發(fā)布時(shí)間：2023-03-10 14:52:30
序言：寫作是分享個(gè)人見解和探索未知領(lǐng)域的橋梁，我們?yōu)槟x了8篇的本科畢業(yè)論文英文樣本，期待這些樣本能夠?yàn)槟峁┴S富的參考和啟發(fā)，請(qǐng)盡情閱讀。
英語(yǔ)專業(yè)本科畢業(yè)論文撰寫是高校本科教學(xué) 的最后一個(gè)重要階段，也是評(píng)價(jià)學(xué)生是否能夠順利 畢業(yè)的重要指標(biāo)之一。2000年頒布的《高等學(xué)校 英語(yǔ)專業(yè)英語(yǔ)教學(xué)大綱》強(qiáng)調(diào)了畢業(yè)論文的重要 性:“畢業(yè)論文是考察學(xué)生綜合能力、評(píng)估成績(jī)的 一個(gè)重要方式”[1]。同時(shí)，大綱還進(jìn)一步明確了畢 業(yè)論文的要求。根據(jù)《大綱》，各個(gè)髙校也紛紛對(duì) 英語(yǔ)專業(yè)本科畢業(yè)論文撰寫制定了具體的要 求。[2]
然而，筆者在對(duì)本校英語(yǔ)專業(yè)學(xué)生論文管理過 程中卻發(fā)現(xiàn)，對(duì)于論文學(xué)術(shù)不端檢測(cè)還有很多學(xué)生 甚至部分教師都不太清楚其目的及意義，對(duì)待學(xué)術(shù) 不端問題怠慢。許多高校都出現(xiàn)學(xué)生忽視學(xué)術(shù)不 端問題，仍然拼拼湊湊，復(fù)制他人成果的情況。[3]
因此筆者以本校2014屆205名英語(yǔ)專業(yè)畢業(yè)生論 文學(xué)術(shù)不端檢測(cè)報(bào)告為研究對(duì)象，對(duì)學(xué)生畢業(yè)論文 復(fù)制比的特征進(jìn)行分析，從而找到英語(yǔ)本科生在撰 寫論文過程中所存在的問題及原因。
一、論文復(fù)制比的主要比例分配
對(duì)于畢業(yè)論文復(fù)制比，每所高校的要求都略有 不同，對(duì)于本校的要求，所有的畢業(yè)論文經(jīng)學(xué)術(shù)不 端檢測(cè)，檢測(cè)結(jié)果雷同率或文字復(fù)制比率在30% (含30%)以內(nèi)的視為合格，超過30%的視為不合 格。超過30%的論文，必須經(jīng)過嚴(yán)格整改,否則取 消學(xué)生答辯資格。由此可見,高校對(duì)學(xué)生學(xué)術(shù)不端 的行為都有著嚴(yán)格的規(guī)章制度。筆者通過對(duì)205 名學(xué)生論文的學(xué)術(shù)不端檢測(cè)報(bào)告進(jìn)行分析,得出以 下主要比例分配：
由表一可以看出，在205名學(xué)生中，95%的學(xué) 生基本上都可以按照要求通過學(xué)術(shù)不端檢測(cè)，而且 有73%的學(xué)生復(fù)制比都在10%以內(nèi)，只有少部分 學(xué)生(5% )未能通過檢測(cè)，但其中有一名學(xué)生論文 復(fù)制比居然達(dá)到96%。因此，雖然說(shuō)大部分都可以達(dá)到要求，但就未通過的學(xué)生而言，出現(xiàn)的 問題也不容忽視。
二、論文復(fù)制比的主要特征
就學(xué)生論文復(fù)制比的主要特征而言，筆者根據(jù) 本校的畢業(yè)論文學(xué)術(shù)不端檢測(cè)要求，以復(fù)制比小于30% (含30% )和大于30%為基本兩個(gè)組,分別分 析兩組中學(xué)生論文復(fù)制比的主要特征。
(一) 復(fù)制比小于30% (含30% )
1. 正文外內(nèi)容。從論文基本結(jié)構(gòu)上看,除正文 部分以外，還包括標(biāo)題、目錄、參考文獻(xiàn)、致謝以及 附錄部分。就正文外的內(nèi)容而言，通過分析，筆者 發(fā)現(xiàn)65%的學(xué)生抄襲現(xiàn)象主要集中在致謝部分， 甚至個(gè)別學(xué)生還存在致謝部分全部抄襲的情況。 另外，少部分學(xué)生對(duì)論文的目錄以及附錄部分也存 在雷同的情況，但通過論文分析，此部分并不是所 謂的抄襲，尤其是附錄部分，因?yàn)閷W(xué)生會(huì)把引用別 人的問卷附在文后，但已標(biāo)明出處。
2. 正文部分。通過分析,84%的學(xué)生論文正 文的復(fù)制處主要集中在文獻(xiàn)綜述以及總結(jié)部分。 對(duì)于文獻(xiàn)綜述部分，尤其是對(duì)定義解釋以及研究回 顧部分的復(fù)制抄襲比例非常高，就這部分字?jǐn)?shù)而 言，基本上都在600字以上。而且從該部分具體內(nèi) 容上看，大部分學(xué)生由于對(duì)理論概念的不理解，因 此無(wú)法用自己的語(yǔ)言進(jìn)行轉(zhuǎn)述或者總結(jié)，只能完全 重復(fù)別人的文字。另外，綜述部分更是重復(fù)別人觀 點(diǎn)，但只述不評(píng)。從總結(jié)部分來(lái)看，學(xué)生的總結(jié)并 不是對(duì)自己研究結(jié)果的概括和提煉，反而是直接借 用他人的總結(jié)性話語(yǔ)，因而存在大量重復(fù)抄襲的 情況。
3. 復(fù)制來(lái)源。100%的學(xué)生復(fù)制的來(lái)源主要 是本科生或者研究生論文以及網(wǎng)絡(luò)資源，尤其是百 度文庫(kù)中的資料。雖然有少部分的學(xué)生復(fù)制出處 來(lái)源于期刊文章，但大多以中文為主。
(二) 復(fù)制比大于30%
1. 文獻(xiàn)引用。從論文總體上來(lái)看，對(duì)重復(fù)抄 襲的部分學(xué)生幾乎都沒有給出相關(guān)引證文獻(xiàn)。除 此之外，11個(gè)學(xué)生的參考文獻(xiàn)部分都存在大量的 復(fù)制抄襲。
2. 正文部分。除了上述所提及的部分以外， 11個(gè)學(xué)生的論文在introduction部分同樣存在復(fù)制 抄襲。從報(bào)告單中還看出，這部分學(xué)生對(duì) 參考文獻(xiàn)和研究方法部分也存在嚴(yán)重的抄襲。
3. 復(fù)制來(lái)源。與上述相同，11個(gè)學(xué)生的重復(fù) 抄襲部分都來(lái)源于論文或者網(wǎng)絡(luò)資料。
三、原因分析
通過對(duì)英語(yǔ)專業(yè)學(xué)生論文學(xué)術(shù)不端檢測(cè)報(bào)告 進(jìn)行分析，不難看出，即使大部分學(xué)生都順利通過
了檢測(cè)，有的學(xué)生的復(fù)制率甚至為0,但通過對(duì)其 復(fù)制比特征的分析以及對(duì)學(xué)生的訪談?wù){(diào)查，筆者發(fā) 現(xiàn)其中存在多方面的原因。
(一) 學(xué)生寫作能力欠佳
在聽說(shuō)讀寫譯的技能中，“寫”屬于輸出技能， 也是較難的一個(gè)技能。通過對(duì)學(xué)生論文進(jìn)行分析， 筆者發(fā)現(xiàn)，從總體上來(lái)看，學(xué)生對(duì)英語(yǔ)基礎(chǔ)知識(shí)的 掌握仍不牢固，論文中出現(xiàn)了大量的語(yǔ)法錯(cuò)誤，嚴(yán) 重制約了他們的語(yǔ)言表達(dá)能力。
(二) 學(xué)生學(xué)術(shù)水平較低
眾所周知,學(xué)術(shù)論文寫作無(wú)論是在整體結(jié)構(gòu)上 還是在語(yǔ)言使用上都與普通作文有所不同。盡管 許多高校都開設(shè)有學(xué)術(shù)論文寫作課，但許多學(xué)生對(duì) 學(xué)術(shù)論文寫作概念十分模糊，仍然不清楚應(yīng)該做什 么，應(yīng)該怎樣做。尤其是復(fù)制比超過30%的學(xué)生 甚至在總體介紹及參考文獻(xiàn)部分進(jìn)行復(fù)制抄襲，可 見其并未真正理解什么是論文寫作，就連論文中的 參考文獻(xiàn)部分基本結(jié)構(gòu)都不清楚。
(三) 學(xué)生信息技術(shù)能力不高
通過對(duì)學(xué)生復(fù)制來(lái)源分析，大部分的資料來(lái)源 于研究生的畢業(yè)論文以及網(wǎng)絡(luò)資料。另外，學(xué)生在 文獻(xiàn)綜述部分，大部分的文獻(xiàn)都來(lái)自中文文獻(xiàn)，而 且通過訪談，許多學(xué)生都反映找不到英文文獻(xiàn)?？?所周知，文獻(xiàn)搜索技能在學(xué)術(shù)論文寫作中是必不可 少的，不僅需要找到相關(guān)文獻(xiàn)，更是需要對(duì)這些文 獻(xiàn)進(jìn)行綜合評(píng)述。但通過調(diào)查，許多學(xué)生所使用的 搜索方式集中于中國(guó)知網(wǎng)以及百度兩種，這也導(dǎo)致 了他們收集的資料較為單一。
(四) 指導(dǎo)教師對(duì)學(xué)生的論文寫作指導(dǎo)不夠
許多學(xué)生的論文在提交檢測(cè)時(shí)仍然發(fā)現(xiàn)不少 的問題，如論文整體結(jié)構(gòu)以及語(yǔ)法方面存在許多的 問題。甚至有學(xué)生的論文復(fù)制比達(dá)到96%。由此 可以看出，除了學(xué)生本身存在的問題以外，指導(dǎo)教 師對(duì)學(xué)生的指導(dǎo)也存在疏忽，沒有發(fā)揮真正意義上 的指導(dǎo)以及監(jiān)督的作用。
四、總結(jié)
通過對(duì)學(xué)術(shù)不端檢測(cè)報(bào)告單以及學(xué)生的訪談 分析，不難看出，英語(yǔ)專業(yè)本科生畢業(yè)論文撰寫存 在許多的問題。學(xué)生的論文復(fù)制比高與其學(xué)術(shù)論 文寫作能力以及資料搜索、整理等多方面的能力都 有關(guān)系。另外，指導(dǎo)教師的指導(dǎo)監(jiān)督力度不夠也造 成了學(xué)生對(duì)論文寫作不重視，態(tài)度不端正的情況。對(duì)此問題的解決，不僅需要相關(guān)任課教師，論文指 導(dǎo)教師以及學(xué)生的共同努力,更需要學(xué)校建立健全 相關(guān)制度來(lái)加大監(jiān)管力度。
作者：沈萍
關(guān)鍵詞：畢業(yè)論文 課程教學(xué) 反撥效應(yīng)
中圖分類號(hào)：G642 文獻(xiàn)標(biāo)識(shí)碼：A 文章編號(hào)：1672-3791（2014）09（c）-0135-01
該文擬論述畢業(yè)論文培養(yǎng)應(yīng)貫穿于整個(gè)本科階段的課程教學(xué)，分析畢業(yè)論文培養(yǎng)與課程教學(xué)之間的關(guān)系，從英語(yǔ)本科畢業(yè)論文存在的問題來(lái)審視目前的英語(yǔ)本科教育，探索其對(duì)英語(yǔ)本科教育的指導(dǎo)性。
1 畢業(yè)論文培養(yǎng)環(huán)節(jié)與課程教學(xué)
教學(xué)計(jì)劃上所謂畢業(yè)論文培養(yǎng)環(huán)節(jié)只是用來(lái)界定畢業(yè)前的最后學(xué)習(xí)階段，而對(duì)學(xué)生的培養(yǎng)遠(yuǎn)不僅限于此階段?！陡叩仍盒Ｓ⒄Z(yǔ)專業(yè)教學(xué)大綱》也指出：“畢業(yè)論文是考察學(xué)生綜合能力，評(píng)估學(xué)業(yè)成績(jī)的一個(gè)重要方式?！盵2]由此可見，畢業(yè)論文的質(zhì)量反映了本科階段的教學(xué)質(zhì)量。它表明了學(xué)生的外語(yǔ)水平和實(shí)際應(yīng)用外語(yǔ)的能力，學(xué)生發(fā)現(xiàn)并提出問題、解決問題的能力以及獨(dú)立從事科研工作的能力[1]。這些能力的培養(yǎng)都涉及到本科階段的所有課程教學(xué)，遠(yuǎn)非短期的畢業(yè)論文寫作指導(dǎo)所能及。另外，可以看出畢業(yè)論文是對(duì)本科教學(xué)質(zhì)量的檢測(cè)，而畢業(yè)論文存在的問題也集中體現(xiàn)了常規(guī)教學(xué)中的弊端。分析畢業(yè)論文存在的問題可以有效地指導(dǎo)常規(guī)課程教學(xué)，而課程教學(xué)質(zhì)量的提高也必將體現(xiàn)到畢業(yè)論文質(zhì)量上。
2 存在主要問題
通過對(duì)某高校2007、2008級(jí)英語(yǔ)本科畢業(yè)論文的綜合分析，以及對(duì)這兩界畢業(yè)生進(jìn)行的問卷調(diào)查，發(fā)現(xiàn)畢業(yè)論文寫作存在的問題集中體現(xiàn)在以下兩個(gè)方面。
首先，英語(yǔ)語(yǔ)言能力較差，思路不清晰，語(yǔ)言缺乏邏輯性。學(xué)生英語(yǔ)行文能力差，語(yǔ)法錯(cuò)誤多，文章可讀性較低。寫作目的不明確，陳述思路混亂，經(jīng)常出現(xiàn)文不對(duì)題的情況。很多同學(xué)雖然用英文行文但是卻用漢語(yǔ)思維組織語(yǔ)言，使行文前后不連貫缺乏邏輯性，且不注重段與段之間的粘連，整篇文章呈現(xiàn)出零散，脫節(jié)，中心不明確的狀態(tài)。
其次，缺乏問題意識(shí)；論證過程缺乏理論支撐。學(xué)生缺乏問題意識(shí)，對(duì)所學(xué)的知識(shí)大多是被動(dòng)的接受，很少對(duì)所學(xué)知識(shí)進(jìn)行創(chuàng)造性思考；另外學(xué)生的知識(shí)積淀較少，無(wú)從發(fā)現(xiàn)問題。因此絕大部分學(xué)生的選題通過網(wǎng)上搜索，拼湊而來(lái)，這給論文寫作帶了極大的困難。再者，學(xué)生對(duì)相關(guān)理論知識(shí)被動(dòng)接受，不能與實(shí)際相結(jié)合應(yīng)用到論證過程中，這使得文章缺乏說(shuō)服力，大多停留于感性層面的敘述。
根據(jù)以上兩個(gè)方面問題，筆者將本科教育階段的課程分為語(yǔ)言能力基礎(chǔ)課程，高年級(jí)專業(yè)課程兩類來(lái)探究畢業(yè)論文對(duì)課程教學(xué)的反撥效應(yīng)。
3 對(duì)課程教學(xué)的反撥效應(yīng)
3.1 語(yǔ)言能力基礎(chǔ)課程
學(xué)生在畢業(yè)論文寫作中表現(xiàn)出來(lái)的英語(yǔ)行文能力差不能簡(jiǎn)單地歸咎于寫作、語(yǔ)法或某一門課程。語(yǔ)言能力的聽、說(shuō)、讀、寫是一個(gè)有機(jī)整體，是相互依存，相互作用的。因此，英語(yǔ)語(yǔ)言能力低是所有聽說(shuō)讀寫的基礎(chǔ)課程的問題。反思一下這些基礎(chǔ)課程就不難找出其中原因。閱讀課和聽力課上教師注重傳授解題技巧，如何在考試中得高分。通常課程內(nèi)容是大量解題訓(xùn)練，而不注重學(xué)生對(duì)整篇文章的綜合分析和理解。語(yǔ)法課大多是教師孜孜不倦地講解語(yǔ)法點(diǎn)然后做大量的應(yīng)試練習(xí)，脫離了作為載體的語(yǔ)言，學(xué)習(xí)語(yǔ)法的意義也僅僅是卷子上一個(gè)高低不同的分?jǐn)?shù)而已。寫作課亦是如此，固定的框架，模式，句型一切都服務(wù)于考試。綜合英語(yǔ)本是一門將聽說(shuō)讀寫整合并形成語(yǔ)言自主輸出的課程，但學(xué)生被要求背單詞，背課文，大部分時(shí)間是被動(dòng)地接受，很少有在真實(shí)的語(yǔ)言環(huán)境中進(jìn)行自主語(yǔ)言輸出的機(jī)會(huì)。不難看出，語(yǔ)言能力培養(yǎng)的基礎(chǔ)課程的重心偏向于應(yīng)試訓(xùn)練而忽略學(xué)生這個(gè)主體，久而久之，學(xué)生也習(xí)慣這樣的被動(dòng)接受。然而，要使教師所傳授的這些語(yǔ)言規(guī)則支配的語(yǔ)言行為達(dá)到完全自由自主的程度，即內(nèi)化為學(xué)生自己的語(yǔ)言能力，是需要大量的自主的語(yǔ)言輸出練習(xí)才能轉(zhuǎn)化為語(yǔ)言技能，才能幫助學(xué)生順利地完成畢業(yè)論文寫作。因此，要提高學(xué)生的語(yǔ)言能力，就要將語(yǔ)言能力基礎(chǔ)課程的重心轉(zhuǎn)向?qū)W生語(yǔ)言能力的培養(yǎng)，如何在大量的自主語(yǔ)言輸出訓(xùn)練中將輸入，分析，理解，歸納，總結(jié)，輸出內(nèi)化為學(xué)生自己的語(yǔ)言能力。
3.2 高年級(jí)專業(yè)課程
高級(jí)專業(yè)課程主要是指語(yǔ)言學(xué)、文學(xué)、翻譯方向的相關(guān)課程，以及一些行業(yè)英語(yǔ)課程。這些課程是學(xué)生畢業(yè)論文題目的主要來(lái)源。然而，學(xué)生在畢業(yè)論文階段卻表現(xiàn)出缺乏問題意識(shí)，不能發(fā)現(xiàn)問題，更不用說(shuō)解決問題。而論文選題的動(dòng)因是在于發(fā)現(xiàn)問題，這樣才能就題而論，有話可說(shuō)。[3]這與基礎(chǔ)課程養(yǎng)成的被動(dòng)接受的習(xí)慣不無(wú)關(guān)系，更重要的是在教學(xué)中教師通常只激發(fā)學(xué)生的低級(jí)心里過程（lower mental process）。以文學(xué)課為例，老師講授每個(gè)時(shí)期特點(diǎn)，文學(xué)貢獻(xiàn)，某個(gè)作家的生平，著作，對(duì)文學(xué)理論進(jìn)行介紹以及一些著名作品的分析，考試的內(nèi)容也大致如此。學(xué)生只需要簡(jiǎn)單背誦，再現(xiàn)即可，背誦再現(xiàn)即是不需要思維的低級(jí)心里過程。而畢業(yè)論文寫作恰恰需要調(diào)動(dòng)學(xué)生的高級(jí)思維過程（higher mental process），需要學(xué)生有縝密的外語(yǔ)思維能力，批判的、系統(tǒng)的推理能力和跨文化溝通能力。[4]久而久之，學(xué)生自然很難通過自主思維發(fā)現(xiàn)問題，即缺乏問題意識(shí)。因此，對(duì)于選題往往采取“拿來(lái)主義”，以至于論文寫作時(shí)無(wú)話可說(shuō)，只能繼續(xù)采取“拿來(lái)主義”。由此可見，高級(jí)專業(yè)課程應(yīng)該思考如何調(diào)動(dòng)學(xué)生的高級(jí)心里過程，提高學(xué)生的問題意識(shí)，學(xué)會(huì)如何發(fā)現(xiàn)問題，用縝密嚴(yán)謹(jǐn)?shù)乃季S分析問題，解決問題。
4 結(jié)論
本科教育是一個(gè)系統(tǒng)工程，畢業(yè)論文項(xiàng)目和其它課程均為此系統(tǒng)的構(gòu)成要素，它們不應(yīng)是孤立存在而應(yīng)是相互聯(lián)系、相互作用。[5]同時(shí)，畢業(yè)論文對(duì)本科教育進(jìn)行綜合檢測(cè)，對(duì)本科教育起到有益的指導(dǎo)作用，促使高校改進(jìn)并提高教學(xué)質(zhì)量，而教學(xué)質(zhì)量的提高又反作用于畢業(yè)論文寫作，從而從根本上提高畢業(yè)論文質(zhì)量。
參考文獻(xiàn)
[1] 教育部高等教育司.北京市教育委員會(huì).高等學(xué)校畢業(yè)設(shè)計(jì)（論文）指導(dǎo)手冊(cè)外語(yǔ)卷（修訂版）[Z].北京：高等教育出版社 經(jīng)濟(jì)日?qǐng)?bào)出版社，2007：1.
[2] 高等學(xué)校外語(yǔ)專業(yè)教學(xué)指導(dǎo)委員會(huì)英語(yǔ)組.高等學(xué)校英語(yǔ)專業(yè)英語(yǔ)教學(xué)大綱[Z].上海：上海外語(yǔ)教育出版社，2000：5.
[3] 張菁.英語(yǔ)本科畢業(yè)論文寫作質(zhì)量問題探討[J].南京人口管理干部學(xué)院學(xué)報(bào)，2008（4）：62.
關(guān)鍵詞：英語(yǔ)專業(yè)；畢業(yè)論文；論文課程；教師指導(dǎo)
畢業(yè)論文寫作是考查學(xué)生綜合能力、評(píng)估學(xué)業(yè)成績(jī)的一個(gè)重要方式。完成畢業(yè)論文的寫作與答辯是學(xué)生取得畢業(yè)資格、獲得學(xué)士學(xué)位的必備條件。為了更好地規(guī)范高師院校英語(yǔ)專業(yè)畢業(yè)論文寫作的教學(xué)與指導(dǎo)，我們以長(zhǎng)春師范學(xué)院英語(yǔ)專業(yè)2009屆學(xué)生
為研究對(duì)象，探討了畢業(yè)論文寫作課程的設(shè)置及教師的指導(dǎo)策略。
一、英語(yǔ)專業(yè)畢業(yè)論文寫作課程的設(shè)置
《高等學(xué)校英語(yǔ)專業(yè)英語(yǔ)教學(xué)大綱》中并未規(guī)定高校是否需要開設(shè)畢業(yè)論文寫作課程，因此鮮有高校把畢業(yè)論文寫作納入教學(xué)計(jì)劃中。但從實(shí)際情況來(lái)看，開設(shè)畢業(yè)論文寫作課能夠有效地提高學(xué)生畢業(yè)論文撰寫能力，并且培養(yǎng)其獨(dú)立思考、探索的科研能力。我校2009―2011三年開設(shè)了畢業(yè)論文寫作課程，筆者僅以此為基礎(chǔ)得出一些經(jīng)驗(yàn)：
1.課時(shí)安排
畢業(yè)論文寫作能力的提高絕不是一蹴而就的，在二年級(jí)與三年級(jí)開設(shè)寫作課時(shí)，教師可以滲透畢業(yè)論文寫作要求，安排學(xué)生查閱資料、寫學(xué)期論文等。在此基礎(chǔ)之上，我們把畢業(yè)論文寫作課程與教師單獨(dú)指導(dǎo)相結(jié)合。
2.教學(xué)內(nèi)容
畢業(yè)論文寫作課往往涉及如下內(nèi)容：論文選題、開題報(bào)告、文獻(xiàn)綜述、文獻(xiàn)檢索、寫作技巧、專題寫作、研究方法、論文格式、論文修改、常見錯(cuò)誤評(píng)析、論文答辯及注意事項(xiàng)等。近年來(lái)，我國(guó)出版了很多關(guān)于英語(yǔ)專業(yè)本科畢業(yè)論文寫作方面的專著與教材，但考慮到此門課程的實(shí)用性及學(xué)時(shí)的局限性等因素，任課教師需要自行選擇與整理，總結(jié)出適合所教學(xué)生學(xué)習(xí)程度的教學(xué)內(nèi)容，使學(xué)生在最短的時(shí)間內(nèi)快速、清晰地掌握論文寫作要領(lǐng)。
3.教學(xué)方法
此門課程強(qiáng)調(diào)培養(yǎng)學(xué)生的實(shí)踐能力，因此教學(xué)形式應(yīng)該是教師講授與學(xué)生操練相結(jié)合。教師講完每章節(jié)內(nèi)容后，布置相關(guān)任務(wù)要求學(xué)生課后完成，之后再根據(jù)其完成情況進(jìn)行總結(jié)，或是讓學(xué)生以小組形式進(jìn)行討論，互相評(píng)價(jià)與修正。同時(shí)，教師也應(yīng)該提供優(yōu)秀論文與問題論文供學(xué)生參考、借鑒，讓學(xué)生從評(píng)論者的角度去發(fā)現(xiàn)問題、解決問題。這樣，通過講解可以引導(dǎo)學(xué)生開展下一步的工作，通過實(shí)踐又能使學(xué)生避免不必要的錯(cuò)誤。
4.考核辦法
本課程以考核學(xué)生的平時(shí)任務(wù)完成為主，輔以期末考試考查理論知識(shí)及對(duì)知識(shí)的實(shí)際應(yīng)用。平時(shí)的任務(wù)形式包括小組活動(dòng)、資料搜集、實(shí)驗(yàn)設(shè)計(jì)等，而期末考試可以以開卷形式進(jìn)行或是要求學(xué)生事先準(zhǔn)備，寫與所選題目相關(guān)的文獻(xiàn)綜述、論文各部分，如引言等。
二、教師的針對(duì)性指導(dǎo)
論文寫作課只是為學(xué)生建構(gòu)了畢業(yè)論文寫作的大體框架，而具體的實(shí)施則需要指導(dǎo)教師給予學(xué)生有針對(duì)性的輔導(dǎo)。兩者應(yīng)同步進(jìn)行，相輔相成。
1.畢業(yè)論文的選題直接關(guān)系到論文的完成質(zhì)量
在論文寫作課初步介紹完論文選題之后，教師可以給出和自己研究方向緊密相關(guān)的論文題目供學(xué)生選擇。這樣，教師可以給予學(xué)生更多的幫助，同時(shí)也可以讓學(xué)生參與到自己的研究中，做到教學(xué)相長(zhǎng)。
2.指導(dǎo)學(xué)生科研方法，培養(yǎng)學(xué)生科研能力
教師還應(yīng)該著重注意指導(dǎo)學(xué)生查閱資料，了解最新的研究動(dòng)態(tài)，避免學(xué)生思路閉塞以致題目陳舊、沒有研究?jī)r(jià)值。另外，由于專業(yè)特點(diǎn)，很多學(xué)生選擇了英語(yǔ)教學(xué)法，但他們的論文往往只限于文獻(xiàn)研究，并不能真正與教學(xué)相聯(lián)系。教師可以指導(dǎo)并幫助學(xué)生結(jié)合論文課上所講的科研方法，設(shè)計(jì)試驗(yàn)，做調(diào)查分析等，真正培養(yǎng)學(xué)生的研究能力。
3.要加強(qiáng)對(duì)畢業(yè)論文的監(jiān)督力度
教師要對(duì)學(xué)生進(jìn)行誠(chéng)信教育，強(qiáng)化指導(dǎo)與監(jiān)控，力求避免抄襲現(xiàn)象。同時(shí)，也要督促學(xué)生合理規(guī)劃時(shí)間，及時(shí)與老師溝通，保質(zhì)保量地完成論文撰寫工作。
畢業(yè)論文寫作是大學(xué)英語(yǔ)專業(yè)畢業(yè)前最后一項(xiàng)也是極為重要的一個(gè)教學(xué)環(huán)節(jié)，它的順利完成需要學(xué)生、學(xué)校和教師三方面的共同努力。我們希望規(guī)范的教學(xué)及指導(dǎo)能幫助學(xué)生養(yǎng)成科學(xué)的研究態(tài)度，形成嚴(yán)謹(jǐn)?shù)膶W(xué)術(shù)作風(fēng)，為他們將來(lái)的工作打下良好的基礎(chǔ)。
參考文獻(xiàn)：
［1］程小薔.英語(yǔ)專業(yè)畢業(yè)論文指導(dǎo)策略研究［J］.成人高教學(xué)刊，2010（2）.
［2］吳俊.關(guān)于本科院校開設(shè)英語(yǔ)畢業(yè)論文寫作課的思考［J］.忻州師范學(xué)院學(xué)報(bào)，2011-08.
作者簡(jiǎn)介：
第一作者：曹佳[（1981―），女，漢族，長(zhǎng)春人，講師，碩士研究生，主要從事外國(guó)語(yǔ)言學(xué)及應(yīng)用語(yǔ)言學(xué)研究；第二作者：孫莉莉（1975―），女，漢族，長(zhǎng)春人，副教授，碩士研究生，主要從事社會(huì)語(yǔ)言學(xué)及應(yīng)用語(yǔ)言學(xué)研究。
一、改革的背景
畢業(yè)論文既是高校對(duì)學(xué)生進(jìn)行本科教學(xué)過程中最后階段綜合訓(xùn)練的重要教學(xué)環(huán)節(jié)，也是學(xué)生畢業(yè)前的最后一項(xiàng)學(xué)習(xí)任務(wù)。同時(shí)，也是衡量一所高校辦學(xué)水平和本科生培養(yǎng)質(zhì)量的一項(xiàng)重要指標(biāo)。畢業(yè)論文是培養(yǎng)學(xué)生創(chuàng)新意識(shí)，提高學(xué)生綜合運(yùn)用所學(xué)基礎(chǔ)理論、專業(yè)知識(shí)，分析和解決實(shí)際問題能力的重要步驟。其目的應(yīng)該是全面考察學(xué)生的知識(shí)面，掌握知識(shí)的深度以及運(yùn)用理論處理實(shí)際問題的能力。但是作為實(shí)踐性和應(yīng)用性較強(qiáng)的旅游管理專業(yè)，在實(shí)際的人才培養(yǎng)環(huán)節(jié)中卻存在著學(xué)生的動(dòng)手能力較差，解決實(shí)際問題的能力較弱，學(xué)生畢業(yè)后不能適應(yīng)旅游行業(yè)的需要等問題。究其原因，很多院校的學(xué)生在畢業(yè)論文環(huán)節(jié)中的實(shí)踐能力、創(chuàng)新能力以及分析問、解決問題等方面的能力，沒有得到充分的鍛煉。因此，需要對(duì)傳統(tǒng)的旅游管理專業(yè)畢業(yè)論文進(jìn)行改革。四川師范大學(xué)文理學(xué)院針對(duì)這一現(xiàn)象和問題，參照理工科院校的畢業(yè)設(shè)計(jì)思路，結(jié)合旅游管理專業(yè)的特點(diǎn)和本校的實(shí)際情況，對(duì)2009級(jí)旅游管理專業(yè)學(xué)生的畢業(yè)論文寫作改為旅游線路產(chǎn)品設(shè)計(jì)進(jìn)行了大膽有益的嘗試。
二、改革的目的與意義
（一）符合應(yīng)用型本科院校旅游管理專業(yè)的人才培養(yǎng)目標(biāo)
應(yīng)用型本科院校其主要的特點(diǎn)是應(yīng)用。與研究型本科院校的區(qū)別在于，其人才培養(yǎng)的目標(biāo)是應(yīng)用型人才而非研究型人才。因此應(yīng)用型本科院校的實(shí)踐教學(xué)比重比普通本科院校大，而且強(qiáng)調(diào)學(xué)生的理論知識(shí)與實(shí)踐的統(tǒng)一。實(shí)行畢業(yè)論文改畢業(yè)設(shè)計(jì)本身就是應(yīng)用型本科院校構(gòu)建完善的實(shí)踐教學(xué)體系的重要組成部分。其次，旅游管理專業(yè)具有明確的行業(yè)指導(dǎo)性，是一個(gè)應(yīng)用性非常強(qiáng)的專業(yè)，主要為旅行社、旅游景區(qū)以及旅游行政單位等培養(yǎng)旅游管理基礎(chǔ)理論知識(shí)扎實(shí)，適應(yīng)能力和動(dòng)手能力較強(qiáng)以及專業(yè)操作技能熟練和外語(yǔ)溝通能力較強(qiáng)的高素質(zhì)應(yīng)用型和創(chuàng)新型管理人才。傳統(tǒng)的畢業(yè)論文寫作，由于學(xué)生參與社會(huì)實(shí)踐活動(dòng)較少，與企業(yè)行業(yè)接觸的機(jī)會(huì)少。因此，導(dǎo)致很多學(xué)生在畢業(yè)論文撰寫時(shí)出現(xiàn)理論為主，論文選題比較空泛，既沒有自己的觀點(diǎn)而且畢業(yè)論文的實(shí)際價(jià)值也比較小。而畢業(yè)設(shè)計(jì)則是要求學(xué)生在進(jìn)行專業(yè)實(shí)習(xí)之時(shí)，充分運(yùn)用自己的專業(yè)理論知識(shí)與自己的實(shí)習(xí)工作經(jīng)驗(yàn)，將理論與實(shí)踐進(jìn)行統(tǒng)一，完成自己的線路設(shè)計(jì)與營(yíng)銷。
（二）滿足社會(huì)與企業(yè)發(fā)展對(duì)旅游人才的需要
二十一世紀(jì)社會(huì)競(jìng)爭(zhēng)越來(lái)越激烈。社會(huì)對(duì)于人才的需求，不僅僅是需要掌握大量的理論知識(shí)，而且要有較強(qiáng)的創(chuàng)新能力與動(dòng)手能力。在我國(guó)的《國(guó)家中長(zhǎng)期教育改革和發(fā)展規(guī)劃綱要（2010-202）》中也明確提出：“著力提高學(xué)生的學(xué)習(xí)能力、實(shí)踐能力、創(chuàng)新能力，教育學(xué)生學(xué)會(huì)知識(shí)技能，學(xué)會(huì)動(dòng)手動(dòng)腦，學(xué)會(huì)生存生活，學(xué)會(huì)做人做事，促進(jìn)學(xué)生主動(dòng)適應(yīng)社會(huì)，開創(chuàng)美好未來(lái)?！甭糜纹髽I(yè)面對(duì)日益紛繁復(fù)雜的市場(chǎng)變化，急需能夠直接參與和適應(yīng)旅游企業(yè)經(jīng)營(yíng)活動(dòng)的高素質(zhì)人才。因此，旅游管理專業(yè)畢業(yè)論文改畢業(yè)設(shè)計(jì)，在學(xué)生畢業(yè)之前就能夠?qū)⒆约旱膶I(yè)知識(shí)與旅游企業(yè)的實(shí)際問題進(jìn)行聯(lián)系，并且自己動(dòng)手參與整個(gè)線路設(shè)計(jì)與營(yíng)銷過程，既可以加深對(duì)理論知識(shí)的理解，又可以開拓思維，增強(qiáng)實(shí)際動(dòng)手能力，同時(shí)也更好地鍛煉了社會(huì)與企業(yè)所需的素質(zhì)與能力。
（三）提高學(xué)生的綜合素質(zhì)與能力
傳統(tǒng)的畢業(yè)論文寫作，很多學(xué)生因?yàn)楫厴I(yè)實(shí)習(xí)監(jiān)管不嚴(yán)，并沒有真正到旅游企業(yè)中進(jìn)行實(shí)習(xí)，而是找個(gè)相關(guān)單位在實(shí)習(xí)鑒定表上蓋章了事。由于沒有在旅游企業(yè)中的實(shí)習(xí)經(jīng)歷與前期的準(zhǔn)備和訓(xùn)練，再加之現(xiàn)在網(wǎng)絡(luò)資源與報(bào)刊雜志的便利，畢業(yè)論文寫作就會(huì)出現(xiàn)兩種情況。一種是理論與實(shí)際相脫離，形成空泛之說(shuō)，既無(wú)針對(duì)性又無(wú)實(shí)際價(jià)值。另外一種是畢業(yè)論文的抄襲和拼湊現(xiàn)象較為嚴(yán)重。畢業(yè)論文答辯環(huán)節(jié)主要是對(duì)學(xué)生的畢業(yè)論文進(jìn)行就題論題式的提問，學(xué)生通常背一背論文就可以應(yīng)付，對(duì)于學(xué)生的實(shí)踐能力和就業(yè)競(jìng)爭(zhēng)力的提高并無(wú)太大幫助。畢業(yè)設(shè)計(jì)把學(xué)生的創(chuàng)新能力、動(dòng)手能力和實(shí)際操作能力放在首位，它要求學(xué)生不僅要掌握扎實(shí)的理論知識(shí)，而且必須將所學(xué)知識(shí)進(jìn)行靈活運(yùn)用，這就需要學(xué)生富有創(chuàng)新精神和創(chuàng)造能力。學(xué)生要完成一條旅游線路產(chǎn)品設(shè)計(jì)與營(yíng)銷，涉及旅游管理專業(yè)所學(xué)的旅游市場(chǎng)營(yíng)銷、導(dǎo)游業(yè)務(wù)、旅游社經(jīng)營(yíng)管理、景區(qū)管理、旅游資源學(xué)等核心理論課程，而且學(xué)生通過實(shí)地考察、調(diào)研獲取第一手資料，然后進(jìn)行資料分析團(tuán)隊(duì)分工運(yùn)作，再到整條線路的市場(chǎng)宣傳與營(yíng)銷，極大調(diào)動(dòng)了學(xué)生的自動(dòng)性與積極性。這一過程不僅培養(yǎng)了學(xué)生的寫作能力，而且學(xué)生的創(chuàng)新能力、動(dòng)手能力、實(shí)際操作能力、團(tuán)隊(duì)協(xié)作能力以及營(yíng)銷能力等等都得到了充分的展示與提高。
三、改革的思路與實(shí)施方案
（一）改革的思路
在學(xué)院領(lǐng)導(dǎo)的大力支持與校企合作單位四川康輝國(guó)際旅行社的鼎力合作之下，四川師范大學(xué)文理學(xué)院旅游管理專業(yè)畢業(yè)論文改畢業(yè)設(shè)計(jì)工作與2012年正式啟動(dòng)。本次畢業(yè)設(shè)計(jì)改革以推動(dòng)學(xué)校教學(xué)改革進(jìn)程，著力培養(yǎng)學(xué)生的創(chuàng)新能力、實(shí)踐能力與知識(shí)運(yùn)用能力等多方面綜合素質(zhì)與能力，依托校區(qū)合作單位，充分發(fā)揮學(xué)校、企業(yè)、教師與學(xué)生的優(yōu)勢(shì)與能動(dòng)性，形成產(chǎn)學(xué)研相結(jié)合一體化形式的思路。要求學(xué)生以團(tuán)隊(duì)方式運(yùn)作完成以成都出發(fā)至周邊2-3日游的旅游線路產(chǎn)品設(shè)計(jì)與營(yíng)銷方案。所設(shè)計(jì)的旅游線路產(chǎn)品可是觀光旅游線路，也可以是專項(xiàng)旅游線路，包括吃、住、行、游、購(gòu)、娛六大旅游要素。而且要求旅游線路產(chǎn)品應(yīng)具有創(chuàng)新性與實(shí)用性，必須是旅行社常規(guī)經(jīng)營(yíng)線路以外的產(chǎn)品。
（二）實(shí)施方案
1.明確目標(biāo)，統(tǒng)一認(rèn)識(shí)
對(duì)我校2009級(jí)旅游管理專業(yè)實(shí)行畢業(yè)論文改畢業(yè)設(shè)計(jì)，最初很多同學(xué)與老師不是很能接受。學(xué)生覺得畢業(yè)設(shè)計(jì)與畢業(yè)論文相比，需要實(shí)地考察，花費(fèi)時(shí)間與資金。而且是團(tuán)隊(duì)運(yùn)作方式，協(xié)調(diào)容易出問題。教師方面，有老師認(rèn)為畢業(yè)論文改設(shè)計(jì)增加了自己的指導(dǎo)工作任務(wù)與難度。因此，在實(shí)施在具體實(shí)施過程中，學(xué)校專門成立了旅游管理畢業(yè)論文改畢業(yè)設(shè)計(jì)工作小組，由學(xué)校領(lǐng)導(dǎo)、院系領(lǐng)導(dǎo)、企業(yè)代表、指導(dǎo)教師代表與學(xué)生代表共同組成。并且與師生進(jìn)行多次會(huì)議與座談，讓大家明確此次改革的目的與意義，統(tǒng)一思想與認(rèn)識(shí)。
2.學(xué)生分組，下達(dá)任務(wù)
在統(tǒng)一認(rèn)識(shí)的基礎(chǔ)上，2009級(jí)旅游管理專業(yè)64名同學(xué)按照8人一組自愿組合的原則分為8個(gè)小組。每個(gè)小組設(shè)小組長(zhǎng)一名，負(fù)責(zé)該小組線路產(chǎn)品的總體方案。其余小組成員依次負(fù)責(zé)旅游線路產(chǎn)品的可行性分析、旅游線路產(chǎn)品的構(gòu)成要素分析、旅游線路產(chǎn)品的費(fèi)用核算與市場(chǎng)報(bào)價(jià)分析、旅游線路產(chǎn)品的旅游行程、旅游線路產(chǎn)品的市場(chǎng)營(yíng)銷方案、旅游線路產(chǎn)品的途中導(dǎo)游詞、以及景點(diǎn)導(dǎo)游詞。指導(dǎo)教師對(duì)自己負(fù)責(zé)的小組下達(dá)具體的設(shè)計(jì)任務(wù)。每位小組成員可以根據(jù)自己的實(shí)習(xí)工作經(jīng)歷以及自己所擅長(zhǎng)的領(lǐng)域選擇任務(wù)。
3.實(shí)地考察，設(shè)計(jì)線路
每個(gè)小組內(nèi)部的同學(xué)充分發(fā)揮自己的主觀能動(dòng)性與積極性，圍繞以設(shè)計(jì)成都出發(fā)至周邊的2-3日的短途旅游線路的要求，結(jié)合自己的旅行經(jīng)驗(yàn)、實(shí)習(xí)經(jīng)驗(yàn)以及相關(guān)書籍與網(wǎng)絡(luò)資源等等，初步擬定出本小組旅游產(chǎn)品線路。然后由組長(zhǎng)率隊(duì)分赴成都周邊進(jìn)行線路的實(shí)地考察。在完成實(shí)地線路產(chǎn)品踩點(diǎn)、踩線等的實(shí)地考察之后，將資料進(jìn)行匯總分析，然后每個(gè)同學(xué)根據(jù)自己的分工完成任務(wù)，再由小組長(zhǎng)提交總體方案。
4.優(yōu)選線路，統(tǒng)一營(yíng)銷
在8個(gè)小組提交定稿以后，學(xué)校邀請(qǐng)旅游行業(yè)的專家、旅行社的企業(yè)家以及學(xué)校旅游管理專業(yè)的教師，對(duì)8條線路根據(jù)線路產(chǎn)品的完整性、創(chuàng)新性、可操作性以及市場(chǎng)潛力等方面進(jìn)行綜合考核和答辯，最后優(yōu)選出一條旅游線路產(chǎn)品。再根據(jù)這條線路產(chǎn)品的營(yíng)銷方案，由64名同學(xué)通過我校的實(shí)踐教學(xué)基地師大校園旅行社以及校企合作單位四川康輝國(guó)際旅行社這些平臺(tái)，共同實(shí)施完成該營(yíng)銷方案。
5.組團(tuán)游覽，綜合考量
學(xué)生在規(guī)定的時(shí)間內(nèi)進(jìn)行宣傳營(yíng)銷結(jié)束后，通過師大校園旅行社組團(tuán)進(jìn)行游覽。而且被選出線路的小組成員具體負(fù)責(zé)整個(gè)旅行團(tuán)的具體運(yùn)作與安排，如旅游團(tuán)的計(jì)調(diào)工作、導(dǎo)游工作以及市場(chǎng)協(xié)調(diào)工作等。最后每位同學(xué)的畢業(yè)設(shè)計(jì)成績(jī)按照項(xiàng)目評(píng)選和營(yíng)銷業(yè)績(jī)，以及個(gè)人在小組中承擔(dān)的工作量與任務(wù)難度等因素進(jìn)行綜合考量。
四、改革的啟示
一、大學(xué)生撰寫畢業(yè)論文的自身優(yōu)勢(shì)
(一)支配的時(shí)間相對(duì)比較寬松
相對(duì)在職人員而言,大學(xué)生的時(shí)間是比較充裕的,從第七學(xué)期開始很多高校的課程就較少了,甚至開設(shè)完畢了。因此,只要大學(xué)生關(guān)注畢業(yè)論文寫作、充分利用相關(guān)時(shí)間,就可以為撰寫優(yōu)質(zhì)的畢業(yè)論文提供時(shí)間保證。
(二)身處高校,信息資源比較豐富
一般的大學(xué)圖書館都擁有一定量的藏書,且有校園免費(fèi)電子數(shù)據(jù)庫(kù),為大學(xué)生搜集畢業(yè)論文資料、撰寫畢業(yè)論文提供了廣泛而有效的信息渠道。
(三)配有論文指導(dǎo)教師
在大學(xué)本科階段,每個(gè)學(xué)生都有明確的論文指導(dǎo)老師。從選題、開題、論文撰寫到答辯論文指導(dǎo)教師都參與其中,當(dāng)學(xué)生遇到疑難問題時(shí)都可以求助于其論文指導(dǎo)教師。
二、學(xué)生開展畢業(yè)論文工作的自身劣勢(shì)
(一)學(xué)生對(duì)畢業(yè)論文寫作不重視、態(tài)度不夠端正現(xiàn)象嚴(yán)重
根據(jù)筆者對(duì)學(xué)生論文5年的統(tǒng)計(jì)來(lái)看,重視論文寫作的學(xué)生不到20%。目前,由于大學(xué)生就業(yè)壓力較大,在做畢業(yè)論文時(shí),學(xué)生通常會(huì)忙于擇業(yè)或準(zhǔn)備考研,難以集中精力從事畢業(yè)論文寫作;有些用人單位明確要求已簽約的學(xué)生提前上崗,由此很多學(xué)生就放松了對(duì)自己的要求。而且,根據(jù)以往學(xué)生畢業(yè)論文的通過情況(通過率幾乎100%),所以很多學(xué)生認(rèn)為本科生畢業(yè)論文只是一種形式,隨便找點(diǎn)材料整理成符合要求的論文就會(huì)通過的,沒必要花費(fèi)太多的時(shí)間。學(xué)生對(duì)畢業(yè)論文寫作不重視、態(tài)度不夠端正的問題,嚴(yán)重影響了畢業(yè)論文的質(zhì)量。
(二)選題帶有盲目性、隨意性較大、缺乏應(yīng)用性
據(jù)筆者5年的統(tǒng)計(jì),約有50%的學(xué)生在既不了解畢業(yè)論文設(shè)計(jì)內(nèi)容又不了解自己能力的情況下,僅憑興趣進(jìn)行選題,結(jié)果往往出現(xiàn)選題過大、過難等情況,難于開展畢業(yè)論文資料的搜集和撰寫;約有70%-80%的學(xué)生選題時(shí),避難就易,只求畢業(yè)論文順利通過等等,結(jié)果抄襲現(xiàn)象甚為嚴(yán)重,缺乏創(chuàng)新和應(yīng)用價(jià)值。
三、學(xué)生開展畢業(yè)論文實(shí)踐擁有的機(jī)會(huì)
(一)應(yīng)用型院校的發(fā)展需要學(xué)生綜合實(shí)踐
普通地方高等院?；旧隙紝儆?ldquo;應(yīng)用型”高等院校。應(yīng)用型院校的發(fā)展需要“以專業(yè)化的知識(shí)應(yīng)用服務(wù)于社會(huì)”,培養(yǎng)具有一定基礎(chǔ)理論知識(shí)、較強(qiáng)實(shí)踐能力的學(xué)生。畢業(yè)論文是造就應(yīng)用型人才目標(biāo)的綜合性實(shí)踐教學(xué)環(huán)節(jié)。因此,應(yīng)用型院校的發(fā)展為畢業(yè)論文質(zhì)量的提高提供了契機(jī)。
(二)本科院校評(píng)估都很重視論文質(zhì)量指標(biāo)
根據(jù)教育部教學(xué)水平評(píng)價(jià)指標(biāo)體系構(gòu)成項(xiàng)目,畢業(yè)論文是評(píng)估本科院校辦學(xué)水平的重要指標(biāo),是高等學(xué)校培養(yǎng)學(xué)生創(chuàng)新意識(shí)和應(yīng)用能力的一個(gè)綜合性重要教學(xué)環(huán)節(jié)。因此,各本科院校都重視畢業(yè)論文的質(zhì)量提高。
四、學(xué)生開展畢業(yè)論文實(shí)踐面臨的威脅
(一)指導(dǎo)教師方面
1、指導(dǎo)教師數(shù)量相對(duì)不足。隨著高等教育的規(guī)?；?、大眾化的轉(zhuǎn)化,學(xué)校招生人數(shù)的增加,造成畢業(yè)論文指導(dǎo)教師相對(duì)不足,尤其是發(fā)展較快的經(jīng)管類專業(yè)。據(jù)調(diào)查,目前經(jīng)管類論文教師指導(dǎo)畢業(yè)論文人均學(xué)生數(shù)超過10人,無(wú)奈之下一些低職稱、低學(xué)歷的老師也承擔(dān)了論文指導(dǎo)任務(wù),影響了論文質(zhì)量的提高。
2、教師疲于應(yīng)付完成畢業(yè)論文指導(dǎo)任務(wù)。目前,地方高校急于發(fā)展,造成高校年輕教師多,而職稱評(píng)定要求又較高,因此,多數(shù)教師教學(xué)和科研任務(wù)都較重,沒有充足的時(shí)間和精力投入畢業(yè)論文的指導(dǎo)工作,教師常疲于應(yīng)付完成畢業(yè)論文指導(dǎo)任務(wù)。據(jù)調(diào)查約有半數(shù)的指導(dǎo)教師只憑自己的感覺對(duì)學(xué)生進(jìn)行指導(dǎo),基本上要求少,缺乏畢業(yè)論文的長(zhǎng)期階段性檢查。
3、指導(dǎo)教師的指導(dǎo)水平不高。雖然部分指導(dǎo)教師有指導(dǎo)資格,但很少參與科研,甚至不會(huì)做科研,本身缺乏科研實(shí)踐、社會(huì)實(shí)踐背景,對(duì)學(xué)生的畢業(yè)論文無(wú)法實(shí)行有效指導(dǎo)。而有的指導(dǎo)教師雖然本學(xué)科的科研很多,但由于部分學(xué)生的選題超出了其研究的范圍,結(jié)果指導(dǎo)水平也受到嚴(yán)重限制。
4、認(rèn)識(shí)不到位、態(tài)度不端正。據(jù)調(diào)查,約有半數(shù)的論文指導(dǎo)教師認(rèn)為經(jīng)管類畢業(yè)論文不用做實(shí)驗(yàn),到最后一個(gè)月就可以把它寫出來(lái)。平時(shí)對(duì)于學(xué)生論文方面的指導(dǎo)不積極,甚至表示論文都會(huì)通過的,消極應(yīng)付學(xué)生。對(duì)畢業(yè)論文的責(zé)任心不強(qiáng),在選題、指導(dǎo)、評(píng)審等程序上不負(fù)責(zé)任,甚至連畢業(yè)論文指導(dǎo)記錄和指導(dǎo)評(píng)語(yǔ)都由學(xué)生本人發(fā)表。
(二)學(xué)校方面
1、畢業(yè)論文過程管理力度不夠、監(jiān)控乏力。許多地方高校對(duì)畢業(yè)論文的認(rèn)定評(píng)價(jià)停留在論文的格式、字?jǐn)?shù)、參考文獻(xiàn)數(shù)目等客觀因素上,在過程管理和監(jiān)控等方面缺乏有效的約束。從論文選題、資料收集、撰寫論文、定稿到論文成績(jī)?cè)u(píng)定,沒有明確的標(biāo)準(zhǔn)與合理的成績(jī)?cè)u(píng)定辦法。畢業(yè)論文成績(jī)?cè)u(píng)判過于寬松,答辯流于形式。與課堂教學(xué)中的學(xué)生評(píng)教、同行評(píng)價(jià)、院系領(lǐng)導(dǎo)評(píng)價(jià)、督導(dǎo)委員評(píng)價(jià)和學(xué)校領(lǐng)導(dǎo)評(píng)價(jià)等多主體檢查評(píng)價(jià)相比,畢業(yè)論文過程管理力度明顯不夠、監(jiān)控乏力。
2、信息資料保障條件不能滿足學(xué)生實(shí)踐畢業(yè)論文的需要。部分地方學(xué)校剛剛花負(fù)債迎接完教育部評(píng)估,圖書館常因辦學(xué)經(jīng)費(fèi)的問題,研究資料更新不快、缺乏相應(yīng)的實(shí)用性和針對(duì)性;學(xué)校電子數(shù)據(jù)庫(kù)設(shè)備少、上機(jī)瀏覽費(fèi)用較高;寢室校園網(wǎng)絡(luò)普及率不高或失修問題嚴(yán)重等等。
(三)外部環(huán)境方面
由于金融危機(jī)的影響和高校的擴(kuò)招,目前大學(xué)生就業(yè)形勢(shì)嚴(yán)峻,地方高校畢業(yè)生畢業(yè)問題尤為嚴(yán)重。因此,很多學(xué)生將主要精力放在人才市場(chǎng)和各類招聘會(huì)上,學(xué)校鼓勵(lì)學(xué)生外出擇業(yè),同時(shí),目前用人單位對(duì)學(xué)生畢業(yè)論文的質(zhì)量高低也不關(guān)心,所有這些方面都制約著畢業(yè)論文質(zhì)量的提高。
五、提高應(yīng)用型本科院校經(jīng)管類畢業(yè)論文質(zhì)量的建議
(一)提高師生對(duì)畢業(yè)論文工作的認(rèn)識(shí),建立有效的激勵(lì)機(jī)制
針對(duì)地方應(yīng)用型本科院校師生對(duì)畢業(yè)論文的消極認(rèn)識(shí)問題,可通過激勵(lì)和約束雙重途徑,端正他們的態(tài)度。對(duì)學(xué)生而言,提前一學(xué)期召開畢業(yè)論文設(shè)計(jì)動(dòng)員大會(huì),使學(xué)生了解畢業(yè)論文寫作的意義、目的以及各階段的任務(wù),強(qiáng)調(diào)撰寫畢業(yè)論文是應(yīng)用型人才培養(yǎng)目標(biāo)方案中十分重要的環(huán)節(jié),是獲得學(xué)位和繼續(xù)深造的先決條件。對(duì)教師而言,通過定期召開論文指導(dǎo)工作會(huì)議,學(xué)習(xí)相關(guān)規(guī)章制度。強(qiáng)調(diào)畢業(yè)論文的指導(dǎo)質(zhì)量事關(guān)教師評(píng)優(yōu)的重要指標(biāo)之一,并與教師的津貼補(bǔ)助和評(píng)優(yōu)晉級(jí)等相掛鉤;設(shè)立畢業(yè)論文指導(dǎo)教師優(yōu)秀獎(jiǎng),給予相應(yīng)的物質(zhì)獎(jiǎng)勵(lì)。
(二)多渠道緩解指導(dǎo)教師相對(duì)短缺問題
1、對(duì)在刊物上公開發(fā)表本專業(yè)相關(guān)論文的學(xué)生做出免于參加畢業(yè)論文寫作的規(guī)定。在學(xué)生學(xué)習(xí)階段,如果學(xué)生積極參與教師的科研,撰寫相關(guān)論文,并以第一作者,通常可認(rèn)為其已經(jīng)能用本專業(yè)所學(xué)知識(shí)解決現(xiàn)實(shí)問題,具備了本科生畢業(yè)論文寫作的基本水平。這樣,一方面可激勵(lì)學(xué)生的學(xué)習(xí)興趣,另一方面,也可部分緩解指導(dǎo)教師不足的問題。
2、聘請(qǐng)校外單位師資力量。為適應(yīng)應(yīng)用型人才培養(yǎng)的需要,聘請(qǐng)一些校外單位人員擔(dān)任論文指導(dǎo)教師,一方面,這些人了解經(jīng)濟(jì)社會(huì)發(fā)展的現(xiàn)實(shí)需要,另一方面,可以緩解目前論文指導(dǎo)教師相對(duì)短缺的問題。
(三)建立健全畢業(yè)論文工作規(guī)章制度
為了規(guī)范畢業(yè)論文過程諸環(huán)節(jié)的管理,學(xué)校需要結(jié)合學(xué)科專業(yè)特點(diǎn)和專業(yè)定位,對(duì)本科生畢業(yè)論文工作規(guī)章制度進(jìn)行修訂和完善。尤其是對(duì)畢業(yè)論文時(shí)間安排、選題、開題、中期指導(dǎo)、畢業(yè)論文的評(píng)定等提出明確的要求。將質(zhì)量標(biāo)準(zhǔn)、評(píng)價(jià)依據(jù)等都予以具體化。
(四)狠抓過程管理
過程管理是保證畢業(yè)論文質(zhì)量的重要手段。首先,要做好畢業(yè)論文選題工作。以講座、報(bào)告、開設(shè)畢業(yè)論文指導(dǎo)課程等形式向?qū)W生講授如何開展畢業(yè)論文選題工作,要把選題限制在專業(yè)培養(yǎng)方向和論文指導(dǎo)老師的研究方向上,使選題貼近實(shí)際。其次,在學(xué)生搜集資料、撰寫畢業(yè)論文期間,學(xué)校應(yīng)組織校內(nèi)有關(guān)領(lǐng)導(dǎo)和專家進(jìn)行定期和不定期的進(jìn)行論文指導(dǎo)檢查工作。指出存在的問題,指明努力的方向。最后,改革論文評(píng)審、成績(jī)?cè)u(píng)定和答辯管理。在指導(dǎo)教師給定成績(jī)后,還應(yīng)由2名以上的教師在不知道指導(dǎo)教師給定成績(jī)的情況下對(duì)論文進(jìn)行評(píng)閱評(píng)分。采取結(jié)構(gòu)分模式綜合評(píng)定成績(jī),即綜合評(píng)定的成績(jī)由開題報(bào)告、中期檢查、指導(dǎo)教師評(píng)定、論文評(píng)閱老師評(píng)定、論文答辯五部分成績(jī)構(gòu)成,學(xué)校對(duì)五部分成績(jī)?cè)u(píng)定分別給予詳細(xì)的標(biāo)準(zhǔn)和賦予相應(yīng)的權(quán)重。在答辯過程中,學(xué)生指導(dǎo)教師回避,避免主觀因素對(duì)答辯成績(jī)的影響。對(duì)綜合評(píng)定成績(jī)不及格者按學(xué)校的學(xué)籍管理規(guī)定處理,對(duì)學(xué)生畢業(yè)論文成績(jī)要嚴(yán)格把關(guān),對(duì)學(xué)生該嚴(yán)則嚴(yán),絕不通融。
(五)建立畢業(yè)論文評(píng)優(yōu)制度
為激勵(lì)師生將主要精力投入到畢業(yè)論文,學(xué)校要認(rèn)真組織做好畢業(yè)論文的評(píng)優(yōu)活動(dòng),制定大學(xué)優(yōu)秀畢業(yè)論文評(píng)選實(shí)施辦法及優(yōu)秀指導(dǎo)教師獎(jiǎng)勵(lì)辦法,并把優(yōu)秀率控制在答辯學(xué)生人數(shù)的5%之內(nèi)。對(duì)于獲得優(yōu)秀論文的指導(dǎo)教師給予獎(jiǎng)勵(lì)和表彰,提高教師指導(dǎo)論文工作的積極性。
(六)構(gòu)建新的適合于地方企業(yè)用人和就業(yè)需要的畢業(yè)論文實(shí)踐新模式
結(jié)合應(yīng)用型本科院校發(fā)展的需要,積極探索構(gòu)建校企合作聯(lián)合開展畢業(yè)論文工作的新模式。對(duì)于直接就業(yè)的學(xué)生,鼓勵(lì)其畢業(yè)論文與就業(yè)結(jié)合起來(lái),使畢業(yè)論文撰寫緊密結(jié)合畢業(yè)實(shí)踐遇到的現(xiàn)實(shí)問題。這樣畢業(yè)論文的撰寫既具有較強(qiáng)的實(shí)踐意義,也可以加強(qiáng)用人單位與學(xué)生之間的溝通、了解,提高學(xué)生的就業(yè)率。對(duì)于希望繼續(xù)攻讀研究生的學(xué)生可以以理論研究為主,從而提高畢業(yè)論文的質(zhì)量。
(七)加大圖書館和校園網(wǎng)的資金投入
為保證畢業(yè)論文質(zhì)量,教師資料室也盡可能地向畢業(yè)生開放,同時(shí)延長(zhǎng)圖書館開發(fā)的時(shí)間。通過校企合作盡可能地爭(zhēng)取資金,加強(qiáng)校園網(wǎng)絡(luò)的建設(shè),為學(xué)生做畢業(yè)論文提供良好的信息搜索渠道。
參考文獻(xiàn):
1、陸翠萍.會(huì)計(jì)專業(yè)畢業(yè)論文質(zhì)量下降的原因與對(duì)策研究[J].教育與職業(yè),2010(5).
2、劉波粒,劉澤軍.淺析本科生畢業(yè)設(shè)計(jì)(論文)質(zhì)量滑坡的原因及其對(duì)策[J].中國(guó)高教研究,2007(7).
【關(guān)鍵詞】文獻(xiàn)綜述；批判性思維；畢業(yè)論文；英語(yǔ)專業(yè)本科生
0 引言
文獻(xiàn)綜述也稱研究綜述，是指在全面掌握、分析某一學(xué)術(shù)問題或研究領(lǐng)域相關(guān)文獻(xiàn)的基礎(chǔ)上，對(duì)該學(xué)術(shù)問題或研究領(lǐng)域在一定時(shí)期內(nèi)已有研究成果、存在問題進(jìn)行分析、歸納、整理和評(píng)述而形成的論文。文獻(xiàn)綜述一般要對(duì)研究現(xiàn)狀進(jìn)行客觀的敘述和評(píng)論，以便預(yù)測(cè)發(fā)展、研究的趨勢(shì)或?qū)で笮碌难芯客黄泣c(diǎn)。文獻(xiàn)綜述雖不是本科生論文必備的一個(gè)章節(jié)，但卻是論文撰寫的起點(diǎn)，能夠幫助學(xué)生找到選題的切入點(diǎn)和突破點(diǎn)，避免重復(fù)勞動(dòng)。但英語(yǔ)專業(yè)本科生在撰寫學(xué)位論文的過程中，在文獻(xiàn)綜述的部分普遍存在文獻(xiàn)搜集不全、閱讀不深、僅羅列信息、個(gè)人觀點(diǎn)多或故意突出個(gè)人觀點(diǎn)的重要性等問題，直接結(jié)果就是論文的選題重復(fù)性特別高。造成這些問題的原因除態(tài)度、研究能力不足之外，也曝露出批判性思維能力的缺失，因?yàn)槲墨I(xiàn)綜述的“綜”性需要學(xué)生歸納、總結(jié)、提煉，而“述”作為評(píng)論則需要學(xué)生具備批判的能力、辨析的能力，能夠發(fā)現(xiàn)問題最終達(dá)到提出解決方案。
1 文獻(xiàn)綜述撰寫方面存在的問題分析
探究英語(yǔ)專業(yè)本科生學(xué)位論文文獻(xiàn)綜述部分存在問題的根源，大概有如下幾個(gè)原因。
1.1 不會(huì)搜集文獻(xiàn)，不懂何為“綜述”
不可否認(rèn)的是，有些本科生不懂得何為文獻(xiàn)綜述，這也是我們看到很多本科生的論文中引言或介紹部分僅僅是作家、作品的介紹或某些理論的介紹。也有些學(xué)生根本不會(huì)搜集文獻(xiàn)或由于資料搜集范圍或方法不當(dāng)，未能將有代表性的資料完全納入研究的范圍，或僅僅根據(jù)自己的喜好選擇材料，斷章取義。
1.2 故意突出自己研究的重要性
因論文指導(dǎo)工作過程中已強(qiáng)調(diào)要避免選題重復(fù)，選好研究度，盡量做有意義的研究。很多本科生由于學(xué)術(shù)積累不夠或思考不深入，便故意在綜述中漏掉或弱化某些研究成果，或者放大已有研究的不足，以便突出自己研究的價(jià)值和意義。這樣做的結(jié)果就是選題不當(dāng)，重復(fù)研究。
1.3 簡(jiǎn)單羅列，“綜”而不“述”
有些本科生可以在閱讀相關(guān)文獻(xiàn)的基礎(chǔ)上撰寫綜述，但僅僅是將前人的觀點(diǎn)羅列出來(lái)而不能進(jìn)行系統(tǒng)分類、歸納和提煉，內(nèi)容雜亂，缺乏內(nèi)在的邏輯，與選題連接牽強(qiáng)附會(huì)。
1.4 態(tài)度不認(rèn)真，敷衍了事
因?yàn)榭鐚I(yè)考研、實(shí)習(xí)機(jī)會(huì)、跨行就業(yè)等原因，不乏一部分學(xué)生對(duì)學(xué)位論文重視程度不夠，此種原因在本文中不予探討。
綜上，除了“不懂”和“不愿”的原因，述評(píng)能力差是造成學(xué)生無(wú)法完成文獻(xiàn)綜述任務(wù)進(jìn)而優(yōu)化選題的主要原因，而前文提到，述評(píng)能力是批判性思維的一個(gè)反映，那么如何提高批判性思維能力的培養(yǎng)呢？
2 專業(yè)學(xué)習(xí)中的批判性思維能力的養(yǎng)成
批判性思維在能力上體現(xiàn)為可以解釋、分析、評(píng)估、推論、說(shuō)明和自我校正。能夠理解和表達(dá)極為多樣的經(jīng)驗(yàn)、情景、數(shù)據(jù)、事件、判斷、習(xí)俗、信念、規(guī)則、程序或規(guī)范的含義或意義，包括歸類、理解意義和澄清含義。能夠識(shí)別意圖和陳述之間實(shí)際的推論關(guān)系、問題、概念、描述或其他意在表達(dá)信念、判斷、經(jīng)驗(yàn)、理由、信息或意見的表征形式，包括審查理念、發(fā)現(xiàn)論證和分析論證。能夠評(píng)價(jià)陳述的可信性或其他關(guān)于個(gè)人的感知、經(jīng)驗(yàn)、境遇、判斷、信念或意見的描述；評(píng)價(jià)陳述、描述、問題或其他表征形式之間實(shí)際的或意欲的推論關(guān)系的邏輯力量，包括評(píng)價(jià)主張，評(píng)價(jià)論證。能夠識(shí)別和維護(hù)得出合理結(jié)論所需要的因素；形成猜想和假說(shuō)；考慮相關(guān)信息并根據(jù)數(shù)據(jù)、陳述、原則、證據(jù)、判斷、信念、意見、概念、描述、問題或其他表征形式得出結(jié)果，包括質(zhì)疑證據(jù)、推測(cè)選擇和推出結(jié)論。能夠陳述推論的結(jié)果；應(yīng)用證據(jù)的、概念的、方法論的、規(guī)范的和語(yǔ)境的術(shù)語(yǔ)說(shuō)明推論是正當(dāng)?shù)?；以?qiáng)有力的論證形式表達(dá)論證，包括陳述結(jié)果、證明程序的正當(dāng)性和表達(dá)論證。能夠監(jiān)控一個(gè)人認(rèn)知行為的自我意識(shí)、應(yīng)用于這些行為中的因素，特別在分析和評(píng)估一個(gè)人自己的推論性判斷中應(yīng)用技能導(dǎo)出的結(jié)果，勇于質(zhì)疑、確證、確認(rèn)或改正一個(gè)人的推論或結(jié)果。子技能包括自我審查、自我校正。批判性思維的傾向是求真的、開放的、系統(tǒng)的、分析的。
關(guān)于英語(yǔ)專業(yè)學(xué)生的批判性思維的“缺席”還是“在場(chǎng)”，前人已有多篇論述。思辨能力作為一項(xiàng)核心競(jìng)爭(zhēng)力，是優(yōu)秀人才的重要素質(zhì)。而大學(xué)作為優(yōu)秀人才培養(yǎng)的搖籃，理應(yīng)將思辨能力作為其最具價(jià)值的教育目標(biāo)之一。1998年，由多國(guó)高等教育領(lǐng)導(dǎo)者組成的國(guó)家高等教育合作組織將思辨能力視作決策者的重要能力，認(rèn)為大學(xué)教授思辨能力等核心技能的目的就是要使學(xué)生將來(lái)成為更高效的職場(chǎng)人士和負(fù)責(zé)任的公民。我國(guó)的《高等教育法》和《國(guó)家中長(zhǎng)期教育改革和發(fā)展規(guī)劃綱要（2010―2020年）》盡管并未使用“思辨能力”或“批判性思維”等語(yǔ)詞，但都明確提出，高等教育的任務(wù)是培養(yǎng)具有創(chuàng)新精神、創(chuàng)新能力的高級(jí)專門人才。作為文科專業(yè)學(xué)生，英語(yǔ)專業(yè)生除了語(yǔ)言技能外，應(yīng)該擁有較強(qiáng)的批判性思維能力。我們可以通過課程設(shè)置、教學(xué)方法和教學(xué)理念的更新來(lái)實(shí)現(xiàn)批判性思維能力的培養(yǎng)和提高。
2.1 專業(yè)課程設(shè)置
通過在培養(yǎng)計(jì)劃中強(qiáng)調(diào)批判性思維培養(yǎng)的要求，在課程設(shè)置上可以添加諸如辯證法、邏輯、辯論方法等方法課，演講與辯論、思維與寫作等實(shí)操課，語(yǔ)言學(xué)、文學(xué)、文化、哲學(xué)、社會(huì)學(xué)等拓展課，要求學(xué)生掌握一定的理論、方法，進(jìn)行實(shí)際的操練，并能夠展開比較，因?yàn)檫@一過程定會(huì)引發(fā)討論和思考，提高邏輯、批判能力。
2.2 考查方式的改革
實(shí)施動(dòng)態(tài)的監(jiān)控與考核，形成性評(píng)價(jià)與終結(jié)性評(píng)價(jià)結(jié)合，改變一張考卷占據(jù)大比例的考核現(xiàn)狀，這樣學(xué)生才能更注重參與到整個(gè)過程中來(lái)，并且也更能考查學(xué)生的批判性思維能力。
2.3 注意教學(xué)理念和教學(xué)方法的更新
現(xiàn)在學(xué)生的認(rèn)知途徑早已不局限于傳統(tǒng)的課堂，各個(gè)學(xué)校也在積極參與并推動(dòng)教學(xué)改革。在既有的課程設(shè)置中，教師可以嘗試的是教學(xué)理念的更新和教學(xué)方法的變革。改變傳統(tǒng)的輸出和接受的模式，強(qiáng)調(diào)學(xué)生的參與和自主學(xué)習(xí)，強(qiáng)調(diào)啟發(fā)和開放式結(jié)尾問題的設(shè)置，傳統(tǒng)授課方式和seminar、workshop等方式的結(jié)合，課堂和在線學(xué)習(xí)的結(jié)合等，均有助于提高學(xué)生的思考和批判能力。
3 結(jié)語(yǔ)
文獻(xiàn)綜述過程中曝露的學(xué)生批判性思維的缺失只是學(xué)生批判性思維缺失的一種表現(xiàn)，除了提高批判能力，也需要專門訓(xùn)練等對(duì)策來(lái)解決。在說(shuō)與寫的語(yǔ)言輸出過程中，學(xué)生不能分析、歸納、評(píng)論，提交自己觀點(diǎn)的例子亦不鮮見，其原因也非幾條能夠概括，但是，如果教育者意識(shí)到這個(gè)問題并采取行動(dòng)，即先從最基本的課堂教學(xué)開始，學(xué)生的批判性思維能力一定會(huì)有提高。但正如與寫文獻(xiàn)綜述的一個(gè)原則相呼應(yīng)的是，我們必須恪守欣賞與批判并行的原則，為達(dá)到批判地提出自己的觀點(diǎn)的目標(biāo)，多賞讀、涉獵經(jīng)典，是先行一步的。
【參考文獻(xiàn)】
[1]黃源深.英語(yǔ)專業(yè)課程必須徹底改革――再談“思辨缺席”[J].外語(yǔ)界.2010（01）.
〔2〕李梟鷹.文獻(xiàn)綜述――學(xué)術(shù)創(chuàng)新的基石[J].學(xué)位與研究生教育. 2011，9.
[3]孟金蘭，董艷芬，鄭凌云，王建紅，汪勝.本科生文獻(xiàn)綜述撰寫能力分析[J].衛(wèi)生職業(yè)教育，Vol.25 2007 No.23.
[4]任文.再論外語(yǔ)專業(yè)學(xué)生的思辨能力：“缺席”還是“在場(chǎng)”？兼論將思辨能力培養(yǎng)納入外語(yǔ)專業(yè)教育過程――以英語(yǔ)演講課為例[J].中國(guó)外語(yǔ)，2013（01）.
[5]時(shí)俊卿.撰寫文獻(xiàn)綜述應(yīng)注意的問題[J].教育科學(xué)研究，2004，7.
[6]王琪.撰寫文獻(xiàn)綜述的意義、步驟與常見問題[J].學(xué)位與研究生教育，2010，11.
關(guān)鍵詞：畢業(yè)論文；寫作規(guī)范；組織能力；目的
中圖分類號(hào)：G64 文獻(xiàn)標(biāo)識(shí)碼：A
文章編號(hào)：1009-0118（2012）07-0287-02
畢業(yè)論文是本科教育的一個(gè)必經(jīng)環(huán)節(jié)。它是高等教育自學(xué)考試本科專業(yè)學(xué)生完成本科階段學(xué)習(xí)的一個(gè)重要部分，也是衡量自考學(xué)生英語(yǔ)學(xué)習(xí)水平是否達(dá)到全日制普通高校相同層次、相同專業(yè)的學(xué)歷水平的依據(jù)。畢業(yè)論文的撰寫目的在于培養(yǎng)自考學(xué)生綜合運(yùn)用所學(xué)知識(shí)解決實(shí)際問題的能力以及總結(jié)自己的學(xué)習(xí)成果。
論文的寫作不能簡(jiǎn)單地被看成是由句——段——篇的一個(gè)連接過程。指導(dǎo)本科英語(yǔ)專業(yè)自考生論文寫作的過程是一個(gè)引導(dǎo)學(xué)生增強(qiáng)畢業(yè)論文寫作規(guī)范意識(shí)，努力達(dá)到論文寫作規(guī)范的過程。但是，在實(shí)際的學(xué)習(xí)過程中，由于多數(shù)學(xué)生缺乏系統(tǒng)的課堂授課和平時(shí)訓(xùn)練，所以他們對(duì)于畢業(yè)論文的完成就會(huì)感到壓力很大、心中無(wú)數(shù)從而不知該如何下筆。因此，對(duì)本科專業(yè)自考生的畢業(yè)論文撰寫進(jìn)行必要的指導(dǎo)具有重要意義。教學(xué)中，針對(duì)較多學(xué)生學(xué)習(xí)中所面臨的論文寫作中存在的普遍問題，筆者提出以下初步建議與各位同行共同探討。
培養(yǎng)本科英語(yǔ)專業(yè)自考生獨(dú)立完成畢業(yè)論文的撰寫，我們可以分兩個(gè)步驟進(jìn)行，即：選擇課題和研究課題。
一、選擇課題
選擇課題，就是要確定所撰寫論文的題目，它也是撰寫論文最重要的一步；通過選題來(lái)限定論文的選材范圍，以防出現(xiàn)文不對(duì)題、論題范圍太窄或太泛現(xiàn)象；選題必須要選擇有科學(xué)意義和現(xiàn)實(shí)意義以及切實(shí)可行的課題，選好課題是畢業(yè)論文成功的關(guān)鍵所在。
（一）選擇具有科學(xué)價(jià)值和現(xiàn)實(shí)意義的課題
科學(xué)研究的目的是為了更好地認(rèn)識(shí)世界、改造世界、推動(dòng)社會(huì)的不斷發(fā)展；科研論文既是一種研究形式，也是一種寫作形式。有效地寫作取決于選題具有科研價(jià)值，以及具有現(xiàn)實(shí)意義；本科自考生的畢業(yè)論文撰寫應(yīng)該從現(xiàn)實(shí)的學(xué)習(xí)中選題，專業(yè)知識(shí)的學(xué)習(xí)不能只停留在書本理論上，必須要理論聯(lián)系實(shí)際；用已掌握的知識(shí)，去尋找和解決學(xué)習(xí)中有待解決的問題；選題應(yīng)具有新穎性，要具備獨(dú)具慧眼的能力和超前意識(shí)去思考、去發(fā)現(xiàn)、去研究。結(jié)合自己所搜尋的資料從前人已提出的研究課題中尋找出前人研究的不足之處，通過自己的理解和分析對(duì)此進(jìn)行補(bǔ)充和完善，這也是有科學(xué)價(jià)值和現(xiàn)實(shí)指導(dǎo)意義的。
2. Ezra Pound and Imagism 2
2.1 Ezra Pound 2
2.2 Imagism ………………………………………………………… …………...….. .4
3. Imagistic features of Pound's poetry 5
3.1 The use of Image 5
3.1.1 Image progress…..……………………………………………………………… ……6
3.1.2 Image superposition………………………………………………………………….. 8
3.1.3 Image juxtaposition………………………………………………………………...…9
3.2 Concise Language………………..………………….…………………………...…….10
3.3 Musical Rhythm ...……………………………………………………………………..11
4. Influence of Pound’s poetry 12
4.1 The impact on domestic literature ...…………… …………………………………… 13
4.2 The impact on foreign literature ...………….…………………………………………14
5. Conclusion 16
Acknowledgement. 17
Reference 18
1．Introduction
Imagism was a movement in the early 20th-century Anglo-American poetry that favored precision of imagery, and clear, sharp language. The Imagists rejected the sentiment and discursiveness typical of much Romantic and Victorian poetry. This was in contrast to their contemporaries, the Georgian poets, who were by and large content to work within that tradition. Ezra Weston Loomis Pound was an American expatriate poet, critic and intellectual who was a major figure of the Modernist movement in the first half of the 20th century. He is generally considered the poet most responsible for defining and promoting a modernist aesthetic in poetry.11
As the father of Modernism, Ezra Pound plays an important role in Poetry modernization process. Therefore, we can get a clear understanding of imagism poems by studying Pound’s poems and translation works. The thesis will focus on studying image to analysis Ezra Pound’s poems. According to Pound's Imagist poems and other predecessors’ studies of his works, this thesis will summarize the language characteristics of Pound’s poetry and analysis his imagist poetry style, so as to provide some theoretical concept from the view of reading, understanding and appreciating modern English poetry, thus making it easier for Chinese readers to appreciate English poetry.
The first part summarizes Ezra Pound’s life and theoretical basis of Imagism. The second part, as analysis of Pound's poetry, departs into three parts—the use of image, concise language and musical rhythm. It introduces three kinds of combination of images, and uses Pound’s poems to explain the combination of images. The third part is about the influence of Pound poetry on domestic and foreign literature
2. Ezra Pound and Imagism
As the father of modernism which is the main stream of literature in the twentieth century, Ezra Pound definitely plays a predominant role in the evolution of modernist poetry. Its starting point is Imagism.
Ezra Pound’s Imagist theory is mainly based on the aesthetic theories proposed by W. B. Yeats, Ford Madox Ford and T. E. Hulme. Yeats is famous for a symbolist who emphasizes subjective conception and imaginative association，but this school tends to lapse into sentimentality; Ford is famous for an impressionist who emphasizes objective writing with clarity and precision, but this school tends to lapse into the level of description. Pound absorbs the strengths of Yeat’s subjectivity and Ford’s objectivity and finds a way to make natural objects convey subjective emotion by virtue of association of the mind.
2.1 Ezra Pound
Ezra Pound(1885一1972)was born in Hally, Idaho, in October, 1885.Then he attended Hamilton College and the University of Pennsylvania，where he majored in romance Philology while reading through a large Portion of classical and European literature. Dissatisfied with the genteel tradition and Popular romanticism dominating the American literary tastes，Pound moved to Europe in1908一first to London，then to Paris，and finally to Rapallo, Italy. In 1909，Pound met W. B. Yeats and Ford Madox Ford. He was greatly influenced by these two and tried to combine Yeat’s symbolism with Ford’s impressionism. About the same period of time, Pound got in touch with T. E. Hulme and became interested in his Poetic theory.
All these ideas became the theoretical basis of the well-known Imagist and Vortieist Movement. Later，inspired by American sinologist Ernest Fenollosa’s theory on the Chinese writing characters，Pound proposed the Ideogramic Method which was based on the chief principles of the Imagist and Vorticist Movement. As the advocate and leader of the movement Pound exerted a great influence on the Imagist poetry writers. Pound also attempted to combine poetry with music, painting and scu1pture.Vortieism was such a typical example.
Ezra Pound is generally considered the poet most responsible for defining and promoting a modernist aesthetic in poetry. In the early teens of the twentieth century, he opened a seminal exchange of work and ideas between British and American writers, and was famous for the generosity with which he advanced the work of such major contemporaries as W. B. Yeats, Robert Frost, William Carlos Williams, Marianne Moore, H. D., James Joyce, Ernest Hemingway and especially T. S. Eliot. Pound also had a profound influence on Irish writers W. B. Yeats and James Joyce.
Pound is not only a poet, but also a translator, essayist and literary critic. His own significant contributions to poetry begin with his promulgation of Imagism, a movement in poetry which derived its technique from classical Chinese and Japanese poetry which are stressing clarity, precision, and economy of language, and foregoing traditional rhyme and meter in order to, in Pound's words, “compose in the sequence of the musical phrase, not in the sequence of the metronome.” His later work, for nearly fifty years, focused on the encyclopedic epic poem he entitled The Cantos, which was regarded as poetic masterpiece of the twentieth century. He is really an original and creative poet in the twentieth century, a literary giant who plays a prominent role in the development of modernist poetry.
2.2 Imagism
Imagism was a poetic movement which flourished in London between 1910 and 1917 and had an enduring and pervasive influence on English-language poetry in the twentieth century.
The Imagists published four annual anthologies from 1914 to 1917, with a final anthology in 1930. They were led by Ezra Pound who first called them “Les Imagists”, choosing a French term to associate the group with the various French avant-garde movements which became the Roger Fry’s influential Post-Impressionist exhibition in 1910. The group included Hilda Doolittle, John Gould Fletcher, Amy Lowell, Richard Aldington, and, marginally, D. H. Lawrence, but they had only a loose and shifting affiliation and it was mainly Pound’s talents as a promoter and critic that gave a semblance of unity.
Pound’s favored spelling of Imagists was a gesture of homage to the first school of modern poets, the symbolists, whose best-known members were Baudelaire, Mallarme, Verlaine, and Rimbaud, but Pound criticized the French Symbolists as often as he praised them. The first principle of Imagism was “Direct treatment of the thing” [3]72, clearly in contrast to Mallarme’s famous dictum that to name a thing was to take away half the pleasure and whereas Verlaine in his “Art of Poetry” advised an “indefinite music”. Pound spoke for an “absolute rhythm”, a rhythm that is in poetry which corresponds exactly to the emotion or shade of emotion to be expressed.
Nonetheless, Pound’s ascorbic but well-judged criticism of his contemporaries, his accurate sense of what was good in verse, and his own aphoristic brilliance, gave this small movement (which was not really even a movement outside of Pound’s rhetoric) a formative role in defining the twentieth-century poet as someone who was in the intellectual avant-garde, purifying the language of the tribe, spurning flaccid and self-important and merely derived patterns of language use, and generally breaking with the idea of fixed metrical rules. Many of these principles were clearly articulated in the essay “Imagism” in Poetry (March 1913) which was offered as an interview-cum- report by F. S. Flint but shows the hand of Pound throughout. According to Flint, the three principles of Imagism were:
“1. Direct treatment of the “thing”, whether subjective or objective.
2. To use absolutely no word that did not contribute to the presentation.
3. As regarding rhythm: to compose in sequence of the musical phrase, not in sequence of a metronome. ” [4]12
In an essay “A Few Don’ts by An Imagist” by Pound in the same issue offers a definition of the Image as “that which presents an intellectual and emotional complex in an instant of time” [5]54, the key point being the compression of intellectual and emotional experience into an instant. He goes on to offer his own set of “Don’ts”:
“Use no superfluous word, no adjective, which does not reveal something.
Don’t use such an expression as “dim land of peace”. It dulls the image. It mixes an abstraction with the concrete. It comes from the writer’s not realizing that the natural object is always the adequate symbol.
Go in fear of abstractions. Don’t retell in mediocre verse what has already been done in good prose. Don’t think any intelligent person is going to be deceived when you try to shirk all the difficulties of the unspeakably cliff cult art of good prose by chopping your composition into line. ” [6]31
3. Imagistic Features of Pound's Poetry
Imagist poetry has three distinctive artistic characteristics. First, the Imagist poems request to convey the complex imagery directly, use sculpture and painting in the performance of imagery. It objects to musical and mystery object to lyrics. It advances the “Do not say” and “Do not you narrative” [6]9, only to show without comment. Second, the Imagist poems use concise language, no adjectives and qualifier, no decorative “lace” and flaunting words. It writes short lines, with imagery. Third, the Imagist poetry Images focus on the intrinsic rhythm of imagery combination, blend the imagery and the contained idea.
3.1 The use of Image
The word “Image” used in the field of literature is derived from the theory of Chinese poetry. It is an important linguistic terms which have been widely used in Chinese poetry. Therefore, when people refer to “image” in literature, it also refers to “image” poetry. Poetry image is the basic constituent element of poetry. It is the soul and essence features of poetry, and it plays a vital role in poetry.
Pound’s work as poet, critic，editor，and promoter of the new style was crucial to its initial period，in the decade around the First World War，and what was most essential to his conception of what was truly modern was a single word: Image. Pound’s best poems were assured achievement in the Imagist Movement when literature in English became recognizably modern. The modern revolution in literary style came from a main impulse一focus on the image.
Aesthetic theorist and imagist poet T. E. Hulme must be credited with the initial emphasis on the image，for he first formulated the doctrine that “Images in verse are not mere decoration, but the very essence of an intuitive language.”2 It was also Pound who showed in practice how far this definition could be carried into the making of short and then longer poems. Pound emphasized the concentration of intellectual and emotional content possible in a poetic image, though it mirrored only a brief moment of experience. He took the image to be the poet’s “primary pigment” and stressed the hardness, or concreteness, of sensory language, telling poets to “Go in fear of abstractions”. Besides concreteness, Pound stressed exactness of diction, the mot just of Flaubert, and clarity, and “As regarding rhythm: to compose in the sequence of the musical phrase, not in the sequence of the metronome”. Thus, along with the image emerged free verse, newly understood as an appropriate organic rhythm, suited to the mood of the individual poem.
In short, Pound’s Imagism was intended to carry symbolism forward towards a greater poetic realism, keeping the poet’s vision always in touch with the world of his senses, holding firmly to the principle that truth should be visible in things, rather than in visible beyond them.
As we all know ancient Chinese poetry and Japanese haiku had an important influence on Pound, especially the ancient Chinese poetry. Pound didn’t just pay attention to the ‘exotic surface’ of the Chinese language but its linguistic nature and the abstract feelings that lie behind it. He not only translated lots of Chinese poems but also learned the useful and particular writing techniques. It can be seen clearly the imitation of the style of Chinese poetry from Pound’ poems.
In the following text I will focus on three types of combination of image--image progress, image superposition and image juxtaposition. These three modes of combination of image are very typical East or Chinese-style image, which is characterized by only using nouns rather than verbs. This image processing techniques in ancient poetry in China is nothing unusual or surprising. And they are also wildly used in Pound’s poetry and become his representative features.
3.1.1 Image Progress
Image progress is a combination of images which structured in accordance with the objective rule. It is a common writing technique used by ancient Chinese poets. For example, the famous Chinese poetry《敕勒歌》：
“敕勒川，陰山下，天似穹廬，籠蓋四野。
天蒼蒼、野茫茫，風(fēng)吹草低見牛羊。”
In this poem, the author wrote from the mountains to near grass, from the sky to earth. He ranged the images under the rule of direction--from far to near. Therefore the author could make the meaning of this poem very clear.
Ezra Pound successfully used Image progress writing technique in his poems. Take Pound’s poem “Salutation” for example:
O generation of the thoroughly smug
and thoroughly uncomfortable,
I have seen fishermen picnicking in the sun,
I have seen them with untidy families,
I have seen their smiles full of teeth
and heard ungainly laughter.
And I am happier than you are,
And they were happier than I am;
And the fish swim in the lake
and do not even own clothing.
-----by Ezra Pound “Salutation”
In this poem, Pound first wrote the happy “fishermen”. They eat in the wild, sleep on the ground, with the untidy families, but they laugh to their hearts’ contact. Then he compared “I” with “you”, finding that “I am happier than you”. He compared the “fishermen” with “I”, finding that “they were happier than I am”. At last he described the free “fish”, it swims freely in the lake and even wears nothing. Pound wrote four aspects: the “fishermen”, “I”, “you” and the “fish”. He made a structured comparison of each of the four aspects to challenge those self-appointed writers, and pointed out that the modern poets’ mind should be free roaming like the fish in the water. They should get rid of the old stereotypes of poetry and create poems freely.
Ezra Pound addresses the old-time question of happiness in privileged and underprivileged classes. The “generation of thoroughly smug” refers to middle and upper classes of society who, by conventional means, are uptight, dull, and “smug”, and in Pound's definition are “thoroughly uncomfortable”, with life. Pound parallels the “thoroughly smug” with the “fishermen”. The poem is about perseverance. “Fishermen” are poor, often uneducated, country folk. Pound parallels “fishermen” with struggling poets; both sects trying to survive by their individual means.
3.1.2 Image superposition
Image superposition is to superimpose images with the same meaning, and uses modify, qualifier, metaphor to constitute the relationship between images. Ezra Pound widely used this writing technique. The example is the poem “A Girl” which Pound wrote for his early lover:
The tree has entered my hands,
The sap has ascended my arms,
The tree has grown in my breast -
Downward,
The branches grow out of me, like arms.
Tree you are,
Moss you are,
You are violets with wind above them.
A child - so high - you are,
And all this is folly to the world.
------by Ezra Pound “A Girl”
In this poem, Pound first uses the image “tree” to superimpose and modify “I”, and then uses the image “moss” and “violet” to superposition and modify “tree”. It is clear that the image of the “tree” is a symbol of love and young girl. Pound first described the close relationship between “tree” and “I”. Then he added three images –”moss”, “violet” and “child” to praise the beauty of young girl. The girl is as young and beautiful as violet and moss. And she is also like green trees which full of life. All of these things moisten “my” growth of life, even though they are ungrounded yawp in most people’s eyes. In this superimposed image, we can find that the beauty of the young girl likes violet, and the vital force likes the tree and mo ss.
We can see that those words or images have similar meaning, and their meanings have connected relationship. It is clearly that Pound used modify, qualifier, metaphor to constitute the relationship between images. So this poem uses typical image superposition.
3.1.3 Image juxtaposition
Image juxtaposition is quite similar to Image superposition, but actually they are different. Image juxtaposition is to appose two visible images together which from different time and space, to inspire and arouse the feelings of others. Hume said: “The imagery shows that the combination of the two visible images can be called a visual chord. Their combination gives people an image which is different from either of the two images.” The emotional feeling aroused by juxtaposition of different images has gone beyond the meanings of a particular image, but with an entirely new feel.
Pound said, “Image juxtaposition” can not allow any contact, whether it is an analogy or a synonym. The purpose of this technique is to “cut the lock of association of ideas”, so that the author can make the interaction relationship between images. The reader must take the initiative to use their imagination to explore the relationship between the two. Pound has always been emphasized on “Objective Present”. It is one of the effects of image juxtaposition, which means let the readers to understand the experience in poetry on their own, realize the “Similarity” between images, and get a sudden, new, near-epiphany of understanding.
Juxtaposition is like the Montage practice in the field of poetry. It is also the core writing technique used in Pound’s great work “The Cantos”.
Montage practice is a cinematic technique wildly used in modern film industry. It is a rapid succession of different images or shots in a movie. It composes pictures by juxtaposing or superimposing many pictures or designs. So we can regard it as the art or process of making such a single pictorial composition.
The Cantos by Ezra Pound is a long, incomplete poem in 120 sections, each of which is a canto. Most of it was written between 1915 and 1962, although much of the early work was abandoned and the early cantos, as finally published, date from 1922 onwards. It is a book-length work, widely considered to present formidable difficulties to the reader. Strong claims have been made for it as the most significant work of modernist poetry of the twentieth century. As in Pound's prose writing, the themes of economics, governance, and culture are integral to its content.
The most striking feature of the text, to a casual browser, is the inclusion of Chinese characters as well as quotations in European languages other than English. Here I cite a few lines of chapter forty-ninth of poem “Cantos” as follows:
Rain; empty river; a voyage,
Fire from frozen cloud, heavy rain in the twilight
Under the cabin roof was one lantern.
The reeds are heavy; bent;
and the bamboos speak as if weeping.
-----by Ezra Pound “Cantos”
In this poem, Pound used the melodic appearance of images to achieve an effect that common texts were not readily to gain. When we are reading these few lines, there will be subconscious images come into our mind, just as the words showed. The images change from “rain” to “empty river”, from “frozen cloud” to “heavy rain, from “the cabin roof” to “one lantern”. It is just like a rapid succession of different images or shots in a movie.
We can find that those words or images have different meaning, from different time and space, but they have connected relationship. It is clearly that Pound put those visible images together and achieved an admirable effect to inspire and arouse our feelings. This poem gets a responsive chord in the hearts of its readers.These melodic appearances of images are achieved by juxtaposing or superimposing different images. In other word, this effect is achieved by image juxtaposition or Montage practice.
3.2 Concise Language
Imagist poetry is famous for using concise language, without adjectives, qualifier, decorative “lace” and flaunting words. It writes short lines, with imagery. In the three principles of Imagism made by F. S. Flint, the second principle is “To use absolutely no word that did not contribute to the presentation.” In an essay “A Few Don’ts by An Imagist”, Ezra Pound wrote three “Don’ts” as the principle of image poetry. The first “Don’t” is “Use no superfluous word, no adjective, which does not reveal something.”
Pound strictly obeys these principles. Here we take the landmark work of Pound's Imagist Poetry “In a Station of the Metro” for example:
The apparition of these faces in the crowd;
Petals on a wet, black bough.
-----by Ezra Pound “In a Station of the Metro”
This poem was first published in 1913 and is considered one of the leading poems of the Imagist tradition. Written in a Japanese haiku style, Pound’s process of deletion from thirty lines to only fourteen words typifies Imagism’s focus on economy of language, precision of imagery and experimenting with non-traditional verse forms. The poem is Pound’s written equivalent for the moment of revelation and intense emotion he felt at the Metro at La Concorde, Paris. Pound explains in his article value.
The poem is essentially a set of images that have unexpected likeness and convey the rare emotion that Pound was experiencing at that time. Arguably the heart of the poem is not the first line, nor the second, but the mental process that links the two together. “In a poem of this sort,” as Pound explained, “one is trying to record the precise instant when a thing outward and objective transforms itself, or darts into a thing inward and subjective.”[9]3 This darting takes place between the first and second lines. The pivotal semi-colon has stirred debate as to whether the first line is in fact subordinate to the second or both lines are of equal, independent importance.
Pound contrasts the factual, mundane image that he actually witnessed with a metaphor from nature and thus infuses this “apparition” with visual beauty. There is a quick transition from the statement of the first line to the second line’s vivid metaphor; this ‘super-position’ technique exemplifies the Japanese haiku style. The word “apparition” is considered crucial as it evokes a mystical and supernatural sense of imprecision which is then reinforced by the metaphor of the second line. The plosive word ‘Petals’ conjures ideas of delicate, feminine beauty which contrasts with the bleakness of the ‘wet, black bough’. What the poem signifies is questionable; many critics argue that it deliberately transcends traditional form and therefore its meaning is solely found in its technique as opposed to in its content. However when Pound had the inspiration to write this poem few of these considerations came into view. He simply wished to translate his perception of beauty in the midst of ugliness into a single, perfect image in written form.
3.3 Musical Rhythm
Ezra Pound has a strong musical rhythm in his works, which is mainly embodied in three aspects: firstly, he thinks poetry language should be musical and pays attention to the internal poetic rhythm; secondly, he successfully adopted the fugue melody of western music, and used it in his masterpiece Cantos; moreover, he uses the dapper image poems to load the richest content and emotion to reach the highest level of musical poetry -- quiet voice.
Rhythm is an important factor to form the musical aesthetics of poetry. It gives us pleasure and beauty, and it can unify the individual, coordinate difference, turn lethargy to concentrate. Therefore, the rhythm itself is very charming, and musical rhythm is usually considered to be the core of musical poetry. In the On imagism, Ezra Pound defined poetry that “poetry is the compounds or organization of musical words.”[10]6 In Pound’s view, the so-called music is just rhythm. A poem cannot be called as a poem if without rhythm. In the aspect of poetry, Pound has inherited the free verse of Whitman poems, and made a meaningful attempt. He found a new charming melody in the traditional pentameter poem, and combined the music and expressive force into free verse. The rhythm and sound changes with the emotion in poems, that is, to maintain the true feelings of the poems and gives its beautiful melody. When reading Pound's poetry, we will realize that the beauty of rhythm in his poetry not only exists in the rhythm itself, but more important is in the performance of content.
Pound also believes that poetry do not only need rhythm, but also include: (1) beautiful rhythm. A good poem has a residual sound in the listener's ear, which sounds like organ. (2) Rhythm should contain some surprising elements. That is to say the rhythm should be of innovation. (3) Rhythm should reflect a certain emotion; give reader a shock of soul.
In addition to the repeated experiments of the rhythm of poetry, Pound also innovated the structure of poetry. He changed the way of composing music into poetry skills, in order to further enhance the melody and artistic appeal of poetry. In the “Cantos”—the literary masterpiece which represent the highest achievements of Pound's poetry, Pound used “fugue” structure in the creation of many chapters. Fugue is a common music form in Western music, which includes “theme”, “response”, “counter-subject”, and with several “episodes”. Usually, fugue adopts “counterpoint” to arrange “theme& rdquo;, “response” and “counter-subject” into the music in turn, and achieve polyphonic structure. This structure can overcome the psychological feeling of dull monotonous.
4．Influence of Pound poetry
Ezra Pound is generally considered the poet who is most responsible for defining and promoting a modernist aesthetic in poetry. His own significant contributions to poetry begin with his declare of Imagism, a movement in poetry which derived its technique from classical Chinese and Japanese poetry-stressing clarity, precision, and economy of language, and foregoing traditional rhyme and meter in order to, in Pound's words, “compose in the sequence of the musical phrase, not in the sequence of the metronome.”
Pound appreciated Chinese poetry very much and learned the use of image from it. What’s more, he summarized the key techniques and formed his own imagism theory. His imagism theory, poetry writing skills and translation of Chinese poems not only influenced innumerable British and American writers, but also affected the development of Chinese modern literature.
4.1 The impact on domestic literature
Ezra Pound’s achievements in poetry field or literature field were well recognized. Though he learned a lot of writing skills from Chinese poetry, he also had an important influence on the literature development in China, especially the development of image poetry. We can say the modern Chinese poetry is greatly influenced by Imagism.
Image is an important category with key significance in Chinese poem studying and also an important numeral factor in poetry creation. Poet’s creation inspiration and experience to the life are both condensed in image. Image is the special way to manifest itself for poetry to be distinguished from other literary styles. The ancient Chinese image poetry has a long history. It is featured by clarity, precision, economy of language and combination of images. The western image poem theory was partly derived from Chinese, but later it influenced modern Chinese Poetry.
The genesis stage of Chinese modern image poetry is in 1920s. The representative poets were Hu Shi, Wen Yiduo and Li Jinfa. Hu was well known as the primary advocate for the literary revolution of the era, a movement which aimed to replace scholarly classical Chinese in writing with the vernacular spoken language, and to cultivate and stimulate new forms of literature. “The English and American poetry of image group showed multi-aspects influence on Hu Shi’s poetry point and his vernacular and New Poetry Movement.”[11]119
The whole exploration of poetry image art in1920s, looking the image art of ancient poetry as the control of modern image construction, experiences a process of modern decay and birth of new poem image, that is being intertwined with image tradition of ancient poetry (new vernacular poem in the early period), breaking away from traditional image system (represented by Guo Moruo), close examination of returning to tradition (new metrical poem group represented by Wen Yiduo) and rebel against tradition (represented by Li Jinfa).
The development period of Chinese image poetry is between 1930s and 1940s. It was the historical evolution process of modern image art from genesis，development to maturity and its regularity and phased characteristics. During this period, most school’s image poetry held the point of view with the core of dimness, harmonious theory and artistic conception. The Beijing school’s image poetry theories were including agreement theory, art and temperament and interest theory, revealing and hidden theory, inspiration theory and image connecting theory. The July school’s image theory explaining the poetry point on the center of Ai Qing’s concrete and abstract sensualist, image imagination theory and image and graphic theory and Hu Feng’s experience image theory. The Nine Leaves school’s poetry study is expanded from such aspects as poem quality theory, rational theory, artistic conception, structuralism theory, sinking theory and condensing theory etc. And it represents the basic maturity of modern image poetry theory. The representative poets were Dai Wangshu, He Qifang, Bain Zhilin, Fei Min, Ai Qing.
Up to the present, there are many Chinese scholars studying Ezra Pound’s poetry. Some of them are from the view of the relationship between Ezra Pound and Chinese poetry. Some others research from the perspective of translation to examine the translation skills the translation of Chinese poetry. The most of them use the perspective of traditional rhetorical method, and study images of poetry from perspective of the arts means and effects of literature. The study includes the role of poetic imagery, rhetorical skills, rhetorical effect and its artistic features and so on.
4.2 The impact on foreign literature
American poet, critic, and translator Ezra Pound was an extremely important influence in the shaping of 20th-century poetry. He was one of the most famous and controversial literary figures of the century. No other twentieth century literary figure engaged as much with China as Pound. T. S. Eliot described him as the “inventor of Chinese poetry”.
Though the movement of Imagism only lasted for a short period of time, it is the beginning of New Poetry Movement in the United States. Its experiment on using “image” and free verse poetry changed many American readers’ tastes, and affected the process of American modern poetry. Pound's modernist experiments of the 1910s and 1920s have served as a counterforce to the established traditions of the “American Sublime” and the Anglo-American formalism represented by T. S. Eliot and the New Criticism. Beach, Christopher wrote a complete book length critical study ABC of Influence: Ezra Pound and the Remaking of American Poetic Tradition. “ In this first full-length study of Pound's influence on American poetry after World War II, Beach argues that Pound's experimental mode created a new tradition of poetic writing in America. Often neglected by academic critics and excluded from the “canon” of American poetic writing, Charles Olson, Robert Duncan, and later members of this experimental tradition have maintained the sense of an American avant-garde in keeping with Pound's modernist experiments of the 1910s and 1920s.”[12]87
After the movement of Imagism, there is still a small number of poets, consciously or unconsciously adhered to some of the certain principles of Imagism, and expand the results of Imagism. William C. Williams’ performance is regarded as the most outstanding in this field. Under the guidance of Ezra Pound, he began his business on the road of studying Imagism. Then he combined the writing skills of Imagism with the subject matters and language style of the United States, and created a kind of “direct” Poetry. This kind of Poetry had a dramatic impact on the revolution of United States poetry during the 1950 to 1960.
T. S. Eliot and Irish writers W. B. Yeats were deepest influenced by Pound. T. S. Eliot was a poet, playwright and literary critic. He received the Nobel Prize in Literature in 1948. Among his most famous writings, the Waste Land has become a touchstone of modern literature, a poetic counterpart to a novel published in the same year, James Joyce's Ulysses. Pound made detailed editorial comments and significant cuts to the manuscript. W. B. Yeats was an Irish poet and dramatist and one of the foremost figures of 20th-century literature. Under Pound’s influence Yeats learned Pound's unauthorized alterations and got know of Chinese and Japanese poetry, which affected his later works.
5．Conclusion
The above discussion of Ezra Pound’s image poetry is by no means comprehensive but it can give us a clear point of view of Pound’s writing techniques and features. He successfully combined the features of Western poetry and Eastern poetry, and invited a new poetry theory. His way of combine images, use concise language and pay attention to rhythm are good skills which we can learn and use in poetry writing. The purpose of this paper is to summarize the language characteristics of Pound’s poetry and analysis his imagist poetry style, so as to provide some theoretical ideals from the view of reading, understanding and appreciate modern English poetry, thus making it easier for Chinese readers to appreciate English poetry.
Acknowledgements
My initial thanks to my supervisor Han Xiaoya, without her patient guidance and strict supervision, this paper would not have been written. Her suggestions help me a lot in the writing of this thesis. And her enlightening ideas will greatly influence studies in my academic life.
I am also very grateful to my roommates who have not only offered me their warm encouragements but also shared with me their valuable materials and suggestions on my writing of this thesis. Their kindness cannot be overstated.
I am further indebted to other teachers who have taught me and helped me in the past four years
In addition, any errors and inadequacies in this thesis are my sole responsibility.
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