A. 我要寫8000字的英語論文 是找一部文學作品寫好呢還是找一部電影寫好 能不能給我推薦一下文學作品或電影名
1.蘇東坡的文學背景和他的賦
SU TUNG-PO』S LITERARY BACKGROUND AND HIS PROSE-POETRY by Qian Zhongshu
(Primarily written as a foreword to 「Su Tung-Po』s Prose-poems」 translated into English With Notes and Commentaries by C. D. Le Gros Clark, this is published here by kind permission of Mr. Le Gros Clark. Those who are interested in textual criticism may consult Mr. Wu Shih-ch』ang』s review in Chinese which appeared in The Crescent Monthly, Vol. IV, No. 3. –Ed.)
Of the Sung dynasty, it may be said, as Hazlitt said of himself, that it is nothing if not critical. The Chinese people dropped something of their usual wise passiveness ring the Sung dynasty, and 「pondered, searched, probed, vexed, and criticized」. This intellectual activity, however, is not to be compared with that of the Pre-Chin period, the heyday of Chinese philosophy. The men of the Sung dynasty were inquisitive rather than speculative, filled more with a sense of curiosity than with a sense of mystery. Hence, there is no sweep, no daring, no roominess or margin in their intellectualism. A prosaic and stuffy thing theirs is, on the whole. This critical spirit revealed itself in many directions, particularly in the full flourish of literary criticism and the rise of the tao-hsüeh （道學）, that mélange altere of metaphysics, psychology, ethics and casuistry.
Literary criticism in China is an unly belated art. Apart from a handful of obiter dicta scattered here and there, Liu Hsieh』s Literary Mind （劉勰文心雕龍） and Lo Chi』s A Prose-poem on Literature （陸機文賦） are the critical writings that count up to the Sung dynasty. There is Chung Yung』s Classification of Poets (鍾嶸詩品) of course. But Chung Yung is a literary genealogist rather than a critic, and his method of simply dividing poets into sheep and goats and dispensing praise or dispraise where he thought e, is the reverse of critical, let alone his fanciful attempts to trace literary parentages(1). Ssu-Kung Tu』s Characterisations of Poetry (司空圖詩品) is a different matter(2). Ssu-Kung Tu seeks to convey purely with imagery the impressions registered by a sensitive mind of twenty four different kinds of poetry: 「pure, ornate, grotesque,」 etc. His is perhaps the earliest piece of 「impressionistic」 or 「creative criticism」 ever written if any language, so quietly ecstatic and so autonomous and self-sufficient, as it were, in its being but it fails on that very account to become sober and proper criticism. It is not until the Sung dynasty that criticism begins to be practiced in earnest. Numerous 「causeries on poetry」 （詩話）are written and principles of literature are canvassed by way of commentaries on indivial poets. Henceforth, causeries on poetry become established as the vehicle for Chinese criticism. One must note in passing that there do not appear professional critics with the rise of criticism. In those good old days of China, criticism is always the prerogative of artists themselves. The division of labour between critics and artists in the West is something that the old Chinese literati would scoff at. The criticism of Sung dynasty, like all Chinese criticismsbefore the 「New Literature Movement」 with the possible exception of Hsieh』s Literary Mind, is apt to fasten upon particulars and be given too much to the study of best words in best places. But it is symptomatic of the critical spirit, and there is an end of it.
The Chinese common reader often regards the men of the Sung dynasty as prigs. Their high seriousness and intellectual and moral squeamishness are at once irritating and amusing to the ordinary easy-going Chinese temperament. There is something paralyzing and devitalizing in their wire-drawn casuistry which inces hostile critics to attribute the collapse of the Sung dynasty to its philosophers. There is also a disingenuousness in their attempts at what may be called for want of a better name, philosophical masquerade: to dress up Taoism of Buddhism as orthodox Confucianism. One need but look into Sketches in a Villa（閱微草堂筆記）and Causeries on Poetry in a Garden（隨園詩話） to see what a good laugh these two coxcombs of letters, Chi Yuen （紀昀） and Yuan Mei （袁枚） have had at the expense of the Sung philosophers and critics respectively. Nevertheless ofe is compelled to admit that the Sung philosophers are unequalled in the study of mental chemistry. Never has human nature been subject to a more rigorous scrutiny before or since in the history of Chinese thought. For what strikes one most in the tao-hsüeh is the emphasis on self-knowledge. This constant preying upon itself of the mind is quite in the spirit of the age. The Sung philosophers are morbidly introspective, always feeling their moral pulses and floundering in their own streams of consciousness. To them, their mind verily 「 a kingdom is」. They analyse and pulverize human nature. But for that moral bias which Nietzsche thinks to be also the bane of German philosophy, their vivisection of human soul would have contributed a good deal to what Santayna calls literary psychology.
The poetry of the sung dynasty is also a case in point. It is a critical commonplace that the Sung poetry furnishes a striking contract to the T』ang poetry. Chinese poetry, hitherto ethereal and delicate, seems in the Sung dynasty to take on flesh and becomes a solid, full-blooded thing. It is more weighted with the burden of thought. Of course, it still looks light and slight enough by the side of Western poetry. But the lightness of the Sung poetry is that of an aeroplane describing graceful curves, and no longer that of a moth fluttering in the mellow twilight. In the Sung poetry one finds very little of that suggestiveness, that charm of a beautiful thing imperfectly beheld, which foreigners think characteristic of Chinese poetry in general. Instead, one meets with a great deal of naked thinking and outright speaking. It may be called 「sentimental」 in contradistinction to the T』ang poetry which is on the whole 「naïve」, to adopt Schiller』s useful antithesis. The Sung poets, however, make up for their loss in lisping naivete and lyric glow by a finesse in feeling and observation. In their descriptive poetry, they have the knack of taking the thing to be described sur le vif: witness Lo Yu (陸游) and Yang Wan-li （楊萬里）. They have also a better perception of the nuances of emotion than the T』ang poets, as can be seen particularly in their Ts』u （詞）, a species of song for which the Sung dynasty is justly famous(3). Small wonder that they are deliberate artists, considering the fact that they all have been critics in the off hours of their inspiration. The most annoying thing about them is perhaps their erudition and allusiveness which makes the enjoyment of them to a large extent the luxury of the initiated even among the Chinese. （3000字）
還有一篇在玩偶之家的身份抗爭（6000字）和一篇馬丁路德金的《我有一個夢》文體分析（10000字）
如果需要就麻煩您告訴我您的郵箱，再給您發過去。
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說行天下 是非常不錯的小說網站大全，你值得擁有。
B. 有哪些電影可以體現英美文化的我要寫英語論文,急
我覺得最經典的就是"亂世佳人"了.他是根據瑪格麗特.米切爾的小說Gone with wind(中文譯名"飄")改編的.
片名：Gone with the Wind
譯名：亂世佳人/飄/隨風而逝
製片：大衛·奧·塞爾茲尼克 David O. Selznick
導演：維克多·弗萊明 Victor Fleming
原著：瑪格麗特·米歇爾 Margaret Mitchell
主演：費雯·麗 Vivien Leigh
克拉克·蓋博 Clark Gable
奧利維婭·德·哈維蘭 Olivia de Havilland
萊斯利·霍華德 Leslie Howard
海蒂·麥克丹尼爾 Hattie McDaniel
類型：劇情/愛情/戰爭
斯佳麗(費雯·麗 飾)是一個漂亮、任性、果斷的美國南方女子，愛上了另一庄園主的兒子艾希利(萊斯利·霍華德 飾)，但艾希利卻選擇了溫柔善良的梅蘭妮(奧利維婭·德·哈維蘭 飾)。斯佳麗賭氣嫁給梅蘭妮的弟弟查爾斯。南北戰爭爆發後，查爾斯上前線戰死。斯佳麗和風度翩翩的商人瑞德(克拉克·蓋博飾)相識，瑞德開始追求郝思嘉，但遭到她的拒絕。
南方軍戰敗，亞特蘭大一片混亂。不巧梅蘭妮孕期將至，斯佳麗只好留下來照顧她。戰後斯佳麗在絕望中去找瑞德借錢，偶遇本來要迎娶她妹妹的暴發戶弗蘭克。為了保住家園，她勾引弗蘭克跟她結婚。弗蘭克因反政府活動遭北方軍擊斃，斯佳麗再次成為寡婦。
出於各種復雜的原因，她與瑞德結婚。女兒出生後，瑞德把全部感情投注到女兒身上，跟斯佳麗的感情因她忘不了艾希利而導致破裂。女兒的意外墜馬身亡，更使他傷透了心。操勞過度的梅蘭妮臨終前把她的丈夫艾希利和兒子託付給斯佳麗，但要求她保守這個秘密。斯佳麗不顧一切撲向艾希利的懷中，站在一旁的瑞德無法再忍受下去，心灰意冷地轉身離去。面對傷心欲絕毫無反應的艾希利，斯佳麗終於明白，她愛的艾希利其實是不存在的，她真正需要的是瑞德……
Gone with the wind 飄
故事發生在一八六一年美國南北戰爭前夕。生活在南方的少女斯嘉麗從小深受南方文化傳統的熏陶，可在她的血液里卻流淌著野性的叛逆因素。隨著戰火的蔓廷和生活環境的惡化，斯嘉麗的叛逆個性越來越豐滿，越鮮明，在一系列的的挫折中她改造了自我，改變了個人甚至整個家族的命運，成為時代時勢造就的新女性的形象。
本書在描繪人物生活與愛情的同時，勾勒出南北雙方在政治，經濟，文化各個層次的異同，具有濃厚的史詩風格，堪稱美國歷史轉折時期的真實寫照，同時也成為歷久不衰的愛情經典。
給你幾個網站可以參考一些資料:
http://ent.sina.com.cn/m/f/gwtwind/index.html
http://www.douban.com/subject/1068920/
http://ke..com/view/26932.htm
http://ke..com/view/20431.htm
C. 寫英語論文能否以一部電影為基礎來寫這樣寫會不會顯得不正式
無論什麼論文，都需要有個清晰的論點，真實的論證。以一部電影題材來寫論文，我個人認為沒有什麼說服力，而且也是很空洞的。
可以用英文來寫論文，你已經很厲害了。
（寫論文最好多出現術語，最好是連你導師，也沒接觸過的術語）有點難度。
D. 高分 英語論文 電影
http://www.imdb.com/你到這里去找一下，這是最全的英文影評的網站，你可以找找你想寫的電影，這種論文依我看需要你去這里大量閱讀一下別人的影評
E. 哪些電影適合英語專業畢業論文字幕翻譯研究
第一，可以體現作者的總體思路。提綱是由序碼和文字組成的一種邏輯圖表，是幫助作者考慮文章全篇邏輯構成的寫作設計圖。其優點在於，使作者易於掌握論文結構的全局，層次清楚，重點明確，簡明扼要，一目瞭然。[2]
第二，有利於論文前後呼應。有一個提綱，可以幫助我們樹立全局觀念，從整體出發，在檢驗每一個部分所佔的地位、所起的作用，相互間是否有邏輯聯系，每部分所佔的篇幅與其在全局中的地位和作用是否相稱，各個部分之間的比例是否恰當和諧，每一字、每一句、每一段、每一部分是否都為全局所需要，是否都絲絲入扣、相互配合，成為整體的有機組成部分，都能為展開論題服務。經過這樣的考慮和編寫，論文的結構才能統一而完整，很好地為表達論文的內容服務。
第三，有利於及時調整，避免大返工。在畢業論文的研究和寫作過程中，作者的思維活動是非常活躍的，一些不起眼的材料，從表面看來不相關的材料，經過熟悉和深思，常常會產生新的聯想或新的觀點，如果不認真編寫提綱，動起筆來就會被這種現象所干擾，不得不停下筆來重新思考，甚至推翻已寫的從頭來過;這樣，不僅增加了工作量，也會極大地影響寫作情緒。畢業論文提綱猶如工程的藍圖，只要動筆前把提綱考慮得周到嚴謹，多花點時間和力氣，搞得扎實一些，就能形成一個層次清楚、邏輯嚴密的論文框架，從而避免許多不必要的返工。另外，初寫論文的學生，如果把自己的思路先寫成提綱，再去請教他人，人家一看能懂，較易提出一些修改補充的意見，便於自己得到有效的指導。
9相關範例
編輯
在畢業論文的寫作過程中，指導教師一般都要求學生編寫提綱。從寫作程序上講，它是作者動筆行文前的必要准備;從提綱本身來講，它是作者構思謀篇的具體體現。所謂構思謀篇，就是組織設計畢業論文的篇章結構。因為畢業論文的寫作不像寫一首短詩、一篇散文、一段札記那樣隨感而發，信手拈來，用一則材料、幾段短語就表達一種思想、一種感情;而是要用大量的資料，較多的層次，嚴密的推理來展開論述，從各個方面來闡述理由、論證自己的觀點。因此，構思謀篇就顯得非常重要，於是必須編制寫作提綱，以便有條理地安排材料、展開論證。有了一個好的提綱，就能綱舉目張，提綱摯領，掌握全篇論文的基本骨架，使論文的結構完整統一;就能分清層次，明確重點，周密地謀篇布局，使總論點和分論點有機地統一起來;也就能夠按照各部分的要求安排、組織、利用資料，決定取捨，最大限度地發揮資料的作用。
有些學生不大願意寫提綱，喜歡直接寫初稿。如果不是在頭腦中已把全文的提綱想好，如果心中對於全文的論點、論據和論證步驟還是混亂的，那麼編寫一個提綱是十分必要的，是大有好處的，其好處至少有如下三個方面：
第一，可以體現作者的總體思路。提綱是由序碼和文字組成的一種邏輯圖表，是幫助作者考慮文章全篇邏輯構成的寫作設計圖。其優點在於，使作者易於掌握論文結構的全局，層次清楚，重點明確，簡明扼要，一目瞭然。
第二，有利於論文前後呼應。有一個提綱，可以幫助我們樹立全局觀念，從整體出發，在檢驗每一個部分所佔的地位、所起的作用，相互間是否有邏輯聯系，每部分所佔的篇幅與其在全局中的地位和作用是否相稱，各個部分之間的比例是否恰當和諧，每一字、每一句、每一段、每一部分是否都為全局所需要，是否都絲絲入扣、相互配合，成為整體的有機組成部分，都能為展開論題服務。經過這樣的考慮和編寫，論文的結構才能統一而完整，很好地為表達論文的內容服務。
第三，有利於及時調整，避免大返工。在畢業論文的研究和寫作過程中，作者的思維活動是非常活躍的，一些不起眼的材料，從表面看來不相關的材料，經過熟悉和深思，常常會產生新的聯想或新的觀點，如果不認真編寫提綱，動起筆來就會被這種現象所干擾，不得不停下筆來重新思考，甚至推翻已寫的從頭來過;這樣，不僅增加了工作量，也會極大地影響寫作情緒。畢業論文提綱猶如工程的藍圖，只要動筆前把提綱考慮得周到嚴謹，多花點時間和力氣，搞得扎實一些，就能形成一個層次清楚、邏輯嚴密的論文框架，從而避免許多不必要的返工。另外，初寫論文的學生，如果把自己的思路先寫成提綱，再去請教他人，人家一看能懂，較易提出一些修改補充的意見，便於自己得到有效的指導。
簡單提綱舉例
以《關於培育和完善建築勞動力市場的思考》為例，簡單提綱可以寫成下面這樣：
一、序論
二、本論
(一)培育建築勞動力市場的前提條件
(二)目前建築勞動力市場的基本現狀
(三)培育和完善建築勞動力市場的對策
三、結論
F. 跪求！！要寫英語畢業論文，想寫字幕翻譯分析的，有什麼電影電視劇介紹最好是電影，電視劇的就別那麼長
覺得可以寫一些中國特色的東西，不限於把外文翻譯成中文，可以把中國的電影翻譯成外文 ，比如一些經典的老電影什麼的，貌似現在還沒有英文翻譯，比如英雄兒女等。
G. 英語專業的，想寫「電影和英語學習」的畢業論文，可以寫點什麼內容好呢請大家多給點意見！
寫幾個電影，然後寫你看電影的感受，分幾個方面，一個是語言方面，挑那種可以看電影學地道口語的，比如，《六人行》《friends》--也許不算電影了，，然後挑一些，文化方面的，看電影，了解美國文化的，
還有就是娛樂搞笑的，看電影，培養學習英語興趣的……這三個方面夠你寫的，一個方面弄幾個電影實例，一篇論文 ok
H. 高分急求關於外國電影的英語論文
A Brief History of Film
History of film has been dominated by the discovery and testing of the paradoxes inherent in the medium itself. Film uses machines to record images of life; it combines still photographs to give the illusion of continuous motion; it seems to present life itself, but it also offers impossible unrealities approached only in dreams.
The motion picture was developed in the 1890s from the union of still PHOTOGRAPHY, which records physical reality, with the persistence-of-vision toy, which made drawn figures appear to move. Four major film traditions have developed since then: fictional narrative film, which tells stories about people with whom an audience can identify because their world looks familiar; nonfictional documentary film, which focuses on the real world either to instruct or to reveal some sort of truth about it; animated film, which makes drawn or sculpted figures look as if they are moving and speaking; and experimental film, which exploits film's ability to create a purely abstract, nonrealistic world unlike any previously seen.
Film is considered the youngest art form and has inherited much from the older and more traditional arts. Like the novel, it can tell stories; like the drama, it can portray conflict between live characters; like painting, it composes in space with light, color, shade, shape, and texture; like music, it moves in time according to principles of rhythm and tone; like dance, it presents the movement of figures in space and is often underscored by music; and like photography, it presents a two-dimensional rendering of what appears to be three-dimensional reality, using perspective, depth, and shading.
Film, however, is one of the few arts that is both spatial and temporal, intentionally manipulating both space and time. This synthesis has given rise to two conflicting theories about film and its historical development. Some theorists, such as S. M. EISENSTEIN and Rudolf Arnheim, have argued that film must take the path of the other modern arts and concentrate not on telling stories or representing reality but on investigating time and space in a pure and consciously abstract way. Others, such as Andre Bazin and Siegfried KRACAUER, maintain that film must fully and carefully develop its connection with nature so that it can portray human events as excitingly and revealingly as possible.
Because of his fame, his success at publicizing his activities, and his habit of patenting machines before actually inventing them, Thomas EDISON received most of the credit for having invented the motion picture; as early as 1887, he patented a motion picture camera, but this could not proce images. In reality, many inventors contributed to the development of moving pictures.
Perhaps the first important contribution was the series of motion photographs made by Eadweard MUYBRIDGE between 1872 and 1877. Hired by the governor of California, Leland Stanford, to capture on film the movement of a racehorse, Muybridge tied a series of wires across the track and connected each one to the shutter of a still camera. The running horse tripped the wires and exposed a series of still photographs, which Muybridge then mounted on a stroboscopic disk and projected with a magic lantern to reproce an image of the horse in motion. Muybridge shot hundreds of such studies and went on to lecture in Europe, where his work intrigued the French scientist E. J. MAREY. Marey devised a means of shooting motion photographs with what he called a photographic gun.
Edison became interested in the possibilities of motion photography after hearing Muybridge lecture in West Orange, N.J. Edison's motion picture experiments, under the direction of William Kennedy Laurie Dickson, began in 1888 with an attempt to record the photographs on wax cylinders similar to those used to make the original phonograph recordings. Dickson made a major breakthrough when he decided to use George EASTMAN's celluloid film instead. Celluloid was tough but supple and could be manufactured in long rolls, making it an excellent medium for motion photography, which required great lengths of film. Between 1891 and 1895, Dickson shot many 15-second films using the Edison camera, or Kinetograph, but Edison decided against projecting the films for audiences--in part because the visual results were inadequate and in part because he felt that motion pictures would have little public appeal. Instead, Edison marketed an electrically driven peep-hole viewing machine (the Kinetoscope) that displayed the marvels recorded to one viewer at a time.
Edison thought so little of the Kinetoscope that he failed to extend his patent rights to England and Europe, an oversight that allowed two Frenchmen, Louis and Auguste LUMIERE, to manufacture a more portable camera and a functional projector, the Cinematographe, based on Edison's machine. The movie era might be said to have begun officially on Dec. 28, 1895, when the Lumieres presented a program of brief motion pictures to a paying audience in the basement of a Paris cafe. English and German inventors also copied and improved upon the Edison machines, as did many other experimenters in the United States. By the end of the 19th century vast numbers of people in both Europe and America had been exposed to some form of motion pictures.
The earliest films presented 15- to 60-second glimpses of real scenes recorded outdoors (workmen, trains, fire engines, boats, parades, soldiers) or of staged theatrical performances shot indoors. These two early tendencies--to record life as it is and to dramatize life for artistic effect--can be viewed as the two dominant paths of film history.
Georges MELIES was the most important of the early theatrical filmmakers. A magician by trade, Melies, in such films as A Trip to the Moon (1902), showed how the cinema could perform the most amazing magic tricks of all: simply by stopping the camera, adding something to the scene or removing something from it, and then starting the camera again, he made things seem to appear and disappear. Early English and French filmmakers such as Cecil Hepworth, James Williamson, and Ferdinand Zecca also discovered how rhythmic movement (the chase) and rhythmic editing could make cinema's treatment of time and space more exciting.