黑龍江大學(xué)西語學(xué)院德語畢業(yè)論文格式樣本

1、本科學(xué)生畢業(yè)論文論文題目：An Analysis of The Ballad of the Sad Café from the Perspective of Carson McCullerss Love and Solitary Theme居中；黑體小二號(hào)字學(xué) 院：西語學(xué)院居中；黑體，三號(hào)字年 級(jí)：2010級(jí)居中；黑體，三號(hào)字專 業(yè)：德語語言文學(xué)居中；黑體，三號(hào)字姓 名：小明居中；黑體，三號(hào)字學(xué) 號(hào)：20103691居中；黑體，三號(hào)字指導(dǎo)教師：趙亮2012年5月9日Abstract英文摘要與關(guān)鍵詞單獨(dú)成一頁此頁不采用頁眉英文摘要在先英文摘要題頭居中，使用Times New Roman

2、，小二號(hào)，加粗隔行（小四號(hào)字的狀態(tài)下隔行）From the 20th century, with the womens self-awakening, the great female writers began to go up on the literature stage in the second generation of southern renaissance, like Carson McCullers. Her literary talent is by no means inferior to the male writers. The fiction of Carson

3、McCullers has variously been described as gothic, grotesque and bizarre. For her lively description of morbidity south common people, she was thought as the one of the representative southern America writers in southern gothic genre. The Ballad of Sad Cafe is the typical work to reveal the theme: th

4、e power of love still cannot solve the problem of solitary among the communicational obstruction. This paper will analyze the theme from the perspective of love and solitary, especially the chain gang in the end of the novel which is the code to reveal the truth of love and solitary. Therefore, we c

5、an deeply feel the longing of Carson McCullerss love and agape. 外文內(nèi)容段首空4個(gè)字符空格。Times New Roman，小四號(hào)字摘要與關(guān)鍵詞之間空兩行Key Words外文關(guān)鍵詞題頭居中，使用Times New Roman，小二號(hào)，加粗 隔行（小四號(hào)字的狀態(tài)下隔行） love; solitary; South Gothic Genre; morbid personality; Carson McCullers外文內(nèi)容段首空4個(gè)字符空格。Times New Roman，小四號(hào)字外文關(guān)鍵詞個(gè)詞條間用分號(hào)隔開，分號(hào)格式采用所使用外語

6、語種的錄入系統(tǒng)格式。特別說明： 論文中所有的英文內(nèi)容的標(biāo)點(diǎn)格式必須使用英文錄入系統(tǒng)下標(biāo)點(diǎn)格式。關(guān)鍵詞最少不能少于3個(gè)，最多不能多于5個(gè)摘要中文摘要與關(guān)鍵詞單獨(dú)成一頁此頁不采用頁眉中文摘要在后“摘要”二字為小二號(hào)，黑體，居中隔行（小四號(hào)字的狀態(tài)下隔行）從20世紀(jì)起，伴隨著南方女性的自我意識(shí)覺醒，“南方文藝復(fù)興”的第二代作家中出現(xiàn)了像卡森麥卡勒斯這樣的優(yōu)秀女作家，其創(chuàng)作才華和眾多的男性同行相比各有千秋，并毫不遜色。美國南方女作家卡森麥卡勒斯的作品多被冠以哥特式、怪誕和古怪的標(biāo)簽，生動(dòng)刻畫著生理殘缺和心理變態(tài)的南方平民，這一寫作風(fēng)格也使其成為了“南方哥特式小說”的代表作家。麥卡勒斯的作品大都表現(xiàn)著同

7、一主題：人的孤獨(dú)與難以溝通，縱然是愛的魔力也無法突破這巨大的隔閡。其中中篇小說傷心咖啡館之歌是怪誕藝術(shù)的典范。本論文就將從卡森麥卡勒斯的愛與孤獨(dú)主題剖析傷心咖啡館這部小說，尤其小說的結(jié)尾苦役隊(duì)那十二個(gè)囚犯的歌聲，這是麥卡勒斯小說的密碼，也是她的全部魅力。通過對(duì)傷心咖啡館的解讀，可以感受到隱藏在作者深切孤獨(dú)背后的博愛與對(duì)愛的呼喚。小四號(hào)，宋體中文內(nèi)容段首空兩個(gè)漢字的空格空兩行關(guān)鍵詞“關(guān)鍵詞”三字為小二號(hào)，黑體，居中隔行（小四號(hào)字的狀態(tài)下隔行）愛；孤獨(dú)；南方哥特式風(fēng)格；病態(tài)人格；卡森·麥卡勒斯小四號(hào)，宋體段首空兩個(gè)漢字的空格中文關(guān)鍵詞詞條間用分號(hào)隔開。凡是中文內(nèi)容，則使用中文系統(tǒng)標(biāo)點(diǎn)格式

8、。關(guān)鍵詞最少不能少于3個(gè)，最多不能多于5個(gè)。ContentsAbstract.I摘要.IIIntroduction11. Love with Gender Roles and Ballad Implication21.1A General Content of The Ballad of the Sad Cafe21.2 An Analysis of the Personalities of the Main Characters32. Loneliness and Solitary42.1 Distinction and Causes42.2 The Love Triangle in Lon

9、eliness43. South Gothic Genre in Literature53.1 The Background of South Gothic Genre63.2 The Feature of the South Gothic Genre and McCullerss works63.3 South Gothic Genre in The Ballad of the Sad Cafe74. The Problem in Physiology and Psychology74.1 The Problem of Morbid Personality74.2 The Biography

10、 of Carson McCullers84.3 The Influence on Carson McCullerss Novel 85. Historical Events Affecting the State95.1 Historical Background95.2 The significance of Chain Gangs Song10Conclusion11References12Acknowledgements16Introduction關(guān)于頁眉的說明：正文部分另起一頁，并且此后每頁均需加設(shè)頁眉。頁眉內(nèi)容為論文題目，采用Times New Roman，五號(hào)字，居中書寫，頁眉上

11、的論文題目用五號(hào)字。Times New Roman，小二號(hào)字，加粗，居中。隔行（小四號(hào)字的狀態(tài)下隔行）August Wilson (1945-2005) is one of the leading American playwrights of the late twentieth century. He came to theatrical prominence with his Ma Raineys Black Bottom, which premiered at the Yale Repertory Theatre in 1984 and later in the same year w

12、ent to Broadway where it enjoyed 275 performances and won the New York Drama Critics Circle Award. Wilson enjoyed further successes with his subsequent works. In addition to two Pulitzers, for Fences (1987) and The Piano Lesson (1990), Wilson also won other top drama awards, including a Tony for Fen

13、ces and an Olivier, Englands Tony equivalent, for Jitney, five New Play Awards/Citations from the American Theatre Critics Association and seven New York Drama Critics Circle Awards. He is one of only seven American playwrights to win two Pulitzer Prizes, and one of only three African-American playw

14、rights to receive the prize. Many critics and scholars believe Wilson is the fourth greatest playwright after Eugene ONeill, Tennessee Williams and Arthur Miller 1. When he died in 2005, Broadways marquee lights dimmed for one minute. 正文每段首空4個(gè)字符空格用Times New Roman，小四號(hào)字書寫。行與行之間、段落和層次標(biāo)題以及各段落之間均為1.5倍行距

15、Wilson highly values the African-American culture. In his keynote address “The Ground on Which I Stand” Wilson articulated his aesthetic and cultural identification with his mother and her ancestors, though his biological father is white 2. Many scholars have discussed and provided some incisive ins

16、ights about “this culture” presented in Wilsons drama. The review of literature mainly deals with the studies that actually inform Wilsons dramatic construction of African-American heroes.1. Translation Studies and Contrastive Text Linguistics第一層次題序和標(biāo)題用Times New Roman，小二號(hào)字，加粗，左側(cè)不空格書寫Translation is s

17、uch a process that a form of expression in one language is transformed into its corresponding equivalence in another one. Translation practice is of a long history that could date back to the beginning of communication between different tribes in ancient time. As an academic subject, however, the st

18、udy of translation has not come into being until the second half of the 20th century. In the year of 1972, James S. Holmes, in his article “The Name and Nature of Translation Studies”, officially brought forward the name of the scholarly study of translation, which was later known as Translation Stu

19、dies.正文每段首空4個(gè)字符空格用Times New Roman，小四號(hào)字書寫行與行之間、段落和層次標(biāo)題以及各段落之間均為1.5倍行距 1.1 Natures of Text Linguistics第二層次題序和標(biāo)題用Times New Roman，小三號(hào)字，加粗，左側(cè)空兩格格書寫Traditionally, text was regarded as a language unit above sentence. According to Basil Hatim, text is “a set of mutually relevant communicative functions that

20、 hang together to a particular context and thus achieve an overall rhetorical purpose. The minimal unit of text Text Linguistics第三層次題序和標(biāo)題用Times New Roman，四號(hào)字，加粗，左側(cè)空兩格書寫第四及以下層次題序和標(biāo)題用Times New Roman，小四號(hào)字，加粗，左側(cè)空兩格書寫論文題序?qū)哟尾灰诉^多，不論幾級(jí)標(biāo)題都不能單獨(dú)置于頁面的最后一行，即標(biāo)題排版不能出現(xiàn)孤行Translation is such a process that a form of

21、expression in one language is transformed into its corresponding equivalence in another one.3 關(guān)于文獻(xiàn)標(biāo)識(shí)的說明：論文正文中須按出現(xiàn)順序標(biāo)識(shí)參考文獻(xiàn)編號(hào)，文獻(xiàn)編號(hào)用阿拉伯?dāng)?shù)字置于方括號(hào) 中，置于所引用內(nèi)容最末端，按上標(biāo)處理，如此例所示。論文中引用文獻(xiàn)原文應(yīng)加引號(hào)；若引用原意，文前用冒號(hào)或逗號(hào)，不用引號(hào)；較完整的長段引文，應(yīng)提行獨(dú)立成段，即在冒號(hào)后另起一段。Translation practice is of a long history that could date back to the begi

22、nning of communication between different tribes in ancient time. As an academic subject, however, the study of translation has not come into being until the second half of the 20th centuryConclusionTimes New Roman，小二號(hào)，加粗，居中結(jié)論單獨(dú)成頁隔行（小四號(hào)字的狀態(tài)下隔行）A translation, coherent in both explicitness and implicit

23、ness, requires accurate and thorough analysis on the original as well as on the translation. Basil Hatims contrastive text linguistic theories have paved the way for translators to realize such analyzing process in terms of three dimensions of context. In his theories, traditional meta-functions of

24、language and the concepts of genre, field and mode are combined together, which helps introduce the concept of intertexuality guaranteeing the text coherence. 正文每段首空4個(gè)字符空格用Times New Roman，小四號(hào)字書寫行與行之間、段落和層次標(biāo)題以及各段落之間均為1.5倍行距The attempt of analyzing United Nations Millennium Declaration in this paper a

25、ims to apply Basil Hatims contrastive text linguistic theories in translation practice, especially in the area of political and diplomatic translation. In concluding, translators should pay attention to avoid any loss of the ideational meaning when he or she conducts translation of a text according

26、to its text type. Different from of literary translation, for instance, the intentionality of legal text is to thoroughly convey the ideational meaning of the original, even if it sometimes reads not so idiomatical. In the translation of United Nations Millennium Declaration, however, consideration

27、has also been given to the accurate transfer of the interpersonal meaning, pragmatic equivalence by the translator who tackles this problem with appropriate shifts in the textual meaning of text.Thus, from the whole analyzing process, Basil Hatims contrastive text linguistic analyzing approach is pr

28、oved full of practicability as a theoretical framework. It helps the translator realize explicit and implicit coherence in translation based on fully understanding ReferencesTimes New Roman，小二號(hào)，加粗，居中。參考書目單獨(dú)成頁隔行（小四號(hào)字的狀態(tài)下隔行）。1345 Adell, Sandra. Speaking of Ma Rainey C. Alan Nadel. May All Your Fences

29、Have Gates: Essays on the Drama, Iowa City, IA: University of Iowa Press, 1994: 51-66.2 Berlin, Ira,1. 參考文獻(xiàn)順序：按照文中標(biāo)注的順序排列（外文文獻(xiàn)與中文文獻(xiàn)均如此）。2. 參考文獻(xiàn)出現(xiàn)的次數(shù)：每個(gè)文獻(xiàn)列表中只能出現(xiàn)一次： 如果正文中幾次引用同一文獻(xiàn)，則右上方的角標(biāo)按照順序標(biāo)識(shí)出不同序號(hào)，如1是一個(gè)文獻(xiàn)，2是另一個(gè)文獻(xiàn)，3與4、5與第1個(gè)文獻(xiàn)相同，。那么，在references中列出的時(shí)候，將1、3、4、5合并在一起，如：1345。3. 外文參考文獻(xiàn)人名：姓在前，名在后，姓名之間用逗號(hào)隔開。

30、4. 中文參考文獻(xiàn)人名：中國人的名字無需改變順序。5. 參考書目的內(nèi)容不能中外文混雜，即如果用中文文獻(xiàn)，則作者，書目，出版地，出版社都用中文的；如果用外文文獻(xiàn)，則作者，書目，出版地，出版社都用外文。6. 外文文獻(xiàn)中書名、雜志名書寫方式：6.1 外文文獻(xiàn)的書名用斜體6.2 外文文獻(xiàn)的文章名不用斜體，但雜志名用斜體。7. 如果文獻(xiàn)中同時(shí)含有外文、中文時(shí)，按照外文格式書寫姓名，按照中文書名格式使用。 Marc Favreau. & Seven F. Miller. Remembering Slavery: African Americans Talk about Their Personal

31、 Experiences of Slavery and Freedom M. New York: The New Press, 1998: 15-16.6 Molette, Carlton W. & Barbara J. Molette. Black Theatre: Premise and Presentation M. Bristol: Wyndham Hall Press, 1992: 39-41, 43, 47, 53.7 張美芳, 黃國文. 當(dāng)代美國黑人劇作家奧古斯特·威爾遜作品中的歷史再現(xiàn)J. 外國文學(xué). 2003, 25 (3): 3, 5. 8 Newmark

32、, Peter. A Textbook of Translation M. Shanghai: Shanghai Foreign Language Education Press, 1999: 117.9 Newmark, Peter. About Translation M. Clevdon: Multilingual Matters, 2008: 45-47.10 李行健. 現(xiàn)代漢語規(guī)范詞典 K. 北京: 外語教學(xué)與研究出版社, 2004: 136. 詞典類文獻(xiàn)參考本條。11 蘇珊·布萊克摩爾. 迷米機(jī)器: 文化之社會(huì)傳遞過程的“基因?qū)W” M. 高春申等譯. 長春: 吉林人民出版

33、社, 2001: 35-37.翻譯類文獻(xiàn)參考本條。參考文獻(xiàn)部分的標(biāo)點(diǎn)格式說明：無論中外文文獻(xiàn)其中涉及的標(biāo)點(diǎn)一律使用外文錄入系統(tǒng)轄的標(biāo)點(diǎn)格式。12 Bettero, Jean.& Steve Marie. 美索不達(dá)米亞 追溯近東文明的起點(diǎn) M. 上海: 世紀(jì)出版集團(tuán)、上海書店出版社, 2004: 25-30. 外文作者，中文書名類文獻(xiàn)參考本條。13 Gass, S.M. Integrating Research Areas: A Framework for Second Language Studies J. Applied Linguistics, 2009(9):198-217.Acknowledgements1. T