飘的英文论文参考文献

"Gone with the wind" is the American writer Margaret Mitchell (1900 - 1949) ten years of grinding sword works, and only works. The novel to a plantation near Atlanta and story, depicts the life of the southern American people before and after the civil war. Portrays the image of that era many southerners, accounted for the center position of Scarlett and Rhett, Ashley and Melanie et al is the typical representative. Their customs and etiquette, manners, spirit concept, political attitude by of Scarlett and Rhett love entanglement as the main line, successfully reproduces the Lincoln led the civil war, the southern region of the United States social life.

那个年轻，美丽的女人用她那双如鹰般的眸子，搜寻这离她远去的爱人。纵使倩影被湮没于黑夜中，她却极力穿透黑夜，翘首光明。尖锐的眸光折射除不灭的冀望，然而又掩饰不住几许的绝望. 《飘》，淋漓尽致的描绘出了思嘉丽颠沛流离的青春历程也流露出她独到的魅力。她长的并不美丽，但是男人一旦未她的魅力迷住往往就理会不到这一点。瞧！艾希礼的订婚宴上，思嘉丽迷倒了几乎全场的绅士们。不过她的目的不在此，而在于得到宴会上男主角的心。孪生兄弟为你闹翻脸；对你一见钟情的说要娶你。这些还不够吗？何必执著于一个艾希礼呢？看似相貌堂堂，器宇轩昂，却是白人渣滓。思嘉丽你知道吗？为了艾希礼，你的可贵青春，你的终身幸福，你的纯洁灵魂都如家园塔拉一样随风飘逝了，即时你嫁给再多的弗兰克也是徒然。为报复，屈身嫁给媚兰妹妹的情人；为金钱；使计勾引亲妹妹的恋人。到头来，还是一场空。一切的一切都仅仅为了艾希礼，你确实爱他吗？不！你不懂事，你不懂他。在绅士群集的宴会上，你注视到了那个始终爱你，在你结婚来结婚去之间放逐希望的瑞德吗？瑞德从容，练达，睿智。只有你才配的起他，也只有他才会爱你这样可爱的人。可惜，你没有珍惜他。瑞德的离开时对你的最大惩罚。然而人总是在失去了才懂得拥有的可贵。‘‘众里寻他千百度，蓦然回首，那人却在灯火阑珊处’’转瞬间，已无踪可觅了。这天夜里，我背倚着床，沉思…… 蓦地看见思嘉丽端坐在我的窗沿。她憔悴了，脸上不再容光焕发，颊畔的两行泪痕尚未风干；头发凌乱，不再金丝闪闪。纤纤素手已不复存在，战争的残酷让双手又粗又大。倒是那条17英寸的柳腰依然尚存，我想瑞德一定会喜欢的。她的双手倚在墙上，脸上是异常的懊丧，悒郁。她是在追悔那3段不完美的婚姻，抑或是瑞德无情的离开？我奢望帮思嘉丽找回瑞德，我轻声说： “其实，瑞德一定在哪里想着你的！” 她潸然泪下，用最绝望的语气说道： “不会的，他肯定恨死我了。他不会原谅我的” 我真懊恼自己说了不该说的话，勾起了思嘉丽心地最脆弱的弦，断了。刹那间，崩溃了。狠狠的撕破了夜的宁静，那声音，叫天不应叫地不闻…… 月光流淌在她身上，沿着那柔软的弧线倾斜，无法言说…… 瑞德走了，只留下痛苦，寂寞。如果我见到瑞德，我会劝他回到思嘉丽身边，至少不要让两个相爱的人苦苦思恋。思嘉丽垂泪斜睨扣在书桌上的《飘》，始终不敢正眼细看。也许是不敢面对自己。对于思嘉丽，我既是恨又是怜悯，这两种感情在我心中不断挣扎着。我，彻夜无眠。第二天醒来，思嘉丽已不见了。也许是找她的瑞德去了吧！夜里也不见她的倩影，我还有好多问题想问她呢。窗沿上空空荡荡，只剩窗幔与风低声调着情。桌上的《飘》被一页一页的掀开了。一个女人再坏，也总又令人可敬的一面；一个女人再强，始终需要爱情的包庇；一个人，撑不了一片天。思嘉丽，如果你愿意，我愿带着你，携着书中情节去寻找你的瑞德……

Scarlett has been the determination of the book is a major bright spot, given its black, as a purely black side of life as the ultimate Scarlett firm belief there are black fuzzy side, such as in the Sijia run in the Yewu confused, because she has been the object of love unclear. Scarlett absolutely can not be called a perfect woman. However, she has the charm beyond the scope allowed by the law. Her strong, confident, full of passion for life, but stingy, superstition, bullying the weak, and has no intention to send to several people Nishi. This is mixed but the character made her even more attractive. No man is perfect human reality, and literature should do so. In that situation mutation in troubled times, in much trauma and combat, not nostalgia before elegant luxury living, a strong stand up and Shimoji Zhaimianhua, not to their own hands covered Laochong Jiaogui, just to let live Tara is not in the people starve. She red in the land of Tara was black perseverance, as her father Fagerland said, this world, only in the same land and the moon. This powerful addition she inherent potential of the rebel Irish descent thinking to enable her its own way, and do not care about how others would like to see how, and do not care about the moral restraints, open in Atlanta and the destruction of their homes Beifanglao business, and as Haobuzaiyi Frank will be the husband's shame. So Scarlett is selfish, but she's not selfish to have built on the foundation of her to many people, in order to Tara to eat a dozen of the mouth, for her love and his wife, in order to Pei association aunt, distant aunt who, even before the blacks, including Tara, Scarlett kind of selfish in a lot of people hit the setbacks, she has disappointed many times, but never despair. Like Fontaine, the old lady said, they are Camelina sativa wheat Fengyichui, bow, bend over, before making after Yaoban also been able to better accept the sunshine. Always have the courage to stand up, high Angzhaotou accept stormy baptism. She and support to do so only under the halo of a Jincancan enveloped the perfect dress, the soul of a nothingness, a stubborn and stubborn faith. Sijia dedicated to the love of her life indestructible faith. In order to achieve the commitments at the Greek, she became a sea of flames in Atlanta when adhere to take care of her Qinghua, the Greek ceremony of the wife of an imminent labor of pregnant women. She could have waited at the mother's side, for love, for safety, but she did not, she would prefer face Beifanglao wreaked, but also realize the promise of love, in order to take care of the weak Meilan, she got to do everything possible to the food Meilan eat, the home only a pair of shoes to wear Meilan, hungry stomachs himself Chizhaojia Shimoji Zhaimianhua This is not a selfish narrow realm of women can achieve. She has the absolute love of the faith, but wrong target in the Rye in the journey of love. Reid said Scarlett cried like a child to the moon, respectful hand give up their happiness, and the willful, stubborn and refuses to turn back, I would like to Huang Palace Road 12, she must be at the Lions. Sijia is in the blind pursuit of his "perfect dress", how would not even think Reid is the ambient air around the globe with her boundless love and the pursuit of happiness. Therefore, she can just sit and watch Reid because her stubbornness exhausted and had to leave. But she finally ripe, they genuinely want to know the what is, but for her part, she wants, they will be. "Tomorrow is another day!" I am waiting for the Sijia once again by forces from Tal Afar, Reid once again returned to her side. I like such an outcome, not happy, with a hint of sadness point, but not a tragedy, because of the hope that exists in the Scarlett hearts, but also our hearts. For Scarlett, their life is the real meaning is to elusive, she never knows satisfied, we can not Contentment. Society meeting is the desecration of her life, and also predict the withered flowers of life. She can only keep pursuing, hunting the next target, is the first love, watch Greek ceremony; then food and clothing, watch money at the then Greek and, finally, Reid, she just aware of their love. So Saijia doomed not know in advance their love is Reid, and must Ainv mortality, Meilan after the death of Reid as thoroughly disappointed to leave, to understand. As if her life was a an unmatched joke, it is true there, she needs for their obdurate And the willfulness of the most painful price to pay, all run through the wind, Scarlett ripe. "Gone with the Wind" Scarlett is the history of a growth.

到中国知网上去看。背景到GOOGLE 上去查。我记得有个网站上对每一小节都有分析。至于哪个网站，我已经不知道了。过去3年了。反正到处搜啊！我那时还搜到人家哈佛的图书馆去了咧。俺的论文基本上我是写成中文后来自己翻译的，用了很厚一个笔记本。因为我查不到对我有用的英文资料。还是多到图书馆多看看吧。

飘的论文英文参考文献

Analysis of Scarlett in Gone with the Wind"Gone With the Wind” is my favorite novel written by Margaret Mitchell, a southerner in the ., and the situation is described from the southern point of view. The author, used many stories she heard from her family who had lived through it, to weave this thrilling novel. It is full of dashing, daring men and women, thrilling episodes, and much romance. The heroine Scarlett in this book is so different from a traditional Chinese woman that I have decided to write something about her.'Gone with the Wind' has represented the turbulent social reality in the South in American Civil War. Scarlett O’hara is beautiful then, in order to realize her dream of living better, she regards love and marriage as a chip of trade. There’s no true love in her three marriages, until the end, she understands that Ashley, the person she bears in mind for twelve years is not her true love, but one beautiful unreal image belongs to the South in the past and does not adapt to this coming new society. The person who she really loves is similar to her --- Rhett understand Scarlett better, I divided the essay into 4 parts as . Scarlett’s GrowthScarlett's growth can be divided mainly in two periods，before the Civil War and after it．To understand Scralett，we should know the two different ways of life have a great influence on Scralett’s character． Before the Civil War breaks out, Scralett as well as other old aristocratic young ladies in the south lives an easy，luxurious life full of barbecues，balls and flirting with beaus．For a young lady who has only got 16，the life for her just means learning the arts and graces of being more attractive to men，which is also the south society’s regulation of woman．On one hand，by the diligently stubborn teaching of her mother and black mammy, the seed off the purity and tradition are buried deeply in her mind. But on the other hand，her Irish father also influences her by the Irish stubbornness，arrogance，etc．These two spirits conflicts frequently in the young girl’s mind．Just like her spreading skirts，the demureness of hair netted smoothly into a chignon and the quietness of small white hands folded in her lap, her true self was poorly concealed．After the Civil War, Scralett’s true self, which is apparently opposite to the lady-mannered discipline of the old south，crazily yield sand matures in the desolate earth after the war．Scarlett’s anti-traditional behavior is more and more undisguised． 2. Scarlett’s Character of Breaking the RulesPart of Scarlett's enduring charm for me is her aspiration to break the rules. She challenges nineteenth-century society's gender roles repeatedly, running a store and two lumber mills at one point. Scarlett is in some ways the least stereotypically feminine of women (in other ways the most), and the more traditional Melanie Wilkes is in many ways her foil. But Scarlett survives the war, several marriages, the birth of children, and even a miscarriage. Melanie, on the other hand, struggles with fragile health and a shy nature. Without Melanie Wilkes, Scarlett might simply be seen as harsh and "over the top", but beside Melanie, Scarlett presents a fresher, deeper female characterization; she lives a complicated life during a difficult period of history. 3. Scarlett’s Hopes and defectsThe other charm of Scarlett to me is that she is always full of hopes of tomorrow, life and the future. Some of her lines from Gone with the Wind, like "Fiddle-dee-dee!" "Tomorrow is another day," "Great balls of fire!" and "I'll never be hungry again!" have become well-known all around the world. She is charming and candid．The dream of tomorrow would call back the strength to live today, and the hope of future would help her to swallow all the bitterness of the present．The land is the only thing，which helps her to maintain her consciousness of tomorrow．From the beginning to the end，land Traa is always the core of Scralett’s life．Her constant care for Traa is never stopped because only from it her consciousness of tomorrow can be realized．Land is the only thing in the world that amounts to anything．For it’s the only thing in this world that lasts；it’s the only thing worth fighting is remained as one of the most controversial literature figures from the day the book published till now．Her bad deed，bad words and bad thoughts after the war-time appropriately reflect her natural character——mixture，she is a blending of the good and evil，of practical and ideal，of despair and hope，and of yesterday and tomorrow．She is by far the most developed character in “Gone with the Wind.” She stands out because she is strong and saves her family but is incredibly selfish and petty at the same . Conclusion From the analysis of her character, she cannot be regarded as a perfect woman. By a rough glimpse, she seems to be a rude，ignorant，and hypocritical remaining of the old Southern aristocrats．Just like other southern people，she hates the war, disgusts the new established south government, deeply recalls the previous life，together with the careless revealing of her attitude towards slavery．They become the root where the criticism derives from．However, Scarlett is real and the past doesn’t really mean that nothing has happened. Forgetting the past is to accumulate energy of the future．The purpose of Scarlett’s looking forward is to survive to fight, because that is the miracle literature has created to attract，to move，and to encourage the people wherever they are． The old are gone with the wind, while the new are gathering new strength to march on.

32.斯佳丽：旧时代的新女性Scarlett：A “New”Woman in the “Old” Time.海丝特与卡米拉爱情观的对比分析A Comparative Analysis of the Attitudes Towards Love Between Hester and Camilla.解读《简.爱》的帝国主义意识On the Imperialistic Consciousness of Jane Eyre.像鲁滨逊一样在逆境中创造精彩The Creation of Splendor in Adversity like Robinson Crusoe.《三国演义》对诸葛亮和《教父》对考利昂的描述对比A Comparison Between the Depiction of Zhuge Liang in The Romance of the Three Kingdoms and Corleone in The Godfather.论《美国悲剧》中萝贝塔的悲剧性The Tragedy of Roberta in American Tragedy.从《鲁滨逊漂流记》看人的性格对命运的决定作用The Decisive Effect of Character on Fate From Robinson Crusoe.《哈姆雷特》戏剧中的悲剧因素The Tragedy Aspects in Hamlet.从电影《美丽人生》看完美男人形象About the Perfect Man Viewed from the Movie Life Is Beautiful.从《宠儿》透视美国黑人女性的悲剧与成长The Tragedy and Growth of the Black Women Embodied in Beloved.从《哈利波特》看儿童的成长Harry Potter and the Growth of Children.苔丝的反叛精神The Rebellion of Tess.一位坚强独立的女性简爱A Tough and Independent Woman.《德伯家的苔丝》悲剧成因探析Causes of Tragedy of Tess of the D’Urbervilles.浅析苔丝之死The Death of Tess.《老人与海》象征主义探究The Inquiry of the Symbolism in The Old Man and the Sea.论《白象似的群山》中海明威独特的写作风格Hemingway’s Unique Writing Style in Hills like White Elephants.浅析爱默生的《论自助》人生自主的源泉On Emerson’s Self-reliance —The Source of Life’s Reliance.盖茨比美国梦的幻灭—透视现实生活中的爱情The Disillusionment for Gatsby American Dream Analysis of Love in Reality.从《西风颂》看英国积极浪漫主义的特征Analyzing the Features of British Positive Romanticism from the Poem of Ode to the West Wind.我看简爱的爱情An Analysis of the Concept of Jane Eyre’s Love.谈如何理解海明威《一个干净明亮的地方》On Hemingway’s Short Story A Clean, and Well-Lighted Place.从《简爱》看知识改变女性命运Knowledge Changes Female’s Fate Through Jane Eyre.从《红字》和《荆棘鸟》看宗教禁欲主义下的爱情The Love under Asceticism in The ScarletLetter and The Thorn Birds.解读《皆大欢喜》中的浪漫主义An Analysis of Romanticism in As You Like it.基于作品人物浅析菲茨杰拉德Elementary Analysis on Fitzgerald Based on the Characters of The Great Gatsby.《老人与海》的悲剧色彩:对完美主义的质疑The Tragic Color of The Old Man and the Sea:Challenge to the Perfectionism.分析简爱的美An Analysis of the Beauty in JaneEyre.论《红字》中的孤独因素On the Aspects of Loneliness in The Scarlet Letter.从《喧哗与骚动》中凯蒂的悲剧看20世纪初女性的社会地位Social Status of Women in the Early 20th Century Reflected from Caddys Tragedy in The Sound and the Fury.论福斯塔夫的性格The Character of Falstaff.斯佳丽：旧时代的新女性Scarlett：A “New”Woman in the “Old” Time.美国社会的葛朗台现象Grandet Phenomenon in America.透过《飘》看现代女性对待生活的态度Analysis of modern females attitudes toward life through Gone with the Wind.从迷茫的玛尔特的悲剧看女性存在的社会价值An Analysis of the Social Value of Womens Existence from the Tragedy of Confused Mathlide.从伊丽莎白一世的婚姻看现代爱情观About the Notion of Modern Love from ElizabethⅠs Love Experience.《倾城之恋》与《飘》的女性主义解读Feminism in Love in a Fallen City and Gone With the Wind.《简?爱》的浪漫主义解读Romanticism in Jane Eyre.从《鲁宾逊漂流记》看创新精神和知足长乐The Spirit of Innovation and Satisfaction－The Thought of The Life and Surprising Adventures of Robinson Crusoe.从《变形记》透视家庭环境对塑造儿童健康心理的影响The Family Influence on Molding Childrens Healthy Psychology Through The Metamorphosis41.论《傲慢与偏见》中的爱情观和婚姻观Analysis on Love and Marriage in Pride and Prejudice.从劳伦斯及其作品《儿子与情人》看恋母情结Mother Fixation in and His Work Sons and Lovers.论雪莱的自由之路Analysis of Shelley's Freedom Road.《威尼斯商人》中的人物形象分析An Analysis of the Characters in the Merchant of Venice.论盖茨比悲剧的必然性On Inevitability of Gatsby’s Tragedy.从《喜福会》透视中美文化冲突与融合The Cultural Conflicts and Blending Embodied in the Joy Luck Club.《乱世佳人》对21世纪女性的启示Enlightenment for Women of 21st Century from Gone with the Wind.《喜福会》中母爱主题的文化阐释A Cultural Interpretation of Maternal Love in the Joy Luck Club.试析《老人与海》的悲喜色彩An Analysis of the Combination of Tragic and Delightful Facets in The Old Man and the Sea.解析《长腿叔叔》少女茱蒂成长的日志A Girl’s Growing- up Story in Daddy-Long-Legs.莎士比亚的悲剧世界的分析An Analysis of Shakespeare’s Tragedy World.《鲁滨逊漂流记》中殖民文化对殖民地文化影响解读 the Women’s Status Seen in Pride and Prejudice Fixation in and His Work Sons and Lovers

你想的真美啊，自己做去吧，0分呢。。。

飘的论文参考文献英文版

Last week, the American Film Institute released its list of the 100 best American films of all time. Not surprisingly, Gone with the Wind placed in the Top 10 (#4, in fact). However, although this epic romantic melodrama is undoubtedly one of the most popular and beloved motion pictures ever to grace the silver screen, it is also arguably the most overrated. Gone with the Wind is a very good movie, perhaps bordering on being great, but its subject matter and running time (which is easily 60 minutes too long) argue against its status as a masterpiece. As for its high placing on the AFI's list... it isn't the only travesty on that roster, but it is one of the most obvious. Gone with the Wind is, simply put, a tale of two halves. The movie is divided by an intermission into a pair of roughly-equal segments. The first, which is brilliant and consistently captivating, covers the time period of the Civil War, beginning shortly after the election of Abraham Lincoln, and ending during Sherman's march through Atlanta. The post-intermission half, which dishes out the suds, picks up at the end of the Civil War and concludes about eight years later. This portion of Gone with the Wind, while still retaining a degree of appeal and narrative interest, spins its wheels frequently. Nevertheless, viewing Gone with the Wind on television pales in comparison to seeing it projected on a motion picture screen. New Line Cinema has chosen to re-release the film (which is now in its sixth major revival) for its 59th anniversary. (Why not wait a year for the 60th?) Anyone who loves movies but has only seen this one on TV or video is heartily encouraged to visit the nearest participating venue. Theatrically, Gone with the Wind is an entirely different experience from its small-screen counterpart; some of the second-half narrative tedium is effaced by the glorious visuals. With a restored three-strip Technicolor print that preserves all of the original's deep, vibrant colors and digitally-enhanced sound, this picture has never looked or sounded better. Gone with the Wind has one of the best-known storylines of any film, due in large part to the popularity of the source material, Margaret Mitchell's best-selling 1936 book. It's essentially a sumptuous soap opera set around Civil War times in the deep South. The main character is Scarlett O'Hara (Vivien Leigh), the spoiled, manipulative daughter of an Irish immigrant plantation owner (Thomas Mitchell, who would later play Uncle Billy in Frank Capra's It's a Wonderful Life). Scarlett has two sisters, but she is by far the most spirited of the three O'Hara girls, and her father, seeing her as his successor, teaches her lessons about the importance of the land. "It's the only thing that lasts... the only thing worth fighting for," he comments in the face of war. Scarlett is secretly in love with Ashley Wilkes (Leslie Howard), who is about to marry the gentle, demure Melanie Hamilton (Olivia De Havilland). When Scarlett confesses her love to Ashley, he admits his feelings for her, but notes that Melanie will make a much better wife. Immediately after this meeting, Scarlett has her first encounter with the irrepressible Rhett Butler (Clark Gable), the cynical, smart hero who eventually falls in love with her. They are two headstrong likes who simultaneously repel and attract one another. When Scarlett remarks, "You, Sir, are no gentleman," Rhett's smiling, easy response is, "And you're no lady." The bulk of the film follows a romantic quadrangle as it unfolds against the backdrop of war and reconstruction in and around Atlanta and the O'Hara plantation, Tara. Scarlett is in love with Ashley, or thinks she is, but he won't leave his wife. Melanie loves both her husband and Scarlett, who improbably becomes her best friend. Rhett is smitten with Scarlett, and she is clearly interested in him, but the real question is how long it will take for her to recognize the depth of her feelings. Ultimately, when Rhett has finally had enough, he walks out of her life after answering "Frankly, my dear, I don't give a damn" to her plaintive query about what she's supposed to do without him. The pre-intermission portion of Gone with the Wind, which runs about 115 minutes, is glorious from both a visual and an emotional standpoint. It's a grand tale of love and loss in the midst of this country's most bitter war. Most importantly, it shows Scarlett's development from a vain, spoiled brat into a hardened, determined young woman. Her relationship with Rhett is there, but kept carefully in the background. There is sadness, humor, and a number of breathtaking shots of Scarlett silhouetted against a reddish sunset or the backdrop of Atlanta in flames. The film's most lingering image -- that of thousands of Confederate wounded paving an Atlanta street -- occurs during this part of the movie. The second half, with its repetitive concentration on Scarlett's back-and-forth, do-I-love-him-or-not relationship with Rhett, is less successful. This stuff is real soap opera material, and, even as well- acted and well-presented as the narrative is, there's no mistaking it for anything else. If it didn't run on for so long, it would be a lot more bearable, but Gone with the Wind threatens to wear out its welcome long before the end title appears. The problem is that the bulk of the story is really told in the first half, so there's a lot of filler in the post-intermission material. Gone with the Wind stands as a romantic monument to the Old South -- an homage to an era and a lifestyle long gone. The opening title states: "There was a land of Cavaliers and Cotton Fields called the Old South. Here in this pretty world, Gallantry took its last bow. Here was the last ever to be seen of Knights and their Ladies Fair, of Master and of Slave. Look for it only in books, for it is no more than a dream remembered, a Civilization gone with the wind." This clearly illustrates where the film's sympathies lies, and it isn't with the often-grim plight of the slaves (in fact, slavery is largely treated as a neutral, or even benevolent, institution). One of the tests of the lasting impact of any film is determining whether it's still effective decades after its initial release. Gone with the Wind looks so good that it is surprising to consider its actual age. It's hard to believe that many of the people involved with this film have long since died. Of course, period pieces should not be constrained by the era in which they're made, only by the one in which they're set. The storyline, while "progressive" and "modern" for the 1930s, is a little tame for the 1990s (hence the MPAA's "G" rating), but, in its three-dimensional depiction of Scarlett and Rhett, it's rarely naive. The dialogue is often brilliant, and some of the Rhett/Scarlett exchanges are particularly clever. Gone with the Wind avoids becoming hopelessly maudlin by peppering the lengthy storyline with a variety of lively and humorous sequences. Probably as much has been written about Scarlett and Rhett as about Casablanca's Rick and Ilsa. Vivien Leigh and Clark Gable were perfectly cast in the leading roles -- she was a relative unknown who was "discovered" almost by accident after an exhaustive casting period; he was an established idol. They fit together perfectly, and, while their chemistry isn't as overwhelming as that of Bogart and Bergman, it's pretty close. As with all couples, their glances and body language say as much or more than their words, and, especially in Scarlett's case, are always more truthful. The characters are fascinating, both on their own and in their interaction with each other. Scarlett is a devious manipulator with a dangerous charm (beware her when she bats her eyelashes); Rhett sees through her at every turn, but, even as smart as he is, he can't help falling for her. There are a number of noteworthy supporting players. The two with the most screen time (aside from Gable and Leigh) are Leslie Howard and Olivia De Havilland. Both portray low-key characters, but do it so well that we develop a deep sympathy for them and their plight. When it comes to the games of the heart engaged in by Scarlett and Rhett, Ashley and Melanie are out of their league. Another standout is Hattie McDaniel, whose brilliant Mammy (the housekeeper at Tara) steals scenes from the more prominent characters. McDaniel brings Mammy to life, and, while she's not three-dimensional, she's real. Mammy is also evidence that Gone with the Wind was capable of transcending (at least in part) the too-easy black stereotypes that were in evidence during the 1930s. When discussing the creative forces behind Gone with the Wind, one rarely hears the name of Victor Fleming (The Wizard of Oz), the credited director. (He was actually one of four men to helm the project.) Instead, Gone with the Wind is referred to as "a David O. Selznick Production," because Selznick was the driving force behind the movie's development. As Producer or Executive Producer, Selznick was instrumental in making over 50 films, including titles like King Kong, A Tale of Two Cities, A Star Is Born, Rebecca, Spellbound, and The Third Man. With four directors, over a dozen uncredited screenwriters, and several cinematographers, Selznick proved to be the creative glue that held Gone with the Wind together. This was his child -- an obsession that consumed him for years. To date, no film has sold more box-office tickets than Gone with the Wind. Domestically, the tally almost doubles that for the phenomenally-popular Titanic. Of course, when the movie was first released, it wasn't just another motion picture -- it was a spectacle, an event. Even though the habits of movie- goers have changed over the years, it's easy to see why this film provoked such an outpouring of praise and adulation during its initial release, and why its stature has grown with the passage of decades. Gone with the Wind has flaws, but it's still undeniably a classic and a legend.

论文飘文献参考英文

[序号]主要责任者.文献题名[J].刊名,年,卷(期):起止页码。例如：[1]何龄修.读南明史[J].中国史研究,1998,(3):167-173。[2]OU J P,SOONG T T,et advance in research on applications of passive energy dissipation systems[J].Earthquack Eng,1997,38(3):358-361。

不管毕业论文，还是学术论文，有一项必不可少的就是要在文章的最后加上参考文献，为了不影响文章的整体效果，参考文文献的格式还是要注意下的，特别是英文的参考文献格式。下面就来简单的说一下吧。基本格式大概是：[序号] 作者姓名，文章名称，出版处，时间字体的话：新罗马，五号字体（具体以实际投稿处的要求为准）其中需要注意的一点就是引用文章的作者姓名的书写原则，一般采用“名在前，姓在后”，具体格式是“名字的首字母，姓”，例如：，剩下的作者可以是跟第一作者一样。可以看到很多文献中，第一和其他作者的姓名一样的书写格式。中文名称也是一样的，名字在前，姓在后，如薛青禾即如：[1] ，，，，Carbon 45（2007）1899.[29] H. Fakih,S. Jacques,. Berthet, F. Bosselet,O. Dezellus, growth of Ti3SiC2 coatings onto SiC by reactive chemical vapor deposition using H 2 and TiCl 4[J]. Surface & Coatings .[30] , , , . Analysis of interlayer between WC–Co and CVD diamond film. Key Engineering Material, 2008,375-376:p92-94.

英文论文参考文献格式如下：

一、学术论文英文参考文献标注格式

按照现行规定，学术期刊中论文参考文献的标注采用顺序编码制，即在文内的引文处按引用文献在论文中出现的先后顺序以阿拉伯数字连续编码，序号置于方括号内。同一文献在一文中被反复引用者，用同一序号标示。

这一规定使得所列文献简洁明了，应该引起论文作者注意。英文参考文献和中文参考文献一样，按在文中出现的先后顺序与中文文献混合连续编码著录;英文文献用印刷体；英文书名、期刊名和报纸名等用斜体；所列项目及次序与中文文献相同，但文献类型可不标出；忌用中文叙述英文。其格式为：

专著、论文集、学位论文、报告主要责任者。文献题名。出版地：出版者，出版年。起止页码。示例：Day,C.,Veen, Walraven,G. Children and youth at risk and urban education. Research, policy and prac-tice. Leuven/Apeldoorn:Garant. 1997.

期刊文章：主要责任者。文献题名。刊名，年，卷(期)：起止页码。示例：Driessen,G.,& Van der Grinten,M. Home language proficiency in the Netherland:The evaluation of Turkish andMoroccan bilingual programmes- A critical review, Studies in Educational Evaluation,1994, 20(3)：365- 386.

论文集中的析出文献析出文献主要责任者。析出文献题名。原文献主要责任者(任选)。原文献题名。出版地：出版者，出版年。析出文献起止页码。

示例：Driessen,G.,Mulder,L.,& Jungbluth,P. Structural and cultural determinants of educational opportunities in theNetherlands. In (Ed.)，Root and migration in global perspective. Jerusalem:Magnes . 104.

二、关于英文人名的标注

现行编排规范对英文人名如何标注未作明确要求，英文人名的标注较为混乱，有标注全名的，有标注时将名缩写、姓不缩写、保持原来顺序的，还有在姓、名之间加圆点的，后者是我国翻译作品中，中文书写外国人名经常采用的一种方式。

其实，标注英文人名是有章可循的，在国外学术著作的参考文献中，关于人名的标注已约定俗成为一种统一的格式，即英文参考文献标注作者姓名时，要求姓在前、名在后，姓与名之间用逗号隔开，姓的词首字母大写，其余字母不大写;名用词首大写字母表示，后加缩写符号圆点，缩写符号不可省略。由于欧美国家人的姓名排列一般是名在前、姓在后，在标注时必须加以调整。如Georg Paghet Thomson，前面两个词是名，最后一个词是姓，应标注为Thomson,G. P为什么要如此标注呢？

1. 在应用计算机等信息工具进行英文文献检索时，以英文作者姓名中的姓作为依据之一，即以姓作为检索目标之一。

2. 在欧美人姓名表达含义里，姓比名的重要性更强、更正式。用姓而不是名来代表作者，还有尊重、礼貌的意味。名缩写后加缩写符号圆点，也含有正式、尊重和礼貌的意味，缩写符号不可省略。

3. 表示与平常书写姓名的不同，体现学术论文重要性、简约性和准确性的要求，符合科研论文文体风格。这种标注在英文学术著作、科技文献中已广泛采用，也容易被广大读者、作者理解、接受。

对于复姓情况，如Jory Albores-Saavedra等，在引用标注时，应将复姓全部写出，即Albores-Saavedra, J对于姓前带有冠词或介词的情况，如带有Mac,Le,Von,Van den等，标注时不能省略，应同姓一起提到前面标注，如Mac Donald,La Fontaina,Von Eschenbach,Van den Bery等。

一个参考文献有两位或两位以上作者时，标注时除按上述要求将每位作者的姓提前书写外，作者与作者之间用逗号分开，最后一位作者前加&符号，如示例[1],也可仅保留前三位作者，之后加etc.表示。

1、M——专著。示例：[序号] 期刊作者，严复思想研究[M]。桂林：XXXX出版社，1989。

2、N——报纸文章。示例：[序号] 期刊作者.经济全球化的重要性[N]. XX日报，1998-12-27。

3、J——期刊文章。示例：[序号] 期刊作者．题名〔J〕，刊名，出版年，卷(期)：起止页码。

4、D——学位论文。示例：[序号] 学位论文作者．题名〔D〕，保存地点．保存单位。年份。

5、R——报告。示例：[序号] 报告作者，题名〔R〕，保存地点．年份。

6、S——标准。示例：[序号] 标准代号，标准名称[S]，出版地：出版者，出版年。

7、P——专利。示例：[序号] 专利所有者，专利题名[P]。专利国别：专利号，发布日期。

8、A——专著，论文集中的析出文献。

扩展资料：

参考文献的著录原则：

1、只著录最必要，最新的文献。著录的文献要精选，仅限于著录作者亲自阅读过并在论文中直接引用的文献，而且无特殊需要不必罗列众所周知的教科书或某些陈旧史料。

2、只著录公开发表的文献。公开发表是指在国内外公开发行的报刊或正式出版的图书上发表。在供内部交流的刊物上发表的文章和内部使用的资料，尤其是不宜公开的资料均不能作为参考文献引用。

3、引用论点必须准确无误，不能断章取义。

4、采用规范化的著录格式。关于文后参考文献的著录已有国际标准和国家标准，论文作者和期刊编者都应熟练掌握，严格执行。

5、参考文献的著录方法。根据GB 7714—87《文后参考文献著录规则》中规定采用顺序编码制。

参考资料来源：百度百科-参考文献

参考资料来源：百度百科-论文

英语论文飘参考文献

根据学术堂的了解，参考文献是英语论文的重要组成部分，也是编辑加工和重要内容。接下来就为大家介绍英语论文参考文献格式要求，欢迎阅读。I.文内引用(一)直接引用1.引用中的省略原始资料的引用：在正文中直接引用时，应给出作者、年份，并用带括号的数字标出页码。若有任何资料省略，使用英文时，应用3个省略号在句中标出(…)，中文用6个(……);若两句间的资料省略，英文应用4个省略号标出(‥‥)，中文用6个(……)。若要在直接引用插入自己的解释，应使用方括号[ ]。若在资料中有什么错误拼写、错误语法或标点错误会使读者糊涂，应在引用后立即插入[sic]，中文用[原文如此]。下面是一些示例：例一：The DSM IV defines the disorder [dysthymic] as being in a chronically depressed mood that occurs for "most of the day more days than not for at least two years (Criterion A) .... In children, the mood may be irritable rather than depressed, and the required minimum duration is only one year" (APA, 1994, p. 345).例二：Issac (1995) states that bipolar disorder "is not only uncommon but may be the most diagnostic entity in children and adolescents in similar settings .... and may be the most common diagnosis in adolescents who are court-remanded to such settings" ().2.大段落引用当中文引用超过160字时，不使用引号，而使用“块”的形式(引用起于新的一行，首行缩进4个空格，两端对齐，之后每行都缩进)。当英文引用超过40字时，不使用引号，而使用“块”的形式(引用起于新的一行，首行缩进5个空格，左对齐，之后每行都缩进)。Elkind (1978) states:In general, our findings support Piaget's view that perceptionsas well as intelligence are neither entirely inborn nor entirely innate but are rather progressively constructed through the gradual development of perceptual regulations. The chapter has also attempted to demonstrate the applicability of Piaget's theory to practical issues by summarizing some research growing out of an analysis of beginning reading. ()(二)间接引用1.基本格式同作者在同一段中重复被引用时，第一次必须写出日期，第二次以后则日期可省略。a.英文文献：In a recent study of reaction times, Walker (2000) described the method…Walker also found…。b.中文文献：李福印(2004)提出概念隐喻的重要性，…;李福印同时建议…。2. 单一作者a. 英文文献：姓氏(出版或发表年代)或(姓氏，出版或发表年代)。例如：Porter (2001)…或…(Porter, 2001)。b. 中文文献：姓名(出版或发表年代)或(姓名，出版或发表年代)。例如：杨惠中(2011)…或…(杨惠中，2011)。3.两个作者英文引用时，在圆括号内使用两名作者的姓氏，并使用“&”来连接，在正文中，使用“and”连接两名作者。中文引用时，在圆括号内使用两名作者的姓名，并用顿号“、”来连接，在正文中，使用 “和”、“与”、“及”等字连接两名作者。例如：(Smith & Jones, 1994), or Smith and Jones (1994) found....In 1994 Smith and Jones researched.... Always cite both names in text.陈国华和田兵(2008)认为…或…(陈国华、田兵，2008)4.三至五个作者英文第一次引用参考资料时，列出所有的作者的姓氏，除最后一名作者之前在正文中使用逗号加“and”、在圆括号内使用逗号加“&”连接外，之前的其他作者之间使用逗号“，”;之后引用时，英文用第一个作者的姓随之以“et al.”。中文第一次引用参考资料时，列出所有作者的姓名，除最后两名作者之间用“和”连接外，之前的其他作者之间使用顿号“、”;之后引用时，用第一名作者加“等”字。例如：Strasburger, Jorgensen, and Randles (1996) found differences.... (第一次使用).Strasburger et al. (1996) also created tests.... (在段落中第二次使用).Starsburger et al. found discrepancies.... (在同一段落中再次使用，此时省略年份).卫乃兴、李文中与濮建忠(2005)指出…或…(卫乃兴、李文中、濮建忠，2005)。(第一次使用)卫乃兴等(2005)指出…或…(卫乃兴等，2005)。(第二次使用)5.六个作者及以上使用英文时，只用第一个人的姓氏加“et al.”;使用中文时，只列出第一名作者的姓名，再加上“等”。例如：Pouliquen et al. (2003)……或……(Pouliquen et al., 2003)王洪俊等(2007)…或…(王洪俊等,2007)6.团体作者使用中文时，第一次用全称，比如，(首都师范大学教育科学学院[首师大教科院]，2001);之后可以用简称，比如，首师大教科院(2001)的调查表明……。使用英文时，第一次引用时，拼出团体，比如, (National Institute of Mental Health [NIMH], 1996);以后用团体缩写加年份表示，比如，The NIMH (1996) examined....。7.没有作者的文献当一部作品没有作者时，在文中引用参考文献目录单中的前几个字(通常是标题)和年份。比如，一项关于成年人抑郁症的调查(“Study Finds”, 1997)报告……。当某作品的作者列为“Anonymous”、中文使用“匿名”或“无名氏”时，英文引用时用“Anonymous”加逗号及年份，即(Anonymous, 1997)，中文用“匿名”加逗号及年份，即(匿名，1997)。8.英文文献作者姓氏相同英文文献作者姓氏相同时，相同姓氏之作者于论文中引用时均引用全名，以避免混淆。例如：R. D. Luce (1995) and G. E. Luce (1988)…。9.多篇文献a. 多篇文献，同一作者若一作者有多篇你想引用的文献，只需用逗号“，”来区隔作品的发表年份(最早到最晚依序排列)。若多篇文献在同一年内发表，请在年份后面加上a、b、c……等标注。(按：abc的使用需与参考文献部分有所对应，而这些文献的编排以标题名称的字母来决定。)例如：1)A recent study found a possible genetic cause of alcoholism (Pauling, 2004, 2005a, 2005b).2)Pauling (2004, 2005a, 2005b) conducted a study that discovered a possible genetic cause of alcoholismb.多篇文献，多位作者文献依姓氏字母(笔画)、出版年代等顺序排列，不同作者之间用分号“;”分开，相同作者不同年代之文献用逗号“，” 分开。例如：…(Pautler, 1992; Razik & Swanson, 1993a, 1993b)。例如：…(董伟，2010;周音，2011a，2011b)。

英语论文参考文献的格式

参考文献是在学术研究过程中，对某一著作或论文的整体的参考或借鉴。征引过的文献在注释中已注明，不再出现于文后参考文献中。下面，我为大家分享英语论文参考文献的格式，希望对大家有所帮助!

一、参考文献的类型

参考文献(即引文出处)的类型以单字母方式标识，具体如下：

[M]--专着，着作

[C]--论文集(一般指会议发表的论文续集，及一些专题论文集，如《xxx大学研究生学术论文集》

[N]--报纸文章

[J]--期刊文章：发表在期刊上的论文，尽管有时我们看到的`是从网上下载的(如知网)，但它也是发表在期刊上的，你看到的电子期刊仅是其电子版

[D]--学位论文:不区分硕士还是博士论文

[R]--报告：一般在标题中会有“关于xxx的报告”字样

[S]--标准

[P]--专利

[A]--文章：很少用，主要是不属于以上类型的文章

[Z]--对于不属于上述的文献类型，可用字母“Z”标识，但这种情况非常少见

常用的电子文献及载体类型标识：

[DB/OL]--联机网上数据(database online)

[DB/MT]--磁带数据库(database on magnetic tape)

[M/CD]--光盘图书(monograph on CDROM)

[CP/DK]--磁盘软件(computer program on disk)

[J/OL]--网上期刊(serial online)

[EB/OL]--网上电子公告(electronic bulletin board online)

很显然，标识的就是该资源的英文缩写，/前面表示类型，/后面表示资源的载体，如OL表示在线资源。

二、参考文献的格式及举例

1.期刊类

【格式】[序号]作者。篇名[J].刊名，出版年份，卷号(期号)起止页码。

【举例】

[1]周融，任志国，杨尚雷，厉星星。对新形势下毕业设计管理工作的思考与实践[J].电气电子教学学报，2003(6)：107-109.

[2]夏鲁惠。高等学校毕业设计(论文)教学情况调研报告[J].高等理科教育，2004(1)：46-52.

[3]Heider, . The structure of color space in naming and memory of two languages [J]. Foreign Language Teaching and Research, 1999, (3)： 62 67.

2.专着类

【格式】[序号]作者。书名[M].出版地：出版社，出版年份：起止页码。

【举例】

[4]刘国钧，王连成。图书馆史研究[M].北京：高等教育出版社，1979:15-18,31.

[5]Gill, R. Mastering English Literature [M]. London: Macmillan, 1985: 42-45.

3.报纸类

【格式】[序号]作者。篇名[N].报纸名，出版日期(版次)。

【举例】

[6]李大伦。经济全球化的重要性[N]. 光明日报，1998-12-27(3)。

[7]Brench, W. Between Silences: A Voice from China[N]. Atlantic Weekly, 1987-8-15(33)。

4.论文集

【格式】[序号]作者。篇名 [C].出版地：出版者，出版年份：起始页码。

【举例】

[8]伍蠡甫。西方文论选[C]. 上海：上海译文出版社，1979:12-17.

[9]Spivak,G. “Can the Subaltern Speak?”[A]. In & L. Grossberg(eds.)。 Victory in Limbo: Imigism [C]. Urbana: University of Illinois Press, 1988, .

[10]Almarza, . Student foreign language teachers knowledge growth [A]. In and (eds.)。 Teacher Learning in Language Teaching [C]. New York: Cambridge University Press. 1996. .

5.学位论文

【格式】[序号]作者。篇名[D].出版地：保存者，出版年份：起始页码。

【举例】

[11]张筑生。微分半动力系统的不变集[D].北京：北京大学数学系数学研究所，1983:1-7.

6.研究报告

【格式】[序号]作者。篇名[R].出版地：出版者，出版年份：起始页码。

【举例】

[12]冯西桥。核反应堆压力管道与压力容器的LBB分析[R].北京：清华大学核能技术设计研究院，1997:9-10.

7.专利

【格式】[序号]专利所有者。题名[P].国别：专利号，发布日期。

【举例】

[13]姜锡洲。一种温热外敷药制备方案[P].中国专利：881056073.

8.标准

【格式】[序号]标准编号，标准名称[S].

【举例】

[14]GB/T 16159-1996, 汉语拼音正词法基本规则 [S].

9.条例

【格式】[序号]颁布单位。条例名称。发布日期

【举例】

[15]中华人民共和国科学技术委员会。科学技术期刊管理办法[Z].1991-06-05

10.电子文献

【格式】[序号]主要责任者。电子文献题名。电子文献出处[电子文献及载体类型标识].或可获得地址，发表或更新日期/引用日期。

【举例】

[16]王明亮。关于中国学术期刊标准化数据库系统工程的进展[EB/OL].

[17]万锦。中国大学学报论文文摘(1983 1993)。英文版 [DB/CD]. 北京中国大百科全书出版社， 1996.

11.各种未定义类型的文献

【格式】[序号]主要责任者。文献题名[Z].出版地：出版者，出版年。

特别说明：凡出现在“参考文献”项中的标点符号都失去了其原有意义，且其中所有标点必须是半角，如果你的输入法中有半角/全解转换，则换到半角状态就可以了，如果你的输入法中没有这一转换功能，直接关闭中文输入法，在英文输入状态下输入即可。

其实，很多输入法(如目前比较流行的搜狐输入法)都提供了四种组合：

(1)中文标点+全角：这时输入的标点是这样的，：【1】-(而这时，我没有找到哪个键可以输入/符号)也就是说，这些符号是一定不能出现在“参考文献”中的;

(2)中文标点+半角：这时输入的标点是这样的，：【1】-(这时，我还是没有找到哪个键可以输入/符号)也就是说，这些符号也不能出现在“参考文献”中的;

上面列出的符号，中间没有任何的空格，你能看出它们有什么区别吗?我看只是-的宽度有一点点不同，其它都一样

(3)英文标点+全角：这时输入的标点是这样的，.:[1]-/

(4)英文标点+半角：这时输入的标点是这样的，.:[1]-/

从这两项可以明显的看出，半角和全角其实最大的差别是所占的宽度不一样，这一点对于数字来说最为明显，而英文标点明显要比中文标点细小很多(也许因为英文中，标点的功能没有中文那么复杂，就是说英文中标点符号的能力没有中文那么强大)

所以，很多人在写“参考文献”时，总是觉得用英文标点+半角很不清楚，间距也太小，其实这点完全不用担心如果你觉得真的太小不好看，就用英文标点+全角吧而在[1]之后，一般也都有一个空格。

对于英文参考文献，还应注意以下两点：

①作者姓名采用“姓在前名在后”原则，具体格式是：姓，名字的首字母。如：Malcolm Richard Cowley 应为：Cowley, .,如果有两位作者，第一位作者方式不变，&之后第二位作者名字的首字母放在前面，姓放在后面，如：Frank Norris 与Irving Gordon应为：Norris, F. & .

②书名、报刊名使用斜体字，如：Mastering English Literature,English Weekly.

三、注释

注释是对论文正文中某一特定内容的进一步解释或补充说明注释应置于本页页脚，前面用圈码①、②、③等标识。

[2] (作者姓名),Near-perfect Token Distribution（论文名称）, in Random Structures & Algorithms5(1994)（论文发表在的出版物名称（期刊号）或会议名称）.又如，[8] and Less-structured P2P Systems for the Expected High Churn, in IEEE P2P,2005.