研究生英語學(xué)術(shù)論文寫作課件

EssentialStrategiesforEnglishAcademicWritingDengYingling

ForeignStudiesCollegeofHunanNormalUniversity1hEssentialStrategiesforEngli

I.

CourseDescriptionII.RequirementsofResearchPapers

ThiscourseisanattempttoguidethestudentstolearnmoreadvancedskillsandstrategiesforthinkingandwritinginEnglishofamoreacademicnature.Theyarerequiredtowritecoursepapersanddissertationswhichhavetomeetcertaininternationallyacceptedacademicstandards.Themainpurposeofdoingresearchisnottosummarizetheworkofothersbuttoassimilateandtobuildonitandtoarriveatyouownunderstandingofthesubject.2hI.CourseDescriptionII.RIII.

Targetofthiscourse

Thiscoursecannotpresentalltheprofitablewaysofdoingresearch.Itemphasizesthemechanicsofpreparingeffectivepapers.Chapter1ResearchandWritingDescribethefirststepsinascholarlyproject:choosingatopic;usingalibraryandtheInternet;evaluatingelectronicsources;producingaworkingbibliography,notes,outlines,anddrafts;andavoidingplagiarism

3hIII.Targetofthiscourse

T1.1Selectingatopic.(3)consultlibrarymaterialsandotherinformationresources.(2)Rememberthetimeallottedtoyouandtheexpectedlengthoftheresearchpaper.

(4)Lookforasubjectoranissuethatwillcontinuetoengageyouthroughoutresearchandwriting.(1)FollowingPersonalInterest4h1.1Selectingatopic.(3)con1.Besurethetopicmeetstherequirementsofyourresearchassignment.2.Focusonatopicthatyouwanttolearnmoreabout.3.Checktoseethatsufficientresourcesareavailable.4.Avoidphilosophicaltopicsorthosebasedonpersonalbelief.5.avoidtopicstoonarrowortoobroadfordiscussion.6.Avoidstandard,populartopicscommonlychosenforstudentresearchpapers.5h1.BesurethetopicmeetstheResearchSurvey《外國文學(xué)評(píng)論》《外國文學(xué)研究》(武漢,人大復(fù)印資料)《國外文學(xué)》《外國文學(xué)》《當(dāng)代外國文學(xué)》6hResearchSurvey《外國文學(xué)評(píng)論》6h英國文學(xué)研究的走向1.加強(qiáng)傳記文學(xué)及理論研究,特別是關(guān)注傳記文學(xué)中的主體性問題,注重傳記事實(shí)和歷史事實(shí)之間的差別與疊合問題.2.重視英國小說社會(huì)學(xué)和小說倫理學(xué)研究.3.加強(qiáng)英國通俗小說研究,從文化與亞文化、制造與消費(fèi)、傳播與接受角度對(duì)通俗小說的社會(huì)功能進(jìn)行考察.4.加強(qiáng)英美文學(xué)影響研究5.加強(qiáng)對(duì)英美兒童文學(xué)和科幻小說的研究,從審美、意識(shí)形態(tài)、人格塑造的高度來關(guān)注國外兒童文學(xué)和科幻小說對(duì)我國青少年身心健康的影響.7h英國文學(xué)研究的走向1.加強(qiáng)傳記文學(xué)及理論研究,特別是關(guān)注傳近5年來國外英國小說的研究主要表現(xiàn)為：

1）研究視野的開闊性和開放性。2）引入跨學(xué)科研究成果，研究方法呈現(xiàn)出多元性。3）研究對(duì)象的新穎性，特別關(guān)注弱勢(shì)邊緣群體（如黑人、女性等）、少數(shù)族裔、亞文化現(xiàn)象、非經(jīng)典作家作品的研究。4）研究力度的深入性和觀點(diǎn)的獨(dú)創(chuàng)性。5）宏觀研究與微觀研究互為支撐，相得益彰。http://wg-wx.tongtu@163.com

8h近5年來國外英國小說的研究主要表現(xiàn)為：1）研究視野的開闊性國內(nèi)學(xué)者對(duì)英國小說研究存在的問題文學(xué)理論與文本批評(píng)的生搬硬套。文學(xué)批評(píng)的“失語癥”。譯介的數(shù)量不足和質(zhì)量低劣問題。研究范圍和學(xué)術(shù)視野相對(duì)窄小。文化研究中潛在的不規(guī)范問題。9h國內(nèi)學(xué)者對(duì)英國小說研究存在的問題文學(xué)理論與文本批評(píng)的生搬硬英國詩歌研究:多元化、多視角研究領(lǐng)域由過去的浪漫主義、現(xiàn)代主義詩歌逐漸向中世紀(jì)詩歌、文藝復(fù)興時(shí)期、玄學(xué)派詩歌、當(dāng)代詩歌、詩論等領(lǐng)域拓展.對(duì)經(jīng)典詩歌的研究出現(xiàn)多元化批評(píng)傾向:文化研究、社會(huì)意識(shí)形態(tài)研究、新歷史主義研究、語言學(xué)研究、后現(xiàn)代主義研究、敘事學(xué)研究.注重主題、意象、音韻、語言、藝術(shù)特色的研究注重詩人的詩學(xué)理念的研究當(dāng)代詩歌研究的升溫:英國黑人詩歌、蘇格蘭詩歌、SeamusHeaney,TedHughes10h英國詩歌研究:多元化、多視角研究領(lǐng)域由過去的浪漫主義、現(xiàn)代主英國詩歌研究存在的問題在文本的闡釋與文學(xué)理論的介入方面還存在一些問題。英國詩歌研究缺乏“問題意識(shí)”，缺乏“本土”視角，缺乏有個(gè)性的洞見與觀點(diǎn)。對(duì)詩歌作品的研究中，同一水平的重復(fù)現(xiàn)象比較多，觀點(diǎn)陳舊，缺乏新意。英國各個(gè)時(shí)期詩歌的整體或?qū)ｎ}研究較少11h英國詩歌研究存在的問題在文本的闡釋與文學(xué)理論的介入方面還存在未來英語詩歌研究的走向在多元文學(xué)批評(píng)的視域下，繼續(xù)加強(qiáng)對(duì)經(jīng)典詩歌的研究．加強(qiáng)對(duì)當(dāng)代詩歌的研究：多元文化背景下的當(dāng)代英國詩歌研究、當(dāng)代英國詩人群體研究（愛爾蘭詩人、蘇格蘭詩人、女詩人、少數(shù)族裔等）、當(dāng)代詩歌語言與大眾文化研究、當(dāng)代英國詩歌的民族性研究．加強(qiáng)詩人的詩學(xué)理念研究．加強(qiáng)英國詩歌史的研究．12h未來英語詩歌研究的走向在多元文學(xué)批評(píng)的視域下，繼續(xù)加強(qiáng)對(duì)經(jīng)典美國小說研究突出的研究領(lǐng)域是：華裔小說、黑人小說、猶太小說和后現(xiàn)代小說受到關(guān)注最多的作家分別是：海明威、莫里森、?？思{、納博科夫、索爾·貝婁、德萊塞、譚恩美等人最常見的研究視角分別是：社會(huì)文化批評(píng)、性別研究（genderstudies）、種族文學(xué)、后現(xiàn)代特征、敘事技巧、區(qū)域特征等。其他研究視角還包括文學(xué)語言、敘事技巧、小說類型、文化心理、宗教倫理、生態(tài)意識(shí)、跨文化沖突。13h美國小說研究突出的研究領(lǐng)域是：華裔小說、黑人小說、猶太小說和美國小說文化研究20世紀(jì)90年代以來文學(xué)研究的熱點(diǎn):從人文關(guān)懷的角度出發(fā)，擺脫經(jīng)院式研究套路，把文學(xué)研究還置于產(chǎn)生這一文學(xué)現(xiàn)象的歷史、文化、宗教、哲學(xué)、社會(huì)、民俗的背景之中加以研究，運(yùn)用現(xiàn)代文化理論來審視文學(xué)現(xiàn)象，并給予文學(xué)文本以文化意義上的解讀和闡釋。我國對(duì)美國小說的文化研究:明顯表現(xiàn)出對(duì)美國文學(xué)中亞文化現(xiàn)象的興趣，如猶太文化、黑人文化、女性文化和中國文化。14h美國小說文化研究20世紀(jì)90年代以來文學(xué)研究的熱點(diǎn):從人文關(guān)對(duì)小說的專題研究印第安文學(xué)、亞裔文學(xué)、影視文學(xué)、生態(tài)文學(xué)、各族文學(xué)、猶太文學(xué)哥特小說、偵探小說、罪案小說、旅行小說小說中的感傷主義、倫理道德、地方文化等對(duì)傳統(tǒng)經(jīng)典小說和作家的研究：?？思{、詹姆斯、麥爾維爾、莫里林、馬克·吐溫、奧·康納、格特魯?shù)隆せ羯！⒕S拉·凱瑟、杰克·倫敦、克魯亞克等15h對(duì)小說的專題研究印第安文學(xué)、亞裔文學(xué)、影視文學(xué)、生態(tài)文學(xué)、各當(dāng)今美國文學(xué)研究的基本走向

把文學(xué)研究與社會(huì)文化聯(lián)系起來，使文學(xué)研究貼近現(xiàn)實(shí)生活對(duì)黑人文學(xué)的研究，把黑人文學(xué)與黑人音樂聯(lián)系起來互文件、性別意識(shí)、多元文化主義等意識(shí)已經(jīng)深人學(xué)術(shù)研究的骨髓。許多傳統(tǒng)文集里不受重視的作家和作品都成為當(dāng)今學(xué)者的研究對(duì)象。研究的思路往往是把他們放置在整個(gè)美國文學(xué)鏈和文化發(fā)展鏈之中去審視。16h當(dāng)今美國文學(xué)研究的基本走向把文學(xué)研究與社會(huì)文化聯(lián)系起來，使研究的突出主題：對(duì)美國國民性的認(rèn)識(shí)、對(duì)身份的建構(gòu)、互文件導(dǎo)致的某些思想的傳承和淵源關(guān)系等環(huán)境意識(shí)和生態(tài)保護(hù)意識(shí)引導(dǎo)著學(xué)者重新闡釋早期作品。區(qū)域文學(xué)研究、早期鄉(xiāng)士文學(xué)研究，與當(dāng)下的環(huán)境意識(shí)和生態(tài)意識(shí)緊密聯(lián)系起來，互為補(bǔ)充，互為印證，表現(xiàn)出很強(qiáng)的文化建設(shè)和思想建設(shè)性17h研究的突出主題：對(duì)美國國民性的認(rèn)識(shí)、對(duì)身份的建構(gòu)、互文件導(dǎo)致美國小說研究存在的問題兩種極端：一種是生搬硬套西方文論述語，另一種極端是作者缺少文學(xué)理論的滋養(yǎng)和文學(xué)審美的敏感性，角度不新，深度不夠，往往是在故事概述的基礎(chǔ)上，對(duì)作品的主題或人物性格做類型化的點(diǎn)評(píng)。研究領(lǐng)域和視角不夠開闊：局限在幾個(gè)熱點(diǎn)領(lǐng)域，如后現(xiàn)代主義、女性文學(xué)、華裔小說、黑人小說等中國人文價(jià)值觀的閑置和批評(píng)話語的缺失18h美國小說研究存在的問題兩種極端：一種是生搬硬套西方文論述語美國詩歌研究綜術(shù)美國經(jīng)典詩人及相關(guān)主題依然是關(guān)注的重點(diǎn)在中西詩人的比較研究主要集中在對(duì)龐德詩歌中的中國元素的研究以及中國文化和美國詩歌的相互影響上。一些流派和“主義”的研究得到縱深挖掘和發(fā)展，如對(duì)自白派詩歌現(xiàn)象的進(jìn)一步探討、對(duì)女性主義題材和黑人詩歌題材的發(fā)掘。出現(xiàn)了新的研究方法和研究角度，少數(shù)族裔的詩歌研究成為顯學(xué)，其中最多的是關(guān)于黑人詩歌的研究，其次是對(duì)亞裔和美國土著詩歌的研究。當(dāng)代“新形式主義”詩歌也進(jìn)入研究者的視野。19h美國詩歌研究綜術(shù)美國經(jīng)典詩人及相關(guān)主題依然是關(guān)注的重點(diǎn)19美國詩歌研究存在的問題

缺乏批評(píng)意識(shí)和本土視角:不少研究主題單一，涉及面較窄，視角也不夠廣泛?？偸蔷心嘤谏贁?shù)幾個(gè)經(jīng)典詩人的經(jīng)典作品的研究20h美國詩歌研究存在的問題缺乏批評(píng)意識(shí)和本土視角:20h深層次、多元化、多視角的研究方向1、應(yīng)該加強(qiáng)作家之間的對(duì)比研究2、應(yīng)該加強(qiáng)影響研究。3、開展對(duì)詩流派和斷代史的研究:如美國浪漫派詩歌研究，或戰(zhàn)后美國詩歌史等.4、加強(qiáng)對(duì)美國詩歌的社會(huì)文化內(nèi)涵的挖掘。21h深層次、多元化、多視角的研究方向1、應(yīng)該加強(qiáng)作家之間的對(duì)比研選題參考1、新形式主義詩歌的發(fā)生發(fā)展研究：2、少數(shù)族裔題材3、女性主義、生態(tài)文學(xué)或同性戀題材4、自白派詩人對(duì)美國詩歌傳統(tǒng)的繼承和發(fā)展：5、美國浪漫派詩歌研究：22h選題參考1、新形式主義詩歌的發(fā)生發(fā)展研究：22h1.2ConductingResearch(1)

ModernLibraries

(2)Anonlinecentralinformationsystem

(3)ReferenceWorks(4)CompilingaWorkingBibliography(6)TakingNotes(5)

ConsideringtheAvailableSourceMaterials23h1.2ConductingResearch(1)Mod(5)TakingNotesThereare,generallyspeaking,threemethodsofnote-taking:summary,paraphrase,andquotation.

Insummarizing,paraphrasing,orquoting,keepanaccuraterecordofthepagesorothernumberedsections

24h(5)TakingNotesThereare,genPlagiarism

Touseanotherperson’sideasorexpressionsinyourwritingwithoutacknowledgingthesourceistoplagiarize.plagiarism,then,constitutesintellectualtheft.

Inwritingyourresearchpaper,then,youshoulddocumenteverythingthatyouborrow___notonlyquotationsandparaphrasesbutalsoinformationandideas.25hPlagiarismTouseanotherpersSomeofDickinson’smostpowerfulpoemsexpressherfirmlyheldconvictionthatlifecannotbefullycomprehendedwithoutanunderstandingofdeath.EmilyDickinsonstronglybelievedthatwecannotunderstandlifefullyunlesswealsocomprehenddeath.AsWendyMartinhassuggested,EmilyDickinsonstronglybelievedthatwecannotunderstandlifefullyunlesswealsocomprehenddeath(625)26hSomeofDickinson’smostpowerOutliningaparticularlyusefulintermediateactivitybetweenresearchandwriting.Anoutlinewillhelpyoutogetanoverallviewofyourpaperand,tofigureouthoweachsectionofthepaperrelatestotheothers,developinganoutlinecanhelpyoutoseethelogicalprogressionofyourargument.Commonorganizingprinciplesarechronology,causeandeffectprocessandlogic,deductiveorinductive.

27hOutliningaparticularlyusefulChapter1Majorheading1.1Minorheading1.1.1Detailheading1.1.2Detailheading1.2Minorheading1.2.1Detailheading1.2.2DetailheadingChapter2Majorheading2.1Minorheading2.1.1Detailheading2.1.2Detailheading2.2Minorheading2.2.1Detailheading2.2.2Detailheading

28hChapter1Majorheading28hWritingAbstractsTheabstractisacondensedversionofaresearchpaperthathighlightsthemajorpointscoveredandprovidesreaderswithabriefpreviewofthecontentandscopeofthewriting.Therearetwotypicaltypesofabstracts:descriptiveandinformative.Adescriptiveabstract:informationfromthepaper,thepurpose,methods,andscopeofthepaper,thesubject.Aninformativeabstract:specificinformationfromthepaper,thepurpose,methods,andscopeofthepaper,andtheresults,conclusions,andrecommendations.Researchersshouldalwayswriteinformativeabstracts.29hWritingAbstractsTheabstractQuestionsontheabstractWhatisthesubjectmatter/areatheresearchpaperisdealingwith.Whatbackgroundinformationisprovidedbytheauthor?Whatisthepurposeofthepresentstudy?Howistheresearchtobedone?Whataresomeoftheimportantfindings?Whataresomeoftheimplicationsofthestudy?30hQuestionsontheabstractWhatAneffectiveabstractusually:usesoneormorewelldevelopedparagraphs:theseareunified,coherent,concise,andabletostandalone.usesanintroduction/body/conclusionstructurewhichpresentsthepaper’spurpose,results,conclusions,andrecommendationsinthatorder.followstrictlythechronologyofthepaper.31hAneffectiveabstractusually:provideslogicalconnections(ortransitions)betweentheinformationincluded.addsnonewinformation,butsimplysummarizesthereport.isunderstandabletoawideaudience.oftentimesusespassiveverbstodownplaytheauthorandemphasizetheinformation.32hprovideslogicalconnections(Anabstractshouldbeasbriefandconcisebutinformativeaspossible.Mostabstractsofmaster’sthesesareconfinedto200words.Poorabstractshavesomeproblemsincommon:1.Theymaybetoodetailed.Apoorabstractistoodetailedusuallybecauseitcontainstoomanyunnecessarydetailssuchasdetailsaboutthemethodologyordetailsaboutthecontextoftheresearchproblem.2.Someimportantinformationmaybeleftout.Becauseofthelengthconstraints,researchersmayleaveoutsomeimportantinformation.33hAnabstractshouldbeasbrief3.Theymaybetoolong.Anabstractistoolongbecausetheauthorfeelsthateverythingistooimportanttobeleftout,orbecauseheorsheforgetsthewordlimit.4.Theymaybetooshort.Ashortabstractisnotnecessaryagoodone.Ifthewordlimitis200andthesubmittedabstractisonly100words,importantinformationmayhavebeenleftout.34h3.Theymaybetoolong.AnabsTipsInwritingtheabstract,selectimportantinformationsuchaspurpose,methods,scope,results,conclusions,andrecommendationsfromthepaper.Theheadings,outlineheads,tableofcontents,introductionandconclusionareusefulsections.Copyingsentencesdirectlyfromthesectionsofthepapershouldbestrictlyavoided.Instead,synthesizetheinformationinthemajorsectionsintoclear,concisestatements.35hTips35hAvoidreferencetootherliteraturesAvoidusingthefirstperson“I”or“we”.Beginthefirstsentencewiththephrase“thispaper”or“thisstudy”.Usenon-evaluativelanguage;reportratherthancommentuponthefindings.Rememberthewordlimit36hAvoidreferencetootherliterWritingIntroductionThefunctionoftheintroductionsectionofaresearchpapercreatereader’sinterestbyintroducinginmoredetailsomegeneralbackgroundinformationonthetopicunderinvestigation.focusonanissue,aproblem,oraquestionrelevanttothestudy.reviewpreviousresearchdiscussdeficienciesinpreviousresearchonthetopic（areasonfordoingyourresearch）proposea“new/different”wayofinvestigatingthesametopicorsomeaspectofit.37hWritingIntroductionThefunctiWritingConclusionThreeelementsofConclusion:(1)referringbacktothepaper’ssectionsinasummarystatement(2)discussingsomeoftheimplicationsoftheresearchinthewidercontextofinvestigation(3)lookingintothefutureforpossibledevelopments.Thelanguageshouldsummarize,evaluate,andprojectresearchpossibilitiesinthefuture.38hWritingConclusionThreeelemen1.Author’sfullname(lastnamefirst)2.Fulltitle(includinganysubtitle)3.Edition(ifthebookisasecondorlateredition)4.Numberofthevolumeandthetotalnumberofvolumes(ifthebookisamultivolumework)5.Cityofpublication6.Shortenedformofthepublisher’sname(see6.5)7.Yearofpublication(4)A

CitingBooks(see4.6)39h1.Author’sfullname(lastnaa.Thebasicentry:abookbyasingleauthor

Author’sname.Titleofthebook.Publicationinformation.

e.g.Wilson,FrankR.TheHand:HowItsUseShapestheBrain,Language,andHumanCulture.NewYork:Pantheon,1998.40ha.Thebasicentry:abookbyb.Additionalinformation

1.Author’sname2.Titleofapartofthebook3.Titleofthebook4.Nameoftheeditor,translator,orcompiler5.Editionused6.Number(s)ofthevolume(s)used7.Nameoftheseries8.Placeofpublication,nameofthepublisher,anddateofpublication9.Pagenumbers10.Supplementarybibliographicinformationandannotation41hb.Additionalinformation1.ATitleofapartofthebooka.Aworkinananthologye.g.Allende,Isabel.“Toad’sMouth.”Trans.MargaretSayersPeden.AHammockbeneaththeMangoes:StoriesfromLatinAmerica.Ed.ThomasColchie.NewYork:Plume,1992.83-88.b.AnIntroduction,aPreface,aForeword,oranAfterworde.g.Borges,JorgeLuis.Forword.SelectedPoems,1923-1967.ByBorges.Ed.NormanThomasDiGiovanni.NewYork:Delta-Dell,1973.XV-XVI.42hTitleofapartofthebooka.Titleofthebooke.g.Lauter,Paul,etal.,eds.TheHeathAnthologyofAmericanLiterature.2nded.2vols.Lexington:Heath,1994.e.g.Doyle,ArthurConan.TheOxfordSherlockHolmes.Ed.OwenDudleyEdwards.Vol.8.NewYork:OxfordUP,1993.43hTitleofthebooke.g.Lauter,Nameoftheseries

e.g.Neruda,Pablo.CantoGeneral.Trans.JackSchmitt.LatinAmer.Lit.andCulture1.Berkeley:UofCaliforniaP,1991.PagenumbersGivetheinclusivepagenumbersofthepieceyouareciting.Besuretoprovidethepagenumbersfortheentirepiece,notjustforthematerialyouused.44hNameoftheseriese.g.N(4)B.CitinganArticleinaScholarlyjournal1.Author’sname2.Titleofthearticle3.Titleofthejournal4.Volumenumber5.Yearofpublication6.Inclusivepagenumbersofthearticle(i.e.thenumberofthepageonwhichthearticlebegins,ahyphen,andthenumberofthepageonwhichthearticleends)e.g.Vartanov,Anri.“TelevisionasSpectacleandMyth.”JournalofCommunication41(1991):162-71.45h(4)B.CitinganArticleinaCitinginternetsource(see4.9.1-4)1.

Evaluatethequalityofanyworkbeforeusingandcitingit

2.Ifyouareworkingwithliterarytextsthatexistinvariousversions,makecertainyouusereliableeditions.

3.Researchersneedtobeconcernedabouttheauthority,accuracy,andcurrencyofallsourcestheyuse.46h1.Evaluatethequalityofany1.Author’sname2.Titleofthedocument3.Titleofthescholarlyproject,database,periodical,orprofessionalorpersonalsite4.Nameoftheeditorofthescholarlyprojectordatabase5.Dateofelectronicpublicationorlastupdate6.Nameoftheinstitutionororganizationsponsoringorassociatedwiththesite.7.Datewhenyouaccessedthesource8.Networkaddress,orURL47h1.Author’sname47hOakley,JohnH.“TheAchillesPainter.”ThePerseusProject.Ed.GregoryCrane.Mar.1997.TuftsU.14May1998<http:///Secondary/Painter-Essays/Achilles-toc.html>.48hOakley,JohnH.“TheAchillesChapter2TheMechanicsofWriting2.1Spelling

Spelling,includinghyphenation,shouldbeconsistentthroughouttheresearchpaper-exceptinquotations,whichmustretainthespellingoftheoriginal,whethercorrectorincorrect.49hChapter2TheMechanicsofWriNamesofPersonsThefirsttimeyouuseaperson’snameinthetextofyourresearchpaper,stateitfullyandaccurately,exactlyasitappearsinyoursource.Insubsequentreferencestotheperson,youmaygivethelastnameonlyunlessyourefertotwoormorepersonswiththesamelastname.Donotuseformaltitles(Mr.,Mrs.,Miss,Ms.,Dr.,Professor,Reverend)inreferringtomenorwomen,livingordead.50hNamesofPersonsThefirsttimeNumbersInarangeofnumbers,givethesecondnumberinfullfornumbersthroughninety-nine.Forlargernumbers,giveonlythelasttwodigitsofthesecondnumber,unlessmorearenecessary.

Inarangeofyears,writebothinfullunlesstheyarewithinthesamecentury.51hNumbersInarangeofnumbers,CapitalizingandPunctuationInbothtitlesandsubtitles,capitalizethefirstwords,thelastwords,andallprincipalwords,includingthosethatfollowhyphensincompoundterms.Capitalizethefollowingpartsofspeech:Nouns,Pronouns,verbs,adjectives,adverbs,subordinatingconjunctions.Donotcapitalizethefollowingpartsofspeechwhentheyfallinthemiddleofatitle:articles,prepositions,coordinatingconjunctions,thetoininfinitives.52hCapitalizingandPunctuationInItalicizedTitlesTitlestobeitalicizedincludethenamesofbooks,plays,longpoemspublishedasbooks,pamphlets,periodicals(newspapers,magazines,andjournals),films,radioandtelevisionprograms.TitlesinQuotationMarksUsequotationmarksforthetitlesofworkspublishedwithinlargerworks.Suchtitlesincludethenamesofarticles,essays,shortstories,shortpoems,chaptersofbooks.53hItalicizedTitlesTitlestobeTitlesandQuotationswithinTitlesItalicizeatitlenormallyindicatedbyitalicizingwhenitappearswithinatitleenclosedinquotationmarks.Encloseinsinglequotationmarksatitlenormallyindicatedbyquotationmarkswhenitappearswithinanothertitlerequiringquotationmarks.e.g.“LinesafterReading‘SailingtoByzantium’”Ifaperiodisrequiredafteranunderlinedtitlethatendswithaquotationmark,placetheperiodbeforethequotationmark.54hTitlesandQuotationswithinTItalicizedtitlewithinanunderlinedtitleThetitlewithinisneitherunderlinednorenclosedinquotationmarks.ExceptionsWordsdesignatingthedivisionsofawork(preface,scene,introduction,stanza,chapter,canto,bibliography,act)arealsonotitalicizedorputwithinquotationmarks,noraretheycapitalizedwhenusedinthetexte.g.Theauthorsaysinherpreface;Incanto32Ariosowrites55hItalicizedtitlewithinanundShortenedTitleIfyouciteatitleofteninthetextofyourpaper,youmay,afterstatingthetitleinfullatleastonce,useashortenedform,preferablyafamiliarorobviousone,oranabbreviatione.g.,“Nightingale”for“OdetoaNightingale”

TheSecretAgent(henceforthSA)56hShortenedTitleIfyouciteatQuotationsTheymustreproducetheoriginalsourcesexactly.changesmustnotbemadeinthespelling,capitalization,orinteriorpunctuationofthesource.

Ifaquotationendingasentencerequiresaparentheticalreference,placethesentenceperiodafterthereference.57hQuotationsTheymustreproduceEllipsisWheneveryouwishtoomitaword,aphrase,asentence,ormorefromaquotedpassage,youshouldbeguidedbytwoprinciples:fairnesstotheauthorquotedandthegrammaticalintegrityofyourwriting.

ifomittingmaterialfromtheoriginalsentence,youmustuseellipsispoints,threespacedperiods,placesquarebracketsaroundtheellipsispointsthatyouadd.58hEllipsisWheneveryouwishtooe.g.InsurveyingvariousresponsestoplaguesintheMiddleAges,B.W.Tuchmanwrites,“Medicalthinking[…]stressedairasthecommunicatorofdisease,ignoringsatiationorvisiblecarriers.”InsurveyingvariousresponsestoplaguesintheMiddleAges,B.W.Tuchmanwrites,“Medicalthinking,trappedinthetheoryofastralinfluences,stressedairasthecommunicatorofdisease[…].”

InsurveyingvariousresponsestoplaguesintheMiddleAges,B.W.Tuchmanwrites,“Medicalthinking,trappedinthetheoryofastralinfluences,stressedairasthecommunicatorofdisease[…]”(101-02).59he.g.InsurveyingvariousrespTheomissionofalineormoreinthemiddleofapoetryquotationthatissetofffromthetextisindicatedbyalineofspacedperiods,withinsquarebrackets,approximatelythelengthofacompletelineofthequotedpoem.e.g.ElizabethBishop’s“IntheWaitingRoom”isrichinevocativedetail:InWorcester,Massachusetts.IwentwithAuntConsueloTokeepherdentist’sappointment[………………]Itwaswinter.Itgotdarkearly.(1-3,6-7)

60hTheomissionofalineormorePunctuationwithQuotationsExceptforchanginginternaldoublequotationmarkstosingleoneswhenyouincorporatequotationsintoyourtext,youshouldreproduceinternalpunctuationexactlyasintheoriginal.

e.g.Youwanttoquotethefollowingsentence:“you’vegottobecarefullytaught.”“You’vegottobecarefullytaught,”wroteOscarHammersteinIabouthowracialprejudiceisperpetuated.61hPunctuationwithQuotationsExcChapter3TheFormatoftheResearchPaper

MarginsSpacingHeadingandTitlePagenumbersTablesandIllustration:Placetablesandillustrationsascloseaspossibletothepartsofthetexttowhichtheyrelate.62hChapter3TheFormatoftheReChapter4Documetation:PreparingtheListofWorksCitedMLAStyleInMLAdocumentationstyle,youacknowledgeyoursourcesbykeyingbriefparentheticalcitationsinyourtexttoanalphabeticallistofworksthatappearsattheendofthepaper.TheparentheticalcitationthatconcludesthefollowingsentenceistypicalofMLAstyle.e.g.AncientwritersattributedtheinventionofthemonochordtoPythagoras,wholivedinthesixthcenturyBC(Marcuse197).63hChapter4Documetation:PreparAcitationinMLAstylecontainsonlyenoughinformationtoenablereaderstofindthesourceintheworks-citedlist.Iftheauthor’snameismentionedinthetext,onlythepagenumberappearsinthecitation:“(197).”Ifmorethanoneworkbytheauthorisinthelistofworkscited,ashortenedversionofthetitleisgiven:“(Marcuse,Survey197).”youhavetoaddinitialsorfirstnamesiftwoofthecitedauthorshavethesamelastname.(K.Roemer123-24),(M.Roemer67)64hAcitationinMLAstylecontaiPlacementoftheListofBibliographyBeginthelistonanewpageandnumbereachpage,continuingthepagenumberofthetext.Thepagenumberappearsintheupperright-handcorner.Centerthetitle,Bibliograph,double-spacebetweenthetitleandthefirstentry.Begineachentryflushwiththeleftmargin;ifanentryrunsmorethanoneline,indentthesubsequentlineorlinesone-halfinch(orfivespaces)formtheleftmargin.Double-spacetheentirelist,bothbetweenandwithinentries.65hPlacementoftheListofBibliArrangementofEntriesIngeneral,alphabetizeentriesinbibliographybytheauthor’slastname,usingtheletter-by-lettersystem.Inthissystem,thealphabeticalorderofnamesisdeterminedbythelettersbeforethecommasthatseparatelastnamesandfirstnames.Thelettersafterthecommasareconsideredonlywhentwoormorelastnamesareidentical.

Macdonald,GeorgeMorris,RobertMcCullers,CarsonMorris,WilliamMorrison,Toni66hArrangementofEntriesIngenerIftwoormoreentriescitingcoauthorsbeginwiththesamename,alphabetizebythelastnamesofthesecondauthorslisted.e.g.Scholes,Robert,andRobertKelloggScholes,Robert,CarlH.Klaus,andMichaelSilvermanScholes,Robert,andEricS.RabkinIftheauthor’snameisunknown,alphabetizebythetitle,ignoringanyinitialA,An,orThe.Forexample,thetitleAnEncyclopediaoftheLatin-AmericanNovelwouldbealphabetizedundereratherthana.67hIftwoormoreentriescitingTwoorMoreBooksbytheSameAuthor(s)Tocitetwoormorebooksbythesameauthor,givethenameinthefirstentryonly.Thereafter,inplaceofthename,typethreehyphens,followedbyaperiodandthetitle.Thethreehyphensstandforexactlythesamenameasintheprecedingentry.

Ifthepersonnameedited,translated,orcompiledthebook,placeacomma(notaperiod)afterthethreehyphens,andwritetheappropriateabbreviation(ed.,trans.,orcomp.)beforegivingthetitle.

68hTwoorMoreBooksbytheSameworkslistedunderthesamenamearealphabetizedbytitle.

Frye,Northrop.AnatomyofCriticism:FourEssays.Princeton:PrincetonUP.1957.,ed.DesignforLearning:ReportsSumittedtotheJointCommitteeoftheTorontoBoardofEducationandtheUniversityofToronto.Roronto:UofTorontoP,1962..TheDoubleVision:LanguageandMeaninginReligion.Toronto:UofTorontoP,1991.,ed.Soundandpoetry.NewYork:ColumbiaUP,1957.69hworkslistedunderthesamenaIftherearemorethanthreeauthors,youmaynameonlythefirstandaddetal.(“andothers”),oryoumaygiveallnamesinfullintheorderinwhichtheyappearonthetitlepage.e.g.Gilman,Sander,etal.HysteriabeyondFreud.Berkeley:UofCaliforniaP,1993.Ifasingleauthorcitedinanentryisalsothefirstofmultipleauthorsinthefollowingentry,repeatthenameinfull;donotsubstitutethreehyphens.Thethreehyphensareneverusedincombinationwithpersons’names.70hIftherearemorethanthreeaAnArticleinaReferenceBookTreatanencyclopediaarticleoradictionaryentryasyouwouldapieceinacollection,butdonotcitetheeditorofthereferencework.Ifthearticleissigned,givetheauthorfirst.Ifitisunsigned,givethetitlefirst.Iftheencyclopediaordictionaryarrangesarticlesalphabetically,youmayomitvolumeandpagenumbers.Whencitingfamiliarreferencebooks,especiallythosethatfrequentlyappearinneweditions,donotgivefullpublicationinformation.Forsuchworks,listonlytheeditionandtheyearofpublication.71hAnArticleinaReferenceBooke.g.“Ginsburg,RuthBader.”Who’sWhoinAmerica.52nded.1998.Mohanty,JitendraM.“IndianPhilosophy.”TheNewEncyclopaediaBritannica:Macropaedia.15thed.1987.Whencitinglessfamiliarreferencebooks,however,especiallythosethathaveappearedinonlyoneedition,givefullpublicationinformation.72he.g.“Ginsburg,RuthBader.”WCross-References(相互參照)Toavoidunnecessaryrepetitionincitingtwoormoreworksfromthesamecollection,youmaycreateacompleteentryforthecollectionandcross-referenceindividualpiecestotheentry.Inacross-reference,statetheauthorandthetitleofthepiece,thelastnameoftheeditorofthecollection,andtheinclusivepagenumbers.73hCross-References(相互參照)ToavoidHamill,Pete.Introduction.SextonandPowersxi-xiv.Mayakovsky,Vladimir.“BrooklynBridge.”Trans.MaxHaywardandGeorgeReavey.Sextonandpowers136-41.McCullers,