英语论文10000字左右

英语论文10000字左右

可以
商务英语本科毕业的论文字数大概在5千到8千左右作为商务英语本科的学生，在毕业之前必须要撰写相应的毕业论文对于本科的学生来说，毕业论文可能是一件非常头痛的事情，因为在字数上有严格的限定，至少要达到5千到8千字左右，这样才能被称为一篇合格的论文，才能够顺利的通过答辩

求一篇8000到10000字左右的英语论文，关于文学题材的就行，要全英文的

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 during 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 adultere of metaphysics, psychology, ethics and casuistry.

Literary criticism in China is an unduly 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 due, 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 individual 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 induces 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）
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推荐几篇有关论第二语言学习的态度及动机的英语论文10000字左右

Dörnyei & Ushioda 2009年曾出版过一本关于二语动机的书，里面文章都是英文的，而且字数都不算太多，是一本论文集：Motivation, Language Identity and the L2 Self.

跪求英文科技论文10000字左右！可以让我翻译成4000汉字就行！

苍蝇眼睛的特别之处 大家可能都有这样的经验，当苍蝇停在桌面上，你用手去捕捉它时，会发现手还未落下，它早已飞离了这块“是非之地”。这是为什么呢，难道苍蝇背后还长了眼睛不成？科学家通过对苍蝇眼睛的研究发现：蝇眼十分特殊，共有5只。其中3只较小的是单眼，是感觉亮度强弱的，另外2只为复眼，每只由许多六角形的视觉单位小眼组成。这众多的小眼都自成体系，有独立的光学系统和通向大脑的神经，这些小眼的视觉神经都能互相配合，既能协调一致又能独立工作。因此，蝇眼不仅有速度、高度的分辨能力，并且能从不同的方位感受视像，这也就是人们用蝇拍从背后打它也易被发现的原因。这种复眼具有很高的时间分辨率，它能把运动的物体分成连续的单个镜头，并由各个小眼轮流“值班”。 人的眼睛是球形的，苍蝇的眼睛却是半球形的。蝇眼不能像人眼那样转动，苍蝇看东西，要靠脖子和身子转动，才能把眼睛朝向物体。苍蝇的眼睛没有眼窝，没有眼皮也没有眼球，眼睛外层的角膜是直接与头部的表面连在一起的。 从外面看上去，蝇眼表面（角膜）是光滑平整的，如果把它放在显微镜下，人们就会发现，蝇眼是由许多个小六角形的结构拼成的。每个小六角形都是一只小眼睛，科学家把它们叫做小眼。在一只蝇眼里，有3000多只小眼，一双蝇眼就有6000多只小眼。这样由许多小眼构成的眼睛，叫做复眼。 蝇眼中的每只小眼都自成体系，都有由角膜和晶维组成的成像系统，有由对光敏感的视觉细胞构成的视网膜，还有通向脑的视神经。因此，每只小眼都单独看东西。科学家曾做过实验：把蝇眼的角膜剥离下来作照相镜头，放在显微镜下照相，一下子就可以照出几百个相同的像。 科学家对蝇眼发生兴趣，在于蝇眼有许多令人惊异的功能。 如果人的头部不动，眼睛能看到的范围不会超过180度，身体背后的东西看不到。可是，苍蝇的眼睛能看到350度，差不多可以看一圈，只差后脑勺边很窄的一小条看不见。人眼只能看到可见光，而蝇眼却能看到人眼看不见的紫外光。要看快速运动的物体，人眼就更比不上蝇眼了。一般说来，人眼要用0．05秒才能看清楚物体的轮廓，而蝇眼只要0．01秒就行了。 蝇眼还是一个天然测速仪，能随时测出自己的飞行速度，因此能够在快速飞行中追踪目标。根据这种原理，目前人们研制出了测量飞机相对于地面速度的电子仪器，叫做“飞机地速指示器”，并已在飞机上试用。这种仪器的构造，简单说来就是：在机身上安装两个互成一定角度的光电接收器（或在机头、机尾各装一个光电接收器），依次接收地面上同一点的光信号。根据两个接收器收到信号的时间差，并测量当时的飞行高度，再经过电子计算机计算，即可在仪表上指示出飞机相对于地面的飞行速度了。

Word编辑的一万字的英语论文有几页啊?

这个没有办法统计，这个会和字号大小、行间距、段间距、页眉页脚大小、单词的长短、段落的情况都有关系的，但是，不管怎么说，十几页肯定会有的