英語修辭與寫作·22.3　有關(guān)論文格式的幾個問題

22.3　有關(guān)論文格式的幾個問題

22.3A　論文格式的幾個主要方面

1） 前面3.2B所講到的一般文章規(guī)范和本章22.1B提到的論文格式，都是基本要求。

2） 注釋和參考書目是論文的兩個重要組成部分，引文多是論文的一個特色，而這些也都有其規(guī)范要求。鑒于文科英語論文都遵循MLA （Modern Language Association of America） Style, 我們僅參照MLA的有關(guān)規(guī)定作些簡要介紹，詳細內(nèi)容應(yīng)查閱MLA Handbook。

22.3B　摘引

1） 摘引必須準確無誤，對原文不可改動，但在不歪曲原意的前提之下可以省去一些詞語或句子，例如：

“Various headings can be used for this listing — Bibliography, References ..., but Works Cited is recommended.”

2） 摘引內(nèi)容達到或超過四行時則稱之為Block Quotation. MLA Handbook要求這種摘引左邊縮進4個字母，右邊不縮，隔行排印，不加引號（原文有時則不變）。例如：

The dog has advantages in the way of uselessness as well as in special gifts of temperament. He is often spoken of ... as the friend of man, and his intelligence and fidelity are praised. The meaning of this is that the dog is man's servant and that he has the gift of an unquestioning subservience and a slave's quickness in guessing his master's mood ...”

（Veblen）

“Your tempers are by no means unlike. You are each of you so complying that nothing will ever be resolved on; so easy, that every servant will cheat you; and so generous, that you will always exceed your income.”

（ibid）

3） 引進引語的幾種常見方式。冒號是引進引語的一種較為正式的形式，例如：

Emerson bluntly stated his faith in self-reliant individuals as follows:“An institution is the lengthened shadow of one man.”

動詞said, wrote等加上逗號，是引進引語的常見形式：

Emerson wrote, “An institution is the lengthened shadow of one man.”

介詞短語“according to ...”也可引進引語，并且該引導(dǎo)部分可置句首或插入句中，在句中時前后用逗號相隔。例如：

According to Emerson, “An institution is the lengthened shadow of one man.”

“An institution,”according to Emerson,“is the lengthened shadow of one man.”

當引語是整個句子的一個成分（通常是主語、表語或賓語）或用that連接時，不用逗號。例如：

“All the Way with MLA” was their slogan.

They followed the principle of “All the way with MLA.”

They maintained that “All the way with MLA is our principle.”

22.3C　注釋

1） 注釋的功能主要有兩種，一種是對論文中的某個要點或詞語加以說明，稱為Explanation note，另一種是引導(dǎo)讀者參閱論文的其他某個部分或其他某個文件，這種叫做Reference note；有的注釋兼有上述兩種功能。

2） 從注釋所處的位置看，主要有腳注（Footnote）和尾注（Endnote）兩種。

如果使用腳注，在文中需在注釋部位的右上方加上編號，并須把某頁的注釋安排在該頁的下方，為此，腳注對讀者方便，但會給排印者帶來一定的麻煩。下面的例子是文章某頁的最后幾行，該頁有兩條腳注：

... At their first meeting Elizabeth and Darcy are both guilty of the faults expressed in the title of the novel1. He is proud of his social position, and she is proud of her “fallible perceptions”2 — her faith is her ability to judge.

尾注較好安排，只需對論文的注釋按先后次序編號，在文章的最后（可另起一頁）排印上所有的注釋。

還有一種題注（Title note），可按腳注辦法處理，或在文章標題和正文之間，這是一種較突出的題注，并通常用“*”代替數(shù)碼標號。

3） 同一個文件在一篇論文中再次提到時，第一次注釋（Primary note）必須明確和完整，便于讀者查對，而再次提及（Secondary note）時則可簡略。試比較下面的1號注釋和7號注釋，前者全，后者略：

1. I. F. Stone, The Trial of Socrates （Boston: Little, 1988） 102.

　...

7. Stone, Trial 118.

22.3D　參考文獻

1） MLA Handbook關(guān)于參考文獻的格式規(guī)定得相當詳盡，共計40多項，這里僅就幾個最常見方面加以簡略介紹。MLA認為，論文參考文獻的英文表示方法可以有好幾種，如Bibliography, Literature Cited, References, Sources,等，但以Works Cited為最好，因為論文的參考材料除書之外，還有其他材料在內(nèi)。

2） 書的標準排列：

Stone, I. F. 　The Trial of Socrates. 　Boston: Little, 1988.

說明：

a. 首行縮進5個字母，第二行再縮進5個，第三行與第二行齊。

b. 作者姓名應(yīng)同標題頁一致，不同作者均以其姓的字母先后為序，姓后加逗號，后空一個字母；名后加句號，后空兩字母。

c. 書名同標題頁一致（不同封面一致），加下橫線（斜體），書名后加句號，各空兩個字母。若有副標題，則以逗號同正標題相隔，亦須加下橫線（斜體），后同樣空兩個字母。

d. 若有幾個出版地名，只需標出第一個，后加冒號，接出版商。

e. 出版商名用簡化式，如用Little代表Little, Brown & Co.,用Macmillan代表Macmillan Publishing Company, 用Norton代表W. W. Norton and Co. Inc., 用Penguin代表Penguin Books, Inc.,等，MLA Handbook有詳載。出版商后加逗號，空一字母，后接出版年份，最后句號。

3） 期刊的標準排列：

Kekes, John. “Understanding Evil.” American Philosophical Quarterly 25 （1988）: 13－24.

說明：

a. 期刊有季刊、月刊、周刊等不同類別，但標準排列的基本次序相同：作者，標題，出版年份，頁碼。

b. 作者的標法與書同。

c. 標題部分先是作者的文章題目，用引號，內(nèi)有句號，然后是期刊標題，下橫線（斜體），后空一個字母，接期刊號，再空一個字母，加括號于出版年份，再加冒號，空一字母，接著是文章所在頁碼，最后句號。

4） 如有兩個作者（或編者）時，應(yīng)按標題頁的次序排列，其中首位作者姓在前，名在后，加逗號，再加and，后接另一位作者，其署名方式（名+姓）照標題上的次序不變；若有3個作者，則在第三位作者前加and。例如：

Abramson, Jill, and Barbara Franklin. Where They Are Now: The Story of the Women of Harvard Law 1974. Garden City: Doubleday, 1986.

McMahon, Elizabeth, Robert Funk, and Susan Day. The Elements of Writing about Literature and Film. New York: Macmillan, 1988.

若超過3名作者，只標首位，后以et al.表示之：

Elliot, Emory, et al., eds. Columbia Literary History of the United States. New York: Columbia UP, 1988.

5） 同一個作家的幾部作品，只需在第一部作品前面署作者姓名，第二部前面則以3個連字號代替。例如：

Irving, John, The Cider House Rules. New York: Morrow, 1985.

... The Hotel New Hampshire. New York: Dutton, 1981.

6） 對于翻譯作品，通常是將譯者姓名放到書名之后。例如：

Machado, Antonio. Trans Selected Poems. Alan S. Trueblood. Cambridge: Harvard UP, 1988.

練習(xí)二十二?。‥xercise Twenty-Two）

I. Preview Questions:

1. Can you call thesis writing just an ordinary written exercise?

2. Do you think the three basic requirements cited in 22.1B are all important in writing a thesis?

3. Which three questions you'd bear in mind when you are preparing a thesis?

4. Do you think it necessary to make an outline for the thesis you are writing?

5. Why is it important to revise one's draft?

6. Do you know what MLA stands for?

7. Can you tell one of the ways to introduce a quotation?

8. How many kinds of notes do you usually use in the thesis?

9. Do you know how to cite a reference book by two authors according to MLA system?

II. Revise the following according to the rhetorical principles you have learned:

When you come right down to it, there is no law that says you have got to make use of big words when you write or talk.

There are large numbers of small words, and good ones, that can be made to say all the things you want to say, which can function quite as well as the big ones. A bit more time may be taken to find them at first. But it can be well worth it, for everyone of us knows what he means. Some small words, more than you might conceive, are lavish with just the right feel, the right taste, as if made to assist you say a thing the way it should be said.

Small words can be crisp, brief, laconic — go to the point, like a knife. They have a charm all their own. They dance, twist, turn, sing. Like sparks in the night they light the way for the eyes of those who read. They are the grace notes of prose. You know what they say the way you know a day is bright and fair at first sight. And you find, in the process of your reading, that you like the way they say it. Small words are gay. And they can catch large thoughts and hold them up for all to see, like rare stones in rings of gold, or joy in the eyes of someone in his childhood.

III. Read the following and then mark whether each of the statements is true （T） or false （F）.

When you learn to drive a car, you study dozens of separate skills, from turning the ignition key to applying the brakes. Yet driving a car is not merely the sum of those skills, like adding up shifting+steering+acceleration + braking. Although you learn all of these skills independently, you still must be able to combine them into one over-riding skill: the ability to pilot a 3,000-pound machine even when it is hurtling down an expressway at 55 miles per hour. Furthermore, when you are on that expressway and some idiot outs right in front of you, there is no time to say to yourself, “Now I must push hard on my brake and then I must check the mirror to see if I can change lanes and then I must steer to the left.” People become accident statistics that way. Instead, you must be able to use your skills instinctively and simultaneously.

So, too, with the complex skill of writing. We have talked about many separate skills in this book. But good writing is not just the sum of those skills, it's not a matter of good words+good sentences+good paragraphs+appropriate forms. Instead you need to combine, to integrate those skills. This means learning to use them instinctively and simultaneously, as you confront the challenges every writer must meet in paper writing.

When you are writing a short paper, usually five pages or so, the process can be divided into four stages:finding a topic, planning the paper, writing the paper, and revising it. Of course, you should not think of this division into four stages as you would a recipe. This composing process should be regarded as a series of continuous actions that bring about a certain result. In fact, many of these actions go on simultaneously.

Writing long papers, however, involves a lot more work. For instance, after you have chosen your topic, you might draw up a sketchy outline and start finding sources, taking notes;then convert your rough outline into a final outline before you start writing, or drafting. When the draft is finished, you have to revise, or rewrite it until you are satisfied. There the final manuscript will be ready and now you should turn your attention to proofreading.

Statements:

1. The four stage process can be applied to any paper writing, which includes finding a topic, planning the paper, writing the paper and revising it. Although a short paper covers usually five pages or so while a long paper covers many more pages and it goes without saying that it takes much more time and efforts.

2. Driving a car requires that the driver acquire not only the knowledge of the separate skills but also the ability to combine them into one overriding skill and use separate skills instinctively, simultaneously and appropriately under different circumstances.

3. Writing a long paper is different from writing short ones in that besides topic finding, paper planning, drafting and revising, the writer has to do a lot more work, i. e. the writer has to find sources, take notes, drawing up an outline before he/she starts writing or drafting.

4. As driving includes the whole set of skills ranging from turning the ignition key, shifting, steering, accelerating to braking and stopping, writing can be viewed as good words + good sentences + good paragraphs + appropriate forms. Both writing and driving are necessary to the society, though one can be more complicated and needs more time to learn.

IV. Arrange the following materials according to MLA style:

1. The title of the book is The Norton Guide to Writing, published in 1992 by W. W. Norton & Company, in New York. The author is Thomas Cooley.

2. Origins of the English Language by Joseph M. Williams was printed in 1986 by Collier Macmillan publishers, London.

3. The book entitled Readings for Composition, A Writer's Anthology edited by Adrienne Robins and Steven Robins, was published in 1992 by St. Martin's Press, Inc., New York.

4. John Kekes's article “Understanding Evil”was published in 1988 in the 25th issue of the periodical American Philosophical Quarterly from page 13 to page 24.

5. Alan S. Trueblood translated Selected Poems which were written by Antonio Machado. The book was published in 1988 by Harvard UP, Cambridge.

6. Randolph Quirk, Sidney Greenbaum, Geoffrey Leech and Jan Svartvik collaborated on A Grammar of Contemporary English, printed in 1972 by Longman Group Ltd, London.

7. The three works cited here are all by Noam Chomsky. The first is Aspects of the Theory of Syntax, published in 1970 by MIT Press at Cambridge, Mass. The second is Barriers, published in 1986 by the MIT Press at Cambridge, Mass. The third is a paper entitled “Some Notes on Economy of Derivation and Representation”,which is included in Principles and Parameters in Comparative Grammar （pp.417－454） edited by R. Freidin and published in 1991 by the MIT Press at Cambridge, Mass.

* * *

1. Mary Lascelles, Jane Austen and Her Art （Oxford: Clarendon, 1963） 160.

2. Marilyn Butler, Jane Austen and the War of Ideas （Oxford:Clarendon, 1975） 207.

參考答案

Ⅱ.　When you come right down to it, there is no law that says you have to use big words when you write or talk.

There are lots of small words, and good ones, that can be made to say all the things you want to say, quite as well as the big ones. It may take a bit more time to find them at first. But it can be well worth it, for all of us know what they mean. Some small words, more than you might think, are rich with just the right feel, the right taste, as if made to help you say a thing the way it should be said.

Small words can be crisp, brief, terse — go to the point, like a knife. They have a charm all their own. They dance, twist, turn, sing. Like sparks in the night they light the way for the eyes of those who read. They are the grace notes of prose. You know what they say the way you know a day is bright and fair — at first sight. And you find, as you read, that you like the way they say it. Small words are gay. And they can catch large thoughts and hold them up for all to see, like rare stones in rings of gold, or joy in the eyes of a child.

Ⅲ. 1. F　2. T　3. T　4. F

Ⅳ. 1. Cooley, Thomas, The Norton Guide to Writing. New York: Norton, 1992.

2. Williams, J. M. Origin of the English Language: London: Macmillan, 1986.

3. Robins, A. and Steven Robins. Readings for Composition: A Writer's Anthology. Ed. New York: St. Martin's, 1992.

4. Kekes, John. “Understanding Evil.” American Philosophical Quarterly 25 （1988）: 13－24.

5. Machado, Antonio. Selected Poems. Trans. Alan S. Trueblood. Cambridge: Harvard UP, 1988.

6. Quirk, Randolph, et al., eds. A Grammar of Contemporary English. London: Longman, 1972.

7. Chomsky, N. Aspects of the Theory of Syntax. Cambridge, Mass: The MIT Press, 1970.

--- Barriers. Cambridge, Mass: MIT, 1986.

--- “Some Notes on Economy of Derivation and Representation.” Principles and Parameters in Comparative Grammar. R. Freidin. Ed. Cambridge, Mass: MIT, 1991, 417－454.