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序言：寫作是分享個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，期待這些樣本能夠為您提供豐富的參考和啟發(fā)，請盡情閱讀。
英語專業(yè)本科畢業(yè)論文撰寫是高校本科教學 的最后一個重要階段，也是評價學生是否能夠順利 畢業(yè)的重要指標之一。2000年頒布的《高等學校 英語專業(yè)英語教學大綱》強調(diào)了畢業(yè)論文的重要 性:“畢業(yè)論文是考察學生綜合能力、評估成績的 一個重要方式”[1]。同時，大綱還進一步明確了畢 業(yè)論文的要求。根據(jù)《大綱》，各個髙校也紛紛對 英語專業(yè)本科畢業(yè)論文撰寫制定了具體的要 求。[2]
然而，筆者在對本校英語專業(yè)學生論文管理過 程中卻發(fā)現(xiàn)，對于論文學術(shù)不端檢測還有很多學生 甚至部分教師都不太清楚其目的及意義，對待學術(shù) 不端問題怠慢。許多高校都出現(xiàn)學生忽視學術(shù)不 端問題，仍然拼拼湊湊，復制他人成果的情況。[3]
因此筆者以本校2014屆205名英語專業(yè)畢業(yè)生論 文學術(shù)不端檢測報告為研究對象，對學生畢業(yè)論文 復制比的特征進行分析，從而找到英語本科生在撰 寫論文過程中所存在的問題及原因。
一、論文復制比的主要比例分配
對于畢業(yè)論文復制比，每所高校的要求都略有 不同，對于本校的要求，所有的畢業(yè)論文經(jīng)學術(shù)不 端檢測，檢測結(jié)果雷同率或文字復制比率在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)過嚴格整改,否則取 消學生答辯資格。由此可見,高校對學生學術(shù)不端 的行為都有著嚴格的規(guī)章制度。筆者通過對205 名學生論文的學術(shù)不端檢測報告進行分析,得出以 下主要比例分配：
由表一可以看出，在205名學生中，95%的學 生基本上都可以按照要求通過學術(shù)不端檢測，而且 有73%的學生復制比都在10%以內(nèi)，只有少部分 學生(5% )未能通過檢測，但其中有一名學生論文 復制比居然達到96%。因此，雖然說大部分都可以達到要求，但就未通過的學生而言，出現(xiàn)的 問題也不容忽視。
二、論文復制比的主要特征
就學生論文復制比的主要特征而言，筆者根據(jù) 本校的畢業(yè)論文學術(shù)不端檢測要求，以復制比小于30% (含30% )和大于30%為基本兩個組,分別分 析兩組中學生論文復制比的主要特征。
(一) 復制比小于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，還包括標題、目錄、參考文獻、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%的學生抄襲現(xiàn)象主要集中在致謝部分， 甚至個別學生還存在致謝部分全部抄襲的情況。 另外，少部分學生對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，因為學生會把引用別 人的問卷附在文后，但已標明出處。
2. 正文部分。通過分析,84%的學生論文正 文的復制處主要集中在文獻綜述以及總結(jié)部分。 對于文獻綜述部分，尤其是對定義解釋以及研究回 顧部分的復制抄襲比例非常高，就這部分字數(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，大部分學生由于對理論概念的不理解，因 此無法用自己的語言進行轉(zhuǎn)述或者總結(jié)，只能完全 重復別人的文字。另外，綜述部分更是重復別人觀 點，但只述不評。從總結(jié)部分來看，學生的總結(jié)并 不是對自己研究結(jié)果的概括和提煉，反而是直接借 用他人的總結(jié)性話語，因而存在大量重復抄襲的 情況。
3. 復制來源。100%的學生復制的來源主要 是本科生或者研究生論文以及網(wǎng)絡(luò)資源，尤其是百 度文庫中的資料。雖然有少部分的學生復制出處 來源于期刊文章，但大多以中文為主。
(二) 復制比大于30%
1. 文獻引用。從論文總體上來看，對重復抄 襲的部分學生幾乎都沒有給出相關(guān)引證文獻。除 此之外，11個學生的參考文獻部分都存在大量的 復制抄襲。
2. 正文部分。除了上述所提及的部分以外， 11個學生的論文在introduction部分同樣存在復制 抄襲。從報告單中還看出，這部分學生對 參考文獻和研究方法部分也存在嚴重的抄襲。
3. 復制來源。與上述相同，11個學生的重復 抄襲部分都來源于論文或者網(wǎng)絡(luò)資料。
三、原因分析
通過對英語專業(yè)學生論文學術(shù)不端檢測報告 進行分析，不難看出，即使大部分學生都順利通過
了檢測，有的學生的復制率甚至為0,但通過對其 復制比特征的分析以及對學生的訪談?wù){(diào)查，筆者發(fā) 現(xiàn)其中存在多方面的原因。
(一) 學生寫作能力欠佳
在聽說讀寫譯的技能中，“寫”屬于輸出技能， 也是較難的一個技能。通過對學生論文進行分析， 筆者發(fā)現(xiàn)，從總體上來看，學生對英語基礎(chǔ)知識的 掌握仍不牢固，論文中出現(xiàn)了大量的語法錯誤，嚴 重制約了他們的語言表達能力。
(二) 學生學術(shù)水平較低
眾所周知,學術(shù)論文寫作無論是在整體結(jié)構(gòu)上 還是在語言使用上都與普通作文有所不同。盡管 許多高校都開設(shè)有學術(shù)論文寫作課，但許多學生對 學術(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。尤其是復制比超過30%的學生 甚至在總體介紹及參考文獻部分進行復制抄襲，可 見其并未真正理解什么是論文寫作，就連論文中的 參考文獻部分基本結(jié)構(gòu)都不清楚。
(三) 學生信息技術(shù)能力不高
通過對學生復制來源分析，大部分的資料來源 于研究生的畢業(yè)論文以及網(wǎng)絡(luò)資料。另外，學生在 文獻綜述部分，大部分的文獻都來自中文文獻，而 且通過訪談，許多學生都反映找不到英文文獻。總 所周知，文獻搜索技能在學術(shù)論文寫作中是必不可 少的，不僅需要找到相關(guān)文獻，更是需要對這些文 獻進行綜合評述。但通過調(diào)查，許多學生所使用的 搜索方式集中于中國知網(wǎng)以及百度兩種，這也導致 了他們收集的資料較為單一。
(四) 指導教師對學生的論文寫作指導不夠
許多學生的論文在提交檢測時仍然發(fā)現(xiàn)不少 的問題，如論文整體結(jié)構(gòu)以及語法方面存在許多的 問題。甚至有學生的論文復制比達到96%。由此 可以看出，除了學生本身存在的問題以外，指導教 師對學生的指導也存在疏忽，沒有發(fā)揮真正意義上 的指導以及監(jiān)督的作用。
四、總結(jié)
通過對學術(shù)不端檢測報告單以及學生的訪談 分析，不難看出，英語專業(yè)本科生畢業(yè)論文撰寫存 在許多的問題。學生的論文復制比高與其學術(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，指導教師的指導監(jiān)督力度不夠也造 成了學生對論文寫作不重視，態(tài)度不端正的情況。對此問題的解決，不僅需要相關(guān)任課教師，論文指 導教師以及學生的共同努力,更需要學校建立健全 相關(guān)制度來加大監(jiān)管力度。
作者：沈萍
關(guān)鍵詞：畢業(yè)論文 課程教學 反撥效應(yīng)
中圖分類號：G642 文獻標識碼：A 文章編號：1672-3791（2014）09（c）-0135-01
該文擬論述畢業(yè)論文培養(yǎng)應(yīng)貫穿于整個本科階段的課程教學，分析畢業(yè)論文培養(yǎng)與課程教學之間的關(guān)系，從英語本科畢業(yè)論文存在的問題來審視目前的英語本科教育，探索其對英語本科教育的指導性。
1 畢業(yè)論文培養(yǎng)環(huán)節(jié)與課程教學
教學計劃上所謂畢業(yè)論文培養(yǎng)環(huán)節(jié)只是用來界定畢業(yè)前的最后學習階段，而對學生的培養(yǎng)遠不僅限于此階段?！陡叩仍盒Ｓ⒄Z專業(yè)教學大綱》也指出：“畢業(yè)論文是考察學生綜合能力，評估學業(yè)成績的一個重要方式?！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質(zhì)量。它表明了學生的外語水平和實際應(yīng)用外語的能力，學生發(fā)現(xiàn)并提出問題、解決問題的能力以及獨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，遠非短期的畢業(yè)論文寫作指導所能及。另外，可以看出畢業(yè)論文是對本科教學質(zhì)量的檢測，而畢業(yè)論文存在的問題也集中體現(xiàn)了常規(guī)教學中的弊端。分析畢業(yè)論文存在的問題可以有效地指導常規(guī)課程教學，而課程教學質(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
通過對某高校2007、2008級英語本科畢業(yè)論文的綜合分析，以及對這兩界畢業(yè)生進行的問卷調(diào)查，發(fā)現(xiàn)畢業(yè)論文寫作存在的問題集中體現(xiàn)在以下兩個方面。
首先，英語語言能力較差，思路不清晰，語言缺乏邏輯性。學生英語行文能力差，語法錯誤多，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)文不對題的情況。很多同學雖然用英文行文但是卻用漢語思維組織語言，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；論證過程缺乏理論支撐。學生缺乏問題意識，對所學的知識大多是被動的接受，很少對所學知識進行創(chuàng)造性思考；另外學生的知識積淀較少，無從發(fā)現(xiàn)問題。因此絕大部分學生的選題通過網(wǎng)上搜索，拼湊而來，這給論文寫作帶了極大的困難。再者，學生對相關(guān)理論知識被動接受，不能與實際相結(jié)合應(yīng)用到論證過程中，這使得文章缺乏說服力，大多停留于感性層面的敘述。
根據(jù)以上兩個方面問題，筆者將本科教育階段的課程分為語言能力基礎(chǔ)課程，高年級專業(yè)課程兩類來探究畢業(yè)論文對課程教學的反撥效應(yīng)。
3 對課程教學的反撥效應(yīng)
3.1 語言能力基礎(chǔ)課程
學生在畢業(yè)論文寫作中表現(xiàn)出來的英語行文能力差不能簡單地歸咎于寫作、語法或某一門課程。語言能力的聽、說、讀、寫是一個有機整體，是相互依存，相互作用的。因此，英語語言能力低是所有聽說讀寫的基礎(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)容是大量解題訓練，而不注重學生對整篇文章的綜合分析和理解。語法課大多是教師孜孜不倦地講解語法點然后做大量的應(yīng)試練習，脫離了作為載體的語言，學習語法的意義也僅僅是卷子上一個高低不同的分數(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。綜合英語本是一門將聽說讀寫整合并形成語言自主輸出的課程，但學生被要求背單詞，背課文，大部分時間是被動地接受，很少有在真實的語言環(huán)境中進行自主語言輸出的機會。不難看出，語言能力培養(yǎng)的基礎(chǔ)課程的重心偏向于應(yīng)試訓練而忽略學生這個主體，久而久之，學生也習慣這樣的被動接受。然而，要使教師所傳授的這些語言規(guī)則支配的語言行為達到完全自由自主的程度，即內(nèi)化為學生自己的語言能力，是需要大量的自主的語言輸出練習才能轉(zhuǎn)化為語言技能，才能幫助學生順利地完成畢業(yè)論文寫作。因此，要提高學生的語言能力，就要將語言能力基礎(chǔ)課程的重心轉(zhuǎn)向?qū)W生語言能力的培養(yǎng)，如何在大量的自主語言輸出訓練中將輸入，分析，理解，歸納，總結(jié)，輸出內(nèi)化為學生自己的語言能力。
3.2 高年級專業(yè)課程
高級專業(yè)課程主要是指語言學、文學、翻譯方向的相關(guān)課程，以及一些行業(yè)英語課程。這些課程是學生畢業(yè)論文題目的主要來源。然而，學生在畢業(yè)論文階段卻表現(xiàn)出缺乏問題意識，不能發(fā)現(xiàn)問題，更不用說解決問題。而論文選題的動因是在于發(fā)現(xiàn)問題，這樣才能就題而論，有話可說。[3]這與基礎(chǔ)課程養(yǎng)成的被動接受的習慣不無關(guān)系，更重要的是在教學中教師通常只激發(fā)學生的低級心里過程（lower mental process）。以文學課為例，老師講授每個時期特點，文學貢獻，某個作家的生平，著作，對文學理論進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。學生只需要簡單背誦，再現(xiàn)即可，背誦再現(xiàn)即是不需要思維的低級心里過程。而畢業(yè)論文寫作恰恰需要調(diào)動學生的高級思維過程（higher mental process），需要學生有縝密的外語思維能力，批判的、系統(tǒng)的推理能力和跨文化溝通能力。[4]久而久之，學生自然很難通過自主思維發(fā)現(xiàn)問題，即缺乏問題意識。因此，對于選題往往采取“拿來主義”，以至于論文寫作時無話可說，只能繼續(xù)采取“拿來主義”。由此可見，高級專業(yè)課程應(yīng)該思考如何調(diào)動學生的高級心里過程，提高學生的問題意識，學會如何發(fā)現(xiàn)問題，用縝密嚴謹?shù)乃季S分析問題，解決問題。
4 結(jié)論
本科教育是一個系統(tǒng)工程，畢業(yè)論文項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，畢業(yè)論文對本科教育進行綜合檢測，對本科教育起到有益的指導作用，促使高校改進并提高教學質(zhì)量，而教學質(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
[1] 教育部高等教育司.北京市教育委員會.高等學校畢業(yè)設(shè)計（論文）指導手冊外語卷（修訂版）[Z].北京：高等教育出版社 經(jīng)濟日報出版社，2007：1.
[2] 高等學校外語專業(yè)教學指導委員會英語組.高等學校英語專業(yè)英語教學大綱[Z].上海：上海外語教育出版社，2000：5.
[3] 張菁.英語本科畢業(yè)論文寫作質(zhì)量問題探討[J].南京人口管理干部學院學報，2008（4）：62.
關(guān)鍵詞：英語專業(yè)；畢業(yè)論文；論文課程；教師指導
畢業(yè)論文寫作是考查學生綜合能力、評估學業(yè)成績的一個重要方式。完成畢業(yè)論文的寫作與答辯是學生取得畢業(yè)資格、獲得學士學位的必備條件。為了更好地規(guī)范高師院校英語專業(yè)畢業(yè)論文寫作的教學與指導，我們以長春師范學院英語專業(yè)2009屆學生
為研究對象，探討了畢業(yè)論文寫作課程的設(shè)置及教師的指導策略。
一、英語專業(yè)畢業(yè)論文寫作課程的設(shè)置
《高等學校英語專業(yè)英語教學大綱》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)論文寫作納入教學計劃中。但從實際情況來看，開設(shè)畢業(yè)論文寫作課能夠有效地提高學生畢業(yè)論文撰寫能力，并且培養(yǎng)其獨立思考、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：
1.課時安排
畢業(yè)論文寫作能力的提高絕不是一蹴而就的，在二年級與三年級開設(shè)寫作課時，教師可以滲透畢業(yè)論文寫作要求，安排學生查閱資料、寫學期論文等。在此基礎(chǔ)之上，我們把畢業(yè)論文寫作課程與教師單獨指導相結(jié)合。
2.教學內(nèi)容
畢業(yè)論文寫作課往往涉及如下內(nèi)容：論文選題、開題報告、文獻綜述、文獻檢索、寫作技巧、專題寫作、研究方法、論文格式、論文修改、常見錯誤評析、論文答辯及注意事項等。近年來，我國出版了很多關(guān)于英語專業(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用性及學時的局限性等因素，任課教師需要自行選擇與整理，總結(jié)出適合所教學生學習程度的教學內(nèi)容，使學生在最短的時間內(nèi)快速、清晰地掌握論文寫作要領(lǐng)。
3.教學方法
此門課程強調(diào)培養(yǎng)學生的實踐能力，因此教學形式應(yīng)該是教師講授與學生操練相結(jié)合。教師講完每章節(jié)內(nèi)容后，布置相關(guān)任務(wù)要求學生課后完成，之后再根據(jù)其完成情況進行總結(jié)，或是讓學生以小組形式進行討論，互相評價與修正。同時，教師也應(yīng)該提供優(yōu)秀論文與問題論文供學生參考、借鑒，讓學生從評論者的角度去發(fā)現(xiàn)問題、解決問題。這樣，通過講解可以引導學生開展下一步的工作，通過實踐又能使學生避免不必要的錯誤。
4.考核辦法
本課程以考核學生的平時任務(wù)完成為主，輔以期末考試考查理論知識及對知識的實際應(yīng)用。平時的任務(wù)形式包括小組活動、資料搜集、實驗設(shè)計等，而期末考試可以以開卷形式進行或是要求學生事先準備，寫與所選題目相關(guān)的文獻綜述、論文各部分，如引言等。
二、教師的針對性指導
論文寫作課只是為學生建構(gòu)了畢業(yè)論文寫作的大體框架，而具體的實施則需要指導教師給予學生有針對性的輔導。兩者應(yīng)同步進行，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)的論文題目供學生選擇。這樣，教師可以給予學生更多的幫助，同時也可以讓學生參與到自己的研究中，做到教學相長。
2.指導學生科研方法，培養(yǎng)學生科研能力
教師還應(yīng)該著重注意指導學生查閱資料，了解最新的研究動態(tài)，避免學生思路閉塞以致題目陳舊、沒有研究價值。另外，由于專業(yè)特點，很多學生選擇了英語教學法，但他們的論文往往只限于文獻研究，并不能真正與教學相聯(lián)系。教師可以指導并幫助學生結(jié)合論文課上所講的科研方法，設(shè)計試驗，做調(diào)查分析等，真正培養(yǎng)學生的研究能力。
3.要加強對畢業(yè)論文的監(jiān)督力度
教師要對學生進行誠信教育，強化指導與監(jiān)控，力求避免抄襲現(xiàn)象。同時，也要督促學生合理規(guī)劃時間，及時與老師溝通，保質(zhì)保量地完成論文撰寫工作。
畢業(yè)論文寫作是大學英語專業(yè)畢業(yè)前最后一項也是極為重要的一個教學環(huán)節(jié)，它的順利完成需要學生、學校和教師三方面的共同努力。我們希望規(guī)范的教學及指導能幫助學生養(yǎng)成科學的研究態(tài)度，形成嚴謹?shù)膶W術(shù)作風，為他們將來的工作打下良好的基礎(chǔ)。
參考文獻：
［1］程小薔.英語專業(yè)畢業(yè)論文指導策略研究［J］.成人高教學刊，2010（2）.
［2］吳俊.關(guān)于本科院校開設(shè)英語畢業(yè)論文寫作課的思考［J］.忻州師范學院學報，2011-08.
作者簡介：
第一作者：曹佳[（1981―），女，漢族，長春人，講師，碩士研究生，主要從事外國語言學及應(yīng)用語言學研究；第二作者：孫莉莉（1975―），女，漢族，長春人，副教授，碩士研究生，主要從事社會語言學及應(yīng)用語言學研究。
一、改革的背景
畢業(yè)論文既是高校對學生進行本科教學過程中最后階段綜合訓練的重要教學環(huán)節(jié)，也是學生畢業(yè)前的最后一項學習任務(wù)。同時，也是衡量一所高校辦學水平和本科生培養(yǎng)質(zhì)量的一項重要指標。畢業(yè)論文是培養(yǎng)學生創(chuàng)新意識，提高學生綜合運用所學基礎(chǔ)理論、專業(yè)知識，分析和解決實際問題能力的重要步驟。其目的應(yīng)該是全面考察學生的知識面，掌握知識的深度以及運用理論處理實際問題的能力。但是作為實踐性和應(yīng)用性較強的旅游管理專業(yè)，在實際的人才培養(yǎng)環(huán)節(jié)中卻存在著學生的動手能力較差，解決實際問題的能力較弱，學生畢業(yè)后不能適應(yīng)旅游行業(yè)的需要等問題。究其原因，很多院校的學生在畢業(yè)論文環(huán)節(jié)中的實踐能力、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，需要對傳統(tǒng)的旅游管理專業(yè)畢業(yè)論文進行改革。四川師范大學文理學院針對這一現(xiàn)象和問題，參照理工科院校的畢業(yè)設(shè)計思路，結(jié)合旅游管理專業(yè)的特點和本校的實際情況，對2009級旅游管理專業(yè)學生的畢業(yè)論文寫作改為旅游線路產(chǎn)品設(shè)計進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
應(yīng)用型本科院校其主要的特點是應(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)用型本科院校的實踐教學比重比普通本科院校大，而且強調(diào)學生的理論知識與實踐的統(tǒng)一。實行畢業(yè)論文改畢業(yè)設(shè)計本身就是應(yīng)用型本科院校構(gòu)建完善的實踐教學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)指導性，是一個應(yīng)用性非常強的專業(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)理論知識扎實，適應(yīng)能力和動手能力較強以及專業(yè)操作技能熟練和外語溝通能力較強的高素質(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，由于學生參與社會實踐活動較少，與企業(yè)行業(yè)接觸的機會少。因此，導致很多學生在畢業(yè)論文撰寫時出現(xiàn)理論為主，論文選題比較空泛，既沒有自己的觀點而且畢業(yè)論文的實際價值也比較小。而畢業(yè)設(shè)計則是要求學生在進行專業(yè)實習之時，充分運用自己的專業(yè)理論知識與自己的實習工作經(jīng)驗，將理論與實踐進行統(tǒng)一，完成自己的線路設(shè)計與營銷。
（二）滿足社會與企業(yè)發(fā)展對旅游人才的需要
二十一世紀社會競爭越來越激烈。社會對于人才的需求，不僅僅是需要掌握大量的理論知識，而且要有較強的創(chuàng)新能力與動手能力。在我國的《國家中長期教育改革和發(fā)展規(guī)劃綱要（2010-202）》中也明確提出：“著力提高學生的學習能力、實踐能力、創(chuàng)新能力，教育學生學會知識技能，學會動手動腦，學會生存生活，學會做人做事，促進學生主動適應(yīng)社會，開創(chuàng)美好未來。”旅游企業(yè)面對日益紛繁復雜的市場變化，急需能夠直接參與和適應(yīng)旅游企業(yè)經(jīng)營活動的高素質(zhì)人才。因此，旅游管理專業(yè)畢業(yè)論文改畢業(yè)設(shè)計，在學生畢業(yè)之前就能夠?qū)⒆约旱膶I(yè)知識與旅游企業(yè)的實際問題進行聯(lián)系，并且自己動手參與整個線路設(shè)計與營銷過程，既可以加深對理論知識的理解，又可以開拓思維，增強實際動手能力，同時也更好地鍛煉了社會與企業(yè)所需的素質(zhì)與能力。
（三）提高學生的綜合素質(zhì)與能力
傳統(tǒng)的畢業(yè)論文寫作，很多學生因為畢業(yè)實習監(jiān)管不嚴，并沒有真正到旅游企業(yè)中進行實習，而是找個相關(guān)單位在實習鑒定表上蓋章了事。由于沒有在旅游企業(yè)中的實習經(jīng)歷與前期的準備和訓練，再加之現(xiàn)在網(wǎng)絡(luò)資源與報刊雜志的便利，畢業(yè)論文寫作就會出現(xiàn)兩種情況。一種是理論與實際相脫離，形成空泛之說，既無針對性又無實際價值。另外一種是畢業(yè)論文的抄襲和拼湊現(xiàn)象較為嚴重。畢業(yè)論文答辯環(huán)節(jié)主要是對學生的畢業(yè)論文進行就題論題式的提問，學生通常背一背論文就可以應(yīng)付，對于學生的實踐能力和就業(yè)競爭力的提高并無太大幫助。畢業(yè)設(shè)計把學生的創(chuàng)新能力、動手能力和實際操作能力放在首位，它要求學生不僅要掌握扎實的理論知識，而且必須將所學知識進行靈活運用，這就需要學生富有創(chuàng)新精神和創(chuàng)造能力。學生要完成一條旅游線路產(chǎn)品設(shè)計與營銷，涉及旅游管理專業(yè)所學的旅游市場營銷、導游業(yè)務(wù)、旅游社經(jīng)營管理、景區(qū)管理、旅游資源學等核心理論課程，而且學生通過實地考察、調(diào)研獲取第一手資料，然后進行資料分析團隊分工運作，再到整條線路的市場宣傳與營銷，極大調(diào)動了學生的自動性與積極性。這一過程不僅培養(yǎng)了學生的寫作能力，而且學生的創(chuàng)新能力、動手能力、實際操作能力、團隊協(xié)作能力以及營銷能力等等都得到了充分的展示與提高。
三、改革的思路與實施方案
（一）改革的思路
在學院領(lǐng)導的大力支持與校企合作單位四川康輝國際旅行社的鼎力合作之下，四川師范大學文理學院旅游管理專業(yè)畢業(yè)論文改畢業(yè)設(shè)計工作與2012年正式啟動。本次畢業(yè)設(shè)計改革以推動學校教學改革進程，著力培養(yǎng)學生的創(chuàng)新能力、實踐能力與知識運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)揮學校、企業(yè)、教師與學生的優(yōu)勢與能動性，形成產(chǎn)學研相結(jié)合一體化形式的思路。要求學生以團隊方式運作完成以成都出發(fā)至周邊2-3日游的旅游線路產(chǎn)品設(shè)計與營銷方案。所設(shè)計的旅游線路產(chǎn)品可是觀光旅游線路，也可以是專項旅游線路，包括吃、住、行、游、購、娛六大旅游要素。而且要求旅游線路產(chǎn)品應(yīng)具有創(chuàng)新性與實用性，必須是旅行社常規(guī)經(jīng)營線路以外的產(chǎn)品。
（二）實施方案
1.明確目標，統(tǒng)一認識
對我校2009級旅游管理專業(yè)實行畢業(yè)論文改畢業(yè)設(shè)計，最初很多同學與老師不是很能接受。學生覺得畢業(yè)設(shè)計與畢業(yè)論文相比，需要實地考察，花費時間與資金。而且是團隊運作方式，協(xié)調(diào)容易出問題。教師方面，有老師認為畢業(yè)論文改設(shè)計增加了自己的指導工作任務(wù)與難度。因此，在實施在具體實施過程中，學校專門成立了旅游管理畢業(yè)論文改畢業(yè)設(shè)計工作小組，由學校領(lǐng)導、院系領(lǐng)導、企業(yè)代表、指導教師代表與學生代表共同組成。并且與師生進行多次會議與座談，讓大家明確此次改革的目的與意義，統(tǒng)一思想與認識。
2.學生分組，下達任務(wù)
在統(tǒng)一認識的基礎(chǔ)上，2009級旅游管理專業(yè)64名同學按照8人一組自愿組合的原則分為8個小組。每個小組設(shè)小組長一名，負責該小組線路產(chǎn)品的總體方案。其余小組成員依次負責旅游線路產(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)品的費用核算與市場報價分析、旅游線路產(chǎn)品的旅游行程、旅游線路產(chǎn)品的市場營銷方案、旅游線路產(chǎn)品的途中導游詞、以及景點導游詞。指導教師對自己負責的小組下達具體的設(shè)計任務(wù)。每位小組成員可以根據(jù)自己的實習工作經(jīng)歷以及自己所擅長的領(lǐng)域選擇任務(wù)。
3.實地考察，設(shè)計線路
每個小組內(nèi)部的同學充分發(fā)揮自己的主觀能動性與積極性，圍繞以設(shè)計成都出發(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、實習經(jīng)驗以及相關(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。然后由組長率隊分赴成都周邊進行線路的實地考察。在完成實地線路產(chǎn)品踩點、踩線等的實地考察之后，將資料進行匯總分析，然后每個同學根據(jù)自己的分工完成任務(wù)，再由小組長提交總體方案。
4.優(yōu)選線路，統(tǒng)一營銷
在8個小組提交定稿以后，學校邀請旅游行業(yè)的專家、旅行社的企業(yè)家以及學校旅游管理專業(yè)的教師，對8條線路根據(jù)線路產(chǎn)品的完整性、創(chuàng)新性、可操作性以及市場潛力等方面進行綜合考核和答辯，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)品的營銷方案，由64名同學通過我校的實踐教學基地師大校園旅行社以及校企合作單位四川康輝國際旅行社這些平臺，共同實施完成該營銷方案。
5.組團游覽，綜合考量
學生在規(guī)定的時間內(nèi)進行宣傳營銷結(jié)束后，通過師大校園旅行社組團進行游覽。而且被選出線路的小組成員具體負責整個旅行團的具體運作與安排，如旅游團的計調(diào)工作、導游工作以及市場協(xié)調(diào)工作等。最后每位同學的畢業(yè)設(shè)計成績按照項目評選和營銷業(yè)績，以及個人在小組中承擔的工作量與任務(wù)難度等因素進行綜合考量。
四、改革的啟示
一、大學生撰寫畢業(yè)論文的自身優(yōu)勢
(一)支配的時間相對比較寬松
相對在職人員而言,大學生的時間是比較充裕的,從第七學期開始很多高校的課程就較少了,甚至開設(shè)完畢了。因此,只要大學生關(guān)注畢業(yè)論文寫作、充分利用相關(guān)時間,就可以為撰寫優(yōu)質(zhì)的畢業(yè)論文提供時間保證。
(二)身處高校,信息資源比較豐富
一般的大學圖書館都擁有一定量的藏書,且有校園免費電子數(shù)據(jù)庫,為大學生搜集畢業(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)配有論文指導教師
在大學本科階段,每個學生都有明確的論文指導老師。從選題、開題、論文撰寫到答辯論文指導教師都參與其中,當學生遇到疑難問題時都可以求助于其論文指導教師。
二、學生開展畢業(yè)論文工作的自身劣勢
(一)學生對畢業(yè)論文寫作不重視、態(tài)度不夠端正現(xiàn)象嚴重
根據(jù)筆者對學生論文5年的統(tǒng)計來看,重視論文寫作的學生不到20%。目前,由于大學生就業(yè)壓力較大,在做畢業(yè)論文時,學生通常會忙于擇業(yè)或準備考研,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生提前上崗,由此很多學生就放松了對自己的要求。而且,根據(jù)以往學生畢業(yè)論文的通過情況(通過率幾乎100%),所以很多學生認為本科生畢業(yè)論文只是一種形式,隨便找點材料整理成符合要求的論文就會通過的,沒必要花費太多的時間。學生對畢業(yè)論文寫作不重視、態(tài)度不夠端正的問題,嚴重影響了畢業(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,約有50%的學生在既不了解畢業(yè)論文設(shè)計內(nèi)容又不了解自己能力的情況下,僅憑興趣進行選題,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%的學生選題時,避難就易,只求畢業(yè)論文順利通過等等,結(jié)果抄襲現(xiàn)象甚為嚴重,缺乏創(chuàng)新和應(yīng)用價值。
三、學生開展畢業(yè)論文實踐擁有的機會
(一)應(yīng)用型院校的發(fā)展需要學生綜合實踐
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)化的知識應(yīng)用服務(wù)于社會”,培養(yǎng)具有一定基礎(chǔ)理論知識、較強實踐能力的學生。畢業(yè)論文是造就應(yīng)用型人才目標的綜合性實踐教學環(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。
(二)本科院校評估都很重視論文質(zhì)量指標
根據(jù)教育部教學水平評價指標體系構(gòu)成項目,畢業(yè)論文是評估本科院校辦學水平的重要指標,是高等學校培養(yǎng)學生創(chuàng)新意識和應(yīng)用能力的一個綜合性重要教學環(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、學生開展畢業(yè)論文實踐面臨的威脅
(一)指導教師方面
1、指導教師數(shù)量相對不足。隨著高等教育的規(guī)?；?、大眾化的轉(zhuǎn)化,學校招生人數(shù)的增加,造成畢業(yè)論文指導教師相對不足,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)管類論文教師指導畢業(yè)論文人均學生數(shù)超過10人,無奈之下一些低職稱、低學歷的老師也承擔了論文指導任務(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,而職稱評定要求又較高,因此,多數(shù)教師教學和科研任務(wù)都較重,沒有充足的時間和精力投入畢業(yè)論文的指導工作,教師常疲于應(yīng)付完成畢業(yè)論文指導任務(wù)。據(jù)調(diào)查約有半數(shù)的指導教師只憑自己的感覺對學生進行指導,基本上要求少,缺乏畢業(yè)論文的長期階段性檢查。
3、指導教師的指導水平不高。雖然部分指導教師有指導資格,但很少參與科研,甚至不會做科研,本身缺乏科研實踐、社會實踐背景,對學生的畢業(yè)論文無法實行有效指導。而有的指導教師雖然本學科的科研很多,但由于部分學生的選題超出了其研究的范圍,結(jié)果指導水平也受到嚴重限制。
4、認識不到位、態(tài)度不端正。據(jù)調(diào)查,約有半數(shù)的論文指導教師認為經(jīng)管類畢業(yè)論文不用做實驗,到最后一個月就可以把它寫出來。平時對于學生論文方面的指導不積極,甚至表示論文都會通過的,消極應(yīng)付學生。對畢業(yè)論文的責任心不強,在選題、指導、評審等程序上不負責任,甚至連畢業(yè)論文指導記錄和指導評語都由學生本人發(fā)表。
(二)學校方面
1、畢業(yè)論文過程管理力度不夠、監(jiān)控乏力。許多地方高校對畢業(yè)論文的認定評價停留在論文的格式、字數(shù)、參考文獻數(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、定稿到論文成績評定,沒有明確的標準與合理的成績評定辦法。畢業(yè)論文成績評判過于寬松,答辯流于形式。與課堂教學中的學生評教、同行評價、院系領(lǐng)導評價、督導委員評價和學校領(lǐng)導評價等多主體檢查評價相比,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生實踐畢業(yè)論文的需要。部分地方學校剛剛花負債迎接完教育部評估,圖書館常因辦學經(jīng)費的問題,研究資料更新不快、缺乏相應(yīng)的實用性和針對性;學校電子數(shù)據(jù)庫設(shè)備少、上機瀏覽費用較高;寢室校園網(wǎng)絡(luò)普及率不高或失修問題嚴重等等。
(三)外部環(huán)境方面
由于金融危機的影響和高校的擴招,目前大學生就業(yè)形勢嚴峻,地方高校畢業(yè)生畢業(yè)問題尤為嚴重。因此,很多學生將主要精力放在人才市場和各類招聘會上,學校鼓勵學生外出擇業(yè),同時,目前用人單位對學生畢業(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)提高師生對畢業(yè)論文工作的認識,建立有效的激勵機制
針對地方應(yīng)用型本科院校師生對畢業(yè)論文的消極認識問題,可通過激勵和約束雙重途徑,端正他們的態(tài)度。對學生而言,提前一學期召開畢業(yè)論文設(shè)計動員大會,使學生了解畢業(yè)論文寫作的意義、目的以及各階段的任務(wù),強調(diào)撰寫畢業(yè)論文是應(yīng)用型人才培養(yǎng)目標方案中十分重要的環(huán)節(jié),是獲得學位和繼續(xù)深造的先決條件。對教師而言,通過定期召開論文指導工作會議,學習相關(guān)規(guī)章制度。強調(diào)畢業(yè)論文的指導質(zhì)量事關(guān)教師評優(yōu)的重要指標之一,并與教師的津貼補助和評優(yōu)晉級等相掛鉤;設(shè)立畢業(yè)論文指導教師優(yōu)秀獎,給予相應(yīng)的物質(zhì)獎勵。
(二)多渠道緩解指導教師相對短缺問題
1、對在刊物上公開發(fā)表本專業(yè)相關(guān)論文的學生做出免于參加畢業(yè)論文寫作的規(guī)定。在學生學習階段,如果學生積極參與教師的科研,撰寫相關(guān)論文,并以第一作者,通?？烧J為其已經(jīng)能用本專業(yè)所學知識解決現(xiàn)實問題,具備了本科生畢業(yè)論文寫作的基本水平。這樣,一方面可激勵學生的學習興趣,另一方面,也可部分緩解指導教師不足的問題。
2、聘請校外單位師資力量。為適應(yīng)應(yīng)用型人才培養(yǎng)的需要,聘請一些校外單位人員擔任論文指導教師,一方面,這些人了解經(jīng)濟社會發(fā)展的現(xiàn)實需要,另一方面,可以緩解目前論文指導教師相對短缺的問題。
(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,學校需要結(jié)合學科專業(yè)特點和專業(yè)定位,對本科生畢業(yè)論文工作規(guī)章制度進行修訂和完善。尤其是對畢業(yè)論文時間安排、選題、開題、中期指導、畢業(yè)論文的評定等提出明確的要求。將質(zhì)量標準、評價依據(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、報告、開設(shè)畢業(yè)論文指導課程等形式向?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)方向和論文指導老師的研究方向上,使選題貼近實際。其次,在學生搜集資料、撰寫畢業(yè)論文期間,學校應(yīng)組織校內(nèi)有關(guān)領(lǐng)導和專家進行定期和不定期的進行論文指導檢查工作。指出存在的問題,指明努力的方向。最后,改革論文評審、成績評定和答辯管理。在指導教師給定成績后,還應(yīng)由2名以上的教師在不知道指導教師給定成績的情況下對論文進行評閱評分。采取結(jié)構(gòu)分模式綜合評定成績,即綜合評定的成績由開題報告、中期檢查、指導教師評定、論文評閱老師評定、論文答辯五部分成績構(gòu)成,學校對五部分成績評定分別給予詳細的標準和賦予相應(yīng)的權(quán)重。在答辯過程中,學生指導教師回避,避免主觀因素對答辯成績的影響。對綜合評定成績不及格者按學校的學籍管理規(guī)定處理,對學生畢業(yè)論文成績要嚴格把關(guān),對學生該嚴則嚴,絕不通融。
(五)建立畢業(yè)論文評優(yōu)制度
為激勵師生將主要精力投入到畢業(yè)論文,學校要認真組織做好畢業(yè)論文的評優(yōu)活動,制定大學優(yōu)秀畢業(yè)論文評選實施辦法及優(yōu)秀指導教師獎勵辦法,并把優(yōu)秀率控制在答辯學生人數(shù)的5%之內(nèi)。對于獲得優(yōu)秀論文的指導教師給予獎勵和表彰,提高教師指導論文工作的積極性。
(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。對于直接就業(yè)的學生,鼓勵其畢業(yè)論文與就業(yè)結(jié)合起來,使畢業(yè)論文撰寫緊密結(jié)合畢業(yè)實踐遇到的現(xiàn)實問題。這樣畢業(yè)論文的撰寫既具有較強的實踐意義,也可以加強用人單位與學生之間的溝通、了解,提高學生的就業(yè)率。對于希望繼續(xù)攻讀研究生的學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,同時延長圖書館開發(fā)的時間。通過校企合作盡可能地爭取資金,加強校園網(wǎng)絡(luò)的建設(shè),為學生做畢業(yè)論文提供良好的信息搜索渠道。
參考文獻:
1、陸翠萍.會計專業(yè)畢業(yè)論文質(zhì)量下降的原因與對策研究[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(論文)質(zhì)量滑坡的原因及其對策[J].中國高教研究,2007(7).
【關(guān)鍵詞】文獻綜述；批判性思維；畢業(yè)論文；英語專業(yè)本科生
0 引言
文獻綜述也稱研究綜述，是指在全面掌握、分析某一學術(shù)問題或研究領(lǐng)域相關(guān)文獻的基礎(chǔ)上，對該學術(shù)問題或研究領(lǐng)域在一定時期內(nèi)已有研究成果、存在問題進行分析、歸納、整理和評述而形成的論文。文獻綜述一般要對研究現(xiàn)狀進行客觀的敘述和評論，以便預(yù)測發(fā)展、研究的趨勢或?qū)で笮碌难芯客黄泣c。文獻綜述雖不是本科生論文必備的一個章節(jié)，但卻是論文撰寫的起點，能夠幫助學生找到選題的切入點和突破點，避免重復勞動。但英語專業(yè)本科生在撰寫學位論文的過程中，在文獻綜述的部分普遍存在文獻搜集不全、閱讀不深、僅羅列信息、個人觀點多或故意突出個人觀點的重要性等問題，直接結(jié)果就是論文的選題重復性特別高。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，因為文獻綜述的“綜”性需要學生歸納、總結(jié)、提煉，而“述”作為評論則需要學生具備批判的能力、辨析的能力，能夠發(fā)現(xiàn)問題最終達到提出解決方案。
1 文獻綜述撰寫方面存在的問題分析
探究英語專業(yè)本科生學位論文文獻綜述部分存在問題的根源，大概有如下幾個原因。
1.1 不會搜集文獻，不懂何為“綜述”
不可否認的是，有些本科生不懂得何為文獻綜述，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。也有些學生根本不會搜集文獻或由于資料搜集范圍或方法不當，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
因論文指導工作過程中已強調(diào)要避免選題重復，選好研究度，盡量做有意義的研究。很多本科生由于學術(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值和意義。這樣做的結(jié)果就是選題不當，重復研究。
1.3 簡單羅列，“綜”而不“述”
有些本科生可以在閱讀相關(guān)文獻的基礎(chǔ)上撰寫綜述，但僅僅是將前人的觀點羅列出來而不能進行系統(tǒng)分類、歸納和提煉，內(nèi)容雜亂，缺乏內(nèi)在的邏輯，與選題連接牽強附會。
1.4 態(tài)度不認真，敷衍了事
因為跨專業(yè)考研、實習機會、跨行就業(yè)等原因，不乏一部分學生對學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，述評能力差是造成學生無法完成文獻綜述任務(wù)進而優(yōu)化選題的主要原因，而前文提到，述評能力是批判性思維的一個反映，那么如何提高批判性思維能力的培養(yǎng)呢？
2 專業(yè)學習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、評估、推論、說明和自我校正。能夠理解和表達極為多樣的經(jīng)驗、情景、數(shù)據(jù)、事件、判斷、習俗、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。能夠識別意圖和陳述之間實際的推論關(guān)系、問題、概念、描述或其他意在表達信念、判斷、經(jīng)驗、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。能夠評價陳述的可信性或其他關(guān)于個人的感知、經(jīng)驗、境遇、判斷、信念或意見的描述；評價陳述、描述、問題或其他表征形式之間實際的或意欲的推論關(guān)系的邏輯力量，包括評價主張，評價論證。能夠識別和維護得出合理結(jié)論所需要的因素；形成猜想和假說；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)范的和語境的術(shù)語說明推論是正當?shù)?；以強有力的論證形式表達論證，包括陳述結(jié)果、證明程序的正當性和表達論證。能夠監(jiān)控一個人認知行為的自我意識、應(yīng)用于這些行為中的因素，特別在分析和評估一個人自己的推論性判斷中應(yīng)用技能導出的結(jié)果，勇于質(zhì)疑、確證、確認或改正一個人的推論或結(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)于英語專業(yè)學生的批判性思維的“缺席”還是“在場”，前人已有多篇論述。思辨能力作為一項核心競爭力，是優(yōu)秀人才的重要素質(zhì)。而大學作為優(yōu)秀人才培養(yǎng)的搖籃，理應(yīng)將思辨能力作為其最具價值的教育目標之一。1998年，由多國高等教育領(lǐng)導者組成的國家高等教育合作組織將思辨能力視作決策者的重要能力，認為大學教授思辨能力等核心技能的目的就是要使學生將來成為更高效的職場人士和負責任的公民。我國的《高等教育法》和《國家中長期教育改革和發(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)新能力的高級專門人才。作為文科專業(yè)學生，英語專業(yè)生除了語言技能外，應(yīng)該擁有較強的批判性思維能力。我們可以通過課程設(shè)置、教學方法和教學理念的更新來實現(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)計劃中強調(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、思維與寫作等實操課，語言學、文學、文化、哲學、社會學等拓展課，要求學生掌握一定的理論、方法，進行實際的操練，并能夠展開比較，因為這一過程定會引發(fā)討論和思考，提高邏輯、批判能力。
2.2 考查方式的改革
實施動態(tài)的監(jiān)控與考核，形成性評價與終結(jié)性評價結(jié)合，改變一張考卷占據(jù)大比例的考核現(xiàn)狀，這樣學生才能更注重參與到整個過程中來，并且也更能考查學生的批判性思維能力。
2.3 注意教學理念和教學方法的更新
現(xiàn)在學生的認知途徑早已不局限于傳統(tǒng)的課堂，各個學校也在積極參與并推動教學改革。在既有的課程設(shè)置中，教師可以嘗試的是教學理念的更新和教學方法的變革。改變傳統(tǒng)的輸出和接受的模式，強調(diào)學生的參與和自主學習，強調(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，課堂和在線學習的結(jié)合等，均有助于提高學生的思考和批判能力。
3 結(jié)語
文獻綜述過程中曝露的學生批判性思維的缺失只是學生批判性思維缺失的一種表現(xiàn)，除了提高批判能力，也需要專門訓練等對策來解決。在說與寫的語言輸出過程中，學生不能分析、歸納、評論，提交自己觀點的例子亦不鮮見，其原因也非幾條能夠概括，但是，如果教育者意識到這個問題并采取行動，即先從最基本的課堂教學開始，學生的批判性思維能力一定會有提高。但正如與寫文獻綜述的一個原則相呼應(yīng)的是，我們必須恪守欣賞與批判并行的原則，為達到批判地提出自己的觀點的目標，多賞讀、涉獵經(jīng)典，是先行一步的。
【參考文獻】
[1]黃源深.英語專業(yè)課程必須徹底改革――再談“思辨缺席”[J].外語界.2010（01）.
〔2〕李梟鷹.文獻綜述――學術(shù)創(chuàng)新的基石[J].學位與研究生教育. 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.再論外語專業(yè)學生的思辨能力：“缺席”還是“在場”？兼論將思辨能力培養(yǎng)納入外語專業(yè)教育過程――以英語演講課為例[J].中國外語，2013（01）.
[5]時俊卿.撰寫文獻綜述應(yīng)注意的問題[J].教育科學研究，2004，7.
[6]王琪.撰寫文獻綜述的意義、步驟與常見問題[J].學位與研究生教育，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：G64 文獻標識碼：A
文章編號：1009-0118（2012）07-0287-02
畢業(yè)論文是本科教育的一個必經(jīng)環(huán)節(jié)。它是高等教育自學考試本科專業(yè)學生完成本科階段學習的一個重要部分，也是衡量自考學生英語學習水平是否達到全日制普通高校相同層次、相同專業(yè)的學歷水平的依據(jù)。畢業(yè)論文的撰寫目的在于培養(yǎng)自考學生綜合運用所學知識解決實際問題的能力以及總結(jié)自己的學習成果。
論文的寫作不能簡單地被看成是由句——段——篇的一個連接過程。指導本科英語專業(yè)自考生論文寫作的過程是一個引導學生增強畢業(yè)論文寫作規(guī)范意識，努力達到論文寫作規(guī)范的過程。但是，在實際的學習過程中，由于多數(shù)學生缺乏系統(tǒng)的課堂授課和平時訓練，所以他們對于畢業(yè)論文的完成就會感到壓力很大、心中無數(shù)從而不知該如何下筆。因此，對本科專業(yè)自考生的畢業(yè)論文撰寫進行必要的指導具有重要意義。教學中，針對較多學生學習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)本科英語專業(yè)自考生獨立完成畢業(yè)論文的撰寫，我們可以分兩個步驟進行，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；通過選題來限定論文的選材范圍，以防出現(xiàn)文不對題、論題范圍太窄或太泛現(xiàn)象；選題必須要選擇有科學意義和現(xiàn)實意義以及切實可行的課題，選好課題是畢業(yè)論文成功的關(guān)鍵所在。
（一）選擇具有科學價值和現(xiàn)實意義的課題
科學研究的目的是為了更好地認識世界、改造世界、推動社會的不斷發(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值，以及具有現(xiàn)實意義；本科自考生的畢業(yè)論文撰寫應(yīng)該從現(xiàn)實的學習中選題，專業(yè)知識的學習不能只停留在書本理論上，必須要理論聯(lián)系實際；用已掌握的知識，去尋找和解決學習中有待解決的問題；選題應(yīng)具有新穎性，要具備獨具慧眼的能力和超前意識去思考、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此進行補充和完善，這也是有科學價值和現(xiàn)實指導意義的。
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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