学术英语课程论文封面

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英语论文开题报告及封面格式

英语论文开题报告及封面格式英语论文开题报告范文及封面格式大学生活要接近尾声了，学生们要开始做毕业设计了，在做毕业设计之前指导老师都会要求先写好开题报告，那么大家知道正规的`开题报告怎么写吗？下面是小编为大家整理的英语论文开题报告范文及封面格式，仅供参考，希望能够帮助到大家。

The intention of this study is to explore possible advantages of Descriptive Translation Studies as in its application in translation practice and translation analysis.Since early 20th century, translation studies gradually broke away from the marginal status within other related disciplines and established itself as an empirical science. From then on, schools of thought have kept coming out and each claims its legitimacy for existence. Among these schools is Descriptive Translation Studies (DTS).DTS approaches translation from an empirical perspective. Translation is viewed to be a social activity having significant importance in the receiving culture and for the target community. Therefore, translation is dealt with beyond the linguistic realization and language comparison, and is incorporated in social and cultural context.My attention was first directed to DTS by its peculiar characteristic of observation, description and explanation. The subject is whatever happens in translation practice, from the determination of prospective function of translation to the process of translator’s choice of strategies, brainstorming and the revision, to the final product making appearance in the target community.The method of DTS is basically descriptive. The prescriptivetendency and the problem-solution pattern is abandoned. Translation phenomena are noted down. With accumulated data, some underlying truths about translation will come out which will prove to be instructive not only for theoretical probe but also for applied translation practice. I will apply this descriptive method in the case study of this thesis.A convenient tool has been set up to conduct DTS. “Norm” is operative at every stage of description and explanation. Function, process and product and their relationship as well are skeletal structure of what constitute descriptive studies. Translation phenomena are accounted for with the help of norm.The case taken in this thesis is the Chinese classic The Dream of Red Mansions. Two English versions translated respectively by Yang Hsien-yi and David Hawks are compared and observations are made in regard to their translation approaches.In this regard, my observations are limited to several aspects, I hope in-depth observation and explanation will done in light of DTS.。

英文系本科毕业论文格式

英文系本科毕业论文格式一、格式论文依次包括封面、目录、英文摘要(Abstract)与关键词(Key words)、中文摘要与关键词、引言(Introduction)、正文、结语(Conclusion)和文献目录(Works Cited)等部分。

二、封面具体样式参照论文样本页A，封面格式可到外国语学院网站下载。

三、标题居中。

如果有副标题，用冒号把英文主、副标题隔开，例如：The Human Nature Motif in William Golding’s Lord of the FliesInvisible Colour versus Visible Wall: Hanif Kureishi’s “Strangers When We Meet”中文副标题须在主标题后另起一行，前面加破折号, 例如：论威廉•戈尔丁《蝇王》中的人性母题看不见的颜色与看得见的墙——评哈尼夫•库雷西的“相逢不相识”四、英文摘要与关键词Abstract左顶格，字体为Times New Roman 小四号，黑正体，与摘要内容部分以冒号隔开。

摘要内容部分长度为150词以内，字体为Times New Roman 小四号正体，从第二行开始到结束均为左顶格。

关键词部分另起一行，以Key words为标题，关键词标题左顶格，字体为Times New Roman 小四号，黑正体，与所列关键词以冒号隔开，关键词以3至5个为宜，字体为Times New Roman 小四号正体，除少数专有名词外一律小写，关键词之间以分号隔开。

五、中文摘要与关键词摘要左顶格，字体为宋体小四号，黑正体，与摘要内容部分以冒号隔开。

摘要内容部分长度为200字以内，字体为宋体小四号正体，从第二行开始到结束均为左顶格。

关键词部分另起一行，以关键词为标题，关键词标题左顶格，字体为宋体小四号，黑正体，与所列关键词以冒号隔开，关键词字体为宋体小四号正体，关键词之间以分号隔开。

学术英语课程论文封面

班级: 英语（读写）________班名册序号:_________ 云南大学课程论文课程: 学术英语（读写）论文题目： (英文题目) (中文题目)学院专业学生姓名学号指导教师得分2014年 7 月the Republic of ChinaAbstractOn the basis of the historical literatures and the opinions historians and accounting scholars, this paper attempts to arrange some remarkable characteristics about accounting thoughts during the Republic of China. Then the thesis evaluates its historical contribution and gives some lessons on the current accounting system through historical analysis. Because accounting work during the period of Republic of china was frequent, there are little monographs or articles about the accounting thoughts during that time and the elaboration is fragmented, too. Nevertheless, the study on the accounting thoughts in the Republic of China is propitious to hold the objective laws and historical references of the evolution of accounting thoughts and explore the orientation of the development of future accounting. Due to the limited time and space, the essay is restricted to a simple analysis of its features and experience More researches focusing on analyzing the details are need to be done in the future.Key words:the Republic of China, accounting thoughts, accounting historythe Republic of ChinaI. IntroductionWith the rapid development of economy, accounting has been put into full play in social-economic region. As an important component of accounting theories, the history of accounting thoughts is attached increasing attention. According to Guo(1999) and Liu(2005), "accounting thoughts" The history of accounting thoughts can reveal the objective law of its evolution, as well as the relationship between accounting thoughts and accounting practice. Therefore, accounting thoughts should be researched from the historic and evolutionary perspective.Currently, the study on the accounting thoughts in the Republic of China lacks systematization. The Republic of China has its historic position in Chinese accounting history, by reason that in this period government accounting system of modern China has been established in an all-around way. Summing it up is advantageous to exhumating advanced accounting thoughts and ideas, guiding directions of accounting practice and give historic reference for the ever-growing accounting business.Through collecting and arranging literature, it turns out that the monographs and articles about the government accounting thoughts are lacking and the elaboration is fragmented, too. Therefore, taking the time sequence of accounting thoughts evolution as a clue, the paper divides the Republic of China into two periods (the Northern Warlord Government period and the Nanjing National Government period) to recapitulate the main features and experience of the accounting thoughts in the Republic of China.Ⅱ. The basic profile of the accounting thoughts in the Republic of ChinaThe Revolution of 1911, led by Dr Sun Yat-sen, abolished the feudal monarchy and gave birth to the Republic of China. A thousand things waited to be done and all the modern politicaland economic systems were in their formative period. Under these circumstances when so much was in flux, the accounting thoughts in the Republic of China had not only historical inheritance but also unique saltation.The Northern Warlord Government was incompetent, affected by tangled warfare among warlords domestically and oppressed by imperialism internationally. There was no doubt that the development of accounting thoughts would be dragged down by the troublous political environment and backward economic management style. Nevertheless, based on the buds of improving accounting in the late Qing Dynasty, the accounting thoughts had a certain vitality. More specifically, the Northern Warlord Government took a page from the western capitalist countries’ book and tried to relieve the financial crisis by governmental accountancy reform. And the government authorized the intellectuals to formulate the first accounting law in Chinese history, which marked the beginning of the legalization of Chinese accounting.In the reign of Nanjing National Government, the accounting thoughts developed rapidly and accountancy was improved by a large margin. It furthered the thoughts of legalizing accounting that the Nanjing National Government carried out improvement works to organizational system, restructuring and accounting method. Owing to the p atriotic intellectuals’great effort, various circles of accounting learned and introduced overseas advanced accounting theories and methods in order to improve accountancy. The accounting thoughts in this period were very active. And the most striking feature was the bitter disputes among accounting scholars, in which they drew on each other’s merits and raised the level of Chinese accounting together.Ⅲ. The main feature of the accounting thoughts in the Republic of ChinaFirstly, the accountancy had been placed on a preliminary legal and regular track, especially the formulation of accounting law. At the same time, various provisions of unifying accounting were implemented in succession. The Nanjing National Government promulgated and executed some advanced system such as transcendental accounting and unifying accounting, which certified for the improvements of Chinese accounting.Secondly, the mind of unifying accounting reached the broad consensus. Whethergovernments or patriotic intellectuals realized that the loose accounting regulations and the situation of national disunity severely hindered the implementation of financial budget and final accounts. Therefore, the accounting subjects, accounting vouchers, account books and accounting reports were unified successively in the field of government accounting, bank accounting, railway accounting and so forth.Thirdly, increasingly importance has been attached to the combination of accounting theory and accounting practice. The argument between improvement and reformation in accounting circle prompted thousands of industrial and commercial enterprises to participate in this innovation movement of Chinese accounting actively or passively. The two factions both concentrated on accounting business and practice, made accounting firms as the camps, relied on accounting education and publication, which contributed a lot to the close link between accounting theory and practice.Fourthly, the dissemination of western accounting theories in China had a profound influence. The two governments both followed the lead of western capitalist countries so as to construct their finance accounting organization system s and improve government’s accounting methods. The Numerous scholars either translated and compiled foreign accounting works or presented foreign accounting systems and theories in their own dissertations and literatures. In the meanwhile, some scholars clearly sensed that when learning from western countries, the conditions and historical traditions of China should be abode by.IV. The historical experience of the accounting thoughts in the Republic of ChinaFirst and foremost, the systematization, standardization and legalization of accounting play the security role. From macro’s angle, perfecting the accounting principle and system can ensure good governance and minimize the risks of improper conduct and corruption. From micro's angle, strengthening the awareness of responsibility and quantifying the legal liability also effectively prevent companies and accountants from cutting every imaginable corner.In the next place, practicality and operability laid the cornerstone for the development of accounting theories. The neoteric accounting reform movement improved Chinese accounting’theory system as well as method system and accelerated the engagement of these two. Hereafter, surpassing the traditional accounting theory, the double-entry bookkeeping and formula of debit and credit were accepted by most businesses made a great deal of progresses in research and application fields. The accounting practices, economy and management levels have been greatly promoted.In addition, the excellent accounting talents are one of the main motive forces of accounting development. A large contingent of accounting workers and intellectuals in the Republic of China initiated and laid the foundation for the development and progress of Chinese accounting. Nowadays, the cultivation of accounting talents should be actively brought into the long-term and normalized system. The favorable public opinion towards developing accounting talents and the flow mechanism of accounting talents should also be established gradually. These will give an enormous impetus to the national strength and the domestic economic growth.Besides, the accounting communication among countries, accounting in good faith, accounting education and publication are also important.Ⅴ. ConclusionBecause of the invasion of foreign imperialism and the incompetence of the Northern Warlord government, the accounting thoughts were restricted and developed slowly. But in the National government period, the accounting thoughts entered a rapid development. The western advanced accounting thoughts introduced by the government, a series of accounting reform movements launched by patriotic intellectuals and the fierce debates among accounting scholars all promoted the development of accounting. When summing up the objective laws of the development of accounting thoughts, we should learn from its experience, including accelerating the construction of Chinese accounting law, strengthening the communication and cooperation, establishing the consciousness of accounting honesty and credit, and improving the accounting education.Works Cited[1] A. C. Littleton. Accounting Evolution to 1900. New York: Garland PublishingIncorporation, 1988.[2] Man Chand Maloo. Theory of Evolution of Accounting Ideas. S. Chand &Company Limited, 1984.[3] Paul Garner. Evolution of Cost Accounting to 1925. Tuscaloosa: The University ofAlabama Press, 1976.[4] Yang Ju-MEI. Goodwill and Other Intangibles, Their Significance and Treatmentin Accounts. New York: The Ronald Press Company, 1927.[5] 高治宇(Gao Zhiyu). 中国会计发展简史. 河南：河南人民出版, 1985.[6] 郭道扬(Guo Daoyang). 中国会计史稿. 武汉：中国财政经济出版社, 1988.[7] 刘常青(Liu Changqing). 中国会计思想发展史. 成都：西南财经大学出版社,2005.[8] 赵友良(Zhao Youliang). 中国近代会计审计史. 上海：上海财经大学出版社,1996.。

英语毕业论文写作及排版格式要求

英语毕业论⽂写作及排版格式要求英语毕业论⽂写作及排版格式要求第⼀部分：封⾯ 1、需填写的项⽬由本⼈⽤碳素墨⽔⼿写或打印。

2、封⾯上的毕业论⽂(设计)编号填写统⼀编排的12位学号。

3、届、班级均采⽤阿拉伯数字，班级应标明某级某班。

4、⽤纸要求(以下所有⽤纸按此要求) ·纸型：A4纸，单⾯打印; ·页边距：上2.54cm，下2.5cm，左2.5cm，右2.5cm; ·页眉：4.5cm，页脚：1.8cm，左侧装订。

第⼆部分：⽬录 (单独⽤⼀页对齐⽅式：两端对齐、1.5倍⾏距) ⽬录(标题三号，Times New Roman，加粗，居中;) 摘要(关键词)(⼩四号，Times New Roman)……………………………………(页码) 英⽂摘要(关键词)(⼩四号，Times New Roman)………………………………………(页码) 致谢(⼩四号，Times New Roman)……………………………………………………………(页码) 1.Introduction………(⼩四号，Times New Roman)……………………………………………… (页码) 2.XXXXXX(⼀级标题)(⼩四号，Times New Roman)………………………………… (页码) 2.1 XXXXXX(⼆级标题)(⼩四号，Times New Roman)………………………………… (页码) 2.1.1XXXXX(三级标题) (⼩四号，Times New Roman)…………………………………… (页码) (注：此处⽬录中的标题层次根据正⽂标题层次来确定) 参考⽂献(⼩四号，Times New Roman)………………………………………………………(页码) 第三部分：⽂章标题、摘要与关键词 1. ⽂章标题：⼆号、Times New Roman、加粗、居中题⽬：应在20个单词以内，能简明、具体、确切地表达论⽂的特定内容。

英文论文封面

中南大学CENTRAL SOUTH UNIVERSITY 高等教育自学考试英语专业毕业论文题目英语词缀记忆法刍议题目类别语言类学生姓名刘丽娜考籍号 250610200001 学校娄底职业技术学院联系电话完成时间 2013-9-17MY MEAGER OPINION ON ENGLISH AFFIX MEMORYMETHODbyLiu Lina(250610200001)October 2013School of Foreign LanguagesHunan Normal UniversityAcknowledgementsHere and now, I extend my sincere thanks to all those who have helped me make this thesis possible and better. First, and most importantly, highest appreciation goes to my honorable supervisor, Dr. Liu Yan, who have checked through my thesis with enormous patience and given me insightful suggestions, and whose way of conducting academic studies with rigor subconsciously affects me and will guide me in my future study. And it has been a great privilege and pleasure to learn from him.Thanks also to the teachers and professors who have taught me over the past three years of college study. My heartfelt thanks go to Profs. Deng Haiyan, Shao Xiang, and Liu Yan and other teachers whose courses have enlightened me in one way or another.ContentsAbstract (ⅰ)摘要 (ⅱ)Introduction ..............................................错误!未定义书签。

西南政法大学外语学院学术硕士学位论文封面、封一、封二、内容摘要、目录格式样本

中图分类号：（四号楷体加黑）密级：（四号楷体加黑）UDC ：（四号楷体加黑）硕士学位论文校外指导教师姓名：职务职称：申请学位等级：硕士学科：外国语言文学专业：外国语言学及应用语言学论文答辩日期：（小四号楷体加黑）本人郑重声明：尽我所知，过的研究成果，也不包含为获得西南政法大学或其他教育机构的学位或证书而使用过的材料；对于与我一同工作的同志对本研究所做的任何贡献，均已在论文中作了明确的说明并表示谢意。

学位论文作者签名: 签字日期: 年月日学位论文版权使用授权书本学位论文作者完全了解西南政法大学有关保留、使用学位论文的规定。

即：学校有权保留所送交的论文，允许论文被查阅和借阅，可以公布论文内容，可以采用影印、缩印或扫描等复制手段保存论文，可以向有关部门和机构送交论文的纸质复印件和电子版本。

(保密的学位论文在解密后适用本授权书)学位论文作者签名: 导师签名:签字日期：年月日签字日期：年月日TRANSLATION: A CASE STUDY OF THE ENGLISHVERSION OF GENERAL PRINCIPLES OF THE CIVILLAW OF THE PEOPLE ’S REPUBLIC OF CHINABy LI Xiaoming A Thesis Submitted to Graduate School,Southwest University of Political Science and LawIn Partial Fulfillment of the Requirements forthe Degree of Master of Arts inForeign Linguistics and Applied LinguisticsSupervisor: Professor LIU MingMarch, 2014 Times New Roman 三号加粗，居中，作者姓全部大写，名首字母大写。

英语专业本科毕业论文格式

英语专业本科毕业论文格式英语专业本科毕业论文文本格式一、论文文本结构1.封面（由学校统一制作）2.论文英文扉页（见模版及模版说明）3.论文中文扉页（见模版及模版说明）4.致谢（可选项）5.毕业论文英文摘要6.毕业论文中文摘要7.毕业论文英文目录8.毕业论文正文9.注释（可选项）10.参考文献11.附录（可选项）二、论文打印规范1.使用A4纸，单面打印。

2.页边距：上边距3.6厘米，下边距2.5厘米，左边距2.8厘米，右边距2.5厘米。

3.装订线：0厘米。

4.距边界：页眉2.7厘米，页脚1.7厘米。

如下图所示：5.页眉内容：统一为“XX大学XXXX届本科生毕业论文”，使用宋体小五号、居中，（如：XX大学2008届本科生毕业论文）。

6.页码：选用阿拉伯数字，页面底端居中。

第1页为正文第一章的第一页。

目录页和摘要页不标页码和页眉。

三、论文各部分具体格式及要求1．摘要●摘要内容英文采用Times New Roman，12磅，中文采用宋体，小四号；1.5倍行距。

段落首行缩进4个英文字符或2个汉字字符。

●长度：英文约为150词。

中文摘要内容要与英文摘要内容一致。

英文、中文摘要各占一页。

●英文“ABSTRACT”一词字母大写，中文“摘要”之间空两格、加粗、居中，并与内容文字之间空一行（见图1.1 和图1.2）。

●中英文摘要均要求有能反映论文主要内容的关键词2—4个。

“Key words：” 及“关键词：”字样须加粗，顶格。

各关键词之间有分号及一个空格，移行后须与第一个关键词的首字母对齐，英文采用Times New Roman，12磅，中文采用宋体小四号。

图1.1图1.22．目录页●目录页另页编排，置于摘要页的后面。

一级标题加粗，序号采用阿拉伯数字，数字后面加一圆点，如1.、2.、3.等。

二级标题及二级以下标题使用阿拉伯数字编排序号，如3.1、3.1.1 等。

●目录中的各级标题及页码均须与正文中的标题及页码一致。

浙江师范大学研究生课程论文封面(中英文)

浙江师范大学Zhejiang Normal University研究生课程论文封面Cover Page of Graduate Course Paper课程名称：Course Title开课时间：Operating Time学院College学科专业Discipline and Major学号Student ID姓名Name任课教师Teacher交稿日期Date of Submission成绩Grade评阅日期Date of Evaluation评阅教师签名Signature of theEvaluator浙江师范大学研究生院制Graduate School, Zhejiang Normal University说明Description：1、凡须记学分的研究生课程论文统一用此封面，新生入学时由各学院研究生秘书按需要统一发放；本封面也可在研究生院网站下载打印。

This cover page will be used for all graduate course papers that need to be given credits, and will be distributed by graduate secretaries of each college upon admission. This cover page can also be downloaded and reprinted from the website of the graduate school.2、所有类别研究生应在研究生课程结束后2周内将课程论文（有要求的课程）以A4纸打印，并与封面一起装订后交任课教师批改。

All types of graduate students shall print their course papers (required courses) on A4-sized sheets of paper within 2 weeks after the completion of the graduate courses, bind them together with the cover page, and submit them to the teacher for evaluation.3、课程名称、学科专业、学号等须按规范填写。

英文版通用学术英语论文格式样张

英文版通用学术英语论文格式样张封面页主要内容页The Researches on Rs Method for Discrete Membership Functions---------------subtitle(副标题12号字加黑右对齐)（空一行）ZHANG Xiaoya, LI Dexiang(题目14号字加黑居中) School of Management,Dalian University, P.R.China,116622 (10 号字居中)(10号字加黑) (空一行)Abstract Mizumoto used to advance a fuzzy reasoning method ,Rs, which fits the……Key words IDSS, Fuzzy reasoning,……(10号字)(空一行)1 Introduction (一级标题12号字加黑)We know that the approaches of implementation of intelligent decision support systems(IDSS)have become variable……(正文均用10号字)(空一行)2 An ExampleAccording to the definition of Rs, we can construct the fuzzy relation matrix, as shown in table 1Table 1 A Fuzzy Relation Rs (9号字加黑居中) U2U3U10.00 0.10 0.40 0.70……0.00 1.00 1.00 1.00 1.00 ……0.20 0.00 0.00 1.00 1.00 ……(表中用9号字).….. …………………(空一行)Figure 1 Functions of……(9号字加黑居中)3 The Improved Method(空一行)3.1 Method one (二级标题10号字加黑)…………3.1.1 Discussing about method one (三级标题10号字)…………（空一行）3.2 Method two……………………(空一行)4 Result (12号字加黑)5 Discussion (12号字加黑)6 Conclusion (12号字加黑)…………(空一行)References (12号字加黑居中)（空一行）[1] M.Mizumoto,H.J.Zimmermann. 1982, Comparison of fuzzy reasoning methods. Fuzzy Sets and Systems ,8p253～283 (参考文献均用10号字)论文排版要求及样张关于论文1.论文的书写顺序时:标题、作者姓名、作者单位，邮箱，摘要、关键词、引言、正文、结论、参考文献。

外语系英语专业毕业论文格式基本要求

外语系英语专业毕业论文格式基本要求为了规范论文写作，确保论文质量，特制订外语系英语专业毕业论文格式基本要求，现公布如下，请指导教师和毕业生同学参照执行。

一、论文封皮封皮上“信阳师范学院华锐学院”为华文行楷、初号加粗，“本科毕业论文（设计）”为楷体_GB2312、小初加粗，学号为宋体小四，日期为宋体小二。

专业、年级、姓名及指导教师姓名、职称均用宋体四号，论文题目用Times New Romes（以下称新罗马）四号。

二、开题报告开题报告学生基本信息部分（姓名、性别、学号、专业、班级）用汉语填写，宋体小四；论文题目和正文用英文填写，新罗马小四。

三、中期检查表中期检查表中论文题目用英语填写，新罗马小四；其他内容用汉语填写，宋体小四。

四、论文正文正文的页边距设置为：上下左右2.5厘米，装订线1厘米（装订线位置：左）。

正文（目录页除外）的行距均为固定值，23磅；目录页的行距为1.5倍行间。

论文正文包括：目录、标题、学生姓名、学号、专业、院系、导师姓名、导师职称、英语摘要、英语关键词、中文摘要、中文关键词、正文内容、参考文献等。

除中文摘要、关键词外，论文正文部分使用英文撰写。

论文字数介于6000-8000字。

1）“Contents”用新罗马三号、加粗、居中，目录内容一级标题用新罗马四号，二级标题用新罗马小四（目录中不出现三级标题）。

目录内容与标题空一行。

目录的行距为1.5倍。

目录原则上控制在一页以内。

目录页不加页码。

2）论文标题：新罗马三号、加粗、居中；标题中实词首字母需大写，虚词首字母不大写，但虚词若出现在句首，则首字母必须大写；标题中的作品名称应为斜体字。

正文需加上页码（页脚，居中）。

3）学生和导师信息：使用新罗马五号，分三行，居中，左右对齐。

其中名字为：Name; 学号为：No.; 外语系英文为：Foreign Languages Department; 导师的英文为：Supervisor; 职称的英文为：Title; 职称分别为：讲师（Instructor），副教授（Associate professor），教授（Professor）。

课程论文封面及模板 - 副本

《专项英语（翻译理论与实践）》课程论文论文题目：所在学院：所学专业：作者姓名：作者学号：年月英语新闻标题中的仿拟辞格及其翻译研究[摘要]新闻标题不仅是新闻的点睛之笔，而且是必不可少的“指示牌”，在整个新闻中占有极为重要的地位。

新闻标题编辑得好坏，有时决定了该条新闻的“命运”。

英语新闻标题中大量使用了仿拟修辞格，极大地增强了其可读性和新奇性，但同时也给翻译带来了巨大困难和挑战。

文章探讨了新闻标题中的仿拟辞格的分类和功能，并从直译、直译+意译、仿译和创译四个方面探析了其常用的翻译方法和策略。

[关键词]英语新闻；新闻标题；标题翻译；仿拟辞格1 引言新闻语体是一种特殊的应用文体，一般由标题、导语、主体、背景和结尾五要素组成。

新闻标题的作用非凡，有时乃决定了该新闻的“命运”，因为“新闻标题是一则新闻的‘题眼’，高度概括了该新闻的主题和思想，并能表达新闻作者的立场、态度、评价和判断，在新闻作品和读者之间架起了一座沟通桥梁。

”（刘金龙，2011：45）由此观之，新闻标题在整个新闻中的核心地位。

……好的新闻标题翻译，不仅“应该像原文一样能在开卷之前引起阅读期待，合卷之后产生阅读的回味”，还应“既要忠实于标题代表的作品的精神实质，又要顾及审美上的要求”，并“达到使人过目不忘的宣传效果。

”（虞建华，2008：69）在新闻标题所采用的众多修辞手法中，仿拟则是一种值得借鉴的方法。

2 新闻标题中的仿拟辞格2.1 何谓仿拟？仿拟是一种使用频率极高的修辞手法，其英文为Parody，源于希腊语中的Paroidia，意思为satirical poem（讽刺诗）。

……2.2 新闻标题中的仿拟辞格2.2.1 仿词仿词往往根据表情达意的需要，在特定的语境中，以现有的词语（词素）单位为基础或本体进行的仿拟。

仿拟过程中，可根据需要更换原词中的某个词（词素），并融入新的语素最终得到仿体以传情达意。

仿词可分为音仿和义仿。

2.2.1.1 音仿音仿也称谐音仿拟，是指利用音同或音近的词语构成语义变体，换言之，就是仿体与本……2.2.1.2 义仿义仿是和音仿相对的，也称作非谐音仿拟。

高级英语视听说学期论文封面模板

哈尔滨商业大学学期论文场景调度因素对悬念营造的作用——希区柯克电影风格简析学生姓名舒丹指导教师王立新专业英语学院外语学院2010年12 月30 日Harbin University of CommerceTeam ThesisContribution of Mise-en-Scène Elements toCreation of Suspense—Analysis of Hitchcock’s Film StyleStudent Shu DanSupervisor Wang LixinSpecialty English LanguageSchool School of Foreign LanguagesDecember 30, 2010毕业论文任务书毕业论文审阅评语毕业论文审阅评语毕业论文答辩评语及成绩摘要人类天生具有窥探的欲望，而电影则被认为是容易满足人们窥探欲望的一种艺术形式。

在众多影片类型中，悬疑影片对电影的这种功能的体现尤为明显，这也是阿尔弗雷德·希区柯克的作品为何相当受人欢迎的原因之一。

阿尔弗雷德·希区柯克是一位闻名世界的电影导演，尤其擅长于拍摄悬疑惊悚片，素有“悬念大师”之称。

作为历史上著名的电影艺术大师，他不但有许多脍炙人口的名片传世，对电影工业也有深刻的影响。

本文通过对其作品中场景调度因素的分析，包括布景，取景，音效和照明，服装和道具，得出场景调度因素对于悬疑气氛营造所具有至关重要的作用的结论。

关键词：希区柯克；悬疑气氛；场景调度AbstractPeople are born with a desire to peek, and film is thought to be an art form which can easily satisfy this desire. Among different styles of films, suspense films perform such function most obviously, and that is one of the reasons why Alfred Hitchcock’s works are so welcome. Alfred Hitchcock is a world-famous film director, who was good at making suspense and thriller films, and is known as the “Master of Suspense”. As a cinema art master in history, he has not only made a lot of works winning universal praise, but also made a profound effect on film industry. This thesis analyzes elements of mise-en-scène in his works, including setting, framing, sound and lighting, and costumes and props, and gets the conclusion that mise-en-scène elements have an effect of vital importance on creation of suspense films.Key Words: Hitchcock; suspense atmosphere; mise-en-scèneContents摘要 (i)Abstract (ii)1 Introduction (1)2 Setting (3)2.1 Big Houses as Closed and Limited Space (3)2.2 Rooms with Curtains as Obstacles (5)2.3 Stairs as Path of Rising Anticipation (7)3 Framing (9)3.1 Windows as Holes to Peek through (9)3.2 Mirrors as Reflection of Different Selves (11)3.3 Doors as Obstacles and Connections (13)4 Sound and Lighting (15)4.1 Diegetic Sound as Voice of Soul (15)4.2 Light as Atmosphere Maker (16)4.3 Darkness as Shelter for Evil (17)5 Costumes and Props (19)5.1 Inappropriate Dresses as Trigger of Curiosity (19)5.2 Arrangement of Certain Objects as Carriers of Mystery (20)Conclusion (23)Bibliography (25)Acknowledgements (27)1 IntroductionOne of the reasons why people love films is that films can satisfy their desire to “peek”: what films usually do is to “reveal” or “show”. Films know what people are curious about, what pe ople don’t understand, or even what they are not aware of in mental world, theirs, or others. Among all the types of films, suspense films are the ones which emphasize this function the most. They set a variety of suspense to arouse audience’s curiosity an d desire to peek. When we mention suspense films, the works of Alfred Hitchcock, who is regarded as the “Master of Suspense”, should definitely not be ignored.Alfred Hitchcock is a world-famous film director. His suspense films differ from common horrors: besides screaming in the process of watching, people may be in a nervous sense in daily life. In the process of hiding, peeking, and revealing, he makes people think. Psychological matters presented in films become mirrors to audience. That is why Alfred Hitchcock is also called “Freud in F ilmdom”. During his art life as long as sixty years, Alfred Hitchcock made more than fifty films, such as Rebecca, Rear Window, and Psycho. You can hardly tell which one is the most classic. These works are characterized by suspense. When searching for such atmosphere, people may find a careful arrangement of elements of mise-en-scène. Proofs lie in all of his works.Rather than spending time on the study of those purely formal cinema questions, such as the shot, editing, and montage, my thesis analyzes creation of suspense in Alfred Hitchcock’s films with the study of elements of mise-en-scène, i.e. setting, framing, sound, lighting, costumes, and props. It makes the applied methods, having films seem to be artistic, mor e concrete and “touchable”, since amount of examples are given. In thisthesis, four main chapters are contained.In the first chapter, setting is analyzed with the presentation of big houses, rooms with curtains, and stairs. Big houses are regarded as closed and limited space. Rooms have similar functions, and curtains as obstacles strengthen these functions to some degree. Stairs, as another type of sets, make contribution to creation of suspense as path of rising anticipation, which is different from the former two. In this chapter, Psycho, Rebecca, Dial M for Murder, and Vertigo are given as examples. In the following part, Psycho, Rebecca, Rear Window, and Vertigo are mentioned as examples. Doors are both obstacles and connections; before obstacles shift to connections, audien ce’s curiosity forms, and suspense atmosphere is created. Mirrors serve as reflections of different selves. Concrete discussion will explain how mirrors contribute to creation of suspense. Another kind of frame preferred by the director is window. Windows as holes to peek through have effects on creation of suspense in their own way. In the third chapter, sound of rain in Rear Window and Psycho supports the exposition of sound part. Lighting in The Birds, Dial M for Murder, and Rear Window serves as suspense atmosphere maker. Darkness, as a special effect of lighting, is discussed as a separate section. It plays a role of shelter for evil. As to the last chapter, inappropriate dresses in Psycho and Rebecca indicate Alfred Hitchcock’s tendency in costumes: the dresses become triggers of curiosity which is quite important for the formation of suspense. And birds in Psycho and The Birds carry certain mystery so that suspense can exist.The study may help the audience know more about the beauty of suspense and horror in the process of watching the films, and raise the level of appreciation. What’s more, with deeply understanding of films, audience can further the exploration of themselves, knowing more about their inner world.2SettingWhat is setting? Andrew Lynn gives us a brief answer in his Appreciating Cinema that “setting is the term used to refer to the background of a particular scene…Sets may be chosen or designed on the basis of a number of different consideration s to create an ‘expressive space’(Lynn 56) ”. As to Alfred Hitchcock’s films, what sets are usually chosen? Here are big houses, rooms with curtains, and stairs as objects to analyze with.2.1 Big Houses as Closed and Limited SpaceIn Hitchcock’s films, it is not har d to find that many stories happen in big houses. Undoubtedly, he chooses big houses as the spots for reasons.In traditional ideal, houses are thought to be a symbol of security, but Hitchcock tried to challenge such tradition: he would make a big house a place where unknown danger hides. Though these houses are big, even giant, they do constitute limited space. In such limited space, stories that are about to take place, however, still can be unknown and unpredictable. In a few words, what big houses indicate is that in limited place, stories are unlimited. Meanwhile, big houses bring a sense of pressure. It contributes to the creation of tensity and horror.Dozens of examples can easily be found. Sometimes, it is only a villa, like Bates’ home in Psycho; sometimes, it is a manor, like Manderley in Rebecca.In Psycho, Norman Bates and his mother live in a big gothic house located on a slope near the motel. “Gothic architecture always offers people an afraid and upset hint. (Han Ye, Li Jinming, 88)”Besides, the position of the house, which seems to be just shrouded in the dark clouds, is obviously higher than other objects. When coming into the view of audience for the very first time, the villa makes people feel pressed. What arein such big house must draw people’s attention. But what we can get for a very long time are a woman’s figure near the window and the quarrel between Norman and his “mother” (which is proved to be a mummy at the end of the movie). What is the woman like? What else are hidden in this big box? How will those hidden things affect the following story? Since these questions are raised, suspense is born.In Rebecca, the opening shot is given to the giant manor, Manderley, in which we can always feel the breath of Rebecca, the dead hostess of Manderley, though we actually never see her. Meanwhile, the domineering housekeeper, Mrs. Danvers, tries to undermine the second Mrs. de Winter,suggesting to her that she will never attain the urbanity and charm that Rebecca possessed. Like the nameless heroine, audience may be frightened by the haunted house, but the manor puts everything in such a closed limited space that people can hardly escape from the ghost of Rebecca.Necessarily, here inserts an additional explanation of a term, “McGuffin”, a key technique of Alfred Hitchcock’s films.It might be a Scottish name, taken from a story about two men in a train. Oneman says “What’s that package up there in the baggage rack?”, and the otheranswers “Oh that’s a McGuffin”. The first one asks “What’s a McGuffin?”“Well”, the other man says, “It’s an apparatus for trapping lions in the ScottishHighlands”. The first man says “But there are no lions in the ScottishHighlands”, and the other one answers “Well, then that's no McGuffin!” (ZhaoLihong, 57)Briefly, McGuffin refers to something that seems to exist but in fact nothing at all. In Psycho, the talking mother at beginning is a McGuffin. In Rebecca, the dead hostess is a McGuffin. Both of them exactly do not have concrete appearance, but the audience can actually feel their existence. How can it happen? The big houses offer the possibility:those “McGuffins” hide in such visual places, get protected, live, grow, and haunt people quietly. Wine fermentation requires a hermetic space. In suspense films, big houses do act like a hermetic bottle in which the suspense elements have a great environment to ferment.2.2 Rooms with Curtains as ObstaclesTending to choose big houses as important setting, Hitchcock has an interest in rooms with curtains. It specifies the scope; meanwhile, it has different effects on the creation of suspense.In Psycho, the murder of Marion is considered as a “classic scene in history (Zhang Ya, 114)”and the bath is undoubtedly a perfect example of room with curtain. The translucent shower curtain is used as an obstacle between Marion and the outside; besides, it is an obstacle between what is going on and the audience. At the beginning, people can see someone is approaching the bathtub, but no one can see clearly who is standin g at the other side of the curtain. Naturally, people’s eyes are sticking to the plastic cloth. “C urtain symbolizes a protection only in name, just functioning as a shelter which is too weak to stand attack. It seems to be a defense, but it prevents nothing from evil. (Han Ye, Li Jinming, 89)” What can such a “useless” curtain do? After it is drawn, what will happen to Marion? So, before the curtain is drawn, suspense is founded and maintained, and audience’s anticipation grows. However, when the curtain is drawn aside suddenly, all that audience can see is a figure of a woman with curly hair. At this moment, audience are frightened, and their early desire is satisfied also.That is the function of the shower curtain: to be an obstacle between Marion and danger and that between truth and audience as well. It is easy to frighten the audience by revealing the murder scene all of a sudden after a long time of covering. The process from hiding to revealing is the process that suspense raises.Another proof is found in Rebecca. Finding someone is standing by the window of the west room, the heroine is led there by curiosity. In the room, many curtains draw audience’s attention. A curtain divides the room into several parts; some prevent the room from sunshine; some others form the background to the shadow of the outside trees. Why is the room decorated with so many curtains? What secrets are hidden in it? People must doubt; suspense derives form it. It is in that room that Rebecca, the former Mrs. de Winter, once lived. From a comb to a night skirt, the ghostly Mrs. Danvers introduces almost every details of the room to the heroine.The scene mentioned above may be regarded as one of the climaxes of the whole film. The great effect is due to the choice of the set, a room with curtains. The room is a separate space; the curtains keep the room further away from the outside world. Before the heavy curtains are drawn, it is dark in the room; however, when those curtains are not shelters any more, wind, lifting those cloths, easily gives audience a feel that the room is haunted.In Dial M for Murder, the main set is the Wendices’ living room. Also, it is a room with curtains. Swann, the murderer, hides behind the curtain as Tony, a man who wants to kill his own wife, told him. The room becomes a dangerous trap. While audience know a murderer is right near the window, Margot, the heroine, doesn’t notice the only obstacle between her and an evil is just a curtain. It is not difficult to imagine how terrible it is to breathe the air in the same space with a person who will end your life.Though this film is characterized by the process of brilliant reasoning, it is cannot be ignored that the setting does contribute to the development of the sense of tensity, which is quite important for the creation of suspense.While big houses contribute to the creation of suspense by bringing audience the feel of pressure, rooms with curtains are applied by Hitchcock as containers of dangerand horror. In those narrower boxes, the density of suspense is effectively strengthened.2.3 Stairs as Path of Rising AnticipationStairs should not be known simply as a collection of steps; they do play important roles in suspense films. “T he instability, extension, and revolvement of stairs bring mystery…It is easy to create ‘air’ full of suspense. (Zhao Lihong, 59)” When standing at an end of a stair, which is part of those steps, everything at the other end is unknown. Since a character goes along the stairs, what is at the other end is nearer and nearer, and suspense becomes stronger and stronger. To be general, stairs are path of rising anticipation, which is often used by directors to make audience concentrated. Alfred Hitchcock seems to know it quite well.In Psycho, one of the most shocking scenes is presented when Milton, the detective, enters the house. He climbs the long stair very slowly, not knowing what may be about to happen, neither do the audience. What is at the other end of the stair? Will the detective find the truth? What is going to happen to him? While Milton is approaching the higher floor, audience’s curiosity is aroused. In other words, people’s anticipation is rising along the intentionally chosen set, the stair.As soon as he gets to the top of the stair, the detective “looks around, the door opening a little. Then what reflected on the wall of stairs are a big shadow of an old lady and a waving knife (Zhao Lihong 59)”. At this moment, audience’s attention reaches the peak. It is the stair that leads both the detective and audience to a new danger. Here proves that the stair plays a role as path of rising anticipation.A more classic example is in Vertigo. The stairs of the bell tower in the church mainly appear for twice. The first time is when John, an ex-detective, follows Madeleine, Mrs. Elster, to the top of the bell tower. Since audience know that John has acrophobia, i.e. a fear of heights, the process of climbing the bell tower along the stairs becomestense. Why does Madeleine rush to the top of the tower? What is there? Will the ex-detective, an acrophobe, get there without any problem? Naturally, audience’s attention is attached to the rising path. The higher John climbs, the nervous audience are. At this moment, Madeleine falls off the tower and dies!In the scene mentioned above, the film does not show the secret of the tower immediately. Besides the suspense of what’s happened at the top, the picture of the profound stairs is quite impressive. It is presented for the second time at the end part when John takes Judy whom he thinks is Madeleine, back to the bell tower again. Why does John take Judy there? What has he found? In fact, “he arranges for the same stairs and chase in order to defeat his acrophobia, heal his mental scar brought by guilty conscience, and tries to find the truth (Zhao Lihong, 59)”. Judy is reluctant about being taken there. While they get nearer to the top, it seems that the truth will be revealed soon. Hitchcock doesn’t forget to strengthen the revolve staircase which brings people a sense of vertigo from the very beginning. In the process of reaching the top, the scene of staircase is shown occasionally. With the repetition, atmosphere of tense and suspense is efficiently strengthened.3 FramingFraming is one of the more specific ways in which mise-en-scène can be usedto create an expressive space. It refers to the use of architectural features to“frame” an action and to imbue it with added significance. Typically sucharchitectural features will be doors, windows, or mirrors. (Lynn, 58)What does Hitchcock usually choose as frames in his works? The answer may not be a single one: windows, mirrors, and doors are preferred.3.1 Windows as Holes to Peek throughNo matter you would accept it or not, it is undoubted that people instinctively have a desire to peek. In Cinema Appreciating, the author says “Windows are often used to signify the possibility of an intrusive gaze from outside towards someone isolated within a house”(Lynn, 58). As holes to peek through, windows have important effects on creation of suspense in Hitchcock’s films.Again, Psycho should be mentioned here. When Marion arrives at Bates’ motel, she sees a woman is standing by the window of Bates’ house. However, all that both Marion and audience can see is only the figure. This is how the window functions: it is a hole to peek through so that people seem to get near to the truth; meanwhile, since the shape of window is limited, the picture that the window presents is limited, too. When truth is partly shown, audience become more curious.In Rebecca, a similar scene is presented. New Mrs. de Winter sees a woman appear by the window of the west room. For the window is small and the woman leaves quickly, Mrs. de Winter can not see everything clearly; then she is led to that room by curiosity. There she is scared by the ghostly housekeeper, Mrs. Danvers. Or, more precisely, she isscared by the “ghost” of Rebecca, the former Mrs. de Winter. Looking back, we can easily find that the “being scared” part is relevant to the heroine’s behavior of peek ing. Here the window acts as a hole to peek though and a tool with which truth can attract people.Though windows appear in many of Hitchcock’s films, the most classic application of windows with framing function may be Rear Window filmed in1954. “Rear Window is considered by many critics as one of Alfred Hitchcock’s classic works; it combines ingenious narrative and audience’s experience with a nearly-perfect method, and it wins almost all the critics’praise. (Luo Jingbo, Zhao Li 59)”“H e combines a dark side of human’s mind, ‘peeking’, and ‘murder’ to create suspense . (Zhao Wei 86)”Jeff, a journalist who has broken his leg, seems to have an interest of his neighbors’ life during his boring recovery. Through the window of his apartment, he peeks into those of his neighbors, a salesman and his wife, a composer, a ballet dancer, etc.In this process, Jeff not only gets joy of peeking, but also suspects that a murder may have been performed: the businessman may have killed his wife. He sees them quarrel, the wife disappears, and the businessman carries cases out and packs the saw. What’s more, a puppy used to digging in the garden and then died, its neck wrung.With all these clues, Jeff naturally suspects the businessman. However, he sees everything through the windows, which show only part of the truth. Along with the journalist, audience witness something, and they may speculate with these seen things, which just arouse their curiosity more. Once both the characters and audience have an intention to guess, it exactly proves that creation of suspense is effectively performed.With exposition above, we can find how important windows as frames are: they offer holes to peek through as ways leading to truth; meanwhile, they keep the people who peek away from the whole truth. It seems to be contradictory; but if the meaning iscorrectly understood, people will find how talented windows are as frames in films.With the application of windows as frames, “audience are watching the development and ending of the story by themselves”, and “everyone’s desire to peeking other’s life can be satisfied (Luo Jingbo, Zhao Li 59)”.Once people have desire to peek, windows are perfect frames in suspense films.3.2 Mirrors as Reflection of Different SelvesMirrors are said to be “used to frame the faces of characters who are passing through moments of self-examination（Lynn, 59）”. How do mirrors function in creation of suspense? In Hitchcock’s films, we can understand it as reflection of different selves.A good example of mirrors as reflection of different selves can be found in Vertigo. After Madeleine fell off the building in the church and died, John finds a lady who looks exactly like her. He follows her to Hotel Empire. In the room, John asks the lady about her personal information. She tells him she is Judy Barton, not Madeleine. Then she stands in front of a mirror and yells him to leave. Here two women are presented: Judy Barton, as what she tells John she is, exactly in the room, and Madeleine Elster, perhaps, in mirror. John must doubt which one has the real identity of the woman.Mirror here serves as two selves of “Madeleine”. But to audience, Judy is not a woman saying she is just someone who looks like Madeleine, but just Madeleine, because Hit chcock has let audience known it earlier. Then in audience’s mind, a higher suspense forms, i.e. how will the hero react when he finds Judy is always lying to him? “Telling the…truth is his (Alfred Hitchcock’s) strategy. Though discarding the suspense clue of ‘who did it’ which made the audience curious, he leads them to a higher suspense, i.e. ‘what will happen?’… I t offers audience an expansion of suspense(Zhao Sizhe 15)”.In Psycho, which is said to be one of the scariest movies in American cinema history, atmosphere becomes tense when Lila, Marion’s sister, enters Mrs. Bates’ room in the bighouse. For the first time, audience see what the place where the mysterious woman lives is like: curtains are totally drawn to keep the outside light off; a fireplace seems to have been dead for long; a metal model of hands is put on the dressing table. Horror air surrounds both Lila and audience. At this moment, a scene of two opposite mirrors is presented. Lila feels someone is behind her, and then finds the other mirror. She is scared, so are the audience.Usually, people can hardly notice different selves, such as a scared one. When entering the room, Lila must be nervous, but curiosity forces her to advance. But when the mirror is presented, she sees a scared self in the mirror, so do the audience. Besides being a reflection of different selves, mirrors here also play roles of reflection of fear. Mirror has the feature to double the object in it, so when put into the mirror, fear is copied. With this feature of mirrors, the intensity of tension and suspense is repeatedly strengthened.Some may doubt how mirrors, objects used to be reflection of different selves, affect creation of suspense. In fact, when facing a mirror, a character unconsciously has a self doubt which also makes audience curious, then suspense forms. Why can mirrors make people scared? It is because mirrors reflect different selves that they have a function to create an atmosphere of suspense. Though people spend all the time with themselves, they know little about who they are. That is why someone says it is difficult to know oneself. Facing unfamiliar things, people easily get nervous. In front of mirrors, truth seems to be revealed as well as hidden. Truth is revealed because what is exactly reflected in mirrors exists in reality, but the image in mirror is a virtual one and just opposite to what it really is. In such a puzzling situation, it can’t be denied that suspense is successfully founded.3.3 Doors as Obstacles and ConnectionsAs Andrew Lynn says in his Cinema Appreciating, doors “are both entrances and exits, and also potential barriers to movement”(Lynn, 58). In Hitchcock’s movies, we can simply understand the function of doors as being both obstacles and connections. How can these two contradictory features exist at the same time? Here are some concrete examples to prove it.The door of Mrs. Bates’ room in Psycho must impress audience profoundly. After the detective enters the house, the scene is repeatedly shifted between the door and him. While the detective is approaching the second floor, the door is slowly opened. Obviously, someone is behind the door. The wider the crack is, the more nervous audience are. Not until the door is completely open or audience see who is behind the door clearly, someone kills the detective with a knife. It happens all of a sudden. Here, to the detective, the door may be an obstacle to truth, and it is also a connection between him and death; to the murderer, the door is a perfect protection. As to the audience, it is an obstacle towards truth, and that arouses their curiosity which makes suspense: what is waiting for the detective? Will he find the truth?The door appears for the second time when Lila tries to find and talk to Mrs. Bates. It is at this moment that the director tries to challenge tradition again. Since Milton, the detective, has just been killed, the door becomes a symbol of danger. Will Lila meet Mrs. Bates? What is the mysterious woman like? Will Lila come to a bad end? Again, in front of the door, audience can’t help being nervous, and suspense rises.“Waiting for a crisis that has been known will arouse the greatest anxiety so that suspense is strengthened (Zhao Sizhe, 15) . ”Lila stands by the door and calls Mrs. Bates. No one answers. She pushes the door open. Nothing happens. Before opened, the door is an obstacle to what is in the room.After Lila opens it, the door becomes a connection between truth and all the people. Though not anything is revealed, at least, part of people’s curi osity is satisfied.Another Hitchcock’s work with doors as frames is Spellbound. Dr. Peterson goes to Dr. Edwards’ office to talk to him which can be understood as showing love. When Dr. Peterson closes her eyes, a door appears in the picture. When the door opens, another shows up. It is repeated for several times.Though door is a usual frame, the scene is an unusual one. In a frame, another one appears. This door-upon-door scene seems to be a circulation. It is often understood as the opening of doors of perception and Peterson’s mind. Meanwhile, it would be well to understand it as an element contributing to the creation of suspense.Before the plot moves on, audience can hardly understand the director’s intention to present such a puzzling scene. What d o these doors stand for? If the heroine’s mind needs to be presented by a symbol, I’m afraid a single door may be enough. Since so many doors appear, why not understand them in another way? Just as the title of this section says, doors here can be both obstacles and connections.There are obstacles, i.e. some unsolved problems, between the characters and truth. Once one problem is solved, another follows. According the whole story, the process of opening doors is that of approaching to truth: when people think everything is clear, another doubtful point shows up. After several doors open, a bright place is at the end. It indicates a happy ending. It is the doors that connect problems and solutions. Before those doors become connections, they maintain the images of obstacles. Until the shift happens, suspense keeps growing.。

南昌航空大学硕士论文封面(内封、英文)

（封面套打示例及中英文内封面示例）题目XXXXXXXXXXXXXXXXXXXX(华文宋体，二号)作者楷体，三号学科、专业楷体，四号指导教师楷体，四号申请学位日期学校代码：10406分类号：TP391.4学号：XXXXXX(以上字体均为宋体，小四。

并注意左右对齐)南昌航空大学（宋体，三号居中）硕士学位论文（宋体，三号居中）（学位研究生）（宋体，四号居中）××××××（宋体，三号居中）××××××××硕士研究生（黑体，4号）：×××（宋体，四号）导师（黑体，4号）：××（副）教授（宋体，四号）申请学位级别：硕士（宋体，四号）学科、专业（黑体，4号）：×××（宋体，四号）所在单位：×××（宋体，四号）答辩日期：×××（宋体，四号）授予学位单位：南昌航空大学（宋体，四号）XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX X(Times New Roman,二号居中)A DissertationSubmitted for the Degree of MasterOn（专业英文名称，Times New Roman，四号居中)by （作者英文名,Times New Roman,四号加粗居中）Under the Supervision of(Times New Roman,四号居中)Prof. （导师英文名,Times New Roman,四号加粗居中）(学院英文名称，Times New Roman,四号居中) Nanchang Hangkong University, Nanchang, China(Times New Roman,四号居中)Month, Year(Times New Roman,四号居中)。

封面-英语本科毕业生论文封面

On Culture Image of Idioms TranslationAuthor: Wu XiangSupervisor: Jin NingA ThesisSubmitted as a Partial Fulfillment ofthe Requirement for the Degree of B.A. in EnglishSchool of Foreign StudiesFuyang Teachers College, Anhui ProvinceApril , 2013学位论文论成语翻译中的文化意象XXX（学号XXXX）指导教师姓名靳宁职称讲师单位阜阳师范学院外国语学院专业名称英语教育申请学位级别学士学位授予单位阜阳师范学院2013年4月On Culture Image of Idioms TranslationAbstractIdiom is a group of words carrying meaning which is usually bounded with local culture. Idioms translation is complicated translation activity. Sometimes, culture image is an important element of a idiom. As people know, different countries and districts own different cultures. So people may say that the different civilizations have different influence on ways of people’s lives, histories and cultural perspectives which give various meanings to one certain thing. So in the case of translation activities, especially idiom translation, translators often meet the problem how to deal with the culture image. And appropriate ways may exactly convey the meaning from source language to target language. This paper has summarized three methods in dealing with it. They are: literal translation, proper selection from target language and abstractly management. There is a need to deal with the culture images; translators should pay much attention to it. Translators should observe grammar rules, translation standards, and also take other needs into consideration. Such as the culture variety, habits of expression and needs of respect other cultures and express clearly.Key words: idioms translation, culture image, translation standards论成语翻译中的文化意象摘要习语是一组单词表达一种特别的意思，通常情况下与当地的文化密切相关。

2012写作项目论文封面模板(中英文)

分类号密级 U D C中国地质大学江城学院英语写作A4结课项目（设计）书面向对象软件测试的技术实现（三号黑体加粗居中）专业：英语（方向名称）班级： 41100901项目组成员： 4110090101 张三；4110090102 李四项目组负责人： 4110090101 张三；（文字楷体、数字Times New Roman 小三高职称在上、低职称在下）以上可手写该符号代表空一个中文第一个字母大写在句中少于4个字母的介词第一个字母小写填写班号论文外文题目：The□Object—oriented□Software□Technology Testing□Strategy（Times New Roman 小三）以上可手写论文主题词：面向对象□□软件测试□□测试策略测试模型（楷体小三）以上可手写外文主题词：o bject—oriedted□□software testing□□testing strategy□□testing model（Times New Roman 小三）以上可手写、中外文主题词词数要求不多于4个词C C h h i i n n a a U U n n i i v v e e r r s s i i t t y y o o f f G G e e o o s s c c i i e e n n c c e e s s((W W u u h h a a n n))Jiangcheng CollegeEnglishTitle: Effects of Civil War on CharactersMajor: EnglishClass: 41100901Members:4110090101 Zhang San; 4110090102 Li Si4110090103 Wang Wu; 4110090106 Mu Liu Leader: 4110090101 Zhang San。

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