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1、Sample 1 学生整个论文中不要出现Sample字样Context and Wording in E-C Translation论文题目：三号Times New Roman加粗，居中Written by: X X作者姓名（汉语拼音）、导师姓名（汉语拼音）：均为四号Times New Roman体，居中Supervised by: XXX系别、学院、学校、完成时间：均为四号Times New Roman体，居中English DepartmentSchool of Foreign StudiesAnhui Normal UniversityApril 2008本页不标页码4居中，Times
2、New Roman四号加粗Sample 2AcknowledgementsI would like to express my gratitude to all those who helped me during the writing of this thesis. A special acknowledgement should be shown to Professor X, who from whose lectures I benefited greatly. I am particularly indebted to 主要感谢导师和对论文工作有直接贡献及帮助的人士和单位。两端对齐
3、，小四号Times New Roman体; 首行缩进2字符; 行间距22磅。“Acknowledgements, Contents, Abstract, 摘要” 用5号罗马数字单独编码，页码位于页面底端居中题目居中，Times New Roman, 三号加粗Sample 3The Image of the Room in Kate Chopins Works中间空一行居中，Times New Roman 四号加粗中间空一行Abstract 两端对齐，小4号Times New Roman体；首行缩进4字符；行距22磅200单词左右，符合语法，无语言错误，表达流畅Now regarded as a
4、n important forerunner of feminist movements, in her writing Kate Chopin introduced her readers to strong-willed, individualistic, and rebellious heroines, and expressed the feminist view that women should be independent and free in soul and body. This thesis does a detailed study of the repeatedly-
5、used the image of the “room”. It explores the significance of the room in the womens lives in terms of role-fulfillment as a mother and wife, their psychic growth from repression, awakening to rebellion. It illustrates the profound revelation and criticism evoked by the image of the “room” itself in
6、 Chopins works. Chopin condemned the patriarchal society and showed her sympathy with women by depicting what happened in the room. This thesis analyses the symbolic meaning of “the room of a view”, that is, Chopins feminist views that women should break the cage of the present life and go out into
7、a free world Key Words: room; female roles; female psyche; a room with view四号Times New Roman体，加粗，左顶格按外延大小顺序排列；小四号Times New Roman体；分号隔开最后一个关键词后不打标点符号本页和下页中文摘要双面打印居中，三号，宋体，加粗Sample 4中间空一行凯特肖邦作品中的房间意象居中，四号，宋体，加粗；摘要两字之间空2个字符宋体小四号，首行缩进两个汉字，行距22磅。两端对齐中间空一行摘 要中间空一行 凯特肖邦是十九世纪一位重要女性作家。其作品表达了新女性在身体、心灵和灵魂三方面的觉
8、醒意识，表达了女性解放的主题，抨击了十九世纪夫权统治下的道德规范。本文以肖邦作品中反复出现的“房间”意象为研究对象，阐述“房间”意象的运用如何有助于刻画女性压抑心理，记录女性自我成长，和表达女性解放主题。本文拟用传记批评方法，结合肖邦进行创作时的社会背景，家庭背景说明肖邦重复使用“房间”意象的内在动因，分析“房间”在妇女被动完成女性角色（妻子与母亲）过程中所具有的空间位置意义。并运用精神分析法和女性批评方法分析“房间”所具有的心理学意义，即在“房间”里女性经历了从压抑，觉醒到反叛的成长。再分析作家如何通过描写女主人公伫立“房间窗前”，眺望远方这一场景来表达女性其女性主义呼声。最后，笔者认为肖邦
9、作品中其他多次出现的意象，如女性浓密乌黑的头发亦具有研究价值。300汉字左右，与英文摘要一致，语句通顺，表达流畅。关键词：房间；女性角色；女性心理；窗 和英语关键词一致；小四号宋体；中间以分号隔开。最后一个关键词后不打标点符号左顶格，四号宋体，加粗。Sample 5居中，Times New Roman 四号加粗；不用 “outline”左顶格，Times New Roman 小四号；行距22磅；一级标题加粗空1行ContentsAcknowledgements . IAbstract .II摘 要.IIIChapter 1 Introduction .1各级标题用短语；层次要分明；实词首字母大
10、写1.1 Literature Review . .11.2 The significance of the Research .31.3 Organization of This Paper.4Chapter 2 Style and Several Parameters in Its Conveyance.52.1 Style.5下一级标题序号对齐上一级标题的第一个字母2.1.1 Definition .52.1.2 A Great Variety of Style .6 2.2 Several Parameters in Style Conveyance in Poetry Transla
11、tion .8一般分为5章，各专业、方向可作适当调整Chapter 3 Chapter 4 Chapter 5 Conclusion .14Notes .16Works Cited .17Appendix.18目录中页码要与正文中的页码一致 全文自本页至附录均双面打印论文标题：三号Times New Roman体，加粗Sample 6各章标题：居中，四号，Times New Roman体，加粗；前后各空一行The Image of the Room in Kate Chopins WorksChapter 1 Introduction其他各级标题：居中，小四号，Times New Roman体
12、，加粗；前后各空一行文中作者未出现：圆括号内标明作者姓（汉语只注明作者姓的拼音），空格，页码；文末文献要对应Chinese translation theories used to be unsystematic. Various opinions and propositions were hidden in the voluminous historical data, or concealed in the translators fragmentary words and phrases. Many scholars have begun to realize the value of
13、 those ideas, however, few have made full use of the materials available to study the old theoretical statements (Yang 2) 1.1 Literature Review注释一律用尾注：文中采用右上标注的方式It has been proposed that those theories in the past could be modernized for the sake of carrying on the tradition and benefiting Chinese
14、translation studies at present. The modernization is based on discovering something “new” in the “old” theories. And the researchers in this field are responsible.1.1.1 Research Methodologyfor interpreting and converting the old theories to categories, propositions and systems employed in modern tra
15、nslation studies, through comparing similar ideas found in the two. 正文字数一般在4500至5500外文单词之间，小四Times New Roman体，行距22磅；页面设置左右3.17cm，上下2.54cm，不设页眉引言一般为第一章，包括选题的背景与目的，文献综述，尚待进一步研究和解决的问题，研究方法等正文至附录用5号阿拉伯数字标注页码，页面底端居中Chapter 2 Deconstructive Translation Theories书名用斜体；文章名加引号本句作者Gentzler已在文内出现：圆括号内只标明页码新一章另起
16、一页，顶上格，后空一行Although deconstructionists diverge in their interest and specific views, they agree on their understanding of the basic notions involved. Gentzler, in Contemporary Translation Theories, believes that they are undertaking a radical redrawing of the questions upon which translation theory
17、is founded (145). The development of translation theory is often influenced by the academic and socio-political events internationally. The deconstructive alternative arose primarily in France in the late 1960s during a time of social and political upheaval, reflecting the political and social turmo
18、il of that period (Gentzler 148). Derrida summarizes two interpretations of interpretation, of sign, and of play:超过四行的引文：整段引文左边空10个字符的间距，所引段落上下各空一行，字体用五号；行距为1。作者Derrida在文内已出现，这里最后只标明页码The one seeks to decipher, dreams of deciphering a truth or an origin which escapes play and the order of the sign,
19、and which lives the necessity of interpretation as exile. The other which is no longer turned against the origin, affirms play and tries to pass beyond man and humanism, the name of man being the name of that being who, throughout the history of metaphysics or in other words, throughout his entire h
20、istory has dreamed of full presence, the reassuring foundation, the origin and the end of play. (93) Guo cited the example of biblical translation to show the importance of translation to the original, and stressed the significance of translation to ancient Chinese literatureThe pseudo-autobiographi
21、cal narration typical of the picaresque tradition is maintained:如所引原文第一行有缩进，则该行在论文中再缩进三个字符的间距，即引文第一行缩进13个字符My true name is so well known in the records, or registers, at Newgate and in the Old Bailey, and there are some things of such consequence still depending there relating to my particular condu
22、ct, that it is not to be expected I should set my name or the account of my family to this work It is enough to tell you, that some of my worst comrades, who are out of the way of doing me harm. (Defoe 27)作者Defoe在文内未出现：圆括号内标明作者姓名，空格，页码句号在括号前Sample 7另起一页；居中，四号Times New Roman，加粗Notes首行空5字符，序号同文内对应采用右上
23、标注的方式 Yang Zijian offers four principles for further researches: (1)顺应时代潮流，立足发展中国译学；(2)用古今中外打通的思想和比较研究的方法；(3)以现代译学的范畴、命题、系统为参照系；(4)对传统译论进行整理、解释、继承、发展转化的工作。2 Lu insisted on the method of foreignization in place of fluent translation. He maintained that the translation, which retained the exotic flavo
24、r of the original, was of value in the reconstruction of national culture (Cui 143). This theory resembles Venutis view that translation could be utilized as an ethnodeviant violence: “foreignizing translation can alter the social divisions figured in . . . ideologies, can promote cultural change th
25、rough its work on the target language” (115).3 Qian spoke highly of Lin Shus translation, which challenged the principle of “faithfulness”. He pointed out Lins abridgement and supplement to the originals were inspiring. Furthermore, Qian believed that the creation was not original either. It could b
26、e an imitation, adaptation, or even a translation. This opinion subverted the binary opposition of translation and creation (Huang 281).4Isabel Allende, “Toads Mouth,” trans. Margaret Sayers Peden, A Hammock beneath the Mangoes: Stories from Latin America, ed. Thomas Colchie (New York: Plume, 1992)
27、83.5号，行距18磅（注释比正文字体、行距要小）Sample 8单独一页；一律使用works cited字样，居中，四号Times New Roman，加粗英语著作用斜体Works Cited表示编辑空5个字符Baker, Mona, ed. Routledge Encyclopedia of Translation Studies. Shanghai: Shanghai Foreign Language Education Press, 2004.英语著作顺序：作者姓, 作者名. 著作名. 出版地: 出版社名, 出版年份.英语杂志名斜体Walter，Benjamin,. “Blending
28、 Networks in Translation”. Hermeneus. 2005 (7): 221-239.英语论文顺序：作者姓, 作者名. “论文名”. 杂志名. 出版年份（期）: 页码.论文集中的文章标注法Derrida, Jacques. “Structure, Sign and Play in the Discourse of the Human Sciences.” Critical Theory Since 1965. ed. Hazard Adams, and Leroy Searle. Tallahassee: University Press of Florida, 19
29、86.网络资料Holland, Norman. “Overcoming Depression.” Online posting. 19 Mar. 1997. Psyart. 21 Mar. 1997 .汉语著作顺序：作者姓名(拼音). 著作名. 出版地: 出版社名, 出版年份.李文革(Li Wenge). 西方翻译理论流派研究. 北京: 中国社会科学出版社，2004.同一作者文献格式：用“-”代替姓名廖七一(Liao Qiyi). 当代西方翻译理论探索. 南京: 译林出版社，2002.-. 胡适诗歌翻译研究. 北京: 清华大学出版社, 2006.王宏印，刘士聪(Wang Hongyin, Liu Shicong). “中国传统译论经典的现代诠释作为建立翻译学的一种努力”. 中国翻译, 2002 (2): 8-10.王 敏(Wang Min). “风格与气韵雪莱西风颂三家译文之比较”, 西安外国语学院学报, 2000 (4): 55-58.汉语论文顺序：作者姓名(拼音). “论文名”. 杂志名, 出版年份（期）: 页码.文献纵向顺序：先英文，后中文；按照作者姓的字母或拼音顺序排列