【正文】 倍行距IV. On the Mechanism of Metaphor二級標(biāo)題、Times New Roman四號、頂格加粗、上空一行、下不空行…………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………….. Black’s Interaction Theory（章內(nèi)每節(jié)標(biāo)號及標(biāo)題左起頂格，四號字，加粗，前后空一行為小四號字。本例為整段引用，即block quotation， 前后空五號字一行 )All metaphors, Aristotle believes, fall into at least one of these four categories, although analogy metaphors are the most pleasing. Aristotle also holds that metaphor can make the prosaic style charming, and stresses that it can only be confined to poetry (ibid. 72). This perspective leads to the later theorists making distinction between poetic language and everyday language. Especially in Chapter 21 and 22 of Poetics, Aristotle states that every word “is either current, or strange, or metaphor, or ornamental, or newly coined, or lengthened, or contracted, or altered”(). It is obvious that Aristotle classifies metaphors as lying outside normal language use. They are deviant or aberrant forms of discourse. He also holds that metaphor has no cognitive value and is merely an embellishment of language (Kittay 1). Also in this chapter of Poetics, he elaborates how metaphors are unusual and discusses the relationship between metaphor and genius, viewing metaphor as a talent of epic poets and tragedians:引文：前縮進(jìn)10個(gè)字母、后不縮進(jìn)、上下各空1行The greatest thing by far is to have a mand of metaphor. This alone can not be imported by another。其裝訂順序?yàn)椋悍饷妫▽W(xué)校印刷廠負(fù)責(zé)印刷學(xué)校統(tǒng)一封面）→內(nèi)封頁( 中文)→內(nèi)封頁（英文）→中文摘要→英文摘要→目錄→正文（如果有注釋，可以加在當(dāng)前頁下腳或者放在本章節(jié)后面）→參考文獻(xiàn)→致謝（論文打印用A4紙）頁眉：, 小五，Times New Roman。 collocation。(此處引文為間接引文，故沒有雙引號)。 (大約200字左右)小四、宋體、加粗關(guān)鍵詞：隱喻；搭配；術(shù)語（中文摘要的內(nèi)容和關(guān)鍵詞應(yīng)與英文摘要相對應(yīng)，關(guān)鍵詞35個(gè)，詞與詞之間用分號分開）*** 正文引文中涉及到中國作者有兩種情況：1）在參考文獻(xiàn)中，如果用英文表述中國作者及著作，Shen, Dan. Stylistics and Translation. Beijing: Peking UP, 1995. 那么在正文中，引用原作者話之后要這樣在括號里標(biāo)注, 例如，Professor Shen writes that the standard of faithfulness and accuracy is not only “a principle for translating business contracts, but an attitude in translation” (Shen 191). (引文標(biāo)注用漢語拼音)。因此，現(xiàn)代學(xué)者著重于闡述相似是如何被創(chuàng)造出來的?，F(xiàn)代學(xué)者通過大量研究表明，隱喻不僅僅是一種修辭手段，更重要的是，它是人類的主要認(rèn)知方式。Dalian UniversityBy Li XiaoweiIn Impartial Fulfillment of the RequirementsFor the Degree ofBachelor of Arts with Honors May 2007Thesis Supervisor: Professor Yang Haiyan小三、宋體、加粗、兩漢字之間空一個(gè)漢字、居中小四、宋體、空一行小四、宋體、2倍行距摘 要隱喻研究歸根到底是隱喻機(jī)制的研究，它是隱喻研究的核心。其余的按本格式復(fù)制。英語專業(yè)畢業(yè)論文寫作格式要求目 錄（中文）格式要求.……………………………………………………………2（英文）格式要求.……………………………………………………………33摘要（中文）格式要求………………………………………………………………44摘要（英語）格式要求………………………………………………………………55目錄格式要求……………………………………………………………………….66論文裝訂順序等要求……………………………………………………………….87正文及一級標(biāo)題格式要求………………………………………………………….98二級標(biāo)題及引文格式要求………………………………………………………...109三級標(biāo)題格式要求………………………………………………………………...1410二級標(biāo)題在頁首及四級標(biāo)題格式要求………………………………..………...1511參考文獻(xiàn)格式要求……………………………………………………………….1712致謝格式要求…………………………………………………………………….21小四、宋體、加粗、空六行二號、黑體、居中論隱喻的運(yùn)作機(jī)制小四、宋體、加粗、居中小四、宋體、空二行李小偉小四、宋體、空六行指論文最后一頁標(biāo)注的頁碼數(shù)小四、宋體、加粗、左側(cè)空約10個(gè)漢字總計(jì)：畢業(yè)論文26頁指導(dǎo)教師：張 三評閱人：李 四完成日期：2006年5月此頁是英文題名頁的標(biāo)準(zhǔn)格式。本部分的論文題目、論文作者的姓名和指導(dǎo)教師的職稱與姓名按實(shí)際情況填寫。小四、加粗、Times New Roman、空六行Incorporating Culture into English Teaching in Middle Schools小四、加粗、Times New Roman、空二行論文標(biāo)題：二號、Times New Roman、加粗、居中A ThesisPresented to the College of English小四、加粗、Times New Roman、居中。兩千多年來，隱喻一直被僅僅看作一種修辭手段，一種語言的陪襯，被看作是兩種不同事物事先存在的相似性的比較或一個(gè)詞對另一詞的替代，進(jìn)而形成對隱喻闡述的比較論和替代論。隱喻這一認(rèn)知方式，給人們一種新的視角，創(chuàng)造一種相似。在眾多的隱喻理論中，影響較大的有布萊克和萊科夫的隱喻理論。2）在參考文獻(xiàn)中，如果用漢語表述中國作者及著作，[M].北京：教育科學(xué)出版社，2002. 那么在正文中，引用原作者話之后要這樣在括號里標(biāo)注, 例如，Educator Yuan states that the Social Educational Model was first proposed by Gardner and his colleagues in early 1970’s and reformulated in 1985 (袁振國 116).（引文標(biāo)注用漢語方塊字)。Times New Roman、小四、2倍行距Times New Roman、小三、加粗Abstract The mechanism of metaphor is actually the nucleus of the study of metaphor. For more than two thousand years, metaphor was viewed as a device of rhetoric, an attachment to language. In accordance with this perspective, metaphor was a