英国毕业论文ethics没

具体情况，具体分析。要看申请什么学校。还要看申请什么研究方向。不同的学校，不同的研究方向，有不同的要求。一般来说，RP主要包括以下的内容：1、提出研究问题（方向）；2、使用的方法论；3、使用到的资源；4、可能的研究成果；5、参考书目。

关于英国Research Proposal怎么写，英国翰思教育回答如下：

写毕业论文前，都会要求写一个1500-2000个字的Research Proposal，也就是研究计划，这个计划其实就是你的毕业论文Dissertation的浓缩版，就像一个提纲，帮助你提前理清大论文的思路、方向、步骤、文献和研究方法等，内容包括研究什么、为什么研究、怎么研究等。

首先Research Proposal的研究方向，要越小越好，越具体越好，也就是选题，选题的范围都最好是小范围，非常明确，具体的，主要是为你之后的毕业论文做准备。

1、Abstract

大约写300字的简短总结。包括研究问题，研究的基本原理，假设(如果有的话)，方法和主要发现。方法的描述可以包括设计、程序、样品和将使用的任何仪器。

2、Introduction

主要写研究领域的背景，具体研究什么、为什么研究、该研究领域有什么问题，研究的目的，怎么研究，包括使用什么研究方法等等。

3、Methodology

这部分非常重要，主要是写你研究时要使用的研究方法，占分比重很高，在写的时候也要有论据，也就是Reference，最重点的是要写出你使用的研究方法的局限性，包括你在研究中遇到的困难。

一般是这部分要写的内容包括下面几个方面：

而研究方法又包括：

定性分析法 Qualitative，主要是指特定范围得到的数据分析，比如年龄数据、性别、教育水平等，一般可以通过问卷调查表得到数据，或者其他书籍期刊等数据。

定量分析法 Qualitative，主要是指平均数、正反比例关系，波动性，概率等，也可以通过问卷、书籍网上等得到数据。

当你具体写这部分的时候，也要具体写：什么是研究方法，写出定量法和定性法的定义，使用范围是什么，为什么研究要用这个方法，用这个研究方法的优势劣势是什么，能得到什么数据，可以用于分析什么问题。

4、Literature Review

主要是大量的文献资料，与你论文相关的文献内容，文献指前人已经研究写好的内容，用来作为你观点的论据，和帮助证实你的研究假设是正确的还是错误的。这个不仅考验你的阅读能力，还有语言组织能力，文献综述主要是展示你对研究问题相关的理论，和你对研究问题的理解，文献一般来自书籍、新闻、期刊、论文、网站等。

5、Results and Discussion

研究计划一般是没有结果的，因为还没有开始调查研究，但是你可以写，你打算通过什么方法收集数据，以及你将使用什么样的统计程序来回答你的研究问题或测试你的假设。

写你的研究影响很重要，提出你研究问题的优点缺点，和研究过程中的局限性，包括时间或者经济限制等。

6、Conclusion and Recommendations

写出总结和给一些文章内容里已经显示的建议

7、References

文献列表，按字母排序

8、Appendix

有采访、问卷或证明等等内容可以作为附件

以上内容，希望帮到你。

可以这么说，意思就是发表文章的道德问题，比如不抄袭，不作弊等等用词方面，也可以考虑“论文的道德准则”一类，因为ethics直译为道德如果还有不懂问我哦~

论文主要内容：

一、论文的标题部分

标题就是题目或题名，标题需要以最恰当、最简明的词语反映论文中重要的特定内容逻辑组合，论文题目非常重要，必须用心斟酌选定。

二、论文的摘要

论文一般应有摘要，它是论文内容不加注释和评论的简短陈述。摘要应该包含以下内容：

1、从事这一研究的目的和重要性

2、研究的主要内容

3、完成了哪些工作

4、获得的基本结论和研究成果，突出论文的新见解

5、结构或结果的意义

三、论文关键词

关键词属于主题词中的一类，主题词除关键词外，还包含有单元词、标题词和叙词。关键词是标识文献的主题内容，单未经规范处理的主题词。

四、引言

又称为前言，属于正片论文的引论部分。写作内容包括：

1、研究的理由

2、研究目的

3、背景

4、前人的工作和知识空白

5、作用和意义

五、正文部分

论文的主题，占据论文大部分篇幅。论文所体现的创造性成果或新的研究结果，都将在这一部分得到充分的反映，要求这部分内容一定要充实，论据充分可靠，论证有利，主题明确。

六、参考文献

参考文献是文章在研究过程和论文撰写是所参考过的有关文献的目录，参考文献的完整标注是对原作者的尊重。不只在格式上有具体要求，在数量、种类、年份等方面又有相关要求。

The term English literature refers to literature written in the English language, including literature composed in English by writers not necessarily from England; Joseph Conrad was Polish, Robert Burns was Scottish, James Joyce was Irish, Dylan Thomas was Welsh, Edgar Allan Poe was American, Salman Rushdie is Indian, . Naipaul was born in Trinidad, Vladimir Nabokov was Russian. In other words, English literature is as diverse as the varieties and dialects of English spoken around the world. In academia, the term often labels departments and programmes practising English studies in secondary and tertiary educational systems. Despite the variety of authors of English literature, the works of William Shakespeare remain paramount throughout the English-speaking article primarily deals with literature from Britain written in English. For literature from specific English-speaking regions, consult the see also section at the bottom of the [hide]1 Old English 2 Renaissance literature 3 Early Modern period Elizabethan Era Jacobean literature Caroline and Cromwellian literature Restoration literature Augustan literature 4 18th century 5 Romanticism 6 Victorian literature 7 Modernism 8 Post-modern literature 9 Views of English literature 10 See also 11 External links Old EnglishMain article: Anglo-Saxon literatureThe first works in English, written in Old English, appeared in the early Middle Ages (the oldest surviving text is Cædmon's Hymn). The oral tradition was very strong in early British culture and most literary works were written to be performed. Epic poems were thus very popular and many, including Beowulf, have survived to the present day in the rich corpus of Anglo-Saxon literature that closely resemble today's Norwegian or, better yet, Icelandic. Much Anglo-Saxon verse in the extant manuscripts is probably a "milder" adaptation of the earlier Viking and German war poems from the continent. When such poetry was brought to England it was still being handed down orally from one generation to another, and the constant presence of alliterative verse, or consonant rhyme (today's newspaper headlines and marketing abundantly use this technique such as in Big is Better) helped the Anglo-Saxon peoples remember it. Such rhyme is a feature of Germanic languages and is opposed to vocalic or end-rhyme of Romance languages. But the first written literature dates to the early Christian monasteries founded by St. Augustine of Canterbury and his disciples and it is reasonable to believe that it was somehow adapted to suit to needs of Christian readers. Even without their crudest lines, Viking war poems still smell of blood feuds and their consonant rhymes sound like the smashing of swords under the gloomy northern sky: there is always a sense of imminent danger in the narratives. Sooner or later, all things must come to an end, as Beowulf eventually dies at the hands of the monsters he spends the tale fighting. The feelings of Beowulf that nothing lasts, that youth and joy will turn to death and sorrow entered Christianity and were to dominate the future landscape of English literatureMain article: English RenaissanceFollowing the introduction of a printing press into England by William Caxton in 1476, vernacular literature flourished. The Reformation inspired the production of vernacular liturgy which led to the Book of Common Prayer, a lasting influence on literary English language. The poetry, drama, and prose produced under both Queen Elizabeth I and King James I constitute what is today labelled as Early modern (or Renaissance).Early Modern periodFurther information: Early Modern English and Early Modern Britain Elizabethan EraMain article: Elizabethan literatureThe Elizabethan era saw a great flourishing of literature, especially in the field of drama. The Italian Renaissance had rediscovered the ancient Greek and Roman theatre, and this was instrumental in the development of the new drama, which was then beginning to evolve apart from the old mystery and miracle plays of the Middle Ages. The Italians were particularly inspired by Seneca (a major tragic playwright and philosopher, the tutor of Nero) and Plautus (its comic clichés, especially that of the boasting soldier had a powerful influence on the Renaissance and after). However, the Italian tragedies embraced a principle contrary to Seneca's ethics: showing blood and violence on the stage. In Seneca's plays such scenes were only acted by the characters. But the English playwrights were intrigued by Italian model: a conspicuous community of Italian actors had settled in London and Giovanni Florio had brought much of the Italian language and culture to England. It is also true that the Elizabethan Era was a very violent age and that the high incidence of political assassinations in Renaissance Italy (embodied by Niccolò Machiavelli's The Prince) did little to calm fears of popish plots. As a result, representing that kind of violence on the stage was probably more cathartic for the Elizabethan spectator. Following earlier Elizabethan plays such as Gorboduc by Sackville & Norton and The Spanish Tragedy by Kyd that was to provide much material for Hamlet, William Shakespeare stands out in this period as a poet and playwright as yet unsurpassed. Shakespeare was not a man of letters by profession, and probably had only some grammar school education. He was neither a lawyer, nor an aristocrat as the "university wits" that had monopolised the English stage when he started writing. But he was very gifted and incredibly versatile, and he surpassed "professionals" as Robert Greene who mocked this "shake-scene" of low origins. Though most dramas met with great success, it is in his later years (marked by the early reign of James I) that he wrote what have been considered his greatest plays: Hamlet, Romeo and Juliet, Othello, King Lear, Macbeth, Antony and Cleopatra, and The Tempest, a tragicomedy that inscribes within the main drama a brilliant pageant to the new king. This 'play within a play' takes the form of a masque, an interlude with music and dance coloured by the novel special effects of the new indoor theatres. Critics have shown that this masterpiece, which can be considered a dramatic work in its own right, was written for James's court, if not for the monarch himself. The magic arts of Prospero, on which depend the outcome of the plot, hint at the fine relationship between art and nature in poetry. Significantly for those times (the arrival of the first colonists in America), The Tempest is (though not apparently) set on a Bermudan island, as research on the Bermuda Pamphlets (1609) has shown, linking Shakespeare to the Virginia Company itself. The "News from the New World", as Frank Kermode points out, were already out and Shakespeare's interest in this respect is remarkable. Shakespeare also popularized the English sonnet which made significant changes to Petrarch's sonnet was introduced into English by Thomas Wyatt in the early 16th century. Poems intended to be set to music as songs, such as by Thomas Campion, became popular as printed literature was disseminated more widely in households. See English Madrigal School. Other important figures in Elizabethan theatre include Christopher Marlowe, Thomas Dekker, John Fletcher and Francis Beaumont. Had Marlowe (1564-1593) not been stabbed at twenty-nine in a tavern brawl, says Anthony Burgess, he might have rivalled, if not equalled Shakespeare himself for his poetic gifts. Remarkably, he was born only a few weeks before Shakespeare and must have known him well. Marlowe's subject matter, though, is different: it focuses more on the moral drama of the renaissance man than any other thing. Marlowe was fascinated and terrified by the new frontiers opened by modern science. Drawing on German lore, he introduced Dr. Faustus to England, a scientist and magician who is obsessed by the thirst of knowledge and the desire to push man's technological power to its limits. He acquires supernatural gifts that even allow him to go back in time and wed Helen of Troy, but at the end of his twenty-four years' covenant with the devil he has to surrender his soul to him. His dark heroes may have something of Marlowe himself, whose untimely death remains a mystery. He was known for being an atheist, leading a lawless life, keeping many mistresses, consorting with ruffians: living the 'high life' of London's underworld. But many suspect that this might have been a cover-up for his activities as a secret agent for Elizabeth I, hinting that the 'accidental stabbing' might have been a premeditated assassination by the enemies of The Crown. Beaumont and Fletcher are less-known, but it is almost sure that they helped Shakespeare write some of his best dramas, and were quite popular at the time. It is also at this time that the city comedy genre develops. In the later 16th century English poetry was characterised by elaboration of language and extensive allusion to classical myths. The most important poets of this era include Edmund Spenser and Sir Philip Sidney. Elizabeth herself, a product of Renaissance humanism, produced occasional poems such as On Monsieur’s of Renaissance poetryJacobean literatureAfter Shakespeare's death, the poet and dramatist Ben Jonson was the leading literary figure of the Jacobean era (The reign of James I). However, Jonson's aesthetics hark back to the Middle Ages rather than to the Tudor Era: his characters embody the theory of humours. According to this contemporary medical theory, behavioral differences result from a prevalence of one of the body's four "humours" (blood, phlegm, black bile, and yellow bile) over the other three; these humours correspond with the four elements of the universe: air, water, fire, and earth. This leads Jonson to exemplify such differences to the point of creating types, or cliché is a master of style, and a brilliant satirist. His Volpone shows how a group of scammers are fooled by a top con-artist, vice being punished by vice, virtue meting out its who followed Jonson's style include Beaumont and Fletcher, who wrote the brilliant comedy, The Knight of the Burning Pestle, a mockery of the rising middle class and especially of those nouveaux riches who pretend to dictate literary taste without knowing much literature at all. In the story, a couple of grocers wrangle with professional actors to have their illiterate son play a leading role in a drama. He becomes a knight-errant wearing, appropriately, a burning pestle on his shield. Seeking to win a princess' heart, the young man is ridiculed much in the way Don Quixote was. One of Beaumont and Fletcher's chief merits was that of realising how feudalism and chivalry had turned into snobbery and make-believe and that new social classes were on the popular style of theatre during Jacobean times was the revenge play, popularized by John Webster and Thomas Kyd. George Chapman wrote a couple of subtle revenge tragedies, but must be remembered chiefly on account of his famous translation of Homer, one that had a profound influence on all future English literature, even inspiring John Keats to write one of his best King James Bible, one of the most massive translation projects in the history of English up to this time, was started in 1604 and completed in 1611. It represents the culmination of a tradition of Bible translation into English that began with the work of William Tyndale. It became the standard Bible of the Church of England, and some consider it one of the greatest literary works of all time. This project was headed by James I himself, who supervised the work of forty-seven scholars. Although many other translations into English have been made, some of which are widely considered more accurate, many aesthetically prefer the King James Bible, whose meter is made to mimic the original Hebrew Shakespeare, whose figure towers over the early 1600s, the major poets of the early 17th century included John Donne and the other Metaphysical poets. Influenced by continental Baroque, and taking as his subject matter both Christian mysticism and eroticism, metaphysical poetry uses unconventional or "unpoetic" figures, such as a compass or a mosquito, to reach surprise effects. For example, in "A Valediction: Forbidding Mourning", one of Donne's Songs and Sonnets, the points of a compass represent two lovers, the woman who is home, waiting, being the centre, the farther point being her lover sailing away from her. But the larger the distance, the more the hands of the compass lean to each other: separation makes love grow fonder. The paradox or the oxymoron is a constant in this poetry whose fears and anxieties also speak of a world of spiritual certainties shaken by the modern discoveries of geography and science, one that is no longer the centre of the universe. Apart from the metaphysical poetry of Donne, the 17th century is also celebrated for its Baroque poetry. Baroque poetry served the same ends as the art of the period; the Baroque style is lofty, sweeping, epic, and religious. Many of these poets have an overtly Catholic sensibility (namely Richard Crashaw) and wrote poetry for the Catholic counter-Reformation in order to establish a feeling of supremacy and mysticism that would ideally persuade newly emerging Protestant groups back toward and Cromwellian literatureThe turbulent years of the mid-17th century, during the reign of Charles I and the subsequent Commonwealth and Protectorate, saw a flourishing of political literature in English. Pamphlets written by sympathisers of every faction in the English civil war ran from vicious personal attacks and polemics, through many forms of propaganda, to high-minded schemes to reform the nation. Of the latter type, Leviathan by Thomas Hobbes would prove to be one of the most important works of British political philosophy. Hobbes's writings are some of the few political works from the era which are still regularly published while John Bramhall, who was Hobbes's chief critic, is largely forgotten. The period also saw a flourishing of news books, the precursors to the British newspaper, with journalists such as Henry Muddiman, Marchamont Needham, and John Birkenhead representing the views and activities of the contending parties. The frequent arrests of authors and the suppression of their works, with the consequence of foreign or underground printing, led to the proposal of a licensing system. The Areopagitica, a political pamphlet by John Milton, was written in opposition to licensing and is regarded as one of the most eloquent defenses of press freedom ever in the reign of Charles I (1625 – 42), English Renaissance theatre experienced its concluding efflorescence. The last works of Ben Jonson appeared on stage and in print, along with the final generation of major voices in the drama of the age: John Ford, Philip Massinger, James Shirley, and Richard Brome. With the closure of the theatres at the start of the English Civil War in 1642, drama was suppressed for a generation, to resume only in the altered society of the English Restoration in forms of literature written during this period are usually ascribed political subtexts, or their authors are grouped along political lines. The cavalier poets, active mainly before the civil war, owed much to the earlier school of metaphysical poets. The forced retirement of royalist officials after the execution of Charles I was a good thing in the case of Izaak Walton, as it gave him time to work on his book The Compleat Angler. Published in 1653, the book, ostensibly a guide to fishing, is much more: a meditation on life, leisure, and contentment. The two most important poets of Oliver Cromwell's England were Andrew Marvell and John Milton, with both producing works praising the new government; such as Marvell's An Horatian Ode upon Cromwell's Return from Ireland. Despite their republican beliefs they escaped punishment upon the Restoration of Charles II, after which Milton wrote some of his greatest poetical works (with any possible political message hidden under allegory). Thomas Browne was another writer of the period; a learned man with an extensive library, he wrote prolifically on science, religion, medicine and the literatureMain article: Restoration LiteratureRestoration literature includes both Paradise Lost and the Earl of Rochester's Sodom, the high spirited sexual comedy of The Country Wife and the moral wisdom of Pilgrim's Progress. It saw Locke's Treatises on Government, the founding of the Royal Society, the experiments of Robert Boyle and the holy meditations of Boyle, the hysterical attacks on theatres from Jeremy Collier, the pioneering of literary criticism from Dryden, and the first newspapers. The official break in literary culture caused by censorship and radically moralist standards under Cromwell's Puritan regime created a gap in literary tradition, allowing a seemingly fresh start for all forms of literature after the Restoration. During the Interregnum, the royalist forces attached to the court of Charles I went into exile with the twenty-year old Charles II. The nobility who travelled with Charles II were therefore lodged for over a decade in the midst of the continent's literary scene. Charles spent his time attending plays in France, and he developed a taste for Spanish plays. Those nobles living in Holland began to learn about mercantile exchange as well as the tolerant, rationalist prose debates that circulated in that officially tolerant largest and most important poetic form of the era was satire. In general, publication of satire was done anonymously. There were great dangers in being associated with a satire. On the one hand, defamation law was a wide net, and it was difficult for a satirist to avoid prosecution if he were proven to have written a piece that seemed to criticize a noble. On the other hand, wealthy individuals would respond to satire as often as not by having the suspected poet physically attacked by ruffians. John Dryden was set upon for being merely suspected of having written the Satire on Mankind. A consequence of this anonymity is that a great many poems, some of them of merit, are unpublished and largely unknown.未完