距甚大。
那么，如何應(yīng)對(duì)機(jī)器翻譯對(duì)論文寫作的消極影響,可借鑒以下幾個(gè)方面：
第一、提高畢業(yè)論文寫作認(rèn)知。
在新生入學(xué)教育中，可介紹畢業(yè)論文在整個(gè)教學(xué)環(huán)節(jié)的地位，也可在低年級(jí)的基礎(chǔ)課程與高年級(jí)的專業(yè)理論課程教學(xué)過程中灌輸論文寫作的重要性。充分利用文學(xué)、語言學(xué)、文化和翻譯等課堂教學(xué)，幫助學(xué)生最大限度地獲取各個(gè)語言板塊的信息，讓學(xué)生更全面地了解英語語言。課程設(shè)置中要求學(xué)生完成書面提綱、報(bào)告或?qū)W期論文，在寫作中強(qiáng)化學(xué)生對(duì)英語語法規(guī)則的正確使用及詞匯的多樣化運(yùn)用，提高學(xué)生謀篇布局的能力，訓(xùn)練其英語語篇思維模式。
第二、開展學(xué)術(shù)論文寫作講座。
除了理論教學(xué)，開展以講座的形式介紹論文的研究方法，調(diào)動(dòng)學(xué)生學(xué)習(xí)積極性，鼓勵(lì)要求學(xué)生能夠運(yùn)用在校學(xué)習(xí)的基本知識(shí)和理論，結(jié)合自身的專業(yè)方向及研究興趣，去分析、解決實(shí)際問題，產(chǎn)出形式多樣化、質(zhì)量較高的學(xué)術(shù)論文。
