外国人发表的英文论文

money laundry and terrorism fundingMoney laundering and terrorism financing represent a great danger for financial markets. In money laundering, the origin of revenues from illegal activities is disguised; in terrorism financing, assets are collected and made available for carrying out terrorist activities. In order to fight money laundering and terrorism financing, the Financial Action Task Force (FATF) was established in 1989. The international standard consists of the 40 FATF recommendations concerning money laundering and the 9 FATF Special recommendations concerning terrorism financing. Additional rules are provided by the Second Money Laundering Directive of the EU and by various United Nations Security Council resolutions pertaining to the terrorism financing. As a member of the FATF and the United Nations as well as the EU, Austria actively participates in implementing these standards on a global as well as on a national level.Money laundering and terrorism financing are criminalized by law in Austria. Additional regulations serve a preventative purpose.The nature of the financial sector makes it one of the most vulnerable areas; this is why banking, insurance, and securities supervisory laws contain detailed regulations concerning money laundering and terrorism financing. The motto “know your customer" is considered to be one of the best weapons against misuse. This is why every customer in Austria has to be identified whenentering into a long-term business relationship with a financial institution (e.g. opening a bank account), conducting a transaction with a value of at least EUR 15.000, if it is not part of a long-term business relationship, making a payment to or withdrawing from a savings account, if the amount in question is at least EUR 15.000, in any case, if there is a suspicion of money laundering or terrorism financing.If there is a suspicion of money laundering or terrorism financing, the Austrian "Geldwäschemeldestelle" (Financial Intelligence Unit) which has been set up in the Central Intelligence Service ("Bundeskriminalamt") has to be notified.By applying these rules and regulations, Austria complies with the standards of the FATF, the United Nations and the EU.Financial Action Task Force on Money Laundering Second Money Laundering GuidelineUN Conventions against Terrorism Financing UN Security Council Resolution No. 1373

Analysis of Heathcliff Wuthering Heights centers around the story of Heathcliff. The first paragraph of the novel provides a vivid physical picture of him, as Lockwood describes how his “black eyes” withdraw suspiciously under his brows at Lockwood’s approach. Nelly’s story begins with his introduction into the Earnshaw family, his vengeful machinations drive the entire plot, and his death ends the book. The desire to understand him and his motivations has kept countless readers engaged in the novel. Heathcliff, however, defies being understood, and it is difficult for readers to resist seeing what they want or expect to see in him. The novel teases the reader with the possibility that Heathcliff is something other than what he seems—that his cruelty is merely an expression of his frustrated love for Catherine, or that his sinister behaviors serve to conceal the heart of a romantic hero. We expect Heathcliff’s character to contain such a hidden virtue because he resembles a hero in a romance novel. Traditionally, romance novel heroes appear dangerous, brooding, and cold at first, only later to emerge as fiercely devoted and loving. One hundred years before Emily Brontë wrote Wuthering Heights, the notion that “a reformed rake makes the best husband” was already a cliché of romantic literature, and romance novels center around the same cliché to this day. However, Heathcliff does not reform, and his malevolence proves so great and long-lasting that it cannot be adequately explained even as a desire for revenge against Hindley, Catherine, Edgar, etc. As he himself points out, his abuse of Isabella is purely sadistic, as he amuses himself by seeing how much abuse she can take and still come cringing back for more. Critic Joyce Carol Oates argues that Emily Brontë does the same thing to the reader that Heathcliff does to Isabella, testing to see how many times the reader can be shocked by Heathcliff’s gratuitous violence and still, masochistically, insist on seeing him as a romantic hero. It is significant that Heathcliff begins his life as a homeless orphan on the streets of Liverpool. When Brontë composed her book, in the 1840s, the English economy was severely depressed, and the conditions of the factory workers in industrial areas like Liverpool were so appalling that the upper and middle classes feared violent revolt. Thus, many of the more affluent members of society beheld these workers with a mixture of sympathy and fear. In literature, the smoky, threatening, miserable factory-towns were often represented in religious terms, and compared to hell. The poet William Blake, writing near the turn of the nineteenth century, speaks of England’s “dark Satanic Mills.” Heathcliff, of course, is frequently compared to a demon by the other characters in the book. Considering this historical context, Heathcliff seems to embody the anxieties that the book’s upper- and middle-class audience had about the working classes. The reader may easily sympathize with him when he is powerless, as a child tyrannized by Hindley Earnshaw, but he becomes a villain when he acquires power and returns to Wuthering Heights with money and the trappings of a gentleman. This corresponds with the ambivalence the upper classes felt toward the lower classes—the upper classes had charitable impulses toward lower-class citizens when they were miserable, but feared the prospect of the lower classes trying to escape their miserable circumstances by acquiring political, social, cultural, or economic power. 或wuthering heights “Nature is not merely a reality in which we live, not just the palpable context of our lives, but part of us. We are, in a sense, emanations of Nature, and our relationship to it has the intense and definitive intimacy of heart to body.” (Lloyd Evans1982, p.121) It is easy to treat humanity and nature as separate elements but in reality ‘the human presence' is a part of the natural world. But it is both a part and apart. According to Peckham, Romanticism embodies “an approving attitude towards the natural world.” (Peckham 1976, p.12) The key word here is “approving”. At times, and especially in the case of Wuthering Heights, this approval is merely a nod in the general direction of what is perceived to be Romantic literature's ‘central inspiration.' Wuthering Heights seems to say that those who deny their nature, their ‘human nature' are doomed. Human nature is driven by desires and according to Schopenhauer this desire, or ‘will' as he put it, is “a violent force operating through us, creating desires and passions and provoking us to act.” (Solomon 2002, p.144) This ‘will', or the lack of its implementation, is also a central theme, if not the theme, of the book. To be human is also to have the ability to design our fates. As Isabella says in her letter “I think the concentrated essence of all the madness in the world took up its abode in my brain the day I linked my fate with theirs!” (Brontë 1964, p.130), the linking of fates can produce madness or in the case of Catherine and Heathcliff, the linking of fates can be something that transcends the ‘natural' world. The fates of each character of Wuthering Heights are well within their reach, only the matter of whether to take their fates and command them, conflicts. The character of Heathcliff is the driving force of Wuthering Heights and if we take will, desire, passion and the ability to design our own fate to be the driving forces of human nature, indeed what makes us human, then Heathcliff is the most honestly human and most real character of the novel. He also embodies the darkest, most infernal and perhaps repulsive facets of human nature but this dialectic only reinforces Heathcliff's humanity. If we are to take at face value the notion that Romanticism finds its chief inspiration in the natural world then the setting of Wuthering Heights in the moors of Yorkshire may be no accident of authorial abode. Heathcliff could be said to personify the moors themselves: “an arid wilderness” (Vogler 1968, p.45). Even the name Heathcliff takes two very different features of nature (naturally, heath and cliff) and welds them together. This imagery is undoubtedly in keeping with the Romantic tradition but is misleading in its simplicity. To find where Wuthering Heights falls under the mantle of Romanticism we must look deeper into the terms that define it as a literary and cultural movement. It is possible to see Romanticism as a reaction to the unfulfilled promises of the revolutions of the late 18th century (Lowy & Sayre 2001, p.16) or in relation to the cultural movement of the Enlightenment which preceded it and “the failure of which Romanticism was a response” (Peckham 1976, p.12). But more specifically, as in the case of Wuthering Heights , we find a sociological examination of “the conflict between bourgeois society and certain human values.” (Lowy & Sayre 2001, p.14) The Lintons and Earnshaws beingthe bourgeoisie and Heathcliff the humanity which opposed them. The Romantic themes that Brontë explores are evident in what Peckham cites as “Romantic factors: alienation, cultural vandalism, and selfhood, or the distinction between self and role.” (Peckham 1976, p.22) These factors see Heathcliff described almost completely. From the very moment Heathcliff is introduced he is alienated: “from the very beginning, he bred bad feeling in the house” (Brontë 1964, p.46) Eventually Heathcliff revels in his own alienation and wreaks his revenge through “cultural vandalism” because as Peckham notes once “selfhood has been es tab lished by alienation…it was impossible for him to redeem himself” (Peckham 1976, p.24-25). It is only through destroying the culture of the families in Wuthering Heights that Heathcliff perceives he can redeem the wrongs perpetrated on him. He quickly revels in his alienation: “I'd not exchange, for a thousand lives, my condition here, for Edgar Linton's at Thrushcross Grange – not if I might have the privilege of flinging Joseph off the highest gable, and painting the house-front with Hindley's blood!” (Brontë 1964, p.54) Here we see Heathcliff attempting to assert his selfhood through alienation, in other words “to maintain the sense of otherness and also to authenticate that sense” (Peckham 1976, p.45) Nowhere is Heathcliff's set apart more clearly than in his relationship with Hindley. Hindley sees him as a “usurper” (Brontë 1964, p.46) and grows bitter at his presence (Brontë 1964, p.46) and once Mr Earnshaw dies, relegates Heathcliff to the role of a mere servant, belittling him at every opportunity and inadvertently sowing the seeds of his own doom and of those with whom he links his fate (Brontë 1964, Ch. VII). Until this point in the novel Heathcliff's redemption could have been realised in the cosy apartments of Wuthering Heights itself. But Heathcliff's treatment and Catherine's decision to marry Edgar Linton result in a complete renunciation of any of the values he might have even had a notion to adhere to. (Brontë 1964, p.59) His transformation from mere outsider to absolute nemesis is complete: “I'm trying to settle how I shall pay Hindley back. I don't care how long I wait, if I can only do it at last… “For shame Heathcliff!” said I. “It is for God to punish wicked people; we should learn to forgive.” “No, God won't have the satisfaction that I shall.” (Brontë 1964, p.64) Heathcliff's vow is exemplification of Schopenhauer's theory of the will beinga “violent force…forcing us to act.” (Solomon 2002, p.144) It is difficult not to sympathise with Heathcliff in the sense of fair play and so called ‘humanity'. Other than that, this episode elicits sympathy via another recognised feature of Romanticism, that of “the rebel as an heroic figure.” (Peckham 1976, p.68) All cultural movements need their archetypal heroes, those that embody the absolute spirit of an age orgenre, to hold up as examples of or a mould in which to pour their ideals. In the case of Romanticism, being ideologically rooted in the world of imagination and mythology, (McCredden 1997, p.1) it follows that it would take its heroic figures from that tradition. For the Romantics this resulted in the “conversion of Satan from a villain into a hero.” (Peckham 1976, p.68) This is especially pertinent in examining Heathcliff. Throughout Wuthering Heights Heathcliff is referred to variously as “an imp of Satan” (Brontë 1964, p.47) and “that devil Heathcliff” (Brontë 1964, p.239) Isabella asks “is he a devil?” (Brontë 1964, p.124) and Nelly Dean describes his eyes as “devil's spies.” (Brontë 1964, p.60) Also, Heathcliff's banishment from Wuthering Heights mirrors that of Lucifer being demoted, disgraced and cast from heaven (Isaiah 14:12 -15). The comparisons between Heathcliff and Satan can be found at even more fundamental levels. For example, the Hebrew root of the word Satan ‘stn' means “one who opposes, obstructs, or acts as adversary” (Pagels 1995, p.39) or consider “the Greek term diabolos, later translated “devil,” literally means “one who throws something across one's path.” (Pagels 1995, p.39) Both these definitions are eerily evocative of Heathcliff's adversarial role. Further Satanic comparisons can be found in Heathcliff but in a humanist sense rather than a mythological one. Satanism as a philosophy is essentially humanism, that is: a philosophy which adheres to human or earthly values rather than spiritual ones. At its core, Satanism espouses an indulgence in “natural desires. ” (La Vey 1969, p.81) and an encouragement to “act upon your natural instincts” (La Vey 1969, p.53). Heathcliff is nothing if not driven by “natural desires.” As if to complete the inversion of values set in motion by the conversion of Satan from villain to hero, a tenet of Satanism is to “let no wrong go undressed” (La Vey 1969, p.47) This encapsulates Heathcliff's modus operandi almost wholeheartedly. To understand how Heathcliff can be elevated to heroic, or even a more resolutely human status by comparison with a traditionally evil and despicable figure we must recognise that Satan (and indeed Satanism) is a human creation. The devil and the nature of evil are a necessary component by which we measure what it is to be human; they are what we pit our better qualities against togauge the strength of what we see as ‘good'. Maybe what we see in characters such as Satan and Heathcliff is a part of ourselves that we find uncomfortable to acknowledge; they “express qualities that go beyond what we ordinarily recognise as human.” (Pagels 1995, p.xvii) It may be difficult to recognise Heathcliff's human nature in the legacy of brutality left by his saga of revenge. But human nature is not as pretty as some would have you believe. Furthermore, the Lintons and the Earnshaws are not model characters either. Their prejudices, petulance, expedience and cowardice are hardly admirable qualities. They are indeed less deservingof our sympathies than Heathcliff, for the cold and rigid codes of a society which they perpetuate affords Heathcliff the means by which to destroy them. By condemning Heathcliff as an amoral and nihilistically destructive character we may fail to recognise “the most intimate enemy of all – the enemy we call our own self” (Pagels 1995, p. 173)

可以使用少量语句，不可以全篇使用要是文章在国外没别发表过倒是可以修改一下.如果是发表的文章,你拿来翻译后在发表,很容易涉及到侵权的问题.但是可以可以把里面有技术含量的东西用自己的话说出来加到自己的文章里,可以作为参考文献.可以引用，但要标注（文内和参考文献部分都要有），直引要有作者姓、作品出版的年份，引用部分加引号，标注页码；间接引用文内要标注作者的姓以及作品的出版年份。翻译整理后做成自己论文的一部分绝对是剽窃。翻译作品的“翻译权”为原作者所享有，第三方不经原作者同意不可以将整部作品翻译并发表。但是你翻译过来作为论文的一部分，并且在注释部分署名了引用文献信息，不算是侵犯知识产权。况且你的论文想必不是用作商业用途吧？学术类的文章只有剽窃，谈不上侵权的。引用部分可以,但要注明,这是违法的不过让人很看不惯的是很多三流杂志社和报刊直接用,根本不经作者授权

摘要：罪刑法定原则是资产阶级反对封建刑法罪刑擅断主义的产物，已为大多数国家宪法或刑法确认，成为现代刑法最基本的原则。随着我国改革开放的进一步深化和市场经济的不断发展，个人的主体意识和权利意识也随之进一步增强，人民需要罪刑法定，法治社会呼唤罪刑法定。使得1997年修订后的刑法将罪刑法定原则确定下来，此原则的确定是我国民主和法治发展史上的一座里程碑。本文将就罪刑法定原则与我国的现代法治社会建设之间的联系展开讨论Summary:Offense penal code's settling a principle is the outcome that the feudalism penal code of the propertied class objection offense Xing is good at to break a doctrine, already is mostly national constitution or penal code confirm, become modern penal code the most basic principle.Along with our country reform open of further and deeply turn with continuously develop of the market economy, personal corpus realizes to realize to also strengthen immediately and further with right, the people need offense penal code settle, rule of law society call offense penal code settle.Make in 1997 the penal code after revise settle the offense penal code's principle indeed settles down, this principle really settle is our country democracy and rule of law develop a history up of a milestone.This text compromises the contact of the of modern rule of law social construction that the offense penal code settles a principle and our country to launch a discussion