英語論文寫作

內(nèi)容概要

英語論文寫作是英語專業(yè)學(xué)生的必修課，是科研人員從事國際交流的必要和重要的手段。能否寫好英語論文直接關(guān)系學(xué)生的學(xué)業(yè)和深造發(fā)展，以及科研人員科研成果的推廣和應(yīng)用。無論本科生、碩士生還是博士生，英文學(xué)術(shù)論文寫作的結(jié)構(gòu)、格式、語體基本一致。因此本書適用于所有需要學(xué)習(xí)英文學(xué)術(shù)論文寫作的各個層次的學(xué)習(xí)者，尤其是英語專業(yè)的本科生、碩士生。
本書是作者多年從事英文寫作及學(xué)術(shù)論文寫作教學(xué)和調(diào)研的結(jié)果。書中的一部分內(nèi)容曾在《大學(xué)英文寫作》(2001)出版。隨著英語教學(xué)的發(fā)展、深化、提高，教學(xué)內(nèi)容不斷地充實，教學(xué)的路子更加地開闊。此書在教學(xué)和調(diào)研實踐中形成，并已在我校英語專業(yè)本科生、研究生、成教生中使用多年，成效頗豐。
　
本書共由三部分十九個單元組成，基本按學(xué)術(shù)論文寫作的各階段、步驟先后順序排列，適合課堂教學(xué)。書中例子大部分取自英文原版的學(xué)術(shù)論文。書中的論文寫作格式也以英文原版學(xué)術(shù)論文寫作格式要求為依據(jù)，以英文原版的學(xué)術(shù)論文中的句子為范例。此為現(xiàn)國內(nèi)市場同類書籍所獨有?？紤]學(xué)生學(xué)業(yè)學(xué)術(shù)層次、語言能力的銜接，書中也采用了一些本科生、碩士生的實例，編排了練習(xí)便于教學(xué)使用和學(xué)生自習(xí)。本書配有教學(xué)PPT課件及練習(xí)答案(可登陸www．uibep．com下載)供教師教學(xué)參考。

書籍目錄

Part I Preparation
　Unit 1 What Is a Dissertation?
　Unit 2 Writing Process Awareness
　Unit 3 Choosing Topics
　Unit 4 Collecting Materials
　Unit 5 Facts and Opinions
　Unit 6 Taking Notes
　Unit 7 Designing a Questionnaire
　Unit 8 Research Proposal
Part 2 Writing the Paper
　Unit 9 Elements and Structure
　Unit 10 Outline
　Unit 11 Introduction
　Unit 12 Literature Review
　Unit 13 Conclusion
　Unit 14 Abstract
　Unit 15 Reference and Bibliography
Part3 Mechanics
　Unit 16 Formal and Informal Style
　Unit 17 Tables and Figures
　Unit 18 Numbers, Titles, Capitals and Abbreviations
　Unit 19 Revising and Proofreading
Bibliography

章節(jié)摘錄

　　CONCLUSION　　With the three translated versions of Shakespeare's play Romeo and ju/iet as a case，this paper has tried to take skopostheorie as theoretical basis to guide the drama translation. Examples from the three Chinese versions of Romeo and ju/iet are analyzed from the perspective of linguistic style， culture and performability. The research demonstrates the applicability and feasibility of skopostheorie to drama translation and investigates a set of feasible drama translation strategies.　　In the frame of skopostheorie， the three translators adopt different translation strategies according to their translation purposes. The three translated versions show different features， but they all satisfy their own purposes. Liang Shiqiu follows the original text firmly， and renders it with the same sentence structures and cultural elements as much as possible. In his version， notes are added to explain the images which are hard to understand. His translation gives the receptors a vivid description of foreign style. The receptors can appreciate and learn the thoughts of foreign countries.　　Zhu Shenghao mainly uses free translation and changes the sentence structure and renders them into Chinese flavor. The receptors can appreciate his excellent language expressions. Cao Yu also adopts free translation rather than word-to-word rendering. He pays much attention to the performability of dramatic text and the target audiences'reception because he translates it with his definite purpose： to put it on Chinese stage.　　The three Chinese versions all turn out to be successful. The evaluation of drama translation is determined by the degree of adequacy. Whatever strategies are used， the target text might be regarded as successful one when its purpose is satisfied adequately and functionally. One source text does not necessarily have only one target text，providing it serves its skopos. This point of view puts more tolerant and bearable attitude for drama translation evaluation.　　In order to solve the dilemma of drama translation， translators are suggested to adopt skopostheorie for guidance. Translators first understand their translation purposes， and then choose accordingly translation strategies and methods that can best serve the particular purposes. This provides a new concept for drama translation.　　Due to the limitation of my personal ability and the facilities to be able to get access to，this paper has left much room for improvement. Examples taken from the three versions are somewhat not the best ones to justify the feasibility of skopostheorie to drama translation.　　Moreover， I have no chance to cooperate with the experienced actors， thus the analysis is superficial to some extent， and thus further researches are advised to cooperate with theatrical professionals. Also it would be more helpful to combine translation theories with drama study， so that drama translation could be advanced in the near future.　　……

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