当仔细品读一部作品后，想必你有不少可以分享的东西，是时候静下心来好好写写
First and foremost, as far as I am concerned, in exploring the breakdown into savagery of a group of boys free from the imposed moral constraints of civilization and society, Lord of the Flies dramatizes a fundamental human struggle: the conflict between the impulse to behave morally and the impulse to indulge in violence. The first set of impulses might be thought of as the “civilizing instinct”， which encourages people to work together toward common goals and behave peacefully; the second set of impulses might be thought of as the “barbarizing instinct”， or the instinct toward savagery, which urges people to rebel against civilization and instead seek anarchy, chaos, despotism, and violence.
What is more, I will present my opinion about the two main characters: Ralph and Jack.
Ralph is the athletic, charismatic protagonist of Lord of the Flies. Elected the leader of the boys at the beginning of the novel, Ralph is the primary representative of order, civilization, and productive leadership in the novel. Ralph’s power and influence over the other boys are extremely secure at first. However, as the book progresses and the group succumbs to savage instincts, Ralph’s position declines precipitously as Jack’s station rises. Ralph’s commitment to civilization and morality is strong, and his main wish is to be rescued and returned to the society of adults. For much of the novel, Ralph is simply unable to understand why the other boys would give in to base instincts of bloodlust and barbarism. The sight of the hunters chanting and dancing is baffling and distasteful to him.
Jack, the strong-willed, egomaniacal boy who is the novel’s prime representative of the instinct of savagery, violence, and power, is the antithesis of Ralph. From the beginning of the novel, Jack desires power above all other things. The first time he encounters a pig, he is unable to kill it. But Jack soon becomes obsessed with hunting and devotes himself to the task, painting his face like a barbarian and giving himself over to bloodlust. The more savage Jack becomes, the more he is able to control the rest of the group. By the end of the novel, Jack has learned to use the boys’ fear of the beast to control their behavior, giving Golding a chance to explore how religion and superstition can be used as instruments of power. Jack’s love of authority and violence are intimately connected, as each enables him to feel powerful and exalted.
Furthermore, I will tell you two themes I have found in this novel.
The important theme of the novel is the conflict between two competing impulses that exist within all human beings: the instinct to live by rules and to value the good of the group on the one hand; and the instinct to gratify one’s immediate desires, to act violently to obtain supremacy over others, and to enforce one’s will on the other hand. The conflict might also be expressed as order vs. chaos, reason vs. impulse, law vs. anarchy, or in any number of other ways, including the more generalized good vs. evil. Throughout the novel, the instinct of civilization is associated with goodness, while the instinct of savagery is associated with evil. Generally, the novel portrays the instinct of savagery as far more primal and fundamental to the human psyche than the instinct of civilization. Moral behavior, in Golding’s view, is often merely a forced imposition of civilization, rather than a natural expression of human individuality. When left to their own devices, the novel seems to argue, people will become cruel, wild, and barbaric. This idea of innate human evil is central to Lord of the Flies.
Another theme is loss of innocence. As the boys on the island progress from well-behaved, orderly children who hope to be researched to cruel, bloodthirsty hunters who have no desire to return to civilization, they naturally lose the sense of innocence that they possessed at the beginning of the novel. The painted savages in Chapter 12 who have hunted, tortured, and killed animals and human beings are a far cry from the simple children swimming in the lagoon in Chapter 3.But Golding does not portray this loss of innocence as something that is done to the children; rather, it results naturally from their increasing contact with the innate evil and savagery within themselves.
Last but not least, I also find out plenty of symbols from this novel. The conch shell is the first important discovery Piggy and Ralph make on the island, and they use it to summon the boys together after they are separated by the crash. As a result, it becomes a powerful symbol of civilization and order. The signal fire burns on the mountain, and later on the beach, to attract the notice of passing ships that might be able to rescue the boys. So it becomes a symbol for the boy’s connection to civilization. The beast, which frightens all the boys, stands for the primary instinct of savagery that exists within all human beings. Piggy is the most intelligent, rational boy in the group, and his glasses represent the power of science and intellectual endeavor in society.
As people always could not face their own evil, so they made the tragedy happen again and again. The boys’ awareness of modern democracy in the cultivation of civil society has undergone a process of rapid decline of time. Its root lies in the degeneration of human nature and the separation of rational judgments and moral conscience.
毕业季就要到来了，大学毕业可不轻松，
英文毕业论文格式模板
一、格式论文依次包括封面、目录、英文摘要(abstract)与关键词(key words)、中文摘要与关键词、引言(introduction)、正文、结语(conclusion)和文献目录(works cited)等部分。
二、封面具体样式参照论文样本页a，封面格式可到外国语学院网站下载。
三、标题居中。如果有副标题，用冒号把英文主、副标题隔开，例如：
the human nature motif in william golding’s lord of the flies
invisible colour versus visible wall: hanif kureishi’s “strangers when we meet”
中文副标题须在主标题后另起一行，前面加破折号, 例如：
论威廉·戈尔丁《蝇王》中的人性母题
看不见的颜色与看得见的墙
——评哈尼夫·库雷西的“相逢不相识”
四、英文摘要与关键词 abstract左顶格，字体为times new roman 小四号，黑正体，与摘要内容部分以冒号隔开。摘要内容部分长度为150词以内，字体为times new roman 小四号正体，从第二行开始到结束均为左顶格。关键词部分另起一行，以key words为标题，关键词标题左顶格，字体为times new roman 小四号，黑正体，与所列关键词以冒号隔开，关键词以3至5个为宜，字体为times new roman 小四号正体，除少数专有名词外一律小写，关键词之间以分号隔开。
五、中文摘要与关键词 摘要左顶格，字体为宋体小四号，黑正体，与摘要内容部分以冒号隔开。摘要内容部分长度为200字以内，字体为宋体小四号正体，从第二行开始到结束均为左顶格。关键词部分另起一行，以关键词为标题，关键词标题左顶格，字体为宋体小四号，黑正体，与所列关键词以冒号隔开，关键词字体为宋体小四号正体，关键词之间以分号隔开。
六、小标题正文部分章节标题或小标题单独占一行，一级小标题(以罗马数字为序)字体为times new roman 小四号黑正体，其余小标题为times new roman 小四号正体，所有小标题均左对齐。正文部分的所有章节标题及其序号必须与提纲中的章节标题及其序号相一致。
七、正文中的例句 例句在两例以上时，拟按顺序用(1),(2),(3),等对所有的例句统一编号。每例另起一行， 空5个英文字母，回行时与上文例句对齐。
八、正文中的注释分脚注和夹注。脚注仅用于必须作出特别说明或解释之处(如一些有争议的术语)。
1.脚注
正文内容如有需作出特别说明或解释之处以脚注的形式处理，编号格式设置为“1,2,3…”，编号方式设置为“每页重新编号”，脚注会自动出现在当页正文下。字体采用默认值(小五号)。
2.夹注
说明：
正文中的注释和参考文献是论文格式最为重要的部分，请论文作者逐条仔细阅读。建议先做好参考文献格式，再对照格式要求作夹注。
对论文中的`直接引用或间接引用部分所依据的文献以夹注的形式标出。夹注可以采用以下几种形式：
1)引文出自不同作者
作者姓氏未在引文中出现，则夹注用括号标出作者姓氏，空一格字母再标出引文页码。为避免不必要的麻烦，中文作者用全名。
引用一位作者
“time is no longer felt as an objective, causal progression with clearly marked-out differences between periods…” (frank 20)
as the british novelist-critic christine brooke-rose has put it, the novelists now have nothing new to tell since what should be told have been told altogether (yin qiping 33-35) .
引用两位作者
medieval europe was a place both of “raids, pillages, slavery, and extortion” and of “traveling merchants, monetary exchange, towns if not cities, and active markets in gain” (townsend & waugh 10-16).
作者有三个以上，则在第一位作者的姓氏后写上et al.以示其余姓氏的省略，或列上全部姓氏，夹注中的形式应与参考文献中的形式保持一致
modern literary studies have their origin in classic studies (graff et al. 19-35).
modern literary studies have their origin in classic studies (graff, goldberger, & tarule 15-20).
文本中不指名列举持某一观点的作者
others hold the opposite point of view (e.g., jakobson 9;waugh 34)
作者姓氏在引文中出现，则只需用括号标出引文页码
graff defines his recent book, professing literature, as “a history of academic literary studies in the united states” (10).
如在引文中提及整个文献及作者姓氏(不必夹注，但参考文献中要注明相关出版信息)
slade’s revision of form and style incorporates changes made in the 1995 edition of the mla handbook.
集体作者如果组织名称太长，第一次提及时可采用全称后加注缩略
the annual report revealed substantial progress in fundraising (american museum of natural history 12, hereafter amnh).
以后直接用缩略形式做夹注
the report surveys the major problems in fundraising (amnh 15).
引用多卷本中的一卷
between the years 1945 and 1972, the political party system in the united states underwent profound changes (schlesinger, vol. 4).
schlesinger pointed out the profound changes the political party system in the united states underwent between 1945 and 1972 (4: 98-104).
2)引文出自同一作者的不同文献
引用同一作者的两篇以上的文献, 可以分别以文献名全名(如果文献全名简短的话)或文献名的缩略形式(如果文献全名较长的话)注释。
文本中未出现引文作者姓氏，也未出现文献名的，夹注用括号标出作者姓氏，姓氏后加逗号，空一格字母标出带下划线的该作者的书名，书名后空一格字母标出引文页码
shakespeare’s king lear has been called a “comedy of the grotesque” (frye, the anatomy of criticism 237).
文本中出现作者姓氏的，夹注用括号标出带下划线的该作者的书名，空一格字母再标出引文页码
shaughnessy points out that “the beginning writer does not know how writers behave” (errors 79).
若引文出自杂志，则把文章名放在双引号内，空一格字母再标出引文页码
teachers applauded shaughnessy’s assertion that “teaching them [beginning writers] to write well is not only suitable but challenging work for those who would be teachers and scholars in a democracy” (“diving in” 68).
文本中既出现作者姓氏又出现该作者的书名或文章名，则只需标出引文页码
in the age of voltaire, the durants portray eighteenth-century england as a minor force in the world of music and art (214-48).
