英語畢業(yè)論文參考文獻(xiàn)的正文注釋格式

英語畢業(yè)論文參考文獻(xiàn)的正文注釋格式范文

英語畢業(yè)論文參考文獻(xiàn)的正文注釋格式范文

英語畢業(yè)論文參考文獻(xiàn)注釋格式范文

英語畢業(yè)論文參考文獻(xiàn)注釋格式范文

正文中的注釋和參考文獻(xiàn)是論文格式最為重要的部分，請(qǐng)論文作者逐條仔細(xì)閱讀。建議先做好參考文獻(xiàn)格式，再對(duì)照格式要求作夾注。

分腳注和夾注兩種，。

1)腳注

正文內(nèi)容如有需作出特別說明或解釋之處以腳注的形式處理，編號(hào)格式設(shè)置為“○1,○2,○3…”，編號(hào)方式設(shè)置為“每頁重新編號(hào)”，腳注會(huì)自動(dòng)出現(xiàn)在當(dāng)頁正文下。字體采用默認(rèn)值(小五號(hào))。

2)夾注

對(duì)論文中的直接引用或間接引用部分所依據(jù)的文獻(xiàn)以夾注的形式標(biāo)出。夾注可以采用以下幾種形式：

作者姓氏未在引文中出現(xiàn)，則夾注用括號(hào)標(biāo)出作者姓氏，空一格字母再標(biāo)出引文頁碼。為避免不必要的麻煩，中文作者用全名。

引用一位作者

“Time is no longer felt as an objective, causal progression with clearly marked-out differences between periods…” (Frank 20)

As the British novelist-critic Christine Brooke-Rose has put it, the novelists now have nothing new to tell since what should be told have been told altogether (Yin Qiping 33-35) .

引用兩位作者

Medieval Europe was a place both of “raids, pillages, slavery, and extortion” and of “traveling merchants, monetary exchange, towns if not cities, and active markets in gain” (Townsend Waugh 10-16).

作者有三個(gè)以上，

則在第一位作者的姓氏后寫上et al.以示其余姓氏的省略，或列上全部姓氏，夾注中的形式應(yīng)與參考文獻(xiàn)中的形式保持一致。

Modern Literary studies have their origin in classic studies (Graff et al. 19-35).

Modern Literary studies have their origin in classic studies (Graff, Goldberger, Tarule 15-20).

同姓作者

還需加名的開頭字母予以區(qū)分，如：

Although some medical ethicists claim that cloning will lead to designer children (R. Miller 12), others note that the advantages for medical research outweigh this consideration (A. Miller 46).

文本中不指名列舉持某一觀點(diǎn)的'作者

Others hold the opposite point of view (e.g., Jakobson 9;Waugh 34)

作者姓氏在引文中出現(xiàn)，則只需用括號(hào)標(biāo)出引文頁碼

Graff defines his recent book, Professing Literature, as “a history of academic literary studies in the United States” (10).

如在引文中提及整個(gè)文獻(xiàn)及作者姓氏(不必夾注，但參考文獻(xiàn)中要注明相關(guān)出版信息)

Slade’s revision of Form and Style incorporates changes made in the 1995 edition of the MLA Handbook.

集體作者如果組織名稱太長，第一次提及時(shí)可采用全稱后加注縮略

The annual report revealed substantial progress in fundraising (American Museum of Natural History 12, hereafter AMNH).

以后直接用縮略形式做夾注

The report surveys the major problems in fundraising (AMNH 15).

引用多卷本中的一卷

Between the years 1945 and 1972, the political party system in the United States underwent profound changes (Schlesinger, vol. 4).

Schlesinger pointed out the profound changes the political party system in the United States underwent between 1945 and 1972 (4: 98-104).

引文出自同一作者的不同文獻(xiàn)

引用同一作者的兩篇以上的文獻(xiàn), 可以分別以文獻(xiàn)名全名(如果文獻(xiàn)全名簡(jiǎn)短的話)或文獻(xiàn)名的縮略形式(如果文獻(xiàn)全名較長的話)注釋。

文本中未出現(xiàn)引文作者姓氏，也未出現(xiàn)文獻(xiàn)名的，夾注用括號(hào)標(biāo)出作者姓氏，姓氏后加逗號(hào)，空一格字母標(biāo)出帶下劃線的該作者的書名，書名后空一格字母標(biāo)出引文頁碼，如：

Shakespeare’s King Lear has been called a “comedy of the grotesque” (Frye, The Anatomy of Criticism 237).

文本中出現(xiàn)作者姓氏的，夾注用括號(hào)標(biāo)出帶下劃線的該作者的書名，空一格字母再標(biāo)出引文頁碼，如：

Shaughnessy points out that “the beginning writer does not know how writers behave” (Errors 79).

若引文出自雜志，則把文章名放在雙引號(hào)內(nèi)，空一格字母再標(biāo)出引文頁碼，如：

Teachers applauded Shaughnessy’s assertion that “teaching them [beginning writers] to write well is not only suitable but challenging work for those who would be teachers and scholars in a democracy” (“Diving In” 68).

文本中既出現(xiàn)作者姓氏又出現(xiàn)該作者的書名或文章名，則只需標(biāo)出引文頁碼

In The Age of Voltaire, the Durants portray eighteenth-century England as a minor force in the world of music and art (214-48).

一個(gè)夾注中涉及一篇以上文獻(xiàn)

(Lauter 34; Crane 98)

...as has been discussed elsewhere (Burke 3; Dewey 21).

轉(zhuǎn)引

Edmund Burke was an “extraordinary man” (Johnson qtd. in Boswell 2: 450)

Samuel Johnson admitted that Edmund Burke was an “extraordinary man” (qtd. in Boswell 2: 450)

引文來自于中文作者(對(duì)“孔子”等已有英文譯名的必須使用標(biāo)準(zhǔn)譯名，如Confucius 33; Mencius 22-25)

(Hu Zhuanglin 33)

(Zhu Xianzhi Lin Chongde 89)

(Xu Guozhang et al. 33-35)

(Confucius 33)

短引文 (四行以內(nèi)或詩歌三行以內(nèi))

引文須加雙引號(hào)，括號(hào)內(nèi)提供作者、頁碼(詩歌的話提供詩行)信息，標(biāo)點(diǎn)符號(hào)在括號(hào)之后。如果問號(hào)、感嘆號(hào)若是引文的一部分，則須放在引言內(nèi)，否則，也放在括號(hào)之后。

According to some, dreams express "profound aspects of personality" (Foulkes 184), though others disagree.

According to Foulkes's study, dreams may express "profound aspects of personality" (184).

Is it possible that dreams may express "profound aspects of personality" (Foulkes 184)?

詩行與詩行之間用“/”隔開，如：

Cullen concludes, "Of all the things that happened there/ That's all I remember" (11-12).

長引文

如果引文較長，超過4行，擬另起一行，不加引號(hào)，左邊縮進(jìn)10個(gè)英文字母, 夾注緊隨引文末尾，句點(diǎn)應(yīng)放在引用括號(hào)之前。

At the conclusion of Lord of the Flies, Ralph and the other boys realize the horror of their actions:

The tears began to flow and sobs shook him. He gave himself up to them now for the first time on the island; great, shuddering spasms of grief that seemed to wrench his whole body. His voice rose under the black smoke before the burning wreckage of the island; and infected by that emotion, the other little boys began to shake and sob too. (186)

引文為兩段或兩段以上，或引文來自詩歌，或引文來自劇本，或引文附帶譯文，詳細(xì)說明分別參考《MLA科研論文寫作規(guī)范》82頁;83-84頁;85頁;93頁。注意引文來自詩歌等韻文時(shí)，可以篇次和行次代替夾注中的頁碼;引文來自劇本等文獻(xiàn)時(shí)，以幕次、場(chǎng)次和行次代替頁碼。

引文中的添加與省略

在添加的詞兩頭加“[ ]”。

Jan Harold Brunvand, in an essay on urban legends, states: “some individuals [who retell urban legends] make a point of learning every rumor or tale” (78).

在省略的此處用省略號(hào)“…”代替，省略號(hào)前后各空一字母。

In an essay on urban legends, Jan Harold Brunvand notes that “some individuals make a point of learning every recent rumor or tale ... and in a short time a lively exchange of details occurs” (78).

詞典詞條

將詞條在雙引號(hào)中列出，后加 “def.”，空一字母后再加頁碼。

According to The Random House Dictionary of the English Language, “study” means “application of the mind to the acquisition of knowledge, as by reading, investigation, or reflection” (“Study,” def. 1888).

5. 關(guān)于參考文獻(xiàn)

說明：

1)參考文獻(xiàn)部分以Times New Roman小四號(hào)正體加粗居中標(biāo)明“Works Cited”列在正文后(或尾注后)，另頁書寫?！癢orks Cited”與第一個(gè)參考文獻(xiàn)之間空一行。不得羅列同正文沒有直接關(guān)系的文獻(xiàn)，參考文獻(xiàn)條目與引文夾注要對(duì)應(yīng)。外文文獻(xiàn)排列在前，以姓氏的首字母為序排列，中文文獻(xiàn)排列在后，以姓氏的拼音為序排列。每條文獻(xiàn)頂格寫，回行時(shí)英文空5個(gè)字母，中文空兩格。

2) 建議論文作者多使用英文原版圖書和學(xué)術(shù)期刊文獻(xiàn)。引用英文原版圖書和學(xué)術(shù)期刊文獻(xiàn)至少2本(篇)以上。

4)主要作者(編者、譯者)采用姓在前，名在后的形式，作者姓與名之間用逗號(hào)分隔(中文姓名不用分隔);2人以內(nèi)全部寫上，第2 者起姓名按正常順序，兩個(gè)主要作者(編者、譯者)之間英語的加“”、中文的加 “、”三個(gè)主要作者(編者、譯者)以上只寫第一人再加“et al.”或“等”(中文)。

5)英文圖書、期刊、報(bào)紙一律使用斜體，如果圖書中包含作品名，作品名使用正體。例如：

Parkes, Adam. Kazuo Ishiguro’s The Remains of the Day. New York London: Continuum, 2001.

6)中文圖書等采用漢英對(duì)照形式，以便正文中統(tǒng)一按照英文模式(格式同英文文獻(xiàn))做夾注，列中文圖書、期刊、報(bào)紙一律使用書名號(hào)，作者與作者之間用“、”號(hào)，英 語文 獻(xiàn)中的句點(diǎn)在中文文獻(xiàn)中用宋體字體下的逗號(hào)代替、冒號(hào)也要是宋體字體下的冒號(hào)，且漢字之間或標(biāo)點(diǎn)與漢字之間沒有空格。中文文獻(xiàn)的英文模式須加“[ ]”，下面參考文獻(xiàn)格式不再贅述。例如：

王守仁、方杰，《英國文學(xué)簡(jiǎn)史》，上海：上海外語教育出版社，2006年。

[Wang Shouren Fang Jie. A Concise History of English Literature. Shanghai: Shanghai Foreign Language Education Press, 2006.]

7)除了版本研究(如翻譯版本對(duì)照研究)之外，不宜將同一本書的英文版本和中文版本同時(shí)列為參考文獻(xiàn)。英 語文 學(xué)論文作者必須使用所研究作品的英文版本。

8) 非單行本短篇小說一般應(yīng)參照文章格式處理，例如：

Joyce, James. “Araby.” Dubliners. London: Penguin, 1967.

Howard Pease是誰

他是美國一位冒險(xiǎn)故事作家，生于1894年，卒于1974年，來自加利福尼亞州斯托克頓市

下面是他的英文介紹

Howard Pease (1894–1974) was an American writer of adventure stories from Stockton, California. Most of his stories revolved around a young protagonist, William Todhunter ("Tod") Moran who shipped out on tramp freighters during the interwar years. For most of his life Pease resided in the San Francisco area, except for those times when he shipped out as a member of the crew on a freighter, searching for new material.In addition to writing children's stories Pease taught high school, contributed to journals and reviewed books for the New York Times.

【Influence】

Russell Freedman, Michael Dirda and E. L. Doctorow all cited Pease's stories as childhood influences.Reflected Dirda: "For a long period also I sought out the work of Howard Pease, old-fashioned nautical adventures teeming with frequent and arcane allusions to bilge, Lascars and fo'csles."Freedman, who won the Newbery Medal and valued realism and accuracy in children's writing, called Pease his "literary hero."

【Pease and children's literature】

Pease was strongly critical of the 1930s world of children's literature (in which he worked) which he stated was a "wholly and solely a woman's world—a completely feminine world" subject to "tender-minded feminine control." Pease believed that this resulted in a paucity of male authors, depressed wages and a lack of realism in children's stories. Pease expounded these views in an address he delivered in 1939 at an American Library Association "pre-conference" moderated by Frances Clarke Sayers. While the audience of 400 female librarians concurred with Pease that the lack of male authors and of social realism was a problem, his overall misogynistic tone offended many and damaged his case.Nevertheless, Pease's speech provoked discussion in the field and led to, among other things, a review of the criteria by which the Newbery Medal winner was selected.Pease remained interested in the question of realism in children's literature and corresponded with other authors on the topic, including noted librarian Julia Lin Sauer.In a reversal, a modern critic took Pease to task for creating "traditional" male heroes who were "brave, clever and independent."

【Papers】

Pease's papers are held at the University of the Pacific in Stockton, California.

【Bibliography】

The Tattooed Man (1926)

The Jinx Ship (1927)

Shanghai Passage (1929)

The Gypsy Caravan (1930)

Secret Cargo (1931)

The Ship Without a Crew (1934)

Wind in the Rigging (1935)

Hurricane Weather (1936)

Foghorns (1937)

Captain Binnacle (1938)

Jungle River (1938)

Highroad to Adventure (1939)

Long Wharf (1939)

The Black Tanker (1941)

Night Boat (1942)

Thunderbolt House (1944)

Heart of Danger (1946)

Bound for Singapore (1948)

Dark Adventure (1950)

Captain of the Araby (1953)

Shipwreck (1957)

Mystery on Telegraph Hill (1961)

araby 英文讀后感

Araby is the third of the fifteen stories in Dubliners. This tale of the frustrated quest for beauty in the midst of drabness is both meticulously realistic in its handling of details of Dublin life and the Dublin scene and highly symbolic in that almost every image and incident suggests some particular aspect of the theme. Joyce was drawing on his own childhood recollections, and the uncle in the story is a reminiscence of Joyce's father. But in all the stories in Dubliners dealing with childhood,the child lives not with his parents but with an uncle and aunt-a symbol of that isolation and lack of proper relation between "consubstantial" ("in the flesh") parents and children which is a major theme in Joyce's work.

參考資料：英美文學(xué)選讀,外語教學(xué)與研究出版社

Araby是什么意思

Araby

n.阿拉伯半島（亞洲東南部）;

或 《阿拉比》（Araby）是《都柏林人》的短篇小說集的第三篇作品，是詹姆斯·喬伊斯早期現(xiàn)實(shí)主義小說中的一篇，充分顯露喬伊斯在意識(shí)流方面的才華。

求小說Araby的時(shí)代背景的英文介紹

The setting of Araby is immensely important; dreary, dark Dublin is the living, symbolic backdrop for the story.[citation needed] The gloomy atmosphere of North Richmond street that actually sets the scene at the start of the story is an anticipation of what lies ahead for the little boy in the bazaar of Araby. The first sentence of the story lets us know that North Richmond street is "blind," and that the Christian Brothers’ School did not so much dismiss students for the day as "set them free." A quick scan of the important adjectives in the first paragraph -- "blind," "quiet," "uninhabited," "detached," "square," "decent," "brown," "imperturbable" -- quickly presents a world that is practical, simple, and unmitigatingly stultifying. As mentioned before, the boys who play in the neighbourhood are able, somehow, to discover some beauty and wander even from these simple surroundings, but to do so they must become connoisseurs of darkness: the lanterns on North Richmond are "feeble," the lanes are "dark" and "muddy," the houses “sombre” in the winter twilight, the "dark dripping gardens" redolent with the smell coming from their “ashpits.” This description of the street and the lives the boys live on it serve as the backdrop that we will use to understand how much more imaginative the Araby market will be: or will not be.[citation needed]

Of course, the story’s greatest irony is just how misnamed the Araby market is. It is certainly not a wondrous evocation of the West’s idealized and romanticized notions of the Middle East. Rather, it is exactly the sort of disappointing market you would expect to appear in the Dublin Joyce describes. It is dark, and mostly empty, and hushed, and more about money than anything else. The market at the end of the story, by more resembling the rest of his life than the image of it he had conjured in his daydreams, forces the narrator to a bleak realization: the stark realities of day-to-day living have little to do with the romantic notions we carry in our heads.[citation needed]

Style

Joyce's writing in Dubliners is neutral; he rarely uses hyperbole or emotive language, relying on simplistic language and close detail to create a realistic setting. This ties the reader's understanding of people to their environments. He does not tell the reader what to think, rather they are left to come to their own conclusions; this is evident when contrasted with the moral judgements displayed by earlier writers such as Charles Dickens. This frequently leads to a lack of traditional dramatic resolution within the stories.

It has been argued (by Hugh Kenner in Joyce's Voices, among others)[2] that Joyce often allows his narrative voice to gravitate towards the voice of a textual character. For example, the opening line of 'The Dead' reads "Lily, the caretaker's daughter, was literally run off her feet." She is not, in this instance, "literally" run off her feet, and neither would Joyce have thought so; rather, the narrative lends itself to a misuse of language typical of the character being described.

Joyce often uses descriptions from the characters' point of view, although he very rarely writes in the first person. This can be seen in Eveline, when Joyce writes, "Her head was leaned against the window curtains and in her nostrils was the odour of dusty cretonne". Here, Joyce employs an empirical perspective in his description of characters and events; an understanding of characters' personalities is often gained through an analysis of their possessions. The first paragraph of A Painful Case is an example of this style, as well as Joyce's use of global to local description of the character's possessions. Joyce also employs parodies of other writing styles; part of A Painful Case is written as a newspaper story, and part of Grace is written as a sermon. This stylistic motif may also be seen in Ulysses (for example, in the Aeolus episode, which is written in a newspaper style), and is indicative of a sort of blending of narrative with textual circumstances.

The collection as a whole displays an overall plan, beginning with stories of youth and progressing in age to culminate in The Dead. Great emphasis is laid upon the specific geographic details of Dublin, details to which a reader with a knowledge of the area would be able to directly relate. The multiple perspectives presented throughout the collection serve to present a broad view of the social and political contexts of life in Dublin at this time.