Bibliography
Chang, K. C. Food in Chinese Culture: Anthropological and Historical Perspectives,
New Haven, CT: Yale University Press, 1977.
Ebrey, Patricia B. Chinese Civilization A Sourcebook. New York: The Free Press,
1993.
____ The Cambridge Illustrated History of China. London: Cambridge University
Press, 1996.
Eng, Kuan Khun. “The Changing Moral Economy of Ancestor Worship in a Chinese
Emigrant District.” Culture, Medicine and Psychiatry 23(1999): 99-132 Fairbank, John. K & Goldman, Merle. China: A New History. London: The Belknap
Press of Harvard University Press, 1998.
Niu, Weihua & Sternberg, Robert J. “Societal and School Influences on Student
Creativity: the Case of China.” Psychology in the School 40(1) 2003: 103-114 Tan, Amy．The Joy Luck Club．New York：Ballantine Books，1990．
Tuan, Nien-Tsu & Ryan, Tom. “Is the Wind, or the Flag, Moving? An Oriental
Perspective on the Complex Problem.” System Research and Behavioral Science 19(2002): 271-279
Wang, Huarong. “The Bridge of Cultural Understanding in The Joy Luck Club”,
Journal of Honghe University 2(2004): 40-43.
Wang, Qi & Li, Jin. “Chinese Children’s Self-concepts in the Domains of Learning
and Social Relations.” Psychology in the School 40(1) (2003): 85-101. Zhu, Zhichang. “Confucianism in Action: Recent Developments in Oriental Systems
Methodology.” System Research and Behavioral Science 15 (1998): 111-130.
陈爱敏. 当代美国华裔文学的文化关照. 文史哲, 2003 (4): 116-120.
何立群, 吴金平. 风水对小说《喜福会》创作的影响. 八桂侨刊, 2002 (4): 50-52 何立群. 五行理论与《喜福会》的成功. 暨南学报（哲学社会科学版），2005 (3):
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胡勇．文化的乡愁—美国华裔文学的文化认同．北京：中国戏剧出版社，2003． 胡勇. 论美国华裔文学中国神话与民间传说的利用. 外国文学研究, 2003 (6):
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令狐萍．金山谣—美国华裔妇女史．北京．中国社会科学出版社，1999． 潘军武. 不可思议的中国人：《喜福会》中的异国情调与东方主义. 武汉大学:
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张瑞华. 解读谭恩美《喜福会》中的中国麻将. 外国文学评论, 2001 (1): 95-100 赵文书．Positioning Contemporary Chinese American Literature in Contested
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Net. 1: 陈启智. 儒家思想与家庭伦理. 2006-01-20, http://www.ruxue.net/qizhiwenlun/rjssjtll.htm
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Acknowledgements
First of all, I would like to express my appreciation to all the teachers at the School (College) of __________, Sichuan University, whose instructions and guidance have made my three/four years at the university a truly rewarding experience. In particular, I wish to extend my sincere gratitude to Prof. ___, Prof. ___, … and Prof. ___, from whose lectures I have profited tremendously over the past few years.
Words fail me when I try to express my heartfelt thanks to my supervisor, ____, for all his/her inspiring ideas and kind help throughout the process of my thesis writing. Without his/her helpful suggestions, guidance and patience, the completion of this thesis would not have been possible.
My thanks also go to my fellow classmates and friends who have rendered me their generous help.
I am particularly grateful to my parents for their strong support and deep care given to me during the process of my thesis writing.
I am also deeply indebted to the authors mentioned in the bibliography. Their academic researches have given me a great deal of inspiration.
It is my pleasure to dedicate this thesis to them all.
（本篇“致谢”仅供参考，非唯一或标准文本）
附录2
四川大学外国语学院本科毕业论文注释及参考文献格式要求
一．注释格式
为统一格式起见，本院外语专业学生毕业论文的注释采用尾注和夹注，不采用脚注。凡是对论文中某一单词、词组、引文、或某一说法进行补充性说明的，采用尾注（即下文第1条所说的End-notes）的方式，但在论文里英文统一采用Notes一词（见附录1）；凡是在论文中使用直接引语或间接引语的，一律采用文中夹注的方式（见下文第2条）。
1．尾注（End-notes）
在正文需注释处的右上方按顺序加注数码①②③??，在论文的正文之后写注文，每条注文加对应数码，回行时与上一行注文对齐。加注数码与数码对齐。
2．夹注（In-text Citations）
某些引文和／或所依据的文献无需详细注释者，以夹注的形式随文在括弧内注明。 1） 来自专著的直接引语，作者姓名在文中已经出现 格式： 出版年份：页码 例如： Rees said，“As key aspects of learning are not stable，but changeable，this opens the way for the role of the teacher as the pre-eminent mediator in the process”（1986：241）． 2）来自专著的直接引语，作者姓名在文中没有出现 格式： 作者姓名 出版年份：页码。 例如：
“我们所懂得的只是实体存在的片段，可以肯定地说，一切具有重大意义的理论至多只能是部分地真实，但这不应作为放弃理论研究的借口”(Chomsky 1979:48) 。
“One reason perhaps is that the Chinese audience are more familiar with and receptive to Western culture than the average English readers is to Chinese culture”（Fung 1995：71）． 3） 如果引述的内容为大段原文（超过四行），所引原文左边双倍缩进（即10个字符），右边与上下文对齐。 引文一般用冒号引出，引文不加引号（注意例句末句号与括号的位置）。 例如：
He is aware of the politics of his choice and that English is not the natural medium for his social novel. He describes his process of creation thus:
I found, while writing spontaneously, that I was always translating
dialogue from the original Punjabi into English. The way in which my mother said something in the dialect of central Punjabi could not have been expressed in any other way except in an almost literal translation, which might carry over the sound and the sense of the original speech. I also found, that I was dreaming or thinking or brooding over two-thirds of
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