发布时间：2023-03-10 14:52:30
序言：写作是分享个人见解和探索未知领域的桥梁，我们为您精选了8篇的本科毕业论文英文样本，期待这些样本能够为您提供丰富的参考和启发，请尽情阅读。
英语专业本科毕业论文撰写是高校本科教学 的最后一个重要阶段，也是评价学生是否能够顺利 毕业的重要指标之一。2000年颁布的《高等学校 英语专业英语教学大纲》强调了毕业论文的重要 性:“毕业论文是考察学生综合能力、评估成绩的 一个重要方式”[1]。同时，大纲还进一步明确了毕 业论文的要求。根据《大纲》，各个髙校也纷纷对 英语专业本科毕业论文撰写制定了具体的要 求。[2]
然而，笔者在对本校英语专业学生论文管理过 程中却发现，对于论文学术不端检测还有很多学生 甚至部分教师都不太清楚其目的及意义，对待学术 不端问题怠慢。许多高校都出现学生忽视学术不 端问题，仍然拼拼凑凑，复制他人成果的情况。[3]
因此笔者以本校2014届205名英语专业毕业生论 文学术不端检测报告为研究对象，对学生毕业论文 复制比的特征进行分析，从而找到英语本科生在撰 写论文过程中所存在的问题及原因。
一、论文复制比的主要比例分配
对于毕业论文复制比，每所高校的要求都略有 不同，对于本校的要求，所有的毕业论文经学术不 端检测，检测结果雷同率或文字复制比率在30% (含30%)以内的视为合格，超过30%的视为不合 格。超过30%的论文，必须经过严格整改,否则取 消学生答辩资格。由此可见,高校对学生学术不端 的行为都有着严格的规章制度。笔者通过对205 名学生论文的学术不端检测报告进行分析,得出以 下主要比例分配：
由表一可以看出，在205名学生中，95%的学 生基本上都可以按照要求通过学术不端检测，而且 有73%的学生复制比都在10%以内，只有少部分 学生(5% )未能通过检测，但其中有一名学生论文 复制比居然达到96%。因此，虽然说大部分都可以达到要求，但就未通过的学生而言，出现的 问题也不容忽视。
二、论文复制比的主要特征
就学生论文复制比的主要特征而言，笔者根据 本校的毕业论文学术不端检测要求，以复制比小于30% (含30% )和大于30%为基本两个组,分别分 析两组中学生论文复制比的主要特征。
(一) 复制比小于30% (含30% )
1. 正文外内容。从论文基本结构上看,除正文 部分以外，还包括标题、目录、参考文献、致谢以及 附录部分。就正文外的内容而言，通过分析，笔者 发现65%的学生抄袭现象主要集中在致谢部分， 甚至个别学生还存在致谢部分全部抄袭的情况。 另外，少部分学生对论文的目录以及附录部分也存 在雷同的情况，但通过论文分析，此部分并不是所 谓的抄袭，尤其是附录部分，因为学生会把引用别 人的问卷附在文后，但已标明出处。
2. 正文部分。通过分析,84%的学生论文正 文的复制处主要集中在文献综述以及总结部分。 对于文献综述部分，尤其是对定义解释以及研究回 顾部分的复制抄袭比例非常高，就这部分字数而 言，基本上都在600字以上。而且从该部分具体内 容上看，大部分学生由于对理论概念的不理解，因 此无法用自己的语言进行转述或者总结，只能完全 重复别人的文字。另外，综述部分更是重复别人观 点，但只述不评。从总结部分来看，学生的总结并 不是对自己研究结果的概括和提炼，反而是直接借 用他人的总结性话语，因而存在大量重复抄袭的 情况。
3. 复制来源。100%的学生复制的来源主要 是本科生或者研究生论文以及网络资源，尤其是百 度文库中的资料。虽然有少部分的学生复制出处 来源于期刊文章，但大多以中文为主。
(二) 复制比大于30%
1. 文献引用。从论文总体上来看，对重复抄 袭的部分学生几乎都没有给出相关引证文献。除 此之外，11个学生的参考文献部分都存在大量的 复制抄袭。
2. 正文部分。除了上述所提及的部分以外， 11个学生的论文在introduction部分同样存在复制 抄袭。从报告单中还看出，这部分学生对 参考文献和研究方法部分也存在严重的抄袭。
3. 复制来源。与上述相同，11个学生的重复 抄袭部分都来源于论文或者网络资料。
三、原因分析
通过对英语专业学生论文学术不端检测报告 进行分析，不难看出，即使大部分学生都顺利通过
了检测，有的学生的复制率甚至为0,但通过对其 复制比特征的分析以及对学生的访谈调查，笔者发 现其中存在多方面的原因。
(一) 学生写作能力欠佳
在听说读写译的技能中，“写”属于输出技能， 也是较难的一个技能。通过对学生论文进行分析， 笔者发现，从总体上来看，学生对英语基础知识的 掌握仍不牢固，论文中出现了大量的语法错误，严 重制约了他们的语言表达能力。
(二) 学生学术水平较低
众所周知,学术论文写作无论是在整体结构上 还是在语言使用上都与普通作文有所不同。尽管 许多高校都开设有学术论文写作课，但许多学生对 学术论文写作概念十分模糊，仍然不清楚应该做什 么，应该怎样做。尤其是复制比超过30%的学生 甚至在总体介绍及参考文献部分进行复制抄袭，可 见其并未真正理解什么是论文写作，就连论文中的 参考文献部分基本结构都不清楚。
(三) 学生信息技术能力不高
通过对学生复制来源分析，大部分的资料来源 于研究生的毕业论文以及网络资料。另外，学生在 文献综述部分，大部分的文献都来自中文文献，而 且通过访谈，许多学生都反映找不到英文文献。总 所周知，文献搜索技能在学术论文写作中是必不可 少的，不仅需要找到相关文献，更是需要对这些文 献进行综合评述。但通过调查，许多学生所使用的 搜索方式集中于中国知网以及百度两种，这也导致 了他们收集的资料较为单一。
(四) 指导教师对学生的论文写作指导不够
许多学生的论文在提交检测时仍然发现不少 的问题，如论文整体结构以及语法方面存在许多的 问题。甚至有学生的论文复制比达到96%。由此 可以看出，除了学生本身存在的问题以外，指导教 师对学生的指导也存在疏忽，没有发挥真正意义上 的指导以及监督的作用。
四、总结
通过对学术不端检测报告单以及学生的访谈 分析，不难看出，英语专业本科生毕业论文撰写存 在许多的问题。学生的论文复制比高与其学术论 文写作能力以及资料搜索、整理等多方面的能力都 有关系。另外，指导教师的指导监督力度不够也造 成了学生对论文写作不重视，态度不端正的情况。对此问题的解决，不仅需要相关任课教师，论文指 导教师以及学生的共同努力,更需要学校建立健全 相关制度来加大监管力度。
作者：沈萍
关键词：毕业论文 课程教学 反拨效应
中图分类号：G642 文献标识码：A 文章编号：1672-3791（2014）09（c）-0135-01
该文拟论述毕业论文培养应贯穿于整个本科阶段的课程教学，分析毕业论文培养与课程教学之间的关系，从英语本科毕业论文存在的问题来审视目前的英语本科教育，探索其对英语本科教育的指导性。
1 毕业论文培养环节与课程教学
教学计划上所谓毕业论文培养环节只是用来界定毕业前的最后学习阶段，而对学生的培养远不仅限于此阶段。《高等院校英语专业教学大纲》也指出：“毕业论文是考察学生综合能力，评估学业成绩的一个重要方式。”[2]由此可见，毕业论文的质量反映了本科阶段的教学质量。它表明了学生的外语水平和实际应用外语的能力，学生发现并提出问题、解决问题的能力以及独立从事科研工作的能力[1]。这些能力的培养都涉及到本科阶段的所有课程教学，远非短期的毕业论文写作指导所能及。另外，可以看出毕业论文是对本科教学质量的检测，而毕业论文存在的问题也集中体现了常规教学中的弊端。分析毕业论文存在的问题可以有效地指导常规课程教学，而课程教学质量的提高也必将体现到毕业论文质量上。
2 存在主要问题
通过对某高校2007、2008级英语本科毕业论文的综合分析，以及对这两界毕业生进行的问卷调查，发现毕业论文写作存在的问题集中体现在以下两个方面。
首先，英语语言能力较差，思路不清晰，语言缺乏逻辑性。学生英语行文能力差，语法错误多，文章可读性较低。写作目的不明确，陈述思路混乱，经常出现文不对题的情况。很多同学虽然用英文行文但是却用汉语思维组织语言，使行文前后不连贯缺乏逻辑性，且不注重段与段之间的粘连，整篇文章呈现出零散，脱节，中心不明确的状态。
其次，缺乏问题意识；论证过程缺乏理论支撑。学生缺乏问题意识，对所学的知识大多是被动的接受，很少对所学知识进行创造性思考；另外学生的知识积淀较少，无从发现问题。因此绝大部分学生的选题通过网上搜索，拼凑而来，这给论文写作带了极大的困难。再者，学生对相关理论知识被动接受，不能与实际相结合应用到论证过程中，这使得文章缺乏说服力，大多停留于感性层面的叙述。
根据以上两个方面问题，笔者将本科教育阶段的课程分为语言能力基础课程，高年级专业课程两类来探究毕业论文对课程教学的反拨效应。
3 对课程教学的反拨效应
3.1 语言能力基础课程
学生在毕业论文写作中表现出来的英语行文能力差不能简单地归咎于写作、语法或某一门课程。语言能力的听、说、读、写是一个有机整体，是相互依存，相互作用的。因此，英语语言能力低是所有听说读写的基础课程的问题。反思一下这些基础课程就不难找出其中原因。阅读课和听力课上教师注重传授解题技巧，如何在考试中得高分。通常课程内容是大量解题训练，而不注重学生对整篇文章的综合分析和理解。语法课大多是教师孜孜不倦地讲解语法点然后做大量的应试练习，脱离了作为载体的语言，学习语法的意义也仅仅是卷子上一个高低不同的分数而已。写作课亦是如此，固定的框架，模式，句型一切都服务于考试。综合英语本是一门将听说读写整合并形成语言自主输出的课程，但学生被要求背单词，背课文，大部分时间是被动地接受，很少有在真实的语言环境中进行自主语言输出的机会。不难看出，语言能力培养的基础课程的重心偏向于应试训练而忽略学生这个主体，久而久之，学生也习惯这样的被动接受。然而，要使教师所传授的这些语言规则支配的语言行为达到完全自由自主的程度，即内化为学生自己的语言能力，是需要大量的自主的语言输出练习才能转化为语言技能，才能帮助学生顺利地完成毕业论文写作。因此，要提高学生的语言能力，就要将语言能力基础课程的重心转向学生语言能力的培养，如何在大量的自主语言输出训练中将输入，分析，理解，归纳，总结，输出内化为学生自己的语言能力。
3.2 高年级专业课程
高级专业课程主要是指语言学、文学、翻译方向的相关课程，以及一些行业英语课程。这些课程是学生毕业论文题目的主要来源。然而，学生在毕业论文阶段却表现出缺乏问题意识，不能发现问题，更不用说解决问题。而论文选题的动因是在于发现问题，这样才能就题而论，有话可说。[3]这与基础课程养成的被动接受的习惯不无关系，更重要的是在教学中教师通常只激发学生的低级心里过程（lower mental process）。以文学课为例，老师讲授每个时期特点，文学贡献，某个作家的生平，著作，对文学理论进行介绍以及一些著名作品的分析，考试的内容也大致如此。学生只需要简单背诵，再现即可，背诵再现即是不需要思维的低级心里过程。而毕业论文写作恰恰需要调动学生的高级思维过程（higher mental process），需要学生有缜密的外语思维能力，批判的、系统的推理能力和跨文化沟通能力。[4]久而久之，学生自然很难通过自主思维发现问题，即缺乏问题意识。因此，对于选题往往采取“拿来主义”，以至于论文写作时无话可说，只能继续采取“拿来主义”。由此可见，高级专业课程应该思考如何调动学生的高级心里过程，提高学生的问题意识，学会如何发现问题，用缜密严谨的思维分析问题，解决问题。
4 结论
本科教育是一个系统工程，毕业论文项目和其它课程均为此系统的构成要素，它们不应是孤立存在而应是相互联系、相互作用。[5]同时，毕业论文对本科教育进行综合检测，对本科教育起到有益的指导作用，促使高校改进并提高教学质量，而教学质量的提高又反作用于毕业论文写作，从而从根本上提高毕业论文质量。
参考文献
[1] 教育部高等教育司.北京市教育委员会.高等学校毕业设计（论文）指导手册外语卷（修订版）[Z].北京：高等教育出版社 经济日报出版社，2007：1.
[2] 高等学校外语专业教学指导委员会英语组.高等学校英语专业英语教学大纲[Z].上海：上海外语教育出版社，2000：5.
[3] 张菁.英语本科毕业论文写作质量问题探讨[J].南京人口管理干部学院学报，2008（4）：62.
关键词：英语专业；毕业论文；论文课程；教师指导
毕业论文写作是考查学生综合能力、评估学业成绩的一个重要方式。完成毕业论文的写作与答辩是学生取得毕业资格、获得学士学位的必备条件。为了更好地规范高师院校英语专业毕业论文写作的教学与指导，我们以长春师范学院英语专业2009届学生
为研究对象，探讨了毕业论文写作课程的设置及教师的指导策略。
一、英语专业毕业论文写作课程的设置
《高等学校英语专业英语教学大纲》中并未规定高校是否需要开设毕业论文写作课程，因此鲜有高校把毕业论文写作纳入教学计划中。但从实际情况来看，开设毕业论文写作课能够有效地提高学生毕业论文撰写能力，并且培养其独立思考、探索的科研能力。我校2009―2011三年开设了毕业论文写作课程，笔者仅以此为基础得出一些经验：
1.课时安排
毕业论文写作能力的提高绝不是一蹴而就的，在二年级与三年级开设写作课时，教师可以渗透毕业论文写作要求，安排学生查阅资料、写学期论文等。在此基础之上，我们把毕业论文写作课程与教师单独指导相结合。
2.教学内容
毕业论文写作课往往涉及如下内容：论文选题、开题报告、文献综述、文献检索、写作技巧、专题写作、研究方法、论文格式、论文修改、常见错误评析、论文答辩及注意事项等。近年来，我国出版了很多关于英语专业本科毕业论文写作方面的专著与教材，但考虑到此门课程的实用性及学时的局限性等因素，任课教师需要自行选择与整理，总结出适合所教学生学习程度的教学内容，使学生在最短的时间内快速、清晰地掌握论文写作要领。
3.教学方法
此门课程强调培养学生的实践能力，因此教学形式应该是教师讲授与学生操练相结合。教师讲完每章节内容后，布置相关任务要求学生课后完成，之后再根据其完成情况进行总结，或是让学生以小组形式进行讨论，互相评价与修正。同时，教师也应该提供优秀论文与问题论文供学生参考、借鉴，让学生从评论者的角度去发现问题、解决问题。这样，通过讲解可以引导学生开展下一步的工作，通过实践又能使学生避免不必要的错误。
4.考核办法
本课程以考核学生的平时任务完成为主，辅以期末考试考查理论知识及对知识的实际应用。平时的任务形式包括小组活动、资料搜集、实验设计等，而期末考试可以以开卷形式进行或是要求学生事先准备，写与所选题目相关的文献综述、论文各部分，如引言等。
二、教师的针对性指导
论文写作课只是为学生建构了毕业论文写作的大体框架，而具体的实施则需要指导教师给予学生有针对性的辅导。两者应同步进行，相辅相成。
1.毕业论文的选题直接关系到论文的完成质量
在论文写作课初步介绍完论文选题之后，教师可以给出和自己研究方向紧密相关的论文题目供学生选择。这样，教师可以给予学生更多的帮助，同时也可以让学生参与到自己的研究中，做到教学相长。
2.指导学生科研方法，培养学生科研能力
教师还应该着重注意指导学生查阅资料，了解最新的研究动态，避免学生思路闭塞以致题目陈旧、没有研究价值。另外，由于专业特点，很多学生选择了英语教学法，但他们的论文往往只限于文献研究，并不能真正与教学相联系。教师可以指导并帮助学生结合论文课上所讲的科研方法，设计试验，做调查分析等，真正培养学生的研究能力。
3.要加强对毕业论文的监督力度
教师要对学生进行诚信教育，强化指导与监控，力求避免抄袭现象。同时，也要督促学生合理规划时间，及时与老师沟通，保质保量地完成论文撰写工作。
毕业论文写作是大学英语专业毕业前最后一项也是极为重要的一个教学环节，它的顺利完成需要学生、学校和教师三方面的共同努力。我们希望规范的教学及指导能帮助学生养成科学的研究态度，形成严谨的学术作风，为他们将来的工作打下良好的基础。
参考文献：
［1］程小蔷.英语专业毕业论文指导策略研究［J］.成人高教学刊，2010（2）.
［2］吴俊.关于本科院校开设英语毕业论文写作课的思考［J］.忻州师范学院学报，2011-08.
作者简介：
第一作者：曹佳[（1981―），女，汉族，长春人，讲师，硕士研究生，主要从事外国语言学及应用语言学研究；第二作者：孙莉莉（1975―），女，汉族，长春人，副教授，硕士研究生，主要从事社会语言学及应用语言学研究。
一、改革的背景
毕业论文既是高校对学生进行本科教学过程中最后阶段综合训练的重要教学环节，也是学生毕业前的最后一项学习任务。同时，也是衡量一所高校办学水平和本科生培养质量的一项重要指标。毕业论文是培养学生创新意识，提高学生综合运用所学基础理论、专业知识，分析和解决实际问题能力的重要步骤。其目的应该是全面考察学生的知识面，掌握知识的深度以及运用理论处理实际问题的能力。但是作为实践性和应用性较强的旅游管理专业，在实际的人才培养环节中却存在着学生的动手能力较差，解决实际问题的能力较弱，学生毕业后不能适应旅游行业的需要等问题。究其原因，很多院校的学生在毕业论文环节中的实践能力、创新能力以及分析问、解决问题等方面的能力，没有得到充分的锻炼。因此，需要对传统的旅游管理专业毕业论文进行改革。四川师范大学文理学院针对这一现象和问题，参照理工科院校的毕业设计思路，结合旅游管理专业的特点和本校的实际情况，对2009级旅游管理专业学生的毕业论文写作改为旅游线路产品设计进行了大胆有益的尝试。
二、改革的目的与意义
（一）符合应用型本科院校旅游管理专业的人才培养目标
应用型本科院校其主要的特点是应用。与研究型本科院校的区别在于，其人才培养的目标是应用型人才而非研究型人才。因此应用型本科院校的实践教学比重比普通本科院校大，而且强调学生的理论知识与实践的统一。实行毕业论文改毕业设计本身就是应用型本科院校构建完善的实践教学体系的重要组成部分。其次，旅游管理专业具有明确的行业指导性，是一个应用性非常强的专业，主要为旅行社、旅游景区以及旅游行政单位等培养旅游管理基础理论知识扎实，适应能力和动手能力较强以及专业操作技能熟练和外语沟通能力较强的高素质应用型和创新型管理人才。传统的毕业论文写作，由于学生参与社会实践活动较少，与企业行业接触的机会少。因此，导致很多学生在毕业论文撰写时出现理论为主，论文选题比较空泛，既没有自己的观点而且毕业论文的实际价值也比较小。而毕业设计则是要求学生在进行专业实习之时，充分运用自己的专业理论知识与自己的实习工作经验，将理论与实践进行统一，完成自己的线路设计与营销。
（二）满足社会与企业发展对旅游人才的需要
二十一世纪社会竞争越来越激烈。社会对于人才的需求，不仅仅是需要掌握大量的理论知识，而且要有较强的创新能力与动手能力。在我国的《国家中长期教育改革和发展规划纲要（2010-202）》中也明确提出：“着力提高学生的学习能力、实践能力、创新能力，教育学生学会知识技能，学会动手动脑，学会生存生活，学会做人做事，促进学生主动适应社会，开创美好未来。”旅游企业面对日益纷繁复杂的市场变化，急需能够直接参与和适应旅游企业经营活动的高素质人才。因此，旅游管理专业毕业论文改毕业设计，在学生毕业之前就能够将自己的专业知识与旅游企业的实际问题进行联系，并且自己动手参与整个线路设计与营销过程，既可以加深对理论知识的理解，又可以开拓思维，增强实际动手能力，同时也更好地锻炼了社会与企业所需的素质与能力。
（三）提高学生的综合素质与能力
传统的毕业论文写作，很多学生因为毕业实习监管不严，并没有真正到旅游企业中进行实习，而是找个相关单位在实习鉴定表上盖章了事。由于没有在旅游企业中的实习经历与前期的准备和训练，再加之现在网络资源与报刊杂志的便利，毕业论文写作就会出现两种情况。一种是理论与实际相脱离，形成空泛之说，既无针对性又无实际价值。另外一种是毕业论文的抄袭和拼凑现象较为严重。毕业论文答辩环节主要是对学生的毕业论文进行就题论题式的提问，学生通常背一背论文就可以应付，对于学生的实践能力和就业竞争力的提高并无太大帮助。毕业设计把学生的创新能力、动手能力和实际操作能力放在首位，它要求学生不仅要掌握扎实的理论知识，而且必须将所学知识进行灵活运用，这就需要学生富有创新精神和创造能力。学生要完成一条旅游线路产品设计与营销，涉及旅游管理专业所学的旅游市场营销、导游业务、旅游社经营管理、景区管理、旅游资源学等核心理论课程，而且学生通过实地考察、调研获取第一手资料，然后进行资料分析团队分工运作，再到整条线路的市场宣传与营销，极大调动了学生的自动性与积极性。这一过程不仅培养了学生的写作能力，而且学生的创新能力、动手能力、实际操作能力、团队协作能力以及营销能力等等都得到了充分的展示与提高。
三、改革的思路与实施方案
（一）改革的思路
在学院领导的大力支持与校企合作单位四川康辉国际旅行社的鼎力合作之下，四川师范大学文理学院旅游管理专业毕业论文改毕业设计工作与2012年正式启动。本次毕业设计改革以推动学校教学改革进程，着力培养学生的创新能力、实践能力与知识运用能力等多方面综合素质与能力，依托校区合作单位，充分发挥学校、企业、教师与学生的优势与能动性，形成产学研相结合一体化形式的思路。要求学生以团队方式运作完成以成都出发至周边2-3日游的旅游线路产品设计与营销方案。所设计的旅游线路产品可是观光旅游线路，也可以是专项旅游线路，包括吃、住、行、游、购、娱六大旅游要素。而且要求旅游线路产品应具有创新性与实用性，必须是旅行社常规经营线路以外的产品。
（二）实施方案
1.明确目标，统一认识
对我校2009级旅游管理专业实行毕业论文改毕业设计，最初很多同学与老师不是很能接受。学生觉得毕业设计与毕业论文相比，需要实地考察，花费时间与资金。而且是团队运作方式，协调容易出问题。教师方面，有老师认为毕业论文改设计增加了自己的指导工作任务与难度。因此，在实施在具体实施过程中，学校专门成立了旅游管理毕业论文改毕业设计工作小组，由学校领导、院系领导、企业代表、指导教师代表与学生代表共同组成。并且与师生进行多次会议与座谈，让大家明确此次改革的目的与意义，统一思想与认识。
2.学生分组，下达任务
在统一认识的基础上，2009级旅游管理专业64名同学按照8人一组自愿组合的原则分为8个小组。每个小组设小组长一名，负责该小组线路产品的总体方案。其余小组成员依次负责旅游线路产品的可行性分析、旅游线路产品的构成要素分析、旅游线路产品的费用核算与市场报价分析、旅游线路产品的旅游行程、旅游线路产品的市场营销方案、旅游线路产品的途中导游词、以及景点导游词。指导教师对自己负责的小组下达具体的设计任务。每位小组成员可以根据自己的实习工作经历以及自己所擅长的领域选择任务。
3.实地考察，设计线路
每个小组内部的同学充分发挥自己的主观能动性与积极性，围绕以设计成都出发至周边的2-3日的短途旅游线路的要求，结合自己的旅行经验、实习经验以及相关书籍与网络资源等等，初步拟定出本小组旅游产品线路。然后由组长率队分赴成都周边进行线路的实地考察。在完成实地线路产品踩点、踩线等的实地考察之后，将资料进行汇总分析，然后每个同学根据自己的分工完成任务，再由小组长提交总体方案。
4.优选线路，统一营销
在8个小组提交定稿以后，学校邀请旅游行业的专家、旅行社的企业家以及学校旅游管理专业的教师，对8条线路根据线路产品的完整性、创新性、可操作性以及市场潜力等方面进行综合考核和答辩，最后优选出一条旅游线路产品。再根据这条线路产品的营销方案，由64名同学通过我校的实践教学基地师大校园旅行社以及校企合作单位四川康辉国际旅行社这些平台，共同实施完成该营销方案。
5.组团游览，综合考量
学生在规定的时间内进行宣传营销结束后，通过师大校园旅行社组团进行游览。而且被选出线路的小组成员具体负责整个旅行团的具体运作与安排，如旅游团的计调工作、导游工作以及市场协调工作等。最后每位同学的毕业设计成绩按照项目评选和营销业绩，以及个人在小组中承担的工作量与任务难度等因素进行综合考量。
四、改革的启示
一、大学生撰写毕业论文的自身优势
(一)支配的时间相对比较宽松
相对在职人员而言,大学生的时间是比较充裕的,从第七学期开始很多高校的课程就较少了,甚至开设完毕了。因此,只要大学生关注毕业论文写作、充分利用相关时间,就可以为撰写优质的毕业论文提供时间保证。
(二)身处高校,信息资源比较丰富
一般的大学图书馆都拥有一定量的藏书,且有校园免费电子数据库,为大学生搜集毕业论文资料、撰写毕业论文提供了广泛而有效的信息渠道。
(三)配有论文指导教师
在大学本科阶段,每个学生都有明确的论文指导老师。从选题、开题、论文撰写到答辩论文指导教师都参与其中,当学生遇到疑难问题时都可以求助于其论文指导教师。
二、学生开展毕业论文工作的自身劣势
(一)学生对毕业论文写作不重视、态度不够端正现象严重
根据笔者对学生论文5年的统计来看,重视论文写作的学生不到20%。目前,由于大学生就业压力较大,在做毕业论文时,学生通常会忙于择业或准备考研,难以集中精力从事毕业论文写作;有些用人单位明确要求已签约的学生提前上岗,由此很多学生就放松了对自己的要求。而且,根据以往学生毕业论文的通过情况(通过率几乎100%),所以很多学生认为本科生毕业论文只是一种形式,随便找点材料整理成符合要求的论文就会通过的,没必要花费太多的时间。学生对毕业论文写作不重视、态度不够端正的问题,严重影响了毕业论文的质量。
(二)选题带有盲目性、随意性较大、缺乏应用性
据笔者5年的统计,约有50%的学生在既不了解毕业论文设计内容又不了解自己能力的情况下,仅凭兴趣进行选题,结果往往出现选题过大、过难等情况,难于开展毕业论文资料的搜集和撰写;约有70%-80%的学生选题时,避难就易,只求毕业论文顺利通过等等,结果抄袭现象甚为严重,缺乏创新和应用价值。
三、学生开展毕业论文实践拥有的机会
(一)应用型院校的发展需要学生综合实践
普通地方高等院校基本上都属于“应用型”高等院校。应用型院校的发展需要“以专业化的知识应用服务于社会”,培养具有一定基础理论知识、较强实践能力的学生。毕业论文是造就应用型人才目标的综合性实践教学环节。因此,应用型院校的发展为毕业论文质量的提高提供了契机。
(二)本科院校评估都很重视论文质量指标
根据教育部教学水平评价指标体系构成项目,毕业论文是评估本科院校办学水平的重要指标,是高等学校培养学生创新意识和应用能力的一个综合性重要教学环节。因此,各本科院校都重视毕业论文的质量提高。
四、学生开展毕业论文实践面临的威胁
(一)指导教师方面
1、指导教师数量相对不足。随着高等教育的规模化、大众化的转化,学校招生人数的增加,造成毕业论文指导教师相对不足,尤其是发展较快的经管类专业。据调查,目前经管类论文教师指导毕业论文人均学生数超过10人,无奈之下一些低职称、低学历的老师也承担了论文指导任务,影响了论文质量的提高。
2、教师疲于应付完成毕业论文指导任务。目前,地方高校急于发展,造成高校年轻教师多,而职称评定要求又较高,因此,多数教师教学和科研任务都较重,没有充足的时间和精力投入毕业论文的指导工作,教师常疲于应付完成毕业论文指导任务。据调查约有半数的指导教师只凭自己的感觉对学生进行指导,基本上要求少,缺乏毕业论文的长期阶段性检查。
3、指导教师的指导水平不高。虽然部分指导教师有指导资格,但很少参与科研,甚至不会做科研,本身缺乏科研实践、社会实践背景,对学生的毕业论文无法实行有效指导。而有的指导教师虽然本学科的科研很多,但由于部分学生的选题超出了其研究的范围,结果指导水平也受到严重限制。
4、认识不到位、态度不端正。据调查,约有半数的论文指导教师认为经管类毕业论文不用做实验,到最后一个月就可以把它写出来。平时对于学生论文方面的指导不积极,甚至表示论文都会通过的,消极应付学生。对毕业论文的责任心不强,在选题、指导、评审等程序上不负责任,甚至连毕业论文指导记录和指导评语都由学生本人发表。
(二)学校方面
1、毕业论文过程管理力度不够、监控乏力。许多地方高校对毕业论文的认定评价停留在论文的格式、字数、参考文献数目等客观因素上,在过程管理和监控等方面缺乏有效的约束。从论文选题、资料收集、撰写论文、定稿到论文成绩评定,没有明确的标准与合理的成绩评定办法。毕业论文成绩评判过于宽松,答辩流于形式。与课堂教学中的学生评教、同行评价、院系领导评价、督导委员评价和学校领导评价等多主体检查评价相比,毕业论文过程管理力度明显不够、监控乏力。
2、信息资料保障条件不能满足学生实践毕业论文的需要。部分地方学校刚刚花负债迎接完教育部评估,图书馆常因办学经费的问题,研究资料更新不快、缺乏相应的实用性和针对性;学校电子数据库设备少、上机浏览费用较高;寝室校园网络普及率不高或失修问题严重等等。
(三)外部环境方面
由于金融危机的影响和高校的扩招,目前大学生就业形势严峻,地方高校毕业生毕业问题尤为严重。因此,很多学生将主要精力放在人才市场和各类招聘会上,学校鼓励学生外出择业,同时,目前用人单位对学生毕业论文的质量高低也不关心,所有这些方面都制约着毕业论文质量的提高。
五、提高应用型本科院校经管类毕业论文质量的建议
(一)提高师生对毕业论文工作的认识,建立有效的激励机制
针对地方应用型本科院校师生对毕业论文的消极认识问题,可通过激励和约束双重途径,端正他们的态度。对学生而言,提前一学期召开毕业论文设计动员大会,使学生了解毕业论文写作的意义、目的以及各阶段的任务,强调撰写毕业论文是应用型人才培养目标方案中十分重要的环节,是获得学位和继续深造的先决条件。对教师而言,通过定期召开论文指导工作会议,学习相关规章制度。强调毕业论文的指导质量事关教师评优的重要指标之一,并与教师的津贴补助和评优晋级等相挂钩;设立毕业论文指导教师优秀奖,给予相应的物质奖励。
(二)多渠道缓解指导教师相对短缺问题
1、对在刊物上公开发表本专业相关论文的学生做出免于参加毕业论文写作的规定。在学生学习阶段,如果学生积极参与教师的科研,撰写相关论文,并以第一作者,通常可认为其已经能用本专业所学知识解决现实问题,具备了本科生毕业论文写作的基本水平。这样,一方面可激励学生的学习兴趣,另一方面,也可部分缓解指导教师不足的问题。
2、聘请校外单位师资力量。为适应应用型人才培养的需要,聘请一些校外单位人员担任论文指导教师,一方面,这些人了解经济社会发展的现实需要,另一方面,可以缓解目前论文指导教师相对短缺的问题。
(三)建立健全毕业论文工作规章制度
为了规范毕业论文过程诸环节的管理,学校需要结合学科专业特点和专业定位,对本科生毕业论文工作规章制度进行修订和完善。尤其是对毕业论文时间安排、选题、开题、中期指导、毕业论文的评定等提出明确的要求。将质量标准、评价依据等都予以具体化。
(四)狠抓过程管理
过程管理是保证毕业论文质量的重要手段。首先,要做好毕业论文选题工作。以讲座、报告、开设毕业论文指导课程等形式向学生讲授如何开展毕业论文选题工作,要把选题限制在专业培养方向和论文指导老师的研究方向上,使选题贴近实际。其次,在学生搜集资料、撰写毕业论文期间,学校应组织校内有关领导和专家进行定期和不定期的进行论文指导检查工作。指出存在的问题,指明努力的方向。最后,改革论文评审、成绩评定和答辩管理。在指导教师给定成绩后,还应由2名以上的教师在不知道指导教师给定成绩的情况下对论文进行评阅评分。采取结构分模式综合评定成绩,即综合评定的成绩由开题报告、中期检查、指导教师评定、论文评阅老师评定、论文答辩五部分成绩构成,学校对五部分成绩评定分别给予详细的标准和赋予相应的权重。在答辩过程中,学生指导教师回避,避免主观因素对答辩成绩的影响。对综合评定成绩不及格者按学校的学籍管理规定处理,对学生毕业论文成绩要严格把关,对学生该严则严,绝不通融。
(五)建立毕业论文评优制度
为激励师生将主要精力投入到毕业论文,学校要认真组织做好毕业论文的评优活动,制定大学优秀毕业论文评选实施办法及优秀指导教师奖励办法,并把优秀率控制在答辩学生人数的5%之内。对于获得优秀论文的指导教师给予奖励和表彰,提高教师指导论文工作的积极性。
(六)构建新的适合于地方企业用人和就业需要的毕业论文实践新模式
结合应用型本科院校发展的需要,积极探索构建校企合作联合开展毕业论文工作的新模式。对于直接就业的学生,鼓励其毕业论文与就业结合起来,使毕业论文撰写紧密结合毕业实践遇到的现实问题。这样毕业论文的撰写既具有较强的实践意义,也可以加强用人单位与学生之间的沟通、了解,提高学生的就业率。对于希望继续攻读研究生的学生可以以理论研究为主,从而提高毕业论文的质量。
(七)加大图书馆和校园网的资金投入
为保证毕业论文质量,教师资料室也尽可能地向毕业生开放,同时延长图书馆开发的时间。通过校企合作尽可能地争取资金,加强校园网络的建设,为学生做毕业论文提供良好的信息搜索渠道。
参考文献:
1、陆翠萍.会计专业毕业论文质量下降的原因与对策研究[J].教育与职业,2010(5).
2、刘波粒,刘泽军.浅析本科生毕业设计(论文)质量滑坡的原因及其对策[J].中国高教研究,2007(7).
【关键词】文献综述；批判性思维；毕业论文；英语专业本科生
0 引言
文献综述也称研究综述，是指在全面掌握、分析某一学术问题或研究领域相关文献的基础上，对该学术问题或研究领域在一定时期内已有研究成果、存在问题进行分析、归纳、整理和评述而形成的论文。文献综述一般要对研究现状进行客观的叙述和评论，以便预测发展、研究的趋势或寻求新的研究突破点。文献综述虽不是本科生论文必备的一个章节，但却是论文撰写的起点，能够帮助学生找到选题的切入点和突破点，避免重复劳动。但英语专业本科生在撰写学位论文的过程中，在文献综述的部分普遍存在文献搜集不全、阅读不深、仅罗列信息、个人观点多或故意突出个人观点的重要性等问题，直接结果就是论文的选题重复性特别高。造成这些问题的原因除态度、研究能力不足之外，也曝露出批判性思维能力的缺失，因为文献综述的“综”性需要学生归纳、总结、提炼，而“述”作为评论则需要学生具备批判的能力、辨析的能力，能够发现问题最终达到提出解决方案。
1 文献综述撰写方面存在的问题分析
探究英语专业本科生学位论文文献综述部分存在问题的根源，大概有如下几个原因。
1.1 不会搜集文献，不懂何为“综述”
不可否认的是，有些本科生不懂得何为文献综述，这也是我们看到很多本科生的论文中引言或介绍部分仅仅是作家、作品的介绍或某些理论的介绍。也有些学生根本不会搜集文献或由于资料搜集范围或方法不当，未能将有代表性的资料完全纳入研究的范围，或仅仅根据自己的喜好选择材料，断章取义。
1.2 故意突出自己研究的重要性
因论文指导工作过程中已强调要避免选题重复，选好研究度，尽量做有意义的研究。很多本科生由于学术积累不够或思考不深入，便故意在综述中漏掉或弱化某些研究成果，或者放大已有研究的不足，以便突出自己研究的价值和意义。这样做的结果就是选题不当，重复研究。
1.3 简单罗列，“综”而不“述”
有些本科生可以在阅读相关文献的基础上撰写综述，但仅仅是将前人的观点罗列出来而不能进行系统分类、归纳和提炼，内容杂乱，缺乏内在的逻辑，与选题连接牵强附会。
1.4 态度不认真，敷衍了事
因为跨专业考研、实习机会、跨行就业等原因，不乏一部分学生对学位论文重视程度不够，此种原因在本文中不予探讨。
综上，除了“不懂”和“不愿”的原因，述评能力差是造成学生无法完成文献综述任务进而优化选题的主要原因，而前文提到，述评能力是批判性思维的一个反映，那么如何提高批判性思维能力的培养呢？
2 专业学习中的批判性思维能力的养成
批判性思维在能力上体现为可以解释、分析、评估、推论、说明和自我校正。能够理解和表达极为多样的经验、情景、数据、事件、判断、习俗、信念、规则、程序或规范的含义或意义，包括归类、理解意义和澄清含义。能够识别意图和陈述之间实际的推论关系、问题、概念、描述或其他意在表达信念、判断、经验、理由、信息或意见的表征形式，包括审查理念、发现论证和分析论证。能够评价陈述的可信性或其他关于个人的感知、经验、境遇、判断、信念或意见的描述；评价陈述、描述、问题或其他表征形式之间实际的或意欲的推论关系的逻辑力量，包括评价主张，评价论证。能够识别和维护得出合理结论所需要的因素；形成猜想和假说；考虑相关信息并根据数据、陈述、原则、证据、判断、信念、意见、概念、描述、问题或其他表征形式得出结果，包括质疑证据、推测选择和推出结论。能够陈述推论的结果；应用证据的、概念的、方法论的、规范的和语境的术语说明推论是正当的；以强有力的论证形式表达论证，包括陈述结果、证明程序的正当性和表达论证。能够监控一个人认知行为的自我意识、应用于这些行为中的因素，特别在分析和评估一个人自己的推论性判断中应用技能导出的结果，勇于质疑、确证、确认或改正一个人的推论或结果。子技能包括自我审查、自我校正。批判性思维的倾向是求真的、开放的、系统的、分析的。
关于英语专业学生的批判性思维的“缺席”还是“在场”，前人已有多篇论述。思辨能力作为一项核心竞争力，是优秀人才的重要素质。而大学作为优秀人才培养的摇篮，理应将思辨能力作为其最具价值的教育目标之一。1998年，由多国高等教育领导者组成的国家高等教育合作组织将思辨能力视作决策者的重要能力，认为大学教授思辨能力等核心技能的目的就是要使学生将来成为更高效的职场人士和负责任的公民。我国的《高等教育法》和《国家中长期教育改革和发展规划纲要（2010―2020年）》尽管并未使用“思辨能力”或“批判性思维”等语词，但都明确提出，高等教育的任务是培养具有创新精神、创新能力的高级专门人才。作为文科专业学生，英语专业生除了语言技能外，应该拥有较强的批判性思维能力。我们可以通过课程设置、教学方法和教学理念的更新来实现批判性思维能力的培养和提高。
2.1 专业课程设置
通过在培养计划中强调批判性思维培养的要求，在课程设置上可以添加诸如辩证法、逻辑、辩论方法等方法课，演讲与辩论、思维与写作等实操课，语言学、文学、文化、哲学、社会学等拓展课，要求学生掌握一定的理论、方法，进行实际的操练，并能够展开比较，因为这一过程定会引发讨论和思考，提高逻辑、批判能力。
2.2 考查方式的改革
实施动态的监控与考核，形成性评价与终结性评价结合，改变一张考卷占据大比例的考核现状，这样学生才能更注重参与到整个过程中来，并且也更能考查学生的批判性思维能力。
2.3 注意教学理念和教学方法的更新
现在学生的认知途径早已不局限于传统的课堂，各个学校也在积极参与并推动教学改革。在既有的课程设置中，教师可以尝试的是教学理念的更新和教学方法的变革。改变传统的输出和接受的模式，强调学生的参与和自主学习，强调启发和开放式结尾问题的设置，传统授课方式和seminar、workshop等方式的结合，课堂和在线学习的结合等，均有助于提高学生的思考和批判能力。
3 结语
文献综述过程中曝露的学生批判性思维的缺失只是学生批判性思维缺失的一种表现，除了提高批判能力，也需要专门训练等对策来解决。在说与写的语言输出过程中，学生不能分析、归纳、评论，提交自己观点的例子亦不鲜见，其原因也非几条能够概括，但是，如果教育者意识到这个问题并采取行动，即先从最基本的课堂教学开始，学生的批判性思维能力一定会有提高。但正如与写文献综述的一个原则相呼应的是，我们必须恪守欣赏与批判并行的原则，为达到批判地提出自己的观点的目标，多赏读、涉猎经典，是先行一步的。
【参考文献】
[1]黄源深.英语专业课程必须彻底改革――再谈“思辨缺席”[J].外语界.2010（01）.
〔2〕李枭鹰.文献综述――学术创新的基石[J].学位与研究生教育. 2011，9.
[3]孟金兰，董艳芬，郑凌云，王建红，汪胜.本科生文献综述撰写能力分析[J].卫生职业教育，Vol.25 2007 No.23.
[4]任文.再论外语专业学生的思辨能力：“缺席”还是“在场”？兼论将思辨能力培养纳入外语专业教育过程――以英语演讲课为例[J].中国外语，2013（01）.
[5]时俊卿.撰写文献综述应注意的问题[J].教育科学研究，2004，7.
[6]王琪.撰写文献综述的意义、步骤与常见问题[J].学位与研究生教育，2010，11.
关键词 医药营销专业 论文质量 教学改革
中图分类号：G424 文献标识码：A DOI：10.16400/ki.kjdkz.2015.03.059
Medicine Marketing Undergraduate Thesis
Quality Analysis and Teaching Reform
YANG Lin
（Xi'an Medical University， Xi'an， Shaanxi 710021）
Abstract Pharmaceutical marketing professional thesis is to examine the effect of graduates of professional learning important practical aspects， to fully reflect the student's comprehensive ability and self-learning ability， but also improve an important teaching graduates overall practice and innovation ability. Combined with the actual situation of pharmaceutical marketing professional school student thesis， analysis of nearly 153 graduates three basic conditions of pharmaceutical marketing and quality factors papers， thesis writing and defense against the existing problems， enhance substantive pharmaceutical marketing graduate thesis quality feasibility strategy.
Key words pharmaceutical marketing; thesis quality; teaching reform
医药营销专业本科毕业论文是培养学生综合运用所学理论知识独立分析和解决问题的一个重要环节，为了调查论文质量及发现论文写作中存在的问题，抽取近三届153篇毕业论文进行回顾性分析。大多数学生实习都集中于医药经营企业，论文选题与医药营销实践的相关度较高，论文的完成能够体现医药营销专业综合训练的要求。通过对该专业近三届学生毕业论文质量的分析，探讨对本专业毕业论文质量影响的因素，通过加强对毕业论文写作各环节的指导与控制，提高医药营销专业毕业论文的整体水平。
1 医药营销专业本科毕业论文基本情况
近三届医药营销专业本科毕业论文共153篇，其中2008级35篇，2009级36篇，2010级82篇。调查内容包括医药营销专业153篇论文的总体评分情况，毕业论文的三种主要类型，毕业生实习单位、指导老师同毕业论文得分之间的相关关系等基本情况。2012、2013、2014届医药营销专业毕业论文的优秀率分别为8.6%、13.9%、13.4%，良好率分别是85.7%、69.4%、76.8%，合格率占5.7%、16.7%、9.8%。综合来看学生写作流程基本规范，但是论文质量有待提高。
医药营销专业毕业论文类型分为理论研究型、市场调查型和理论应用型。这三种类型在2012届毕业论文中的比率分别占8.6%、2.8%、88.6%，在2013届毕业论文中的比率为11.1%、2.7%、86.2%，在2014届毕业论文中的比率占7.3%、3.6%、89.1%。总体来看，近三届学生的毕业论文以结合医药市场具体情况进行分析、运用营销理论解决实际问题的应用型为主。
医药营销专业毕业生的实习单位分为医药外资企业、国内医药经营企业、连锁药店和非医药企业这四种类型。综合近三届毕业论文总体成绩来看，在医药外资企业实习的毕业生论文中优秀、良好、合格的比率是59.3%、33.3%、7.4%，在国内医药经营企业实习的毕业生论文中优秀、良好、合格的比率是2.7%、90.5%、6.8%，在连锁药店实习的毕业生论文中优秀、良好、合格的比率是2.6%、82.0%、15.4%。在非医药企业实习的毕业生论文中没有成绩优秀的，良好与合格比率是76.9%、23.1%。显然在医药外资企业实习的毕业生论文质量最优。
医药营销专业毕业生结合专业的实践与应用特性，近三届毕业生中111人由医药企业工作人员带教，论文考评优秀、良好、合格的比率是11.7%、73.9%、14.4%，一些在连锁药店和非医药企业实习的学生因缺乏指导老师而由校内专业课老师带教，论文考评优秀、良好、合格的比率是14.3%、61.9%、23.8%。
2 医药营销专业本科毕业论文质量影响因素分析
通过对已经毕业的近三届医药营销毕业论文的回顾性整理发现，影响论文质量的因素主要体现在学生对待毕业论文的态度、实习单位与指导老师这几个主要的方面。
2.1 毕业生对待论文的态度
医药营销专业本科学生大都在医药企业实习，实习单位对学生有着较为严格的绩效考核制度，学生不能像在校期间学习一样静下心来写论文。学生在毕业论文写作阶段面临实习、考研及找工作等问题，往往忽视了毕业论文写作。对2010级学生采用访谈法收集毕业生对于毕业论文的看法和投入精力后发现，只有26%学生认为毕业论文很重要，47%的学生认为比较重要，27%的学生认为写论文纯属完成任务。整体而言，学生在论文选题、开题、资料收集、论文撰写、论文修改、毕业论文答辩等各个环节投入的时间和精力不足。
2.2 论文选题与论文质量
从毕业论文总体来看，在论文选题方面大都集中于医药市场领域，绝大多数学生选择了自己感兴趣、与营销工作联系紧密并且自己可以驾驭完成的论题。论文的选题难度与论文完成的工作量较为适中。医药营销专业毕业论文以理论应用型为主，高达88.9%，市场调查型最少只占论文总量的2.6%。通过对2010级毕业生的抽查结果显示，其中只有少部分学生在完成论文时，既查阅了文献又进行了实际的市场调研。由于毕业论文的写作设在最后一个学期，很多同学将绝大部分时间放在了实习和找工作上，在写作时忽略了原始资料的获取，只进行了二手文献的查阅，影响了论文的说服力。核查得分较低的论文后发现，个别学生论文选题过大，没有针对本专业的具体情况，致使完成论文难度倍增，加之实习过程缺少必要的实践训练环节，导致论文内容空洞质量不高。
2.3 指导老师与论文质量
因为扩招本校医药营销专业学生人数逐年增加，校内指导老师无法完成全部学生的论文指导工作，因此从学生实习的医药企业聘请责任心强、与营销实践工作相关的人员作为校外指导老师。由医药企业人员和校内专业课老师指导的毕业论文优秀率分别为11.7%和14.3%，两者之间没有显著差异。校内教师对于营销理论非常了解，但对具体操作却不十分清楚，在指导学生的过程中会出现仅仅靠理论指导，而难以解决企业实际问题的情况。医药企业人员具备丰富的市场销售经验，能够指导学生将理论转化为实践应用，从学生论文中可以发现与具体实习企业的紧密联系，但是校外老师在论文格式规范、参考文献等方面有待改进。
2.4 实习单位与论文质量
实习单位对于毕业论文的优良率有着重要的影响，从论文统计中可以发现，医药外资企业、国内医药企业、连锁药店实习的学生毕业论文优秀率分别为 59.3%、2.7%、2.6%，在医药外资企业实习的毕业生论文优良率远高于其他三类企业，说明实习单位与毕业论文成绩之间存在关联。从论文完成情况可以看出，医药外资企业拥有良好的资金、技术等竞争优势，在人力资源培养方面投入力度大，在此实习的学生在市场销售中得到了较好锻炼，同时论文质量整体较好。
3 提高医药营销毕业论文质量的改革对策
3.1 加强对毕业生论文写作前的指导
针对2014届毕业生进行的调研问卷显示63%学生和47%指导教师认为影响论文质量的最主要问题是缺少论文规范性写作的指导和训练。83%的学生认为学校有必要在实习前，给学生提供一些从开题报告到毕业论文的范文并加以讲解，使学生掌握论文的写作方法和注意事项，提高论文写作质量和水平。虽然历届学生在毕业论文前都会安排有实习动员，但由于时间紧，实习动员更多的是强调实习注意事项和对论文基本要求，没有对论文写作安排专门时间来指导和训练。因此，毕业论文水平的提高必须通过一定的方式方法来逐步实现。
可行的方法是将论文写作专项训练课程的内容划分为课堂讲授及写作训练两部分。论文指导教师用5学时讲完教学计划的核心内容，以综述、开题报告、中英文摘要和论文写作进行讲授。核心内容的讲授采用案例式教学，以往届毕业生中的优秀论文为范文进行分析说明。剩余的时间通过给出学习要点及作业由学生自主完成。学生作业结合拟完成毕业论文题目，逐项提交与之有关的开题报告、中英文摘要和论文等。
3.2 论文写作由校内外导师共同指导
医药营销专业的学生撰写论文是要解决企业的实际问题，为了能够使学生的论文反映医药企业的实际情况，实习企业应该为学生指派一位实践指导教师，由校外老师负责指导学生的营销实践环节，并为学生创造条件进行学位论文的撰写。校内老师指导学生完成与学位论文相关的表格填写工作。这样学生在收集数据、调查资料等方面就能从企业角度分析问题、解决问题，大大提高了学生对实际问题的理解程度，保证了学生在理论和实践应用两方面顺利完成毕业论文的写作。与此同时，这也将有利于加强校内外交流与合作，提高本专业学生的培养质量，向医药企业输送合格的毕业生。
3.3 论文答辩方式的改革
医药营销专业的学生答辩形式是人人参与答辩，答辩成绩占最终论文总成绩的40%，查阅总成绩不高的学生论文后发现，答辩成绩也往往偏低。学院选择在医药企业实践经验丰富的管理人员和校内专业课老师共同组成医药营销论文答辩小组，每个小组由5名教师组成，每个答辩的学生需要回答2～3个问题，学生一一作答后，答辩教师根据学生的论文撰写情况和答辩情况给出相应的成绩，如果成绩不合格需要进行二次答辩。为了避免这种效率不高的重复劳动，本专业将在下一届毕业生中推行预答辩制度，即在正式答辩之前先组织学生预演全过程，帮助学生及时找到不足加以完善，以期在正式答辩中发挥出最佳水平。
毕业论文的质量不仅能反映教师的教学和科研水平，而且还能反映一个学校人才培养模式和培养计划的合理性。毕业论文是对大学四年学习成果的综合性总结，对学生利用所学知识分析问题和解决问题能力的检验，是大学生完成学业的标志性作业。通过校外实习就业一体化基地建设、实施论文写作的综合实训指导，完善毕业论文过程化管理和严格地进行论文评阅与答辩等措施，将实质性提高医药营销专业毕业论文的质量。
项目：西安医学院2014年校级精品课程资助项目（XYZL2014-13）
参考文献
[1] 钟其鹏.近三十年来本科毕业论文环节教学研究述评[J].钦州学院学报，2010（2）：79-83.
2. Ezra Pound and Imagism 2
2.1 Ezra Pound 2
2.2 Imagism ………………………………………………………… …………...….. .4
3. Imagistic features of Pound's poetry 5
3.1 The use of Image 5
3.1.1 Image progress…..……………………………………………………………… ……6
3.1.2 Image superposition………………………………………………………………….. 8
3.1.3 Image juxtaposition………………………………………………………………...…9
3.2 Concise Language………………..………………….…………………………...…….10
3.3 Musical Rhythm ...……………………………………………………………………..11
4. Influence of Pound’s poetry 12
4.1 The impact on domestic literature ...…………… …………………………………… 13
4.2 The impact on foreign literature ...………….…………………………………………14
5. Conclusion 16
Acknowledgement. 17
Reference 18
1．Introduction
Imagism was a movement in the early 20th-century Anglo-American poetry that favored precision of imagery, and clear, sharp language. The Imagists rejected the sentiment and discursiveness typical of much Romantic and Victorian poetry. This was in contrast to their contemporaries, the Georgian poets, who were by and large content to work within that tradition. Ezra Weston Loomis Pound was an American expatriate poet, critic and intellectual who was a major figure of the Modernist movement in the first half of the 20th century. He is generally considered the poet most responsible for defining and promoting a modernist aesthetic in poetry.11
As the father of Modernism, Ezra Pound plays an important role in Poetry modernization process. Therefore, we can get a clear understanding of imagism poems by studying Pound’s poems and translation works. The thesis will focus on studying image to analysis Ezra Pound’s poems. According to Pound's Imagist poems and other predecessors’ studies of his works, this thesis will summarize the language characteristics of Pound’s poetry and analysis his imagist poetry style, so as to provide some theoretical concept from the view of reading, understanding and appreciating modern English poetry, thus making it easier for Chinese readers to appreciate English poetry.
The first part summarizes Ezra Pound’s life and theoretical basis of Imagism. The second part, as analysis of Pound's poetry, departs into three parts—the use of image, concise language and musical rhythm. It introduces three kinds of combination of images, and uses Pound’s poems to explain the combination of images. The third part is about the influence of Pound poetry on domestic and foreign literature
2. Ezra Pound and Imagism
As the father of modernism which is the main stream of literature in the twentieth century, Ezra Pound definitely plays a predominant role in the evolution of modernist poetry. Its starting point is Imagism.
Ezra Pound’s Imagist theory is mainly based on the aesthetic theories proposed by W. B. Yeats, Ford Madox Ford and T. E. Hulme. Yeats is famous for a symbolist who emphasizes subjective conception and imaginative association，but this school tends to lapse into sentimentality; Ford is famous for an impressionist who emphasizes objective writing with clarity and precision, but this school tends to lapse into the level of description. Pound absorbs the strengths of Yeat’s subjectivity and Ford’s objectivity and finds a way to make natural objects convey subjective emotion by virtue of association of the mind.
2.1 Ezra Pound
Ezra Pound(1885一1972)was born in Hally, Idaho, in October, 1885.Then he attended Hamilton College and the University of Pennsylvania，where he majored in romance Philology while reading through a large Portion of classical and European literature. Dissatisfied with the genteel tradition and Popular romanticism dominating the American literary tastes，Pound moved to Europe in1908一first to London，then to Paris，and finally to Rapallo, Italy. In 1909，Pound met W. B. Yeats and Ford Madox Ford. He was greatly influenced by these two and tried to combine Yeat’s symbolism with Ford’s impressionism. About the same period of time, Pound got in touch with T. E. Hulme and became interested in his Poetic theory.
All these ideas became the theoretical basis of the well-known Imagist and Vortieist Movement. Later，inspired by American sinologist Ernest Fenollosa’s theory on the Chinese writing characters，Pound proposed the Ideogramic Method which was based on the chief principles of the Imagist and Vorticist Movement. As the advocate and leader of the movement Pound exerted a great influence on the Imagist poetry writers. Pound also attempted to combine poetry with music, painting and scu1pture.Vortieism was such a typical example.
Ezra Pound is generally considered the poet most responsible for defining and promoting a modernist aesthetic in poetry. In the early teens of the twentieth century, he opened a seminal exchange of work and ideas between British and American writers, and was famous for the generosity with which he advanced the work of such major contemporaries as W. B. Yeats, Robert Frost, William Carlos Williams, Marianne Moore, H. D., James Joyce, Ernest Hemingway and especially T. S. Eliot. Pound also had a profound influence on Irish writers W. B. Yeats and James Joyce.
Pound is not only a poet, but also a translator, essayist and literary critic. His own significant contributions to poetry begin with his promulgation of Imagism, a movement in poetry which derived its technique from classical Chinese and Japanese poetry which are stressing clarity, precision, and economy of language, and foregoing traditional rhyme and meter in order to, in Pound's words, “compose in the sequence of the musical phrase, not in the sequence of the metronome.” His later work, for nearly fifty years, focused on the encyclopedic epic poem he entitled The Cantos, which was regarded as poetic masterpiece of the twentieth century. He is really an original and creative poet in the twentieth century, a literary giant who plays a prominent role in the development of modernist poetry.
2.2 Imagism
Imagism was a poetic movement which flourished in London between 1910 and 1917 and had an enduring and pervasive influence on English-language poetry in the twentieth century.
The Imagists published four annual anthologies from 1914 to 1917, with a final anthology in 1930. They were led by Ezra Pound who first called them “Les Imagists”, choosing a French term to associate the group with the various French avant-garde movements which became the Roger Fry’s influential Post-Impressionist exhibition in 1910. The group included Hilda Doolittle, John Gould Fletcher, Amy Lowell, Richard Aldington, and, marginally, D. H. Lawrence, but they had only a loose and shifting affiliation and it was mainly Pound’s talents as a promoter and critic that gave a semblance of unity.
Pound’s favored spelling of Imagists was a gesture of homage to the first school of modern poets, the symbolists, whose best-known members were Baudelaire, Mallarme, Verlaine, and Rimbaud, but Pound criticized the French Symbolists as often as he praised them. The first principle of Imagism was “Direct treatment of the thing” [3]72, clearly in contrast to Mallarme’s famous dictum that to name a thing was to take away half the pleasure and whereas Verlaine in his “Art of Poetry” advised an “indefinite music”. Pound spoke for an “absolute rhythm”, a rhythm that is in poetry which corresponds exactly to the emotion or shade of emotion to be expressed.
Nonetheless, Pound’s ascorbic but well-judged criticism of his contemporaries, his accurate sense of what was good in verse, and his own aphoristic brilliance, gave this small movement (which was not really even a movement outside of Pound’s rhetoric) a formative role in defining the twentieth-century poet as someone who was in the intellectual avant-garde, purifying the language of the tribe, spurning flaccid and self-important and merely derived patterns of language use, and generally breaking with the idea of fixed metrical rules. Many of these principles were clearly articulated in the essay “Imagism” in Poetry (March 1913) which was offered as an interview-cum- report by F. S. Flint but shows the hand of Pound throughout. According to Flint, the three principles of Imagism were:
“1. Direct treatment of the “thing”, whether subjective or objective.
2. To use absolutely no word that did not contribute to the presentation.
3. As regarding rhythm: to compose in sequence of the musical phrase, not in sequence of a metronome. ” [4]12
In an essay “A Few Don’ts by An Imagist” by Pound in the same issue offers a definition of the Image as “that which presents an intellectual and emotional complex in an instant of time” [5]54, the key point being the compression of intellectual and emotional experience into an instant. He goes on to offer his own set of “Don’ts”:
“Use no superfluous word, no adjective, which does not reveal something.
Don’t use such an expression as “dim land of peace”. It dulls the image. It mixes an abstraction with the concrete. It comes from the writer’s not realizing that the natural object is always the adequate symbol.
Go in fear of abstractions. Don’t retell in mediocre verse what has already been done in good prose. Don’t think any intelligent person is going to be deceived when you try to shirk all the difficulties of the unspeakably cliff cult art of good prose by chopping your composition into line. ” [6]31
3. Imagistic Features of Pound's Poetry
Imagist poetry has three distinctive artistic characteristics. First, the Imagist poems request to convey the complex imagery directly, use sculpture and painting in the performance of imagery. It objects to musical and mystery object to lyrics. It advances the “Do not say” and “Do not you narrative” [6]9, only to show without comment. Second, the Imagist poems use concise language, no adjectives and qualifier, no decorative “lace” and flaunting words. It writes short lines, with imagery. Third, the Imagist poetry Images focus on the intrinsic rhythm of imagery combination, blend the imagery and the contained idea.
3.1 The use of Image
The word “Image” used in the field of literature is derived from the theory of Chinese poetry. It is an important linguistic terms which have been widely used in Chinese poetry. Therefore, when people refer to “image” in literature, it also refers to “image” poetry. Poetry image is the basic constituent element of poetry. It is the soul and essence features of poetry, and it plays a vital role in poetry.
Pound’s work as poet, critic，editor，and promoter of the new style was crucial to its initial period，in the decade around the First World War，and what was most essential to his conception of what was truly modern was a single word: Image. Pound’s best poems were assured achievement in the Imagist Movement when literature in English became recognizably modern. The modern revolution in literary style came from a main impulse一focus on the image.
Aesthetic theorist and imagist poet T. E. Hulme must be credited with the initial emphasis on the image，for he first formulated the doctrine that “Images in verse are not mere decoration, but the very essence of an intuitive language.”2 It was also Pound who showed in practice how far this definition could be carried into the making of short and then longer poems. Pound emphasized the concentration of intellectual and emotional content possible in a poetic image, though it mirrored only a brief moment of experience. He took the image to be the poet’s “primary pigment” and stressed the hardness, or concreteness, of sensory language, telling poets to “Go in fear of abstractions”. Besides concreteness, Pound stressed exactness of diction, the mot just of Flaubert, and clarity, and “As regarding rhythm: to compose in the sequence of the musical phrase, not in the sequence of the metronome”. Thus, along with the image emerged free verse, newly understood as an appropriate organic rhythm, suited to the mood of the individual poem.
In short, Pound’s Imagism was intended to carry symbolism forward towards a greater poetic realism, keeping the poet’s vision always in touch with the world of his senses, holding firmly to the principle that truth should be visible in things, rather than in visible beyond them.
As we all know ancient Chinese poetry and Japanese haiku had an important influence on Pound, especially the ancient Chinese poetry. Pound didn’t just pay attention to the ‘exotic surface’ of the Chinese language but its linguistic nature and the abstract feelings that lie behind it. He not only translated lots of Chinese poems but also learned the useful and particular writing techniques. It can be seen clearly the imitation of the style of Chinese poetry from Pound’ poems.
In the following text I will focus on three types of combination of image--image progress, image superposition and image juxtaposition. These three modes of combination of image are very typical East or Chinese-style image, which is characterized by only using nouns rather than verbs. This image processing techniques in ancient poetry in China is nothing unusual or surprising. And they are also wildly used in Pound’s poetry and become his representative features.
3.1.1 Image Progress
Image progress is a combination of images which structured in accordance with the objective rule. It is a common writing technique used by ancient Chinese poets. For example, the famous Chinese poetry《敕勒歌》：
“敕勒川，阴山下，天似穹庐，笼盖四野。
天苍苍、野茫茫，风吹草低见牛羊。”
In this poem, the author wrote from the mountains to near grass, from the sky to earth. He ranged the images under the rule of direction--from far to near. Therefore the author could make the meaning of this poem very clear.
Ezra Pound successfully used Image progress writing technique in his poems. Take Pound’s poem “Salutation” for example:
O generation of the thoroughly smug
and thoroughly uncomfortable,
I have seen fishermen picnicking in the sun,
I have seen them with untidy families,
I have seen their smiles full of teeth
and heard ungainly laughter.
And I am happier than you are,
And they were happier than I am;
And the fish swim in the lake
and do not even own clothing.
-----by Ezra Pound “Salutation”
In this poem, Pound first wrote the happy “fishermen”. They eat in the wild, sleep on the ground, with the untidy families, but they laugh to their hearts’ contact. Then he compared “I” with “you”, finding that “I am happier than you”. He compared the “fishermen” with “I”, finding that “they were happier than I am”. At last he described the free “fish”, it swims freely in the lake and even wears nothing. Pound wrote four aspects: the “fishermen”, “I”, “you” and the “fish”. He made a structured comparison of each of the four aspects to challenge those self-appointed writers, and pointed out that the modern poets’ mind should be free roaming like the fish in the water. They should get rid of the old stereotypes of poetry and create poems freely.
Ezra Pound addresses the old-time question of happiness in privileged and underprivileged classes. The “generation of thoroughly smug” refers to middle and upper classes of society who, by conventional means, are uptight, dull, and “smug”, and in Pound's definition are “thoroughly uncomfortable”, with life. Pound parallels the “thoroughly smug” with the “fishermen”. The poem is about perseverance. “Fishermen” are poor, often uneducated, country folk. Pound parallels “fishermen” with struggling poets; both sects trying to survive by their individual means.
3.1.2 Image superposition
Image superposition is to superimpose images with the same meaning, and uses modify, qualifier, metaphor to constitute the relationship between images. Ezra Pound widely used this writing technique. The example is the poem “A Girl” which Pound wrote for his early lover:
The tree has entered my hands,
The sap has ascended my arms,
The tree has grown in my breast -
Downward,
The branches grow out of me, like arms.
Tree you are,
Moss you are,
You are violets with wind above them.
A child - so high - you are,
And all this is folly to the world.
------by Ezra Pound “A Girl”
In this poem, Pound first uses the image “tree” to superimpose and modify “I”, and then uses the image “moss” and “violet” to superposition and modify “tree”. It is clear that the image of the “tree” is a symbol of love and young girl. Pound first described the close relationship between “tree” and “I”. Then he added three images –”moss”, “violet” and “child” to praise the beauty of young girl. The girl is as young and beautiful as violet and moss. And she is also like green trees which full of life. All of these things moisten “my” growth of life, even though they are ungrounded yawp in most people’s eyes. In this superimposed image, we can find that the beauty of the young girl likes violet, and the vital force likes the tree and mo ss.
We can see that those words or images have similar meaning, and their meanings have connected relationship. It is clearly that Pound used modify, qualifier, metaphor to constitute the relationship between images. So this poem uses typical image superposition.
3.1.3 Image juxtaposition
Image juxtaposition is quite similar to Image superposition, but actually they are different. Image juxtaposition is to appose two visible images together which from different time and space, to inspire and arouse the feelings of others. Hume said: “The imagery shows that the combination of the two visible images can be called a visual chord. Their combination gives people an image which is different from either of the two images.” The emotional feeling aroused by juxtaposition of different images has gone beyond the meanings of a particular image, but with an entirely new feel.
Pound said, “Image juxtaposition” can not allow any contact, whether it is an analogy or a synonym. The purpose of this technique is to “cut the lock of association of ideas”, so that the author can make the interaction relationship between images. The reader must take the initiative to use their imagination to explore the relationship between the two. Pound has always been emphasized on “Objective Present”. It is one of the effects of image juxtaposition, which means let the readers to understand the experience in poetry on their own, realize the “Similarity” between images, and get a sudden, new, near-epiphany of understanding.
Juxtaposition is like the Montage practice in the field of poetry. It is also the core writing technique used in Pound’s great work “The Cantos”.
Montage practice is a cinematic technique wildly used in modern film industry. It is a rapid succession of different images or shots in a movie. It composes pictures by juxtaposing or superimposing many pictures or designs. So we can regard it as the art or process of making such a single pictorial composition.
The Cantos by Ezra Pound is a long, incomplete poem in 120 sections, each of which is a canto. Most of it was written between 1915 and 1962, although much of the early work was abandoned and the early cantos, as finally published, date from 1922 onwards. It is a book-length work, widely considered to present formidable difficulties to the reader. Strong claims have been made for it as the most significant work of modernist poetry of the twentieth century. As in Pound's prose writing, the themes of economics, governance, and culture are integral to its content.
The most striking feature of the text, to a casual browser, is the inclusion of Chinese characters as well as quotations in European languages other than English. Here I cite a few lines of chapter forty-ninth of poem “Cantos” as follows:
Rain; empty river; a voyage,
Fire from frozen cloud, heavy rain in the twilight
Under the cabin roof was one lantern.
The reeds are heavy; bent;
and the bamboos speak as if weeping.
-----by Ezra Pound “Cantos”
In this poem, Pound used the melodic appearance of images to achieve an effect that common texts were not readily to gain. When we are reading these few lines, there will be subconscious images come into our mind, just as the words showed. The images change from “rain” to “empty river”, from “frozen cloud” to “heavy rain, from “the cabin roof” to “one lantern”. It is just like a rapid succession of different images or shots in a movie.
We can find that those words or images have different meaning, from different time and space, but they have connected relationship. It is clearly that Pound put those visible images together and achieved an admirable effect to inspire and arouse our feelings. This poem gets a responsive chord in the hearts of its readers.These melodic appearances of images are achieved by juxtaposing or superimposing different images. In other word, this effect is achieved by image juxtaposition or Montage practice.
3.2 Concise Language
Imagist poetry is famous for using concise language, without adjectives, qualifier, decorative “lace” and flaunting words. It writes short lines, with imagery. In the three principles of Imagism made by F. S. Flint, the second principle is “To use absolutely no word that did not contribute to the presentation.” In an essay “A Few Don’ts by An Imagist”, Ezra Pound wrote three “Don’ts” as the principle of image poetry. The first “Don’t” is “Use no superfluous word, no adjective, which does not reveal something.”
Pound strictly obeys these principles. Here we take the landmark work of Pound's Imagist Poetry “In a Station of the Metro” for example:
The apparition of these faces in the crowd;
Petals on a wet, black bough.
-----by Ezra Pound “In a Station of the Metro”
This poem was first published in 1913 and is considered one of the leading poems of the Imagist tradition. Written in a Japanese haiku style, Pound’s process of deletion from thirty lines to only fourteen words typifies Imagism’s focus on economy of language, precision of imagery and experimenting with non-traditional verse forms. The poem is Pound’s written equivalent for the moment of revelation and intense emotion he felt at the Metro at La Concorde, Paris. Pound explains in his article value.
The poem is essentially a set of images that have unexpected likeness and convey the rare emotion that Pound was experiencing at that time. Arguably the heart of the poem is not the first line, nor the second, but the mental process that links the two together. “In a poem of this sort,” as Pound explained, “one is trying to record the precise instant when a thing outward and objective transforms itself, or darts into a thing inward and subjective.”[9]3 This darting takes place between the first and second lines. The pivotal semi-colon has stirred debate as to whether the first line is in fact subordinate to the second or both lines are of equal, independent importance.
Pound contrasts the factual, mundane image that he actually witnessed with a metaphor from nature and thus infuses this “apparition” with visual beauty. There is a quick transition from the statement of the first line to the second line’s vivid metaphor; this ‘super-position’ technique exemplifies the Japanese haiku style. The word “apparition” is considered crucial as it evokes a mystical and supernatural sense of imprecision which is then reinforced by the metaphor of the second line. The plosive word ‘Petals’ conjures ideas of delicate, feminine beauty which contrasts with the bleakness of the ‘wet, black bough’. What the poem signifies is questionable; many critics argue that it deliberately transcends traditional form and therefore its meaning is solely found in its technique as opposed to in its content. However when Pound had the inspiration to write this poem few of these considerations came into view. He simply wished to translate his perception of beauty in the midst of ugliness into a single, perfect image in written form.
3.3 Musical Rhythm
Ezra Pound has a strong musical rhythm in his works, which is mainly embodied in three aspects: firstly, he thinks poetry language should be musical and pays attention to the internal poetic rhythm; secondly, he successfully adopted the fugue melody of western music, and used it in his masterpiece Cantos; moreover, he uses the dapper image poems to load the richest content and emotion to reach the highest level of musical poetry -- quiet voice.
Rhythm is an important factor to form the musical aesthetics of poetry. It gives us pleasure and beauty, and it can unify the individual, coordinate difference, turn lethargy to concentrate. Therefore, the rhythm itself is very charming, and musical rhythm is usually considered to be the core of musical poetry. In the On imagism, Ezra Pound defined poetry that “poetry is the compounds or organization of musical words.”[10]6 In Pound’s view, the so-called music is just rhythm. A poem cannot be called as a poem if without rhythm. In the aspect of poetry, Pound has inherited the free verse of Whitman poems, and made a meaningful attempt. He found a new charming melody in the traditional pentameter poem, and combined the music and expressive force into free verse. The rhythm and sound changes with the emotion in poems, that is, to maintain the true feelings of the poems and gives its beautiful melody. When reading Pound's poetry, we will realize that the beauty of rhythm in his poetry not only exists in the rhythm itself, but more important is in the performance of content.
Pound also believes that poetry do not only need rhythm, but also include: (1) beautiful rhythm. A good poem has a residual sound in the listener's ear, which sounds like organ. (2) Rhythm should contain some surprising elements. That is to say the rhythm should be of innovation. (3) Rhythm should reflect a certain emotion; give reader a shock of soul.
In addition to the repeated experiments of the rhythm of poetry, Pound also innovated the structure of poetry. He changed the way of composing music into poetry skills, in order to further enhance the melody and artistic appeal of poetry. In the “Cantos”—the literary masterpiece which represent the highest achievements of Pound's poetry, Pound used “fugue” structure in the creation of many chapters. Fugue is a common music form in Western music, which includes “theme”, “response”, “counter-subject”, and with several “episodes”. Usually, fugue adopts “counterpoint” to arrange “theme& rdquo;, “response” and “counter-subject” into the music in turn, and achieve polyphonic structure. This structure can overcome the psychological feeling of dull monotonous.
4．Influence of Pound poetry
Ezra Pound is generally considered the poet who is most responsible for defining and promoting a modernist aesthetic in poetry. His own significant contributions to poetry begin with his declare of Imagism, a movement in poetry which derived its technique from classical Chinese and Japanese poetry-stressing clarity, precision, and economy of language, and foregoing traditional rhyme and meter in order to, in Pound's words, “compose in the sequence of the musical phrase, not in the sequence of the metronome.”
Pound appreciated Chinese poetry very much and learned the use of image from it. What’s more, he summarized the key techniques and formed his own imagism theory. His imagism theory, poetry writing skills and translation of Chinese poems not only influenced innumerable British and American writers, but also affected the development of Chinese modern literature.
4.1 The impact on domestic literature
Ezra Pound’s achievements in poetry field or literature field were well recognized. Though he learned a lot of writing skills from Chinese poetry, he also had an important influence on the literature development in China, especially the development of image poetry. We can say the modern Chinese poetry is greatly influenced by Imagism.
Image is an important category with key significance in Chinese poem studying and also an important numeral factor in poetry creation. Poet’s creation inspiration and experience to the life are both condensed in image. Image is the special way to manifest itself for poetry to be distinguished from other literary styles. The ancient Chinese image poetry has a long history. It is featured by clarity, precision, economy of language and combination of images. The western image poem theory was partly derived from Chinese, but later it influenced modern Chinese Poetry.
The genesis stage of Chinese modern image poetry is in 1920s. The representative poets were Hu Shi, Wen Yiduo and Li Jinfa. Hu was well known as the primary advocate for the literary revolution of the era, a movement which aimed to replace scholarly classical Chinese in writing with the vernacular spoken language, and to cultivate and stimulate new forms of literature. “The English and American poetry of image group showed multi-aspects influence on Hu Shi’s poetry point and his vernacular and New Poetry Movement.”[11]119
The whole exploration of poetry image art in1920s, looking the image art of ancient poetry as the control of modern image construction, experiences a process of modern decay and birth of new poem image, that is being intertwined with image tradition of ancient poetry (new vernacular poem in the early period), breaking away from traditional image system (represented by Guo Moruo), close examination of returning to tradition (new metrical poem group represented by Wen Yiduo) and rebel against tradition (represented by Li Jinfa).
The development period of Chinese image poetry is between 1930s and 1940s. It was the historical evolution process of modern image art from genesis，development to maturity and its regularity and phased characteristics. During this period, most school’s image poetry held the point of view with the core of dimness, harmonious theory and artistic conception. The Beijing school’s image poetry theories were including agreement theory, art and temperament and interest theory, revealing and hidden theory, inspiration theory and image connecting theory. The July school’s image theory explaining the poetry point on the center of Ai Qing’s concrete and abstract sensualist, image imagination theory and image and graphic theory and Hu Feng’s experience image theory. The Nine Leaves school’s poetry study is expanded from such aspects as poem quality theory, rational theory, artistic conception, structuralism theory, sinking theory and condensing theory etc. And it represents the basic maturity of modern image poetry theory. The representative poets were Dai Wangshu, He Qifang, Bain Zhilin, Fei Min, Ai Qing.
Up to the present, there are many Chinese scholars studying Ezra Pound’s poetry. Some of them are from the view of the relationship between Ezra Pound and Chinese poetry. Some others research from the perspective of translation to examine the translation skills the translation of Chinese poetry. The most of them use the perspective of traditional rhetorical method, and study images of poetry from perspective of the arts means and effects of literature. The study includes the role of poetic imagery, rhetorical skills, rhetorical effect and its artistic features and so on.
4.2 The impact on foreign literature
American poet, critic, and translator Ezra Pound was an extremely important influence in the shaping of 20th-century poetry. He was one of the most famous and controversial literary figures of the century. No other twentieth century literary figure engaged as much with China as Pound. T. S. Eliot described him as the “inventor of Chinese poetry”.
Though the movement of Imagism only lasted for a short period of time, it is the beginning of New Poetry Movement in the United States. Its experiment on using “image” and free verse poetry changed many American readers’ tastes, and affected the process of American modern poetry. Pound's modernist experiments of the 1910s and 1920s have served as a counterforce to the established traditions of the “American Sublime” and the Anglo-American formalism represented by T. S. Eliot and the New Criticism. Beach, Christopher wrote a complete book length critical study ABC of Influence: Ezra Pound and the Remaking of American Poetic Tradition. “ In this first full-length study of Pound's influence on American poetry after World War II, Beach argues that Pound's experimental mode created a new tradition of poetic writing in America. Often neglected by academic critics and excluded from the “canon” of American poetic writing, Charles Olson, Robert Duncan, and later members of this experimental tradition have maintained the sense of an American avant-garde in keeping with Pound's modernist experiments of the 1910s and 1920s.”[12]87
After the movement of Imagism, there is still a small number of poets, consciously or unconsciously adhered to some of the certain principles of Imagism, and expand the results of Imagism. William C. Williams’ performance is regarded as the most outstanding in this field. Under the guidance of Ezra Pound, he began his business on the road of studying Imagism. Then he combined the writing skills of Imagism with the subject matters and language style of the United States, and created a kind of “direct” Poetry. This kind of Poetry had a dramatic impact on the revolution of United States poetry during the 1950 to 1960.
T. S. Eliot and Irish writers W. B. Yeats were deepest influenced by Pound. T. S. Eliot was a poet, playwright and literary critic. He received the Nobel Prize in Literature in 1948. Among his most famous writings, the Waste Land has become a touchstone of modern literature, a poetic counterpart to a novel published in the same year, James Joyce's Ulysses. Pound made detailed editorial comments and significant cuts to the manuscript. W. B. Yeats was an Irish poet and dramatist and one of the foremost figures of 20th-century literature. Under Pound’s influence Yeats learned Pound's unauthorized alterations and got know of Chinese and Japanese poetry, which affected his later works.
5．Conclusion
The above discussion of Ezra Pound’s image poetry is by no means comprehensive but it can give us a clear point of view of Pound’s writing techniques and features. He successfully combined the features of Western poetry and Eastern poetry, and invited a new poetry theory. His way of combine images, use concise language and pay attention to rhythm are good skills which we can learn and use in poetry writing. The purpose of this paper is to summarize the language characteristics of Pound’s poetry and analysis his imagist poetry style, so as to provide some theoretical ideals from the view of reading, understanding and appreciate modern English poetry, thus making it easier for Chinese readers to appreciate English poetry.
Acknowledgements
My initial thanks to my supervisor Han Xiaoya, without her patient guidance and strict supervision, this paper would not have been written. Her suggestions help me a lot in the writing of this thesis. And her enlightening ideas will greatly influence studies in my academic life.
I am also very grateful to my roommates who have not only offered me their warm encouragements but also shared with me their valuable materials and suggestions on my writing of this thesis. Their kindness cannot be overstated.
I am further indebted to other teachers who have taught me and helped me in the past four years
In addition, any errors and inadequacies in this thesis are my sole responsibility.
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