‘壹’ 英国毕业论文要怎么写
硕士生在毕业阶段最头疼的就是毕业论文的写作，其主要原因在于：一是不少学生知识面比较狭窄，专业知识较为薄弱，研究性学习不足；二是基本功较差，没有毕业论文的写作经验或是自身写作能力差；第三是不会安排毕业论文的完成时间，总是压到最后再去完成像在赶作业；那么广大留学生该怎样才能把英国硕士生的毕业论文写作好？下文从多个方面来指导广大留学生去写作英国硕士生毕业论文。
1：毕业论文的选题
很多学生不知道怎么选题，选题不了就意味着无法进行写作资料的搜集准备与整理，也无法从事论文写作。教师在选题这个关键阶段要给学生以积极指导。首先是专业选题范围指导。例如作为中文专业的学生，在学习基础课之后所选修的内容不一样，有的选修文学类，有的选修语言类。选修文学类的学生在选题时就要根据自己对古代文学、现代文学、当代文学的专长和兴趣，一定选择自己所擅长的专业，而不能选择自己不擅长的古汉语和现代汉语语言专业。
其次是选题范围大小指导。选题的一个主要原则就是宜小不宜大，大的选题因为难度大难以把握，不宜写得深入。小的选题能够从微观入手，深入细致的加以论述，做到“小题大做”。论文题目过大就需要大量的资料、丰富的理论知识修养、娴熟的写作技巧和旁征博引，才能全面透彻的论证问题，所以不适合硕士学生，当然也不能过于小，一定要适中。
第三，指导如何进行选题。学生在选题之前一定要大量阅读文献资料，善于发现问题和分析问题，搞清楚自己所从事的文学专业领域科研状况，前人有哪些研究成果，研究成果有哪些争议，摸清自己所要研究的论题在当今的社会意义和学术价值含量，不能重复别人的研究成果。选题时一定要根据自己的研究水平和能力做到量力而行。第四，选题时还要考虑到创新与写作能力之间的问题，虽然大家都主张学术论文一定要创新，但毕竟硕士学力有限，过分强调开创性不切合实际。
2：材料的搜集与运用指导
一旦论文选题确立之后，就需要大量搜、整理与运用资料。一篇学术论文如果没有充分的材料作为支撑，那就是等于空话连篇，得出的结论也是有失偏颇。其实学生在选题之前就应该进行阅读大量的材料了，通过大量资料的阅读和分析之后，发现自己所要解决的问题，然后制定选题，通过大量的材料的整理与分析，才能运用好这些经过大量时间和心血准备的材料，最终得出自己所要的结论和所想解决的问题。
3：论文提纲制定指导
学生通过大量资料的准备、阅读、分析之后，进行论文的选题，一旦选题之后就需要缜密构思文章的提纲了。这个阶段也是一件不容易的事情，很多学生对于论文提纲拟定也比较犯愁，因为他们不懂得抓住论文题目的关键词汇，也就是选题的中心论点，在拟提纲时不能紧紧围绕题目的“题眼”，出现了所编制的提纲结构框架不合理、没有充分体现文章标题的中心论点，主题不突出，层次不分明，逻辑不顺畅等问题。因此在指导学生拟定论文提纲时着重强调一下几点：
一是要指导学生精心设计一级标题和二级标题，使得各级标题都能全面围绕文章的一个中心论点进行，每个分论点可以采取并列式或递进式结构，大标题和小标题之间要紧紧相扣，相互衔接和呼应，大标题也都要受其主题的统领。
二是指导学生进一步反复修改提纲。论文提纲拟定好之后，再结合所有的材料进行分析、整理文章的整体结构，反复推敲。把文章整体结构与各细节联系起来，确保整体与细节之间的关联性和呼应。论文结构趋于合理化有利益理清论文整体思路，突出主题，不会出现跑题、偏题等问题。提纲拟定的成败也关系到文章的写作成败，一旦匆匆忙忙拟好提纲，不加思考就动笔写，势必会造成事倍功半的效果，因此教师告诫学生切忌草率行事。当然提纲在写作过程中也可以根据需要进行改动调整，目的就是使得提纲更加缜密完善，但是也不能频繁地、较大的改动。
4：写作过程中注意事项的指导
万事俱备，就欠书写论文了，这时要指导学生把握写作要领，抓住论文中心环节，运用充分的材料作为写作的详实论据，运用清晰的思维、思辨的论证逻辑和规范的学术语言进行论述论文论点，将其经过深思熟虑的思想与观点，运用言简意赅、通俗易懂的语言逐一阐述出来。
第一，在写作时可以按照论文提纲的体例结构顺序进行，各标题之下的二级标题都要紧扣该标题，论述时论证结合，做到论据详实、论证充分，语言表述要准确、流畅、连贯。整篇文章要符合逻辑，条理清晰，层次分明。如果写作过程中遇到了困难，可以采取不按提纲顺序，先写思路比较清晰的部分，写完之后再去解决疑难问题。
第二，注意论文格式的写作。学位论文是了为了锻炼学生基本写作方法和提高写作能力的训练，论文格式有一定的要求，对于初写毕业论文的学生往往不注重论文的格式。学位论文的格式在成绩评定中也找有一定的比分，评审老师从学生论文格式中就能判断出该生写作态度是否端正，是否受到过学术论文的写作训练。
第三，指导学生运用参考资料，处理好文章与参考文献之间的关系。总之写作过程中需要辅导老师加以多方面的指导，方能使得学生顺利完成写作任务。
‘贰’ 《英美概况》论文该怎么写啊
从民族历史、建国、发展中重大事件、文化价值观、习惯、语言、对历史和今天的影响等方面。
英美...重点应该是17世纪开始吧，英国就是对近代史的重要影响说起，如英国文学，英国语言，英国移民统治，工业革命，英国对欧洲大陆，北美，亚洲，非洲的影响，一战二战等等。美国就是和英国的关系，以及和法国的关系，西进运动领土扩张，南北内战，二次、三次工业革命，二战，冷战，反恐，民主制度文化价值观等等喽
‘叁’ 英国文学论文到底有多难写
外国小说很多啊，都可以作为研究论文的题材，建议你看下（世界文学研究）里的，挺多的世外国小说论述的
‘肆’ 我需要关于英国文学的英语论文1500词
The term English literature refers to literature written in the English language, including literature composed in English by writers not necessarily from England; Joseph Conrad was Polish, Robert Burns was Scottish, James Joyce was Irish, Dylan Thomas was Welsh, Edgar Allan Poe was American, Salman Rushdie is Indian, V.S. Naipaul was born in Trinidad, Vladimir Nabokov was Russian. In other words, English literature is as diverse as the varieties and dialects of English spoken around the world. In academia, the term often labels departments and programmes practising English studies in secondary and tertiary ecational systems. Despite the variety of authors of English literature, the works of William Shakespeare remain paramount throughout the English-speaking world.
This article primarily deals with literature from Britain written in English. For literature from specific English-speaking regions, consult the see also section at the bottom of the page.
Contents [hide]
1 Old English
2 Renaissance literature
3 Early Modern period
3.1 Elizabethan Era
3.2 Jacobean literature
3.3 Caroline and Cromwellian literature
3.4 Restoration literature
3.5 Augustan literature
4 18th century
5 Romanticism
6 Victorian literature
7 Modernism
8 Post-modern literature
9 Views of English literature
10 See also
11 External links
Old English
Main article: Anglo-Saxon literature
The first works in English, written in Old English, appeared in the early Middle Ages (the oldest surviving text is Cædmon's Hymn). The oral tradition was very strong in early British culture and most literary works were written to be performed. Epic poems were thus very popular and many, including Beowulf, have survived to the present day in the rich corpus of Anglo-Saxon literature that closely resemble today's Norwegian or, better yet, Icelandic. Much Anglo-Saxon verse in the extant manuscripts is probably a "milder" adaptation of the earlier Viking and German war poems from the continent. When such poetry was brought to England it was still being handed down orally from one generation to another, and the constant presence of alliterative verse, or consonant rhyme (today's newspaper headlines and marketing abundantly use this technique such as in Big is Better) helped the Anglo-Saxon peoples remember it. Such rhyme is a feature of Germanic languages and is opposed to vocalic or end-rhyme of Romance languages. But the first written literature dates to the early Christian monasteries founded by St. Augustine of Canterbury and his disciples and it is reasonable to believe that it was somehow adapted to suit to needs of Christian readers. Even without their crudest lines, Viking war poems still smell of blood feuds and their consonant rhymes sound like the smashing of swords under the gloomy northern sky: there is always a sense of imminent danger in the narratives. Sooner or later, all things must come to an end, as Beowulf eventually dies at the hands of the monsters he spends the tale fighting. The feelings of Beowulf that nothing lasts, that youth and joy will turn to death and sorrow entered Christianity and were to dominate the future landscape of English fiction.
Renaissance literature
Main article: English Renaissance
Following the introction of a printing press into England by William Caxton in 1476, vernacular literature flourished. The Reformation inspired the proction of vernacular liturgy which led to the Book of Common Prayer, a lasting influence on literary English language. The poetry, drama, and prose proced under both Queen Elizabeth I and King James I constitute what is today labelled as Early modern (or Renaissance).
Early Modern period
Further information: Early Modern English and Early Modern Britain
Elizabethan Era
Main article: Elizabethan literature
The Elizabethan era saw a great flourishing of literature, especially in the field of drama. The Italian Renaissance had rediscovered the ancient Greek and Roman theatre, and this was instrumental in the development of the new drama, which was then beginning to evolve apart from the old mystery and miracle plays of the Middle Ages. The Italians were particularly inspired by Seneca (a major tragic playwright and philosopher, the tutor of Nero) and Plautus (its comic clichés, especially that of the boasting soldier had a powerful influence on the Renaissance and after). However, the Italian tragedies embraced a principle contrary to Seneca's ethics: showing blood and violence on the stage. In Seneca's plays such scenes were only acted by the characters. But the English playwrights were intrigued by Italian model: a conspicuous community of Italian actors had settled in London and Giovanni Florio had brought much of the Italian language and culture to England. It is also true that the Elizabethan Era was a very violent age and that the high incidence of political assassinations in Renaissance Italy (embodied by Niccolò Machiavelli's The Prince) did little to calm fears of popish plots. As a result, representing that kind of violence on the stage was probably more cathartic for the Elizabethan spectator. Following earlier Elizabethan plays such as Gorboc by Sackville & Norton and The Spanish Tragedy by Kyd that was to provide much material for Hamlet, William Shakespeare stands out in this period as a poet and playwright as yet unsurpassed. Shakespeare was not a man of letters by profession, and probably had only some grammar school ecation. He was neither a lawyer, nor an aristocrat as the "university wits" that had monopolised the English stage when he started writing. But he was very gifted and incredibly versatile, and he surpassed "professionals" as Robert Greene who mocked this "shake-scene" of low origins. Though most dramas met with great success, it is in his later years (marked by the early reign of James I) that he wrote what have been considered his greatest plays: Hamlet, Romeo and Juliet, Othello, King Lear, Macbeth, Antony and Cleopatra, and The Tempest, a tragicomedy that inscribes within the main drama a brilliant pageant to the new king. This 'play within a play' takes the form of a masque, an interlude with music and dance coloured by the novel special effects of the new indoor theatres. Critics have shown that this masterpiece, which can be considered a dramatic work in its own right, was written for James's court, if not for the monarch himself. The magic arts of Prospero, on which depend the outcome of the plot, hint at the fine relationship between art and nature in poetry. Significantly for those times (the arrival of the first colonists in America), The Tempest is (though not apparently) set on a Bermudan island, as research on the Bermuda Pamphlets (1609) has shown, linking Shakespeare to the Virginia Company itself. The "News from the New World", as Frank Kermode points out, were already out and Shakespeare's interest in this respect is remarkable. Shakespeare also popularized the English sonnet which made significant changes to Petrarch's model.
The sonnet was introced into English by Thomas Wyatt in the early 16th century. Poems intended to be set to music as songs, such as by Thomas Campion, became popular as printed literature was disseminated more widely in households. See English Madrigal School. Other important figures in Elizabethan theatre include Christopher Marlowe, Thomas Dekker, John Fletcher and Francis Beaumont. Had Marlowe (1564-1593) not been stabbed at twenty-nine in a tavern brawl, says Anthony Burgess, he might have rivalled, if not equalled Shakespeare himself for his poetic gifts. Remarkably, he was born only a few weeks before Shakespeare and must have known him well. Marlowe's subject matter, though, is different: it focuses more on the moral drama of the renaissance man than any other thing. Marlowe was fascinated and terrified by the new frontiers opened by modern science. Drawing on German lore, he introced Dr. Faustus to England, a scientist and magician who is obsessed by the thirst of knowledge and the desire to push man's technological power to its limits. He acquires supernatural gifts that even allow him to go back in time and wed Helen of Troy, but at the end of his twenty-four years' covenant with the devil he has to surrender his soul to him. His dark heroes may have something of Marlowe himself, whose untimely death remains a mystery. He was known for being an atheist, leading a lawless life, keeping many mistresses, consorting with ruffians: living the 'high life' of London's underworld. But many suspect that this might have been a cover-up for his activities as a secret agent for Elizabeth I, hinting that the 'accidental stabbing' might have been a premeditated assassination by the enemies of The Crown. Beaumont and Fletcher are less-known, but it is almost sure that they helped Shakespeare write some of his best dramas, and were quite popular at the time. It is also at this time that the city comedy genre develops. In the later 16th century English poetry was characterised by elaboration of language and extensive allusion to classical myths. The most important poets of this era include Edmund Spenser and Sir Philip Sidney. Elizabeth herself, a proct of Renaissance humanism, proced occasional poems such as On Monsieur’s Departure.
Canons of Renaissance poetry
Jacobean literature
After Shakespeare's death, the poet and dramatist Ben Jonson was the leading literary figure of the Jacobean era (The reign of James I). However, Jonson's aesthetics hark back to the Middle Ages rather than to the Tudor Era: his characters embody the theory of humours. According to this contemporary medical theory, behavioral differences result from a prevalence of one of the body's four "humours" (blood, phlegm, black bile, and yellow bile) over the other three; these humours correspond with the four elements of the universe: air, water, fire, and earth. This leads Jonson to exemplify such differences to the point of creating types, or clichés.
Jonson is a master of style, and a brilliant satirist. His Volpone shows how a group of scammers are fooled by a top con-artist, vice being punished by vice, virtue meting out its reward.
Others who followed Jonson's style include Beaumont and Fletcher, who wrote the brilliant comedy, The Knight of the Burning Pestle, a mockery of the rising middle class and especially of those nouveaux riches who pretend to dictate literary taste without knowing much literature at all. In the story, a couple of grocers wrangle with professional actors to have their illiterate son play a leading role in a drama. He becomes a knight-errant wearing, appropriately, a burning pestle on his shield. Seeking to win a princess' heart, the young man is ridiculed much in the way Don Quixote was. One of Beaumont and Fletcher's chief merits was that of realising how feudalism and chivalry had turned into snobbery and make-believe and that new social classes were on the rise.
Another popular style of theatre ring Jacobean times was the revenge play, popularized by John Webster and Thomas Kyd. George Chapman wrote a couple of subtle revenge tragedies, but must be remembered chiefly on account of his famous translation of Homer, one that had a profound influence on all future English literature, even inspiring John Keats to write one of his best sonnets.
The King James Bible, one of the most massive translation projects in the history of English up to this time, was started in 1604 and completed in 1611. It represents the culmination of a tradition of Bible translation into English that began with the work of William Tyndale. It became the standard Bible of the Church of England, and some consider it one of the greatest literary works of all time. This project was headed by James I himself, who supervised the work of forty-seven scholars. Although many other translations into English have been made, some of which are widely considered more accurate, many aesthetically prefer the King James Bible, whose meter is made to mimic the original Hebrew verse.
Besides Shakespeare, whose figure towers over the early 1600s, the major poets of the early 17th century included John Donne and the other Metaphysical poets. Influenced by continental Baroque, and taking as his subject matter both Christian mysticism and eroticism, metaphysical poetry uses unconventional or "unpoetic" figures, such as a compass or a mosquito, to reach surprise effects. For example, in "A Valediction: Forbidding Mourning", one of Donne's Songs and Sonnets, the points of a compass represent two lovers, the woman who is home, waiting, being the centre, the farther point being her lover sailing away from her. But the larger the distance, the more the hands of the compass lean to each other: separation makes love grow fonder. The paradox or the oxymoron is a constant in this poetry whose fears and anxieties also speak of a world of spiritual certainties shaken by the modern discoveries of geography and science, one that is no longer the centre of the universe. Apart from the metaphysical poetry of Donne, the 17th century is also celebrated for its Baroque poetry. Baroque poetry served the same ends as the art of the period; the Baroque style is lofty, sweeping, epic, and religious. Many of these poets have an overtly Catholic sensibility (namely Richard Crashaw) and wrote poetry for the Catholic counter-Reformation in order to establish a feeling of supremacy and mysticism that would ideally persuade newly emerging Protestant groups back toward Catholicism.
Caroline and Cromwellian literature
The turbulent years of the mid-17th century, ring the reign of Charles I and the subsequent Commonwealth and Protectorate, saw a flourishing of political literature in English. Pamphlets written by sympathisers of every faction in the English civil war ran from vicious personal attacks and polemics, through many forms of propaganda, to high-minded schemes to reform the nation. Of the latter type, Leviathan by Thomas Hobbes would prove to be one of the most important works of British political philosophy. Hobbes's writings are some of the few political works from the era which are still regularly published while John Bramhall, who was Hobbes's chief critic, is largely forgotten. The period also saw a flourishing of news books, the precursors to the British newspaper, with journalists such as Henry Muddiman, Marchamont Needham, and John Birkenhead representing the views and activities of the contending parties. The frequent arrests of authors and the suppression of their works, with the consequence of foreign or underground printing, led to the proposal of a licensing system. The Areopagitica, a political pamphlet by John Milton, was written in opposition to licensing and is regarded as one of the most eloquent defenses of press freedom ever written.
Specifically in the reign of Charles I (1625 – 42), English Renaissance theatre experienced its concluding efflorescence. The last works of Ben Jonson appeared on stage and in print, along with the final generation of major voices in the drama of the age: John Ford, Philip Massinger, James Shirley, and Richard Brome. With the closure of the theatres at the start of the English Civil War in 1642, drama was suppressed for a generation, to resume only in the altered society of the English Restoration in 1660.
Other forms of literature written ring this period are usually ascribed political subtexts, or their authors are grouped along political lines. The cavalier poets, active mainly before the civil war, owed much to the earlier school of metaphysical poets. The forced retirement of royalist officials after the execution of Charles I was a good thing in the case of Izaak Walton, as it gave him time to work on his book The Compleat Angler. Published in , the book, ostensibly a guide to fishing, is much more: a meditation on life, leisure, and contentment. The two most important poets of Oliver Cromwell's England were Andrew Marvell and John Milton, with both procing works praising the new government; such as Marvell's An Horatian Ode upon Cromwell's Return from Ireland. Despite their republican beliefs they escaped punishment upon the Restoration of Charles II, after which Milton wrote some of his greatest poetical works (with any possible political message hidden under allegory). Thomas Browne was another writer of the period; a learned man with an extensive library, he wrote prolifically on science, religion, medicine and the esoteric.
Restoration literature
Main article: Restoration Literature
Restoration literature includes both Paradise Lost and the Earl of Rochester's Sodom, the high spirited sexual comedy of The Country Wife and the moral wisdom of Pilgrim's Progress. It saw Locke's Treatises on Government, the founding of the Royal Society, the experiments of Robert Boyle and the holy meditations of Boyle, the hysterical attacks on theatres from Jeremy Collier, the pioneering of literary criticism from Dryden, and the first newspapers. The official break in literary culture caused by censorship and radically moralist standards under Cromwell's Puritan regime created a gap in literary tradition, allowing a seemingly fresh start for all forms of literature after the Restoration. During the Interregnum, the royalist forces attached to the court of Charles I went into exile with the twenty-year old Charles II. The nobility who travelled with Charles II were therefore lodged for over a decade in the midst of the continent's literary scene. Charles spent his time attending plays in France, and he developed a taste for Spanish plays. Those nobles living in Holland began to learn about mercantile exchange as well as the tolerant, rationalist prose debates that circulated in that officially tolerant nation.
The largest and most important poetic form of the era was satire. In general, publication of satire was done anonymously. There were great dangers in being associated with a satire. On the one hand, defamation law was a wide net, and it was difficult for a satirist to avoid prosecution if he were proven to have written a piece that seemed to criticize a noble. On the other hand, wealthy indivials would respond to satire as often as not by having the suspected poet physically attacked by ruffians. John Dryden was set upon for being merely suspected of having written the Satire on Mankind. A consequence of this anonymity is that a great many poems, some of them of merit, are unpublished and largely unknown.
未完
‘伍’ 英国文学方向毕业论文，推荐几个好写的作品
要是论老一些的小说，笛福、斯威夫特、菲尔丁、狄更斯、萨克雷的作品也是可以考虑的，就怕写的人太多，难免出现雷同。
要是论现代派的小说，借鉴一下卡夫卡（捷克表现主义）和詹姆斯（爱尔兰意识流）对海勒（美国黑色幽默）和萨特（法国存在主义）的影响。其中，《异变》是个不错的作品，容易展开（如果允许跨国界来写）。《到灯塔去》、《虹》等也行。
要是论当代派的小说，就太过于多元化了，取材尚可广泛，主题难以归约，不推荐。
‘陆’ 英美文学创新论文怎么写简奥斯汀
这个要先了解你写什么题目
内容怎么说我才好决定怎么帮你
‘柒’ 英美文学论文的提纲怎么写格式需要写些什么
英美文学论文包含英美文学研究，中西文化等研究论文...Dickinsons
Because
I
Couldn't
英美文学与英语教育
了解文化差异，走出交际误区
浅谈《傲慢与偏见》中的婚姻价值...www.wsdxs.cn/html/yingmei