A. 我要写8000字的英语论文 是找一部文学作品写好呢还是找一部电影写好 能不能给我推荐一下文学作品或电影名
1.苏东坡的文学背景和他的赋
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 （道学）, 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 （刘勰文心雕龙） and Lo Chi’s A Prose-poem on Literature （陆机文赋） are the critical writings that count up to the Sung dynasty. There is Chung Yung’s Classification of Poets (钟嵘诗品) 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 (司空图诗品) 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” （诗话）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（阅微草堂笔记）and Causeries on Poetry in a Garden（随园诗话） to see what a good laugh these two coxcombs of letters, Chi Yuen （纪昀） 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 (陆游) and Yang Wan-li （杨万里）. 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 （词）, 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）
还有一篇在玩偶之家的身份抗争（6000字）和一篇马丁路德金的《我有一个梦》文体分析（10000字）
如果需要就麻烦您告诉我您的邮箱，再给您发过去。
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说行天下 是非常不错的小说网站大全，你值得拥有。
B. 有哪些电影可以体现英美文化的我要写英语论文,急
我觉得最经典的就是"乱世佳人"了.他是根据玛格丽特.米切尔的小说Gone with wind(中文译名"飘")改编的.
片名：Gone with the Wind
译名：乱世佳人/飘/随风而逝
制片：大卫·奥·塞尔兹尼克 David O. Selznick
导演：维克多·弗莱明 Victor Fleming
原著：玛格丽特·米歇尔 Margaret Mitchell
主演：费雯·丽 Vivien Leigh
克拉克·盖博 Clark Gable
奥利维娅·德·哈维兰 Olivia de Havilland
莱斯利·霍华德 Leslie Howard
海蒂·麦克丹尼尔 Hattie McDaniel
类型：剧情/爱情/战争
斯佳丽(费雯·丽 饰)是一个漂亮、任性、果断的美国南方女子，爱上了另一庄园主的儿子艾希利(莱斯利·霍华德 饰)，但艾希利却选择了温柔善良的梅兰妮(奥利维娅·德·哈维兰 饰)。斯佳丽赌气嫁给梅兰妮的弟弟查尔斯。南北战争爆发后，查尔斯上前线战死。斯佳丽和风度翩翩的商人瑞德(克拉克·盖博饰)相识，瑞德开始追求郝思嘉，但遭到她的拒绝。
南方军战败，亚特兰大一片混乱。不巧梅兰妮孕期将至，斯佳丽只好留下来照顾她。战后斯佳丽在绝望中去找瑞德借钱，偶遇本来要迎娶她妹妹的暴发户弗兰克。为了保住家园，她勾引弗兰克跟她结婚。弗兰克因反政府活动遭北方军击毙，斯佳丽再次成为寡妇。
出于各种复杂的原因，她与瑞德结婚。女儿出生后，瑞德把全部感情投注到女儿身上，跟斯佳丽的感情因她忘不了艾希利而导致破裂。女儿的意外坠马身亡，更使他伤透了心。操劳过度的梅兰妮临终前把她的丈夫艾希利和儿子托付给斯佳丽，但要求她保守这个秘密。斯佳丽不顾一切扑向艾希利的怀中，站在一旁的瑞德无法再忍受下去，心灰意冷地转身离去。面对伤心欲绝毫无反应的艾希利，斯佳丽终于明白，她爱的艾希利其实是不存在的，她真正需要的是瑞德……
Gone with the wind 飘
故事发生在一八六一年美国南北战争前夕。生活在南方的少女斯嘉丽从小深受南方文化传统的熏陶，可在她的血液里却流淌着野性的叛逆因素。随着战火的蔓廷和生活环境的恶化，斯嘉丽的叛逆个性越来越丰满，越鲜明，在一系列的的挫折中她改造了自我，改变了个人甚至整个家族的命运，成为时代时势造就的新女性的形象。
本书在描绘人物生活与爱情的同时，勾勒出南北双方在政治，经济，文化各个层次的异同，具有浓厚的史诗风格，堪称美国历史转折时期的真实写照，同时也成为历久不衰的爱情经典。
给你几个网站可以参考一些资料:
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. 写英语论文能否以一部电影为基础来写这样写会不会显得不正式
无论什么论文，都需要有个清晰的论点，真实的论证。以一部电影题材来写论文，我个人认为没有什么说服力，而且也是很空洞的。
可以用英文来写论文，你已经很厉害了。
（写论文最好多出现术语，最好是连你导师，也没接触过的术语）有点难度。
D. 高分 英语论文 电影
http://www.imdb.com/你到这里去找一下，这是最全的英文影评的网站，你可以找找你想写的电影，这种论文依我看需要你去这里大量阅读一下别人的影评
E. 哪些电影适合英语专业毕业论文字幕翻译研究
第一，可以体现作者的总体思路。提纲是由序码和文字组成的一种逻辑图表，是帮助作者考虑文章全篇逻辑构成的写作设计图。其优点在于，使作者易于掌握论文结构的全局，层次清楚，重点明确，简明扼要，一目了然。[2]
第二，有利于论文前后呼应。有一个提纲，可以帮助我们树立全局观念，从整体出发，在检验每一个部分所占的地位、所起的作用，相互间是否有逻辑联系，每部分所占的篇幅与其在全局中的地位和作用是否相称，各个部分之间的比例是否恰当和谐，每一字、每一句、每一段、每一部分是否都为全局所需要，是否都丝丝入扣、相互配合，成为整体的有机组成部分，都能为展开论题服务。经过这样的考虑和编写，论文的结构才能统一而完整，很好地为表达论文的内容服务。
第三，有利于及时调整，避免大返工。在毕业论文的研究和写作过程中，作者的思维活动是非常活跃的，一些不起眼的材料，从表面看来不相关的材料，经过熟悉和深思，常常会产生新的联想或新的观点，如果不认真编写提纲，动起笔来就会被这种现象所干扰，不得不停下笔来重新思考，甚至推翻已写的从头来过;这样，不仅增加了工作量，也会极大地影响写作情绪。毕业论文提纲犹如工程的蓝图，只要动笔前把提纲考虑得周到严谨，多花点时间和力气，搞得扎实一些，就能形成一个层次清楚、逻辑严密的论文框架，从而避免许多不必要的返工。另外，初写论文的学生，如果把自己的思路先写成提纲，再去请教他人，人家一看能懂，较易提出一些修改补充的意见，便于自己得到有效的指导。
9相关范例
编辑
在毕业论文的写作过程中，指导教师一般都要求学生编写提纲。从写作程序上讲，它是作者动笔行文前的必要准备;从提纲本身来讲，它是作者构思谋篇的具体体现。所谓构思谋篇，就是组织设计毕业论文的篇章结构。因为毕业论文的写作不像写一首短诗、一篇散文、一段札记那样随感而发，信手拈来，用一则材料、几段短语就表达一种思想、一种感情;而是要用大量的资料，较多的层次，严密的推理来展开论述，从各个方面来阐述理由、论证自己的观点。因此，构思谋篇就显得非常重要，于是必须编制写作提纲，以便有条理地安排材料、展开论证。有了一个好的提纲，就能纲举目张，提纲挚领，掌握全篇论文的基本骨架，使论文的结构完整统一;就能分清层次，明确重点，周密地谋篇布局，使总论点和分论点有机地统一起来;也就能够按照各部分的要求安排、组织、利用资料，决定取舍，最大限度地发挥资料的作用。
有些学生不大愿意写提纲，喜欢直接写初稿。如果不是在头脑中已把全文的提纲想好，如果心中对于全文的论点、论据和论证步骤还是混乱的，那么编写一个提纲是十分必要的，是大有好处的，其好处至少有如下三个方面：
第一，可以体现作者的总体思路。提纲是由序码和文字组成的一种逻辑图表，是帮助作者考虑文章全篇逻辑构成的写作设计图。其优点在于，使作者易于掌握论文结构的全局，层次清楚，重点明确，简明扼要，一目了然。
第二，有利于论文前后呼应。有一个提纲，可以帮助我们树立全局观念，从整体出发，在检验每一个部分所占的地位、所起的作用，相互间是否有逻辑联系，每部分所占的篇幅与其在全局中的地位和作用是否相称，各个部分之间的比例是否恰当和谐，每一字、每一句、每一段、每一部分是否都为全局所需要，是否都丝丝入扣、相互配合，成为整体的有机组成部分，都能为展开论题服务。经过这样的考虑和编写，论文的结构才能统一而完整，很好地为表达论文的内容服务。
第三，有利于及时调整，避免大返工。在毕业论文的研究和写作过程中，作者的思维活动是非常活跃的，一些不起眼的材料，从表面看来不相关的材料，经过熟悉和深思，常常会产生新的联想或新的观点，如果不认真编写提纲，动起笔来就会被这种现象所干扰，不得不停下笔来重新思考，甚至推翻已写的从头来过;这样，不仅增加了工作量，也会极大地影响写作情绪。毕业论文提纲犹如工程的蓝图，只要动笔前把提纲考虑得周到严谨，多花点时间和力气，搞得扎实一些，就能形成一个层次清楚、逻辑严密的论文框架，从而避免许多不必要的返工。另外，初写论文的学生，如果把自己的思路先写成提纲，再去请教他人，人家一看能懂，较易提出一些修改补充的意见，便于自己得到有效的指导。
简单提纲举例
以《关于培育和完善建筑劳动力市场的思考》为例，简单提纲可以写成下面这样：
一、序论
二、本论
(一)培育建筑劳动力市场的前提条件
(二)目前建筑劳动力市场的基本现状
(三)培育和完善建筑劳动力市场的对策
三、结论
F. 跪求！！要写英语毕业论文，想写字幕翻译分析的，有什么电影电视剧介绍最好是电影，电视剧的就别那么长
觉得可以写一些中国特色的东西，不限于把外文翻译成中文，可以把中国的电影翻译成外文 ，比如一些经典的老电影什么的，貌似现在还没有英文翻译，比如英雄儿女等。
G. 英语专业的，想写“电影和英语学习”的毕业论文，可以写点什么内容好呢请大家多给点意见！
写几个电影，然后写你看电影的感受，分几个方面，一个是语言方面，挑那种可以看电影学地道口语的，比如，《六人行》《friends》--也许不算电影了，，然后挑一些，文化方面的，看电影，了解美国文化的，
还有就是娱乐搞笑的，看电影，培养学习英语兴趣的……这三个方面够你写的，一个方面弄几个电影实例，一篇论文 ok
H. 高分急求关于外国电影的英语论文
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.