#qq's zotero

[ugisfeelings]

In an article for Collier’s Weekly entitled “Exclude Anarchist and Chinaman!” (1901), immigration chief Terence Powderly sought to assure the public of the government’s security procedures newly installed in the wake of President McKinley’s assassination by a U.S.born citizen of Polish descent. What is the link between the two banned categories of the article’s title? Though “the man who killed President McKinley was born, raised, educated and trained in the United States,” reassuringly, “the teachings which eventuated in the crime are not indigenous to the soil of America.” Similarly, “American and Chinese civilization are antagonistic; they cannot live and thrive and both survive on the same soil. One or the other must perish” (7). While Powderly’ s reasoning is uniformly circular in justifying their national exclusion on the basis of an assumed foreignness, the paired categories reflect a divergent articulation of ethnicity and politics. Powderly attributes the rise of anarchism in the United States to the southward tilt in European immigration—away from “hon-est, homeseeking Germans” (5) and toward troublesome Italians. His objection to Chinese immigration, on the other hand, rests on its posing an “appalling menace to American labor” (7). As twinned foreign perils, “anarchist” and “Chinaman” express different crimes against the republic—on e political, the other economic. To put it another way, the dependence of industrial profits on the exploitation of cheap immigrant labor was at the time rhetorically diversified into a political disturbance and a racial contamination. It is perhaps not surprising that, in being condensed into political versus economic terms, white ethnics should have gathered a reputation for being undocile workers and that Asians appeared incapable of political action.

Yet, in being jointly named, “anarchist” and “Chinaman” were strangely made to share an apparitional kinship. Powderly’s regime marked the vast expansion of immigration policing, and those labeled “anarchists” or “Asiatic” were the primary targets of increased official harassment. These subjects posed a particular visual challenge to border policing. Just as the “alien anarchist who presents himself for admission to our country at an immigration station on the coast or border” (Powderly, 5) was not too readily obvious, a new immigration apparatus of identification and classification began to be deployed on the claim that Chinese individuals were racially difficult to distinguish. Thus, when Powderly defends his measures as the only proper and effectual “guard against the invasion of this stealthy foe to lawfully constituted government and authority” (5), the point could equally well apply to anarchist s or Chinese.

The notion of the enemy alien who is ubiquitous and invisible is, on one level, the necessary illusion of any national security discourse and a function of its self-legitimation. On another level, “anarchist” and “Chinaman” are differently invisible: seldom were Chinese and anarchists mistaken for one another. Riis’s “man with the knife” remains unseen until his moment of attack, but one can always tell from the outset who is a “Chinaman.” The anarchist blends into the “mixed crowd” whose Slavic and Mediterranean character implied a spreading political radical-ism. The “Chinaman,” on the contrary, presents an obviously identifiable entity. He is not at all concealed in the crowd; his obtrusiveness has to do with the fact that he always comes as a crowd. The anarchist signifies the modern crowd’s riot potential; the Asiatic signifies its homogeneity. The Asiatic marks the crowd’s outward appearance; the anarchist marks its latent capability. (pp84-86)

Lye, Colleen. America’s Asia: Racial Form and American Literature, 1893-1945. Princeton University Press, 2009.

[angrycollectordaze-me-blog]

Essay写作“抄袭”的问题

在国内大学，如果同学们有抄袭的行为，可能顶多是老师让你重写。但在英国大学，却是完全不一样的结果了。英国大学对于学术剽窃是零容忍的，一旦发现学生有抄袭的情况，严重的话可能会劝退。下面就给大家讲解一下Essay写作“抄袭”的问题。

“抄袭”的英文单词“plagiary”来源于拉丁语中的“绑架者、剽窃者”。根据康奈尔大学写作教授基思·约茨霍伊的归纳，学术essay写作中出现的抄袭会分为几种情况：

把他人的作品当作自己的作品提交；

在没有进行引用的情况下总结归纳他人的成果；

把一门课的作业反复在多门课上提交。

在英国的校园里，一旦被认定为抄袭，他的学术历史上不仅会被记上重重的一笔，还有可能前途尽毁、满盘皆输。

然而，尽管这柄达摩克利斯之剑高悬于顶，许多学生没有获得足够的信息或者进行充分的训练，有意或无意中就触碰到了红线：有的人过度依赖参考文献；有的人被截止日期逼得无可奈何；还有人因为英文能力的短板而步入歧途。

这里要着重强调的一点就是“自我抄袭”，也就是在一次作业或者一篇文章中，重复使用自己之前提交过的作业或者文章段落。许多学生并不知道，尽管自我抄袭和重复利用同一次作业并没有盗取他人的成果，但是也是一种学术不端的表现。

更多同学则吃亏在“引用”方面，要么是不知道何处该标注引用，要么是引用格式不正确、不明确等。虽然中国古话常说，“不知者不罪”，但在英国学界，底线是“You are accountable（你必须为自己的言行负责）”，这就意味着，以不知情为借口的错误将不会被原谅。

那么，下面大家就一起来看一下如何避免抄袭——谁不想把在老师面前哭喊求情的时间拿来做一些更有意义的事呢？

首先，同学们需要充分利用文献管理系统，认真地记下在查询资料时每一篇参考文献的来源。文献管理系统可以是诸如Zotero、Endnote之类的数字工具，也可以是简单的一份纸笔。只要能在一开始就清楚地列出资料的来源，在之后的写作中就不容易出现混乱。

其次，在写作中，大家要尽量避免使用参考资料里面的原句。在学校英语课上的一个叫做“paraphrase”的必学技能现在可以大显神通了——要努力试着把参考资料里的内容变成自己的表达，从而避免照搬原话的尴尬。

一般来讲，新闻稿、学术论文之类资料的用词都精确而简练，所以一开始可能会感觉到阻力，但一旦克服这道困难，你锻炼出的总结归纳能力会带你走向更宽广的学术之路。

同时，大家也可以向学校里的写作老师或者writing centre寻求帮助，他们会在特定的时间和你一起琢磨文句，帮你提供灵感与修改建议。

最后，在完成写作以后，可以使用Turnitin或者Helioblast等查重工具帮助自己进行最后的检测，避免无意之间的字句“撞车”。

总而言之，留学生需要学会用自己的话表达自己的观点与看法，从而摆脱“抄袭”的阴霾。当然，当大家培养独立思考的研究意识时，也要注意写作格式上的标准化与规范化。

学校一般会要求用的格式有APA、MLA等等，这些都是在学界约定俗成的写作规范，同学们也需要不断学习这些格式的种种要求。

比如不同格式对于正文中标注的不同方式，或者规范之间对于作者姓名格式的不同要求。

要时刻记住的一点是，尽管这些要求看上去繁琐无比，甚至不近人情，但是每一个学校布置的作业都是为进入更高阶段学习生活的铺垫，而非老师拿来难为学生的借口。

以上就是关于Essay写作“抄袭”的问题讲解，这些都是可以消除“抄袭”嫌疑的一些方法，同学们在写作的时候可以尝试一下。

想要了解更多英国论文写作技巧或者需要英国代写，请关注51Due英国论文代写平台，51Due是一家专业的论文代写机构，专业辅导海外留学生的英文论文写作，主要业务有英国代写、essay代写、assignment代写、paper代写。亲们可以进入主页了解和获取更多关于英国代写以及英国留学资讯，我们将为广大留学生提升写作水平，帮助他们达成学业目标。如果您有英国代写需求，可以咨询我们的客服QQ：800020041。

[ugisfeelings]

���A country of inveterate, backwoods, thick-headed, egotistical philistines, who have brought their 'civilisation' with them from England and keep it to themselves like a dog in a manger.”

Lenin's impressions of the New Zealand colonial settlers while reading Democracy in New Zealand, 1913.

[ugisfeelings]

Excerpts from Colleen Lye, “Identity Politics, Criticism, and Self-Criticism.”

[ugisfeelings]

An interview with Monique Truong

How did you get the idea for your book? When I was in college, I bought a copy of the Alice B. Toklas Cook Book because I was curious about Toklas' hash brownie recipe. It turned out that the famous recipe was not a Toklas recipe at all, but one submitted by the artist Brion Gysin in a chapter called "Recipes from Friends." Gysin's recipe was actually for a "haschich fudge" and was for a sort of dried fruit bar concoction "dusted" with a bunch of pulverized "canibus sativa." It didn't sound tasty to me, but I read the rest of the book anyway and found that it was less of a cookbook and more of a memoir. In a chapter called "Servants in France," Toklas wrote about two "Indochinese" men who cooked for Toklas and Stein at 27 rue de Fleurus and at their summer house in Bilignin. One of these cooks responded to an ad placed by Toklas in the newspaper that began "Two Americans ladies wish- " By this point in the cook book, I had already fallen for these two women and for their ability to create an idiosyncratic, idyllic life for one another. When I got to the pages about these cooks, I was to say the least surprised and touched to see a Vietnamese presence and such an intimate one at that in the lives of these two women. These cooks must have seen everything, I thought. But in the official history of the Lost Generation, the Paris of Gertrude Stein and Alice B. Toklas, these "Indo-Chinese" cooks were just a minor footnote. There could be a personal epic embedded inside that footnote, I thought. The Book of Salt is that story, as told from the perspective of Bình, a twenty-six-year old Vietnamese man living in Paris in the late 1920's. I have imagined him as one of the candidates who answered Stein and Toklas' classified ad.

Is there really a manuscript by Stein entitled The Book of Salt? No, I made that manuscript up. In the novel, Bình claims that Stein's The Book of Salt is about him. Stein has certainly written about cooks and servants. In Portraits and Prayers, for instance, there is a piece called "B. B. or the Birthplace of Bonnes" about all the women from Brittany who had worked in the Stein and Toklas' household. Also, two of the "lives" in Stein's Three Lives were servants. So, it does not seem improbable to me that Stein could have devoted a few words to a cook like Bình. What inspired you to include a fictionalized Ho Chi Minh in the novel? Actually, I think of the character in The Book of Salt as a fictionalized Nguyen Ai Quoc as opposed to a fictionalized Ho Chi Minh. From what I have read about him, his name changes often signaled or accompanied a significant change in the man as well. When he was in Paris, he was literally "a man on the bridge" between democracy and socialism. He eventually felt rejected by both and turned towards communism to reach his goal of independence and self-determination for Vietnam. By that time, he was well on his way to becoming Ho Chi Minh. The man that interested me was Nguyen Ai Quoc, the young man living in Paris who read Shakespeare and Dickens in the original English, who wrote plays and newspaper articles, who earned money as a painter of fake Chinese souvenirs, a photographer's assistant. In the novel, "the man on the bridge" tells Bình that he also worked as a cook. Is this based on fact? Yes, I had done some research on Nguyen Ai Quoc because someone told me that he had been a cook in France. It turned out that he was an assistant cook at the pie bakery of the Carlton Hotel in London, whose kitchen at that time was under the supervision of the legendary French chef Auguste Escoffier. As a young man, he had left Vietnam by working as a "mess boy" on a French ocean liner going from Saigon to Marseilles. I decided that my cook, Bình, would take a similar route. Many of Bình's experiences on the fictional freighter Niobe were based on or inspired by the more well-documented experiences of Ba, as he called himself then, on the Latouche Treville. Nguyen Ai Quoc's travels out of Vietnam began in 1911, and they took him to Dakar, Brooklyn, London, Paris and many other port cities around the world. From 1917 to 1923 he lived in Paris. Some time in the summer of 1923, he left Paris for Moscow to begin his full-time education and activity as a "revolutionary."

(x).

[ugisfeelings]

What Keeps You Here?

[...]

“Bee, what about a photograph?” “Yes,” I nod, acknowledging my childlike wish for an image of you and me. “We’ll do it. We’ll go to Lené Studio and have our photograph taken, once you . . .” An even exchange. A fair trade. A give for a take. I have played this game before, I think. (212, ellipsis original)

“Once incorporated into this exchange economy, Binh finds he is capable of theft and infidelity, the promise of enduring connection—of love, perhaps— overwriting his need for security. A willful naivete (“childlike wish”) comes into play, as Binh declaims “an even exchange” and a “fair trade,” actively ignoring the differential material circumstances and impact of the act. Truong registers, too, the disruptive effects of commodity fetishism (Lattimore’s obsession with the manuscript) to the possibilities of solidarity and community among racialized and colonized subjects.

The photograph for which Binh commits theft in the end remains uncollected. The image records Binh and Sweet Sunday Man, but is only half paid for, Lattimore having absconded with the manuscript despite his promise to the contrary, and Binh finds himself distracted by and drawn to another image, one of a stranger once encountered on a bridge, a fellow countryman (257). The man in the photograph, identified as Nguyen Ai Quoc, one of Ho Chi Minh’s pseudonyms, draws Binh to him.

I would rather save my money, the sweat of my labor, for the man on the bridge . . . I thought. . . . Clever, I again thought. “Nguyen Ai Quoc” was obviously not the name with which the man on the bridge was brought into this world . . . The giveaway . . . was the combination “Ai Quoc.” By itself, the words mean “love” and “country” in that order, but when con- joined they mean “patriot.” Certainly a fine name for a traveler to adopt, I thought, a traveler whose heart has wisely never left home. (247)

The photograph of Binh and Lattimore, uncollected, remains an image rather than a document; its evidentiary weight remains unclaimed, and the desire for such formal documentation— proof of existence in the form of visual record — dissipates. The other, of Nguyen Ai Quoc, bespeaks the world made through colonialism and struggle for independence, a world of networks and unexpected arrivals and encounters, overlaid by economic ex- change but never reducible to it. Indeed, Binh stays in Paris because, after sharing a day, a meal with the man on the bridge, Binh believes that “it was a city where something akin to love had happened, and it was a city where it could happen again” (258).

Nguyen Ai Quoc, who would become the prime minister and president of the Democratic Republic of Vietnam and whose government will lead to independence from France in 1954, anticipates liberation and figures a renewed possibility of home. Binh cannot in the time setting of the novel know the role that Ho Chi Minh will play in the years to come, but the reader cannot but flash into the magnitude of history that the man on the bridge prefigures. It is by staging this encounter between Binh and Nguyen, and by leaving us at the novel’s close with the potentiality, both affective and world changing, that the merging of underclass, queer desires together with liberation from empire implies, that Truong leaves us, finally, with hope, but a kind of hope that is not uplifting so much as tethered to an unchosen state of aloneness: “‘What keeps you here?’ I hear a voice asking. Your question, just your desire to know my answer, keeps me, is my response. In the dark, I see you smile. I look up instinctually, as if someone has called out my name” (261). Desire sustains; desiring, that self-dissolving sense of consubstantiality, affords the occupation of the position of both the desiring subject and the object of desire.”

Chuh, Kandice. “Mis/Taken Universals.” In The Difference Aesthetics Makes: On the Humanities “After Man", 98–121. Duke University Press, 2019.

[ugisfeelings]

“...the manner in which ‘natural’ disaster itself, as a normalization of profound bodily violence against ‘slaves and barbarians,’ most often escapes the critical lens of theorists, activists, and even human rights advocates. We need to demystify the notion of ‘natural disaster’ as something that naturally kills the abject of Negri and Hardt's empire.

[...] The state violence that Hardt and Negri relegate to the realm of ‘police’ power is actually much more than a state of exception to the ‘normalcy’ of empire's arrangement of power. [...] While their notion of world order usefully offers the notion that ‘Empire is born and shows itself as crisis,’ and suggests that mobilizations of police power speak to the embedded ‘contradictions’ of empire — ‘the question of the definition of justice and peace will find no real resolution’—the time of Katrina suggests the existence of entire categories of people for whom the civic discourse of ‘justice and peace’ is rendered entirely irrelevant.

[...]  Liberal white humanism, which constantly circulates and rearticulates notions of a shared universal ‘human’ character, while morbidly militarizing against manifest human threats to the integrity of the coercively universalized white body, cannot authentically survive the moment of Katrina.” 

— Dylan Rodriguez, “The Meaning of 'Disaster' Under the Dominance of White Life,” p149-152 

[ugisfeelings]

Far from the idyllic 18th century scene in the cartouche evoking tranquility, the site where indigo fermented in vats was known to be a rank and putrid smelling zone infested with flies. It was a place on the plantation where it was hard to breathe and a zone many avoided. Often, those not directly involved in the fermentation and paste cutting stayed away from the area. These smoky, murky, and polluted landscapes are also depicted in Dash’s film. Because indigo processing produced a noxious ecozone and abject space on the plantation, the enslaved Fungibility toiling there were not always within the master’s immediate field of vision. Given this relative seclusion, is it possible that this area of the plantation could also function as a space of Black solitude, if not pleasure and freedom? Like the volatile landscape depicted in De Brahm’s 18th century map, Black bodies are also sites of instability. The tremors of muscles in action are at once motions under captivity and debasement as well as maneuvers and contortions escaping totalizing violence. Akin to the way Darieck Scott (2010:64–65) rereads Fanon’s “tensely quivering muscles at the junction of the split”, I read the muscles in De Brahm’s map as both restrained and resistant in ways that cannot always be predicted and therefore contained. Perhaps the scene in the cartouche could be reimagined as an erotic scene where the enslaved enjoyed one another’s “indigo” flesh outside of the sightline of the master. Imagine that in even more secluded locations, such as under the cover of or behind the shed, a therapeutic massage or amorous touch on a forearm might open up possibilities for sexual and/or healing encounters. In this context of other Black possibilities, I also reinterpret the countenance of the slave in the foreground. Rather than interpreting the mouth, whose muscles seem to be moving from a neutral expression to an almost smile (which typically signals docility), I read the not quite smile as holding other kinds of affective meanings. Could the mouth-in-motion be affecting an expression of contentment due to the lack of immediate white surveillance, the simple pleasure of Black solitude, the anticipation or replaying of non-work-related interactions, or perhaps satisfaction with the making of preliminary plans for rebellion? These opaque and unstable Black figures are beyond full know-ability. And yet, while existing in the noxious ecozones of the non-human, Blackness refashions life where human life is not supposed to thrive or within what Alex Weheliye (2014:21), drawing upon Wynter’s (1990) notion of the demonic, calls the “liminal precincts” of the current configurations of the human as Man.

Tiffany Lethabo King, “The Labor of (Re)reading Plantation Landscapes Fungible(ly)”

[ugisfeelings]

I can lose my hands, and still live. I can lose my legs and still live. I can lose my eyes and still live. I can lose my hair, eyebrows, nose, arms, and many other things and still live. But if I lose the air I die. If I lose the sun I die. If I lose the earth I die. If I lose the water I die. If I lose the plants and animals I die. All of these things are more a part of me, more essential to my every breath, than is my so-called body. What is my real body? We are not autonomous, self-sufficient beings as European mythology teaches. . . . We are rooted just like the trees. But our roots come out of our nose and mouth, like an umbilical cord, forever connected to the rest of the world. . . . Nothing that we do, do we do by ourselves. We do not see by ourselves. We do not hear by ourselves. . . . That which the tree exhales, I inhale. That which I exhale, the trees inhale. Together we form a circle.

Jack Forbes, Columbus and Other Cannibals, 145–46.

[ugisfeelings]

Liberal white humanism, which constantly circulates and rearticulates notions of a shared universal "human" character, while morbidly militarizing against manifest human threats to the integrity of the coercively universalized white body, cannot authentically survive the moment of Katrina.

Dylan Rodriguez, “The Meaning of ‘Disaster’”

[ugisfeelings]

Interdisciplinarity, in this sense, is not a facile patching together of multiple disciplines and area studies, but must involve thorough interrogation of the objects and methods of our modern humanities disciplines and area studies themselves. This means rethinking the centrality of Judeo-Christian theocentric descriptions to the study of religion, along with unsettling unitary linear historical narratives of modern industrial nations, and innovating an understanding of cultures beyond a presumption of bounded, discrete analogous units. In addition, it also requires reconceptualizing culture as not centered exclusively on human communities, but decentering ‘Man’ to broaden our sense of social and environmental ecologies; this might include recent concerns with interspecies interdependence, cyborg assemblages, and the vibrancy of matter (Haraway, 1985, 2003, 2016; Kosek, 2010; Bennett, 2010; Chen, 2012; Tsing, 2015). A relational global humanities approach does not seek to salvage ‘the human’ as a replacement for Man. Rather, it critically describes the ways that the more-than-Man has always already existed. The study of the more-than-Man attends to the superabundance of dynamic relations that cannot be contained or delimited by ‘the human’: that is, the relations between different human histories and worlds, between humans, surrogacies, and technologies, amongst humans, animals, ecologies and environments. Man is a regnant fiction that not only occludes the multiplicity of worlds, but which also obscures the complex relations of histories, scales, geographies, and temporalities. The humanities could be instead a way of thinking, reading, writing, and critically reflecting on the ‘plasticity’ of the human; the human not as fixed form, but as a shifting relation itself (Chow, 2005; Drayton, 2012; Weheliye, 2014; Atanasoski and Vora, 2019; Mbembe, 2016). A different humanities based in the analytic of relationality invites a total rethinking of discipline and method. Forging alternatives to the coloniality of knowledge, institutionalized in the very methods of the humanities and the history of the university, requires not only an analytic of relation, but also a rethinking of the archive, which may involve new readings of traditional archives, or finding alternative repositories and practices of knowledge and collection. We ponder what it means to ‘recover’ historical pasts for which there is no or little documentation or evidence. We investigate the manners in which collective memory practices, apocryphal materials, ephemera, and performance may constitute types of archives. These humanities may expand upon the maroon sites, hideaways, and what Moten and Harney term the ‘undercommons’ of the university, where we can attend to the hard work of understanding the meanings of ‘more-than-Man’ after imperial war, occupation, and capitalist accumulation (Harney and Moten, 2013).

Lisa Lowe and Kris Manjapra, “Comparative Global Humanities After Man: Alternatives to the Coloniality of Knowledge”

[angrycollectordaze-me-blog]

怎么才能写好Literature Review

对于大多数留学生来说，写Literature Review的时候都非常头疼。哪怕是经常泡图书馆的同学，开始写的时候还是毫无头绪。毕竟时间跨度太长的话，大家是记不清楚出处的，所以整理起来会非常乱。那么怎么才能写好Literature Review呢？下面就给大家讲解一下。​

literature review怎么写

首先我们留学生要明白，review综述是什么？

“综”是综合分析整理，是基本，“述”是对文献的观点和结论进行叙述和评论，是升华。Review就是在综合前人观点的基础上，提炼出自己的精华。

那么如何在尽可能短的时间内写出一篇高质量的literature review呢？有什么秘诀吗？

首先要取一个标题。Review的标题没有什么好说的技巧，如果针对某个比较宏观的主题，一般都是在“进展”、“关系”、“发展”这些词中选择一个，或者是把内容中要处理的问题简缩成一句陈述句。

很多同学都觉得，literature review写到最后就成了一团乱麻，时间跨度一长，各种citation的出处也不记清了，最后的结果就是乱引一通。

所以工欲善其事必先利其器，在开始写review之前，要先选择一款自己用得最舒服的文献管理工具。

整理文献的常用软件

常用的文献管理软件除了大家熟悉的功能强大的EndNote之外，还有很多。

Mendeley是最近这两年比较火的软件了。它的特点是有一个的社区大家可以共同分享和讨Mendeley还加入了最新的文献评价指标：Altmetric，这是一个新兴的论文评价指标，相比于以往的影响因子，Altmetric被翻译成“社会化影响力”或者 “网络影响因子”或者“分享因子”更能反应其本质。因为Altmetric追踪的是包括微博、Twitter或者Facebook等在内的社交媒体对某课题的影响力。

Mendeley对引文非常友好，只要直接把PDF文件拖进Mendeley就可以了。在格式方面，可选择Mendeley已经制作好的文献格式，也可以手动在线制作。

Zotero相比前两个要轻量级很多，甚至可以作为浏览器插件来用。相比Endnote，Zotero支持无限分级，还可以给文献打上标签，查找起来很方便。

如何选择适合自己的文献

选好了用着顺手的工具之后，下一步就是挑选合适的文献来读了。

很多同学刚接触到一个新的领域，面对完全陌生的知识，就不知所措了。看了两篇艰深的论文之后，彻底丧失信心，所以很多人常常把任务拖到ddl，最后敷衍了事，草草收场。

一般拿到题目之后，导师都会给几篇总论性的文献。

这几篇文献是重点研读对象，读完之后会对这个领域有一个基本的了解。

读完之后，建议带着自己的问题和思考去找导师，再请导师推荐一些文章来读。等到知识储备比较丰富了，就能只通过abstract鉴别出这个领域哪些文章值得读了。否则在还不熟悉的时候就一头栽进去，只是浪费时间。

可是遇到那种放养型的导师怎么办呢？

为大家提供一个一个guideline：

①在各大数据库搜索关键词，把文章类型锁定为review。

②按时间前后、期刊影响因子高低、相关度高低筛选排序。

③重点研读排名前五的文章。

④在读的时候注意自己有没有灵光闪现的时候，做好笔记。把可能引用到自己review里的句子高亮标记出来。特别好的文章可以打印出来，反复读。

⑤找不到别的高质量文章来读怎么办？终极办法是从这五篇文章的参考文献中去找，绝对会有意外之喜。

还有几个小tips：

①注意文献发表时间。文章的时效性很重要，一般来说是越新越好。

②尽量引用一手文献。

③分清不同作者的观点和文献内容。

④不可以擅自更改别的作者的观点。

⑤选择影响因子高的文献。本领域的经典高引文献一定要引用。

⑥注重文献的权威性。有些相悖于主流观点的文献不引，或者在引用时说明分歧观点。

另外，建议这个和新领域破冰熟悉的时间不要拖得太长，一旦有灵感，就应该开始正式动笔起草review了。

不要担心想法不成熟，毕竟一篇好的review要反复更改的。Review里的信息也是在你不断阅读新文献的过程中不断更新的，毕竟literature review writing service on “Done is better than perfect” 。

Review的顺序和结构

Review一般有两种书写方式：

第一种是按年代顺序：在该研究领域内，从最早的信息开始，按照发表的时间顺序讨论文献，对其历史演变、目前状况、未来趋势作纵向描述。这种动态综述的写法可以让读者清楚地了解到这个领域的来龙去脉。

第二种是主题式：作者提出自己要研究的主题，然后对这个主题的各研究观点进行组织讨论，对各有关问题归在不同标题下，进行整理分析，然后再把不同标题连接起来。

主题式写法对作者的知识和写作技巧都提出了很高的要求，一不小心就会写成东一榔头西一棒子，行文没有逻辑和组织感，让读者摸不着头脑。

所以建议大家第一篇review就按照时间顺序这样写，等到写得手熟了，再挑战第二种。

选择完参考文献和书写形式后，就要开始思考review的结构了。

很多大牛写review不拘一格，但还是建议大家用introduction+小标题+conclusion的形式来写，这是最简洁明了又易操作的形式。

而且列小标题还会强迫你去思考——自己要把review的主题分割成多少个小问题来解决，这些问题之间又怎样互相连接，可以make it a story呢？

写review是一个体力活，是一个迫使自己思考的过程，也是一个最有效的让我们熟悉一个新的领域的办法。

通过写review，我们可以很快了解到目前的研究动态，存在的问题及其原因，今后的研究问题和发展方向，之后便会更好的认识到自己的课题，知道已经做了什么，自己要做什么，还有什么问题需要解决等等一系列问题，为自己研究选题打好基础。

以上就是关于Literature Review的讲解，对于Literature Review的写作，大家一定要认真，要学会灵活运用技巧，这样才能写好Literature Review.

51due留学教育引领海外留学的风向标，打造最好的教育品牌，提供专业的代写服务，我们为自己的品牌代言，不负留学生的期待。提供全方位的服务，包括assignment代写、essay代写、paper代写服务。

更多关于代写的内容，点开主页栏目，即可快速获取代写相关资讯，如果各位有美国作业代写需求，可以咨询24小时客服QQ：800020041，为您详细解答。