《分析中国保险市场》，求这个8000到10000字的论文提纲 求一篇8000到10000字左右的英语论文，关于文学题材的就...
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\u53c2\u8003\u6587\u732e:
[1]\u6c6a\u65b0\u6c11.\u7f51\u7edc\u5de5\u7a0b\u4f7f\u7528\u6559\u7a0b[M].\u5317\u4eac:\u5317\u4eac\u5927\u5b66\u51fa\u7248\u793e,2008.
[2]\u6b66\u65b0\u534e,\u6bb5\u73b2\u534e.\u8ba1\u7b97\u673a\u7f51\u7edc\u7ef4\u62a4\u4e0e\u6545\u969c\u6392\u9664\u6848\u4f8b\u7cbe\u9009[M].\u5317\u4eac:\u4e2d\u56fd\u94c1\u8def\u51fa\u7248\u793e,2006.
[3]\u66f9\u5e86\u534e.\u7f51\u7edc\u6d4b\u8bd5\u4e0e\u6545\u969c\u8bca\u65ad\u8bd5\u9a8c\u6559\u7a0b[M].\u5317\u4eac:\u6e05\u534e\u5927\u5b66\u51fa\u7248\u793e,2011.
[4]\u96f7\u9707\u7532.\u8ba1\u7b97\u673a\u7f51\u7edc(\u7b2c\u4e09\u7248)[M].\u897f\u5b89:\u897f\u5b89\u7535\u5b50\u79d1\u6280\u5927\u5b66\u51fa\u7248\u793e,2011.
[5]\u5218\u6653\u8f89.\u7f51\u7edc\u6545\u969c\u73b0\u573a\u5904\u7406\u5b9e\u8df5(\u7b2c\u4e8c\u7248)[M].\u5317\u4eac:\u7535\u5b50\u5de5\u7a0b\u51fa\u7248\u793e,2009.
[6]\u5434\u529f\u5b9c,\u5434\u82f1,\u8c2d\u6d69\u5f3a.\u8ba1\u7b97\u673a\u7f51\u7edc\u6280\u672f\u6559\u7a0b(\u7b2c\u4e09\u7248)[M].\u5317\u4eac:\u6e05\u534e\u5927\u5b66\u51fa\u7248\u793e,2009.
1.\u82cf\u4e1c\u5761\u7684\u6587\u5b66\u80cc\u666f\u548c\u4ed6\u7684\u8d4b
SU TUNG-PO\u2019S LITERARY BACKGROUND AND HIS PROSE-POETRY by Qian Zhongshu
(Primarily written as a foreword to \u201cSu Tung-Po\u2019s Prose-poems\u201d translated into English With Notes and Commentaries by C. D. Le Gros Clark, this is published here by kind permission of Mr. Le Gros Clark. Those who are interested in textual criticism may consult Mr. Wu Shih-ch\u2019ang\u2019s review in Chinese which appeared in The Crescent Monthly, Vol. IV, No. 3. \u2013Ed.)
Of the Sung dynasty, it may be said, as Hazlitt said of himself, that it is nothing if not critical. The Chinese people dropped something of their usual wise passiveness during the Sung dynasty, and \u201cpondered, searched, probed, vexed, and criticized\u201d. This intellectual activity, however, is not to be compared with that of the Pre-Chin period, the heyday of Chinese philosophy. The men of the Sung dynasty were inquisitive rather than speculative, filled more with a sense of curiosity than with a sense of mystery. Hence, there is no sweep, no daring, no roominess or margin in their intellectualism. A prosaic and stuffy thing theirs is, on the whole. This critical spirit revealed itself in many directions, particularly in the full flourish of literary criticism and the rise of the tao-hs\u00fceh \uff08\u9053\u5b66\uff09, that m\u00e9lange adultere of metaphysics, psychology, ethics and casuistry.
Literary criticism in China is an unduly belated art. Apart from a handful of obiter dicta scattered here and there, Liu Hsieh\u2019s Literary Mind \uff08\u5218\u52f0\u6587\u5fc3\u96d5\u9f99\uff09 and Lo Chi\u2019s A Prose-poem on Literature \uff08\u9646\u673a\u6587\u8d4b\uff09 are the critical writings that count up to the Sung dynasty. There is Chung Yung\u2019s Classification of Poets (\u949f\u5d58\u8bd7\u54c1) of course. But Chung Yung is a literary genealogist rather than a critic, and his method of simply dividing poets into sheep and goats and dispensing praise or dispraise where he thought due, is the reverse of critical, let alone his fanciful attempts to trace literary parentages(1). Ssu-Kung Tu\u2019s Characterisations of Poetry (\u53f8\u7a7a\u56fe\u8bd7\u54c1) is a different matter(2). Ssu-Kung Tu seeks to convey purely with imagery the impressions registered by a sensitive mind of twenty four different kinds of poetry: \u201cpure, ornate, grotesque,\u201d etc. His is perhaps the earliest piece of \u201cimpressionistic\u201d or \u201ccreative criticism\u201d ever written if any language, so quietly ecstatic and so autonomous and self-sufficient, as it were, in its being but it fails on that very account to become sober and proper criticism. It is not until the Sung dynasty that criticism begins to be practiced in earnest. Numerous \u201ccauseries on poetry\u201d \uff08\u8bd7\u8bdd\uff09are written and principles of literature are canvassed by way of commentaries on individual poets. Henceforth, causeries on poetry become established as the vehicle for Chinese criticism. One must note in passing that there do not appear professional critics with the rise of criticism. In those good old days of China, criticism is always the prerogative of artists themselves. The division of labour between critics and artists in the West is something that the old Chinese literati would scoff at. The criticism of Sung dynasty, like all Chinese criticismsbefore the \u201cNew Literature Movement\u201d with the possible exception of Hsieh\u2019s Literary Mind, is apt to fasten upon particulars and be given too much to the study of best words in best places. But it is symptomatic of the critical spirit, and there is an end of it.
The Chinese common reader often regards the men of the Sung dynasty as prigs. Their high seriousness and intellectual and moral squeamishness are at once irritating and amusing to the ordinary easy-going Chinese temperament. There is something paralyzing and devitalizing in their wire-drawn casuistry which induces hostile critics to attribute the collapse of the Sung dynasty to its philosophers. There is also a disingenuousness in their attempts at what may be called for want of a better name, philosophical masquerade: to dress up Taoism of Buddhism as orthodox Confucianism. One need but look into Sketches in a Villa\uff08\u9605\u5fae\u8349\u5802\u7b14\u8bb0\uff09and Causeries on Poetry in a Garden\uff08\u968f\u56ed\u8bd7\u8bdd\uff09 to see what a good laugh these two coxcombs of letters, Chi Yuen \uff08\u7eaa\u6600\uff09 and Yuan Mei \uff08\u8881\u679a\uff09 have had at the expense of the Sung philosophers and critics respectively. Nevertheless ofe is compelled to admit that the Sung philosophers are unequalled in the study of mental chemistry. Never has human nature been subject to a more rigorous scrutiny before or since in the history of Chinese thought. For what strikes one most in the tao-hs\u00fceh is the emphasis on self-knowledge. This constant preying upon itself of the mind is quite in the spirit of the age. The Sung philosophers are morbidly introspective, always feeling their moral pulses and floundering in their own streams of consciousness. To them, their mind verily \u201c a kingdom is\u201d. They analyse and pulverize human nature. But for that moral bias which Nietzsche thinks to be also the bane of German philosophy, their vivisection of human soul would have contributed a good deal to what Santayna calls literary psychology.
The poetry of the sung dynasty is also a case in point. It is a critical commonplace that the Sung poetry furnishes a striking contract to the T\u2019ang poetry. Chinese poetry, hitherto ethereal and delicate, seems in the Sung dynasty to take on flesh and becomes a solid, full-blooded thing. It is more weighted with the burden of thought. Of course, it still looks light and slight enough by the side of Western poetry. But the lightness of the Sung poetry is that of an aeroplane describing graceful curves, and no longer that of a moth fluttering in the mellow twilight. In the Sung poetry one finds very little of that suggestiveness, that charm of a beautiful thing imperfectly beheld, which foreigners think characteristic of Chinese poetry in general. Instead, one meets with a great deal of naked thinking and outright speaking. It may be called \u201csentimental\u201d in contradistinction to the T\u2019ang poetry which is on the whole \u201cnaïve\u201d, to adopt Schiller\u2019s useful antithesis. The Sung poets, however, make up for their loss in lisping naivete and lyric glow by a finesse in feeling and observation. In their descriptive poetry, they have the knack of taking the thing to be described sur le vif: witness Lo Yu (\u9646\u6e38) and Yang Wan-li \uff08\u6768\u4e07\u91cc\uff09. They have also a better perception of the nuances of emotion than the T\u2019ang poets, as can be seen particularly in their Ts\u2019u \uff08\u8bcd\uff09, a species of song for which the Sung dynasty is justly famous(3). Small wonder that they are deliberate artists, considering the fact that they all have been critics in the off hours of their inspiration. The most annoying thing about them is perhaps their erudition and allusiveness which makes the enjoyment of them to a large extent the luxury of the initiated even among the Chinese. \uff083000\u5b57\uff09
\u8fd8\u6709\u4e00\u7bc7\u5728\u73a9\u5076\u4e4b\u5bb6\u7684\u8eab\u4efd\u6297\u4e89\uff086000\u5b57\uff09\u548c\u4e00\u7bc7\u9a6c\u4e01\u8def\u5fb7\u91d1\u7684\u300a\u6211\u6709\u4e00\u4e2a\u68a6\u300b\u6587\u4f53\u5206\u6790\uff0810000\u5b57\uff09
\u5982\u679c\u9700\u8981\u5c31\u9ebb\u70e6\u60a8\u544a\u8bc9\u6211\u60a8\u7684\u90ae\u7bb1\uff0c\u518d\u7ed9\u60a8\u53d1\u8fc7\u53bb\u3002
一、中国保险市场发展现状
第一，中国保险市场基本上还处于一种寡头垄断状态。
分别从财险、寿险再保险等几个方面定量的分析中国人民保险公司、中国人寿保险公司、中国平安保险公司、中国太平洋保险公司四大保险公司在中国保险业的垄断地位。
第二，中国保险业的发展还处于一个低水平。
从中国保险市场的保险宽度和保险深度说明中国保险市场的水平较低，特别着重说明中国保险业在建立完善的市场经济体系过程中，中国居民的保险意识与投资意识还要有一个提高过程。
第三，中国保险市场结构分布不均衡。
从目前中国保险公司机构的分布而论，中外保险公司的总部基本上都设置在北京和中国沿海城市。保险公司分支机构虽然在大陆已普遍设立，但多数又集中在人口密集、经济发达的地区和城市，这就造成了保险市场发育不均衡性。
第四，中国保险业的专业经营水平还不高。
1、粗放式经营与销售方式单一；
2、产品结构简单与供给不足；
3、以及缺乏专业人才是经营水平较低。
第五，中国保险业的监管和法律法规尚不健全。
对比国外的保险法和监管法规说明中国保险业的法律法规不健全。
二、我国保险业发展对策
根据上述存在的问题得出解决问题的方法。
1.深化改革、完善公司治理结构
我国保险业改革和发展的主要思路是继续深化保险业的企业改革，继续落实各项改变措施，将改革不断引入深化，鼓励股份制保险公司，通过吸收外资和社会资金完善公司治理结构，支持符合条件的股份制公司在境内外上市，建立符合市场经济发展要求的现代保险企业。继续培育多层次的保险服务体系，继续培育和发展国际的大型保险集团，允许保险公司根据市场地位和业务发展需要整合内部资源，成为主业突出优势互补的企业集团。完善保险市场的准入机制，增加市场主体，为保险市场注入活力。积极培育再保险市场，支持保险公司和其他各类投资主体参股设立保险公司，增强我国再保险市场的整体承保能力。规范发展保险中介市场，鼓励和促进专业保险中介机构创新经营模式，发挥专业经营优势，逐步建立同意、开放、有序竞争具有中国特色的保险市场体系。
2.提高监管水平，防范风险
要提高保险业监管水平，加强国际保险监督合作。一是加强偿付能力监管的制度建设，加大对违法违规机构的处罚力度，切实保护投保人的利益。二是加强保险资金运用监管，积极探索与保险资金运用渠道相适应的监管方式和手段，及建立动态的保险资金运用风险监控模式。三是加强与国际保险监督管理协会的合作。继续深入、广泛地学习国际保险业监管的先进经验，加快与国际惯例接轨的步伐，逐步实现保险业监管的国际化。中国保险市场是世界上最大的潜在市场，是世界保险市场的重要组成部分，中国保险业必将在开放中获得更大的发展。
三、我国保险业发展趋势
在全球经济一体化的大趋势下，我国保险业与国际接轨是必由之路，随着我国加入WTO后，我国在加快保险市场对外开放步伐接受外资保险公司资本投入的同时，中资保险公司也会到国外设立分支机构，开展业务或者购买外国保险公司的股份，甚至收购一些外国的保险企业。在险种开拓上，积极发展核能、卫星发射、石油开发等高科技险种，在业务经营上，通过再保险分入分出或国内外公司相互代理等形式加强与国际保险（再保险）市场的技术合作和业务合作，积极开展国际保险业务。
提纲就要8000字?
是8000字的论文的提纲吧?
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