On behalf of Grant Telecommunications, I’d like to welcome you. My name is Joseph Green. Today I’d like to give you a product presentation for the new XT 3000 mobile phone. My presentation is divided into three parts. First, I’ll explain the features of the new phone. Then, I’ll talk about how the phone compares with others on the market. And lastly, I will highlight the USPs of the new product.

Right, let’s start with the features first. The new XT 3000 is great and it has some excellent new features. These include voice-activated dialing. What this means is that you can say the name of the person you would like to call into the phone and it will automatically find the person’s number and dial. Another fantastic feature is the 100 mega pixel camera—you won’t miss another precious moment.

When compared to other products, the XT 3000 comes out on top. I will run through some comparisons against the following three products: HR 500, Elektra v1.2 and SP 989. The HR 500 doesn’t have such an excellent 100 mega pixel camera. The Elektra v1.2, which is a similar price to the XT 3000, does not have the voice-activated dialing facility. And the SP 989, which has all the same features as the XT 3000, is much more expensive than the XT 3000.

This brings me to the final part of my presentation. I would like to briefly highlight the USPs (Unique Selling Points) of the XT 3000. Firstly, it is very competitively priced. It also has the most features of any phone on the market at this price. Additionally, customers are able to buy the different parts of the phone in different colours, which enables them to customise their phone to the look they want. And finally, there are lots of accessories to further customise it. All in all, the XT is a fantastic buy!

Thank you for listening. Does anyone have any questions?

 

第二篇：英语文学论文范本Writing Presentation

Chapter 1 Quotation

There are two kinds of quotations: direct and indirect. An indirect quotation may be an interpretation, a paraphrase, or a summary of the original in the writer’s own words.The accuracy of direct quotations in research writing is extremely important. They must reproduce the original sources exactly. Unless indicated in brackets or parenthesis, changes must not be made in the spelling, capitalization, or interior puntuation of the source.

1. Prose

a) If a prose quotation runs no more than four lines and requires no special emphasis, put it in quotation marks and incorporate it into the text.

―It was the best of times, it was the worst of times,‖ wrote Charles Dickens of the 18th century (35).

b) You may quote just a word or phrase as part of your sentences.

For Charles Dickens the 18th century was both ―the best of times‖ and ―the worst of times‖ (35).

c) You may put a quotation at the beginning, middle, or end of your sentence or, for the sake of variety or better style, divide it by your own words.

d) If a quotation runs to more than four lines in your paper, set it off from your text by beginning a new line, indenting one inch (ten spaces in typing).

At the conclusion of Lord of the Flies, Ralph and the other boys realize the horror of their actions:

The tears began to flow and sobs shook him. He gave himself up to them now for the first time on the island; great, shuddering spasms of grief that seemed to wrench his whole body. His voice rose under the black smoke before the burning wreckage of the island; and infected by that emotion, the other little boys began to shake and sob too. (186)

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? If a quotation ending a sentence requires a parethetical refference,

place the sentence period after the reference.

e) If you need to quote two or more paragraghs, indent the first line of each

paragragh an additional quarter inch (three spaces in typing). If the first sentence quoted does not begin a paragragh in the source, do not indent it the additional amount. Indent only the first lines of the sccessive paragraghs.

In Moll Flanders Defoe maintains the pseudoautobiographical narration typical of the picaresque tradition:

My true name is so well known in the records, or registers, at

Newgate and in the old Bailey, and there are some things of such consequence still depending there realting to my particular conduct, that it is not to be expected I should set my name or the account of my family to this work […].

It is enough to tell you, that […] some of my worst comrades, who

are out of the way of doing me harm […] know me by the the name of Moll Flanders […]. (1)

2. Poetry

a) If you quote part or all of a single line of verse that does not require

special emphasis, put it in quotation marks within your text. You may also incorporate two or three lines in this way, using a slash with a space on each side to separate them.

Bradstreet frames the poem with a sense of mortality: ―All things within this fading world hath end‖ (1).

Reflecting on the ―incident‖ in Baltimore, Cullen concludes, ―Of all the things that happened there / That’s all that I remember‖ (11-12).

b) Verse quotations of more than three lines should begin on a new line.

Unless the quotation involves unusual spacing, indent each line one inch (ten spaces on a typewriter) from the left margin, adding no quotation 2

marks that do not appear in the original.

Elizabeth Bishop’s ―In the Waiting Room‖ is rich in evocative detail:

It was winter. It got dark

early. The waiting room

was full of grown-up people,

articles and overcoats,

lamps and magazines. (6-10)

3. Drama

a) If you quote dailogue between two or more characters in a play, set yhe

quotation off from your text. Begin each part of the dialogue with the appropriate character’s name indented one inch (or ten spaces if you are using a typewriter) from the left margin and written in all capital letters: HAMLET.

Marguerite Duras’s screenplay for Hiroshima mon amour suggests at the iutset the profound difference between observation and experience:

HE. You saw nothing in Hiroshima. Nothing. …] The hospital, for instance, I saw

it. I’m sure I did. There is a hospital in Hiroshima. How could I

help seeing it?

HE. You did not see the hospital in Hiroshima. You saw nothing in

Hiroshima. (2505-06)

4. Ellipsis

a) Whenever you wish to omit a word, a phrase, a sentence, or more from a

quoted passage, you shoild be guided by two principles: fairness to the author quoted and the grammatical integrity of your writing. If you quote only a word or a phrase, it will be obvious that you left out some of the original sentence.

b) If an omitted quotation forms a complete sentence, use ellipsis periods in 3

square brackets to show that it’s not the original.

In surveying various responses to plagues in the Middle Ages, Barbara W. Tuchman writes, ―Medical thinking […] stressed air as the communicator of disease, ignoring sanitation or visible carriers‖ (101-02).

5. Other Alteraions of Sources

a) You may decide to provide a supplementary information to make a

quotation more understandable or clear. Put your explaination in parethesis if it comes after the quotation or in square brackets if it comes within the quotation.

Lincoln specifically advocated a government ―the people‖ (emphasis added).

Milton’s Satan speaks of his ―study [pursuit] of revenge.‖

6. Translation of quotations

a) If necessary, for your quotation in languages other than English provide

translation, which, usually put between double quotation marks within parenthesis, follows the quotation immediately.

Chaucer’s setting is April, the time of ―shoures soote‖ (―sweet showers‖; GP

1).

Chapter 2 Documentation: Citing Sources in the Text

For the sake of intellectual property protection, the source of your quotation must be supplied in the list of works cited at the end of your research paper and as well the author’s last name and a page reference within parenthesis usually follow a quotation for the acknowledgement of the citation.

1. 4

2. Author’s name in/not in text

Tannen has argued this point (178-85).

This point has already been argued (Tannen 178-85).

3. More than one author with the same surname, add the first innitial; if the innitial is shared too, the full first name.

(A. Patterson 183-85), (L. Patterson 230); (Alice Patterson 183-85), (Albert Patterson 150-56).

4. If a work has two or more authors, give the first author’s last name followed by et al., or all the last names.

(Rabkin et al. 137); (Rabkin, Greenberg, and Olander 137)

5. If a corporate author begins the entry, we may use the author’s name in full or its shortened form followed by a page reference.

(Public Agenda Foudation 4); (PAF. 4)

6. If the work is listed by title, use the title shortened or in full.

(The Bible 15)

7. If the list contains more than one work by the same author, add the cited title, shortened or in full, after the author’s last name.

(Frye, Anatomy 237)

8. If you cite from more than one volume of a multivolume work, give the volume as well as the author’s last name and page number.

(Schlesinger, Vol. 4, 3978)

9. You may omit page numbers when citing complete works.

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(Hardy)

10. If you cite from nonprint works such as films, television programs, recording and electronic sources, you cite them in their entirety and often by title.

In fresco painting, ―the pigments are completely fused with a damp plaster ground to become an integral part of the wall surface‖ (―Fresco‖). (an essay online)

Willaim J. Mitchell’s City of Bits discusses archentecture and urban life in the context of the digital telecommunications revolution.

11. If you cite from a second-hand source, put the abbreviation “qtd. in” bdfore the indirect source in your parenthetical reference.

(qtd. in Boswell 450)

Chapter 3 Documentation: Preparing the List of Works Cited The list of works cited appears at the end of the paper. Begin the list on a new page and number each page , continuing the page numbers of the text. Center the title—Works Cited, an inch from the top of the page. Double–space between the title and the first entry. Begin each entry flush with the left margin; if an entry runs more than line, indent the subsequent line or lines five spaces from the left margin.

In general alphebetize entries in the list of works ciited by the author’s last name, using the letter-by-letter system. If the author’s name is unknown, alphebetize by the title, ignoring any A, An or The.

1. A Book by a Single Author

Wilson, Frank R. The Hand: How Its Use Shapes the Brain, Language, and Human Culture. New York: Panthenon, 1998.

2. An Anthology or a Compilation

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Feldman, Paula R., ed. British Women Poets of the Romantic Era. Baltimore: John Hopkins UP, 1997.

Lopate, Phillip, ed. The Art of the Personal Essay: An Anthology from the Classical Era to the Present. New York: Anchor-Doubleday, 1994.

3. Two or More Books by the Same Author

Borroff, Marrie. Language and the Past: Verbal Artistry in Frost, Stevens, and Moore. Chicago: U of Chicago P, 1979.

---, trans. Sir Gawin and the Green Knight. New York: Norton, 1967.

---, ed. Wallace Stevens: a Collection of Critical Essays. Englewood Cliffs: Prentice, 1963.

Frye, Northrop. Anatomy of Criticism: Four Essays. Princeton: Princeton UP, 1957. ---, ed. Design for Learning: Reports Submitted to the Joint Committee of the Toronto Board of Education and the University of Toronto. Toronto: U of Toronto P, 1962. ---. The Double Vision; Language and Meaning in Religion. Toronto: U of Toronto P, 1991.

4. A Book by Two or More Authors

Reverse only the name of the first author, add a comma, give the other names in normal form and place a period after the last name; or you may name only the first and et al.

Durant, Will, and Ariel Durant. The Age of Voltaire. New York: Simon, 1965.

Eggins, Suzanne, and Diane Slade. Analysing Casual Conversation. London: Cassell, 1997.

5. Two or More Books by the Same Authors

See 3.3 and 3.4.

6. A Book by a Corporate Author

American Medical Association. The Amrican Medical Association Encyclopeia of 7

Medicine. New York: Random, 1989.

7. A Work in an Anthology

Allende, Isabel. ―Toad’s Mouth.‖ Trans. Margaret Sayers Peden. A Hammock beneath the Mangoes; Stories from Latin America. Ed. Thomas Colchie. New York: Plume, 1992. 83-88.

8. An Article in a Reference Book

―Azimuthal Equidistant Projection.‖ Merriam-Webster’s Collegiate Dictionary. 10th ed. 1993.

9. An Anonymous Book

Encyclopedia of Virginia. New York: Somerset, 1993.

10. An Edition

Crane Stephane. The Red Badge of Courage: An Episode of the American Civil War. 1895. Ed. Fredson Bowers. Charlottesville: Up of Virginia, 1975.

11. A Translation

Dostoevsky, Feodor. Crime and Punishment. Trans. Jessie Coulson. Ed. George Gibian. New York: Norton, 1964.

Homer. The Odyssey. Trans. Robert Fables. New York: Viking, 1996.

12. A Book Published in a Second or Subsequent Edition

Chaucer, Geoffrey. The Works of Geoffrey Chaucer. Ed. F. W. Robinson. 2nd ed. (Rev. ed./Abr. ed./ 1940 ed.) Boston: Houghton, 1957.

13. A Multivolume Work

Lauter, Paul, et al., eds. The Heath Anthology of American Literature. 2nd ed. 2 vols. Lexington: Heath, 1994.

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14. A Book in Chinese

Qian Mansu钱满素. Meiguo Wenming美国文明 (American Civilization). Beijing：China Social Sciences Press, 2001.

15. An Article in a Scholarly Journal with Continuous Pagination

Craner, Paul M. ―New Tool for an Ancient Art: The Computer and Music.‖ Computers and the Humanities 25 (1991): 303-13. Note: B. T., V. N., (Y. P.): P. N.

16. An Article in a Scholarly Journal That Pages Each Issue Seperately

Barthelme, Frederick. ―Archetecture.‖ Kansas Quarterly 13. 2 (13. 3-4) (1981): 77-80. Note: B. T., V. N., I. N. (Y. P.): P. N

17. An Article in a Scholarly Journal That Uses Only Issue Numbers

Bowering, George. ―Baseball and canadian Imagination.‖ Candian Literature 108 (1986): 115-24.

18. An Article in a Newspaper

Lohr, Steve. ―Now Playing: Babes in Cyberspace.‖ New York Times 3 Apr. 1998, late ed.: C1+. Note: section c, page 1, and the dislocated consecutive part

19. An Article in a Magazine

Amelar, Sarah. ―Restoration on 42nd Street.‖ Archetecture Mar. 1998: 146-50.

20. An Anonymous Article

―The Decade of the Spy.‖ Newsweek 7 Mar. 1994: 26-27.

21. A Film or Video Recirding

Chaplin, Charles, dir. Modern Times. Perf. Chaplin and Paulette Goddard. United 9

Artists,1936.

22. A Map or Chart

Japanese Fundamentals. Chart. Hauppauge: Barron, 1992.

Washington. Map. Chicago: Rand, 1995.

23. A Part of an Online Book

Barsky, Robert F. Introduction. Noam Chomsky: A Life of Dissent. By Barsky. Cambridge: MIT P, 1997. 8 May 1998 <http://mitpress.mit.edu/e-books/ chomsky/ intro.html>.

24. An Online Posting

Holland, Norman. ―Overcoming Depression.‖ Online Posting. 19 Mar. 1997. Psyart.

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