dzÎö¡¶µÂ²®Î¬¶û¼ÒµÄ̦˿¡·ÖÐÔì³É̦˿±¯¾çµÄÒòËØ ÏÂÔØ±¾ÎÄ

Ó¢ÓïרҵȫӢԭ´´±ÏÒµÂÛÎÄ£¬ÊǽüÆÚд×÷£¬¹«²¼µÄÌâÄ¿¿ÉÒÔÓÃÓÚÃâ·Ñ²Î¿¼£¨¹±Ï×ÕßID ÓÐÌáʾ£©

×îÐÂÓ¢ÓïרҵȫӢԭ´´±ÏÒµÂÛÎÄ£¬¶¼ÊǽüÆÚд×÷

1 ËóÂÞ¡¶Íß¶ûµÇºþ¡·Öеġ°¼òµ¥¡±Ô­Ôò

2 Ó¢ÓïÖÐÔ´ÓÚÏ£À°ÂÞÂíÉñ»°Ö÷ÒªÉñµoÐÕÃû´Ê»ãµÄÈÏ֪̽Ë÷ 3 ´ÓÓ¢ºº¹ã¸æÓïÑÔÌØµã·ÖÎöÖÐÎ÷·½ÎÄ»¯¼ÛÖµ¹Û 4 ´Ó¿çÎÄ»¯½»¼Ê¿´ÖÐÎ÷·½Ê±¼ä¹Û²îÒì 5 dz̸Ӣºº½û¼ÉÓïµÄ·¢Õ¹

6 ´Ó¾«Éñ·ÖÎö·¨½Ç¶È·ÖÎö¡¶ÂóÌïÀïµÄÊØÍûÕß¡·Öлô¶û¶ÙµÄ³É³¤ 7 É¥ÖÓΪ˭¶øÃùÖеÄÂÞ²®ÌØÐÎÏó 8 dzÎöÓ¢ÎĵçÓ°ÔÚ¸ßÖÐÓ¢Óï½ÌѧӦÓà 9 СѧӢÓï½ÌѧÖеÄÌå̬ÓïÓ¦Óà 10 ¼¤ÀøÐ¡Ñ§Éú»ý¼«ËµÓ¢ÓïµÄ½Ìѧ·¨

11 An Ecocritical Analysis on Lady Chatterley¡¯s Lover 12 ÒÁÀöɯ°×°àÄÚÌØºÍҦľÀ¼µÄ±È½ÏÑо¿ 13 ¡¶Ðú»©Óëɧ¶¯¡·Ö®ÏÖ´úÖ÷Òåд×÷¼¼ÇÉ·ÖÎö

14 Discussion on How to Arouse the Students¡¯Interests in English Learning 15 From Dormancy to Revival¡ªA Feminist Study on Kate Chopin¡¯s Awakening 16 ´Ó¹ØÁªÀíÂ۽Ƕȿ´µçӰ̨´Ê·­Ò롪µçÓ°¡°Ð¡Æ¨º¢Èռǡ±µÄ¸ö°¸Ñо¿ 17 ÂÛ¡¶ÍÆÏúÔ±Ö®ËÀ¡·»ùÓÚ´«Í³Ï£À°±¯¾çµÄ·¢Õ¹

18 On Metaphor Translation Strategies from Cultural Perspective

19 Translation Strategies about Vacant Words in Dreams of the Red Mansion 20 ´ÓɯÎÌ×÷Ʒ͸ÊÓÒÁÀöɯ°×ʱÆÚÅ®ÐÔÉç»áµØÎ»

21 Landscape Poems in Seven-character Quatrains and Sonnets 22 A Study of the Personality of Emily from A Rose for Emily 23 Å®ÐÔÖ÷ÒåÊÓ½ÇÏ¡¶°ÁÂýÓëÆ«¼û¡·µÄÇé̬ÒâÒå½â¶Á

24 Õ»ØÌåС˵¿ªÆªÐðʱê¼ÇÓï·­Òë³õ̽¡ª¡ªÒÔËÄ´ó¹ÅµäÃûÖøÎªÀý 25 ¡¶Ò°ÐԵĺô»½¡·ÖеÄ×ÔÈ»Ö÷Òå 26 »¥ÁªÍø¶ÔÓ¢Óï·­ÒëµÄÓ°Ïì

27 ¹þ´úµÄ±¯¹ÛÖ÷ÒåºÍËÞÃüÂÛÔÚ¡¶µÂ²®¼ÒµÄ̦˿¡·ÖеÄÌåÏÖ 28 ¡¶³è¶ù¡·µÄ·ÇÏßÐÔÐðÊÂģʽ

29 ´ÓÄ¿µÄÂ۽ǶȷÖÎöÖÐҽҩҩƷ˵Ã÷ÊéµÄÓ¢Òë

30 On Wisdom of Tao in Tao De Jing and the Subjectivity of Translator£­£­Based upon Translations of Wu£¨ÎÞ£©and You£¨ÓУ© 31 ³õÖÐÓ¢Óï½Ì²Ä֪ʶÌåϵ½¨¹¹µÄÑо¿

32 A Comparative Study Between the Novel To Kill A Mockingbird and Its Film Adaptation 33 ·þÊÎÓïµÄÈÏ֪͹ÏÔ£ºÈÏÖªÓïÑÔѧ½Ç¶È 34 Ä¿µÄÂÛϽø¿ÚÆû³µËµÃ÷ÊéµÄ·­ÒëÑо¿

35 A Feminist Reading of A. S. Byatt¡¯s Possession

36 Å©´å³õÖÐÓ¢Óï¿ÚÓï½ÌѧÏÖ×´µÄµ÷²éÓë·ÖÎö¡ª¡ªÒÔxxÖÐѧΪÀý 37 ´ÓίÍñÓï¿´ÖÐÎ÷·½ÀñÒÇÎÄ»¯µÄ²îÒì

38 The Study on the Teaching of Grammar in Senior High Schools 39 Ó¢ººÌìÆø´Ê»ãµÄÒþÓ÷Ó÷¨

40 Îö¡¶ÂóÌïÀïµÄÊØÍûÕß¡·Ö÷È˹«»ô¶û¶ÙµÄÈËÉúÑ¡Ôñ 41 ÂÛ¿çÎÄ»¯ÒòËØÔÚ¿ç¹úÆóÒµ¹ÜÀíÖеÄÓ°Ïì×÷ÓÃ

Ó¢ÓïרҵȫӢԭ´´±ÏÒµÂÛÎÄ£¬ÊǽüÆÚд×÷£¬¹«²¼µÄÌâÄ¿¿ÉÒÔÓÃÓÚÃâ·Ñ²Î¿¼£¨¹±Ï×ÕßID ÓÐÌáʾ£©

42 ÂÛÎé¶û·ò¡¶µ½µÆËþÈ¥¡·Å®È¨Ö÷ÒåÖ÷Ìâ˼Ïë¼°¶ÔÖйúÅ®ÐÔÎÄѧ֮ӰÏì

43 ´ÓµçÓ°¡¶ÒûʳÄÐÅ®¡·¿´ÖÐÎ÷·½ÒûʳÎÄ»¯²îÒì(¿ªÌⱨ¸æ+ÂÛÎÄ+ÎÄÏ××ÛÊö ) 44 ´Ó¡¶ÂóÌïÀïµÄÊØÍûÕß¡·¿´»ô¶û¶ÙµÄÒ¡¹öÇé½á 45 ÖÐÓ¢ÎÄÊý×ÖÎÄ»¯¶Ô±È¼°Æä·­Òë

46 ÂÛղķ˹ÇÇÒÁ˹¡¶°¢À­±È¡·µÄ¾«Éñ¶ÙÎò 47 ÂÛ¡¶ÍÃ×Ó£¬Åܰɡ·ÖÐÍÃ×ÓÌÓÅܵÄÔ­Òò 48 ÖÐÓ¢ÎÄÊý×ÖÎÄ»¯¶Ô±È¼°Æä·­Òë

49 A Study of Pragmatic Functions of Fuzzy Language in English Advertisements 50 Ó¢ººÊý×ÖÖ®¼äµÄÎÄ»¯¶Ô±ÈÑо¿

51 ÂÛ¡¶¶òÉá¹ÅÎݵĵ¹Ëú¡·µÄ¸çÌØÊ½Ð´×÷·ç¸ñ 52 Ä¿µÄÂÛÊÓ½ÇÏµĻ¯×±Æ··­Òë

53 ÍþÁ®?¸£¿ËÄÉ¡¶Ðú»©Óëɧ¶¯¡·ÖеÄÏÖ´úÖ÷Òå

54 ´ÓºÏ×÷Ô­Ôò̸ӰÊÓ·­Òë²ßÂÔ¡ª¡ªÒÔ¡¶¹¦·òÐÜ衷ΪÀý 55 ÆÀ¡¶ºÓÍå¡·Ö÷È˹«-ÈøÁÖÄ·µÄ·ÇÖÞ¹Û 56 ÉÌÎñÐź¯µÄд×÷Ô­ÔòÓë¼¼ÇÉ

57 ¡¶ÔÂ϶À×á·Á½ÖÖÓ¢ÎÄÒë±¾Ö®¶Ô±ÈÑо¿ 58 ÂÛ¸öÈËÖ÷Òå¶ÔÃÀ¹úÓ¢ÐÛµçÓ°µÄÓ°Ïì 59 ÖйúÌØÉ«´Ê»ã¼°Æä·­Òë 60

61 Gone with the Wind: From Novel to Film 62 ¡¶Á˲»ÆðµÄ¸Ç´Ä±È¡·ÖÐÃÀ¹úÃÎµÄÆÆÃð

63 The Symbolic Meanings of Colours in The Great Gatsby 64 ½»¼Ê·­ÒëÊÓ½ÇÏµĹ«Ê¾ÓﺺӢ·­Òë 65 ¡¶ÉÆÁ¼µÄÏçÏÂÈË¡·µÄϲ¾çÐÔ·ÖÎö 66 dzÎö¡¶ºì×Ö¡·Öж¡Ã·Ë¹´ú¶ûµÄÕõÔú 67 ÖйúÈ˺ÍÃÀ¹úÈËÌØÕ÷µÄ±È½Ï 68 »á»°º¬ÒåµÄÓïÓóõ̽

69 ÖÐÓ¢Éç½»½û¼ÉϰË×Òì֮ͬ±È½Ï·ÖÎö

70 The Narrative Strategy of Wuthering Heights 71 ÂÛ¡¶µÈ´ý¸ê¶à¡·Öеĵȴý

72 Culture Differences between China and English-speaking Countries: A View of Body Language

73 »î¶¯½Ìѧ·¨ÔÚÅ©´å³õÖÐÓ¢Óï½ÌѧÖеÄÓ¦Ó᪡ªÒÔа²ÖÐѧΪÀý 74 ÖÐÎ÷·½Òû¾ÆÀñÒǵıȽÏ

75 ¡¶ÃûÀû³¡¡·ºÍ¡¶¼ÎÀòÃÃÃá·Å®Ö÷½ÇÐÎÏó¶Ô±È 76 ¡¶ºôХɽׯ¡·ÖÐǶÌ×ʽÐðÊöµÄÃÀѧ¹¦ÄÜ 77 ¿­ÉªÁÕ°²²¨ÌØ×÷Æ·ÖеÄÅ®ÐÔ»°ÓïȨÍþ 78 ¡¶ÀÏÈËÓ뺣¡·µÄ¼ÒÔ°Òâʶ

79 Ó¢ºº·­ÒëÖÐÎÄ»¯¸ºÇ¨ÒÆÒýÆðµÄÆ«Îó·ÖÎö 80 ¸ðºÆÎÄÓ¢Òë¡¶ºì¸ßÁ»¼Ò×å¡·µÄ·­Òë²ßÂÔÑо¿ 81 ¹¦ÄÜÄ¿µÄÂÛÊÓ½ÇÏÂµÄÆóÒµÍâÐû×ÊÁϵÄÓ¢ÒëÑо¿ 82 ¡¶²éÌ©À³·òÈ˵ÄÇéÈË¡·ÖеÄÖØÉú 83 »ª×È»ªË¹×ÔÈ»¹ÛdzÎö

84 ·´·íÒÕÊõÔÚ¡¶°ÁÂýÓëÆ«¼û¡·ÖеÄÓ¦ÓÃ

Ó¢ÓïרҵȫӢԭ´´±ÏÒµÂÛÎÄ£¬ÊǽüÆÚд×÷£¬¹«²¼µÄÌâÄ¿¿ÉÒÔÓÃÓÚÃâ·Ñ²Î¿¼£¨¹±Ï×ÕßID ÓÐÌáʾ£©

85

86 Reread Shylock from a Tragic Viewpoint 87 Ó¢ººÊ«¸èÖС°Ô¡±ÒâÏóµÄÈÏÖª½â¶Á 88 ¹ØÓÚ¸ßÖÐÓ¢Óï¿ÎÌÃÄÚ×ÔÖ÷ѧϰµÄ˼¿¼

89 American Individualism and Its Reflection in the Film Erin Brockovich 90 ¿çÎÄ»¯½»¼ÊϵÄÖÐÓ¢ÎĽû¼ÉÓïµÄ¶Ô±ÈÑо¿

91 ¸Ä±ä£¬Ñ¡ÔñÓëÔðÈΡª¡ªÂÛµçÓ°¡¶²Â»ð³µ¡·ÖеÄÇàÉÙÄê³É³¤ 92 ÂÛ¡¶µÈ´ý¸ê¶à¡·ÖеĻĵ®ÓëÏóÕ÷ 93 Ó¢ºº½û¼ÉÓï¶Ô±È·ÖÎö 94 Ê¥¾­µä¹ÊµÄ·­Òë

95 ¡¶ÈËÈ˶¼°®À×Ãɵ¡·ÖÐÓÄĬ¶Ô»°Ëù·´Ó³µÄÈËÎïÐÔ¸ñÌØÕ÷ºÍÈËÎï¹ØÏµµÄÑо¿ 96 ·ÖÎö¼ò°®µÄÃÀ

97 ¿çÎÄ»¯½»¼ÊÖеĸöÈËÖ÷ÒåºÍ¼¯ÌåÖ÷Òå³åÍ»¼°½â¾ö°ì·¨ 98 ÖÐÎ÷·½»éË×ÎÄ»¯¼°²îÒì

99 ²¼Ê²×ÜͳÑݽ²´ÊÖÐÓÄĬ»°ÓïµÄÓïÓù¦ÄÜ·ÖÎö 100 ÂÛ¡¶ÀÏÓѼǡ·ÓÄĬ×ÖÄ»·­Òë 101 ¡¶°ÁÂýÓëÆ«¼û¡·ÖеÄÈý²ã·´·í

102 ÂÛÓ¢ÓïпαêϸßÖÐÉú¿çÎÄ»¯ÒâʶµÄÅàÑø 103 ²ªÀÊÌØ½ãÃÃ×÷Æ·ÖеÄÊÓ¾õÌØÕ÷Ñо¿

104 ÊÇʲôÔÚ×÷Ë¡ªÂÛ±£ÂÞ°®Çéʧ°ÜµÄÔ­Òò

105 The General Principles in Translating Chinese Novels into English 106 ÆçÒåÊÓ½ÇϵÄÓ¢ÓïÑÔÓïÓÄĬÑо¿ 107 ººÓ¢ÑèÓïÖйØÓÚÎÄ»¯¼ÛÖµ¹ÛµÄ±È½Ï 108 Ó¢ÓïίÍñÓïµÄ¹¹³ÉÓëÓ¦ÓÃ

109 Ó¢Óïд×÷ÖеÄĸÓïÇ¨ÒÆ×÷Óü°½ÌѧÆôʾ 110 ´Ê×é´Ê»ãѧϰ·½·¨

111 The Lexical Features of Black English in RAP Music and its Influence 112 Óù¦ÄܶԵÈÀíÂÛ·ÖÎö¡¶¾­¼ÃѧÈË¡·ÖеÄϰÓï·­Òë 113 ÂÛ¡¶Ð¡¸¾ÈË¡·µÄÐðʼ¼ÇÉ

114 ÂÛ¡¶ºì×Ö¡·ÖС°A¡±µÄÏóÕ÷ÒâÒå

115 dzÎöºÏ×÷ѧϰÔÚÓ¢Óïרҵ¿ÚÓï½ÌѧÖеÄÓ¦Óà 116 ´Ó¡¶³è¶ù¡·µÄÈËÎïÐÎÏóÖзÖÎöĪÀïÉ­µÄÖÖ×å¹Û 117 ¡¶ÐãÀ­¡·ÖÐÅ®Ö÷È˹«ÐãÀ­µÄŮȨÖ÷Òå½â¶Á 118 ´ÓÎÄ»¯²îÒìµÄ½Ç¶È¿´Ï°ÓïµÄ·­Òë 119 dzÎö¡¶×îÀ¶µÄÑÛ¾¦¡·ÖеÄÐðÊÂÒÕÊõ

120 ´ÓÄδïµÄ¹¦ÄܶԵȿ´¾äʽת»»ÔÚ¡¶ÇàÍ­Å®Ïñ¡·Òë±¾ÖеÄÓ¦Óà 121 ÊÔÎöÊ«¸è·­ÒëÖÐÎÄ»¯ÒâÏóµÄ´¦Àí

122 ¡¶Ð¡¸¾ÈË¡·ÖеļÒÍ¥½ÌÓý¼°Ëü¶ÔÏÖ´ú¼ÒÍ¥½ÌÓýµÄÒâÒå 123 ±¨¿¯¹ã¸æÓ¢ÓïµÄÎÄÌåÌØÉ«·ÖÎö 124 ´Ó¡¶ÈËÓëÊó¡·¿´Ë¹Ì¹±´¿ËÒÕÊõ·ç¸ñ 125 Éç»áʵ¼ù»î¶¯¶Ô´óѧÉúµÄÖØÒªÐÔ

126 ÖÐÓ¢¹«Òæ¹ã¸æÐÞ´ÇÊÖ·¨ºÍЧ¹ûµÄ¶Ô±ÈÑо¿ 127 ¶ÔС˵¡¶Ò°²ÝÔڸ質¡·µÄ¹¦ÄÜÎÄÌå·ÖÎö 128 ²èÎÄ»¯½»Á÷ÓÃÓïµÄ·­Ò룺ÀíÂÛÓëʵ¼ù

Ó¢ÓïרҵȫӢԭ´´±ÏÒµÂÛÎÄ£¬ÊǽüÆÚд×÷£¬¹«²¼µÄÌâÄ¿¿ÉÒÔÓÃÓÚÃâ·Ñ²Î¿¼£¨¹±Ï×ÕßID ÓÐÌáʾ£©

129 ´Ó¡¶Ï²¸£»á¡·ÖÐÎ÷ÎÄ»¯µÄ³åÍ»ÓëÈÚºÏÖп´Éí·ÝµÄѰÇó 130 dz̸ººÓï³ÉÓïµÄÓ¢Òë

131 ÊÔÂÛ¡¶³öÓü¡·ÖС°·¿×Ó¡±µÄÒâÏó 132 ¡¶ÃûÀû³¡¡·µÄÅ®ÐÔÖ÷Òå½â¶Á

133 ÖÐÎ÷˼ά·½Ê½²îÒì¶Ô¿çÎÄ»¯½»¼ÊµÄÓ°Ïì

134 ´ÓºóÏÖ´úÖ÷ÒåÊӽǽâ¶Á¡¶µÚ¶þÊ®¶þÌõ¾ü¹æ¡·µÄÎÞÖÈÐòÐÔ 135 ѪÐÔÒâʶ¡ªD.H.ÀÍÂ×˹µÄ×ÔÈ»Ö÷Òå°®Çé¹Û

136 ´ÓÐÄÀí·ÖÎö½Ç¶È·ÖÎö¡¶Îݶ¥ÀöÈË¡·ÖÐÌÀÄ·µÄÉý»ª 137 °®Ã×ÀöµÄÕõÔúÓëÖսᡪ¡ªÂÛ¡¶Ï׸ø°®Ã×ÀöµÄÒ»¶äõ¹å»¨¡·Öа®Ã×Àö»ÙÃðµÄ¼ä½ÓºÍÖ±½ÓÔ­Òò

138 Ä¿µÄÂÛϵÄÐÞ´ÇÊÖ·¨·­Ò룺ÒÔ¡¶°®ÀöË¿ÂþÓÎÆæ¾³¼Ç¡·Á½¸öººÓïÒ뱾ΪÀý 139 ¡¶´óÎÀ¿Æ²¨·Æ¶û¡·ÖеÄÓÄĬÒÕÊõ

140 The Interpretation of A Rose for Emily from the Perspective of Feminism 141 ·ÖÎö¡¶¹þÄ·À×ÌØ¡·ÖÐÁ½Î»Å®ÐÔµÄÐÔ¸ñÌØµã 142 ÓÃÎÄ»¯ÅúÆÀ¿´¡¶Îí¶¼¹Â¶ù¡·ÀïµÄ·´ÓÌÖ÷Òå

143 ¶þÔª¶ÔÁ¢Ä£ÐÍÔÚÎé¶û·ò¡¶´ïÂåÎÀ·òÈË¡·ÖеÄÓ¦ÓÃ

144 An Analysis of Characterization of O-lan in The Good Earth 145 ´ÓÓïÓÃѧ½Ç¶È·ÖÎö¡¶ÀÏÓѼǡ·ÖеÄÓÄĬ 146 ¡°Ê¡Á¦Ô­Ôò¡±ÔÚ¿ÚÒë¹ý³ÌÖеÄÓ¦ÓÃ

147 dzÎö¡¶°ÁÂýÓëÆ«¼û¡·ÖÐÅ®ÐÔÈËÎïµÄÈÏÖª¾ÖÏÞ 148 ÂÛ¡¶ºôХɽׯ¡·ÖÐϣ˹¿ËÀï·òÐÔ¸ñµÄË«ÖØÐÔ

149 ´Óself£¨×ÔÉí£©Ïà¹Ø´Ê¿´ÖйúµÄ¼¯ÌåÖ÷ÒåºÍÃÀ¹úµÄ¸öÈËÖ÷Òå

150 ³¬Ô½ºÍÊÀËסª¡ª¶Ô¡¶ÔÂÁÁºÍÁù±ãÊ¿¡·ÖÐStricklandºÍStroeveµÄ¶Ô±È·ÖÎö 151 ÖÐÎ÷ÀñÒǶԱÈ

152 ÖÐÎ÷·½¿Õ¼ä¹Û¶Ô±ÈÑо¿

153 ¹«Òæ¹ã¸æµÄ´Ê»ãÌØµã: ÒÔÃÀ¹úºìÊ®×Ö»á¹ã¸æÓïΪÀý 154 ½âÎö¹þ´ú¡¶Ô¶Àë³¾Ïù¡·Öеı¯¾çÒòËØ

155 ¡¶Îݶ¥ÉϵÄÅ®ÈË¡·ºÍA & P ÖеÄÈËÎï±È½Ï¼°·ÖÎö

156 The Causes of Maggie¡¯s Death in Maggie: A Girl of the Streets 157 ¡¶Ìì±ßÍâ¡·µÄ±¯¾ç·ÖÎö

158 A Study on the Effective Ways to Improve Memory Efficiency in Consecutive Interpreting 159 Ó¢ºº»ù±¾×ËÊÆ¶¯´Ê£¨Á¢¡¢×ø¡¢ÌÉ£©µÄÓïÒåʵ֤±È½ÏÑо¿ 160 ÖÐѧӢÓïд×÷ÖеÄÖнéÓï´íÎó·ÖÎö 161 dz̸¹ú¼ÊÉÌÎñ̸ÅÐÀñÒÇ

162 ¸Ç´Ä±ÈÃÀ¹úÃεĻÃÃ𡪡ªÍ¸ÊÓÏÖʵÉú»îÖеİ®Çé 163 An Analysis of Female Characters in Uncle Tom¡¯s Cabin 164 ÉæÍâÉÌÎñÓòÍÖеķÇÑÔÓï½»¼Ê 165 ÈçºÎ½µµÍ³õÖÐÉúÓ¢Óï¿ÎÌý¹ÂÇ

166 A Comparative Study of Women in Fortress Besieged and Pride and Prejudice 167 ´ÓÖÐÓ¢Î͝ÎïÒþÓ÷¿´ÖйúÓëÓ¢Óï¹ú¼ÒµÄÎÄ»¯²îÒì 168 ÒÔѧÉúΪÖÐÐĵÄÓ¢Óï´Ê»ã½ÌѧµÄÑо¿ 169 ¹ú¼ÊóÒ×ÍùÀ´µç×ÓÓʼþд×÷Ô­Ôò 170 ´Ó¡¶ÀÏÈËÓ뺣¡·¿´º£Ã÷ÍþµÄÓ²ºº¾«Éñ 171 ¡¶×ÏÉ«¡·Å®Ö÷È˹«ÐÔ¸ñ·ÖÎö

Ó¢ÓïרҵȫӢԭ´´±ÏÒµÂÛÎÄ£¬ÊǽüÆÚд×÷£¬¹«²¼µÄÌâÄ¿¿ÉÒÔÓÃÓÚÃâ·Ñ²Î¿¼£¨¹±Ï×ÕßID ÓÐÌáʾ£©

172 ÂÛ¡¶°ÁÂýÓëÆ«¼û¡·Öмò?°Â˹¶¡µÄÅ®ÐÔÖ÷Òå

173 ¡¶ÌìºÚǰµÄÏÄÌì¡·ÖÐÅ®Ö÷È˹«¿­ÌصÄ×ÔÎÒ¾ÈÊê֮·

174 The Application of Functionalist Approaches in Advertisement Translation 175 ´ÓÖ«ÌåÓïÑÔ¿´ÖÐÎ÷·½ÎÄ»¯²îÒì 176 Âóµ±ÀÍ·¨Ôò¼°ÆäÔÚÃÀ¹úÉç»áµÄÓ°Ïì 177 ÎÄ»¯±³¾°ÖªÊ¶ÔÚÓ¢Óï½ÌѧÖеÄ×÷Óà 178 ÒþÓ÷ÊÓ½ÇϵÄÕþÖÎÐÂÎÅÓïÆª·ÖÎö

179 A Comparative Study of A Wordsworth¡¯s Nature Poem and One by Tao Yuanming 180 ¼òÎöÃÀ¹úÎÄѧÖеÄÃÀ¹úÃÎ

181 ´ÓºË·øÉ䱨µÀ¿´Ó¢¹ú±¨Ö½ÐÐÎĵÄÓïÑÔÌØÕ÷ 182 ÈËÃñ±ÒÉýÖµ¶ÔÎÒ¹ú½ø³ö¿ÚóÒ×µÄÓ°ÏìÑо¿ 183 ̽¾¿ººÓ¢·­ÒëµÄÖÐʽӢÓïÏÖÏó

184 dzÎöС˵¡¶°ÁÂýÓëÆ«¼û¡·Öа®ÇéºÍ»éÒöµÄ¹ØÏµ 185 ·ÇÓ¢Óïרҵ´óѧÉúÌýÁ¦¿ÎÌý¹ÂǵÄÓ°Ïì¼°½â¾ö²ßÂÔ 186 ÂÛѧÉú½ÇÉ«ÔÚÖÐѧӢÓï¿ÎÌÃÖеÄת»» 187 ¡¶ÀÏÈËÓ뺣¡·µÄÏóÕ÷ÒâÒå·ÖÎö

188 ´ÓÎÄ»¯²îÒìµÄ½Ç¶ÈÂÛÎÄѧÒëÕߵķ­Òë¼¼ÇÉ

189 Study on the Basic Principles of Legal English Translation 190 ´ÓÅ®ÐÔÖ÷Òå½Ç¶È·ÖÎö°¢¼Óɯ¿ËÀï˹µÙµÄÖ÷Òª×÷Æ· 191 ¡¶Ò°²ÝÔڸ質¡·ÖÐÒ°²ÝµÄÏóÕ÷Ô¢Òâ½â¶Á

192 The Joy Luck Club£­A Bittersweet Picture of Chinese-Americans across Two Generations 193 Ó¢Óïǰ׺ºÍºó׺ÔÚ³õÖе¥´Ê½ÌѧÖеÄÓ¦Óà 194 ¹ØÓÚ³±öÑ·µÄ¾«Éñ·ÖÎö

195 dzÎö³õÖÐÉúÓ¢Óïд×÷ÎÊÌâ¼°¶Ô²ß 196 ÌåÓýÐÂÎÅÓ¢ÓïÎÄÌåÌØµã·ÖÎö

197 dzÎö¡¶ºì×Ö¡·ÖÐÅ®ÐÔÖ÷ÒåµÄ¾ßÌåÌåÏÖ

198 Ô´ÓÚÕæ°®µÄ½áºÏ£º¼ò°®µÄ»éÒö¶Ôµ±´úÈËµÄÆôʾ 199 Reconstructed Motherhood in Beloved

200 dzÎö¡¶µÂ²®Î¬¶û¼ÒµÄ̦˿¡·ÖÐÔì³É̦˿±¯¾çµÄÒòËØ