申请书的内容和结构

我们然后学习如何写作资助申请。资助申请要回答 3 个问题：What，How，Why，包括 8 个 部分。我们最后给出范文。

虽然有无数种方法可以写作资助申请，但我们下面提供一些在大多数情况下都通用的指南，可以帮助组织和构建您的思考和写作。

问题

以下是史蒂夫卡顿教授关于学生如何写作他们的资助申请的演讲的笔记。该教授是人类学教授，所以下面内容中谈到一些具体的研究方法和人类学研究有关。

资助提案与其他写作类型类似，有自己的惯例（convention），并且从一个学科到另一个学科各不相同。然而，根据经验，资助提案至少要回答以下三个问题：

WHAT ?

第一件事是清楚、简洁地解释您希望进行的研究类型或主题。您必须将研究范围限制在时间和你的专业培训水平允许的范围内，这一点再怎么强调也不为过。换句话说，主题必须集中。

显然，您的项目应该与资助机构可能支持的研究类型（通常在其目的声明或它向公众提供的任何文献中指出）之间存在某种匹配。您可能可以以足够令人信服的方式使您的研究兴趣适应该机构的资助目标，但如果这种努力看起来很紧张或人为，请不要打扰了。寻找更合适的东西。

HOW ?

下一个重要步骤是表明你将如何进行研究，这可能会被粗略地认为是一种方法论。这也因一个学科而异，有时差别甚至是巨大的。

在社会人类学中，田野调查是一种重要的方法，它不仅仅涉及与人闲逛或随意交谈——尽管这些乐趣当然不容小觑——但它也意味着在特定地点做特定的事情以收集信息。因此，采访、口述历史、人口普查、拍照和录像、仔细观察日常行为、阅读报纸、听当地广播和看电视——通常与其他人一起衡量他们的反应——只是田野人类学家参与的一些活动。

请注意，提案的这一部分与其说是您打算做什么的目录，不如说是对为什么某些方法或活动比其他方法或活动更必要的论据。你必须证明你对这些方法有一定的背景或培训，或者你会在进入该领域之前以某种方式获得它们。

大多数在“外国文化”中进行的实地考察都需要掌握自己母语以外的语言。因此，一个明显的问题是，你是否对当地语言有足够的了解。另一方面，您可能可以提出一个有说服力的论点，即您不需要这种能力，因为与口译员一起工作就足够了。

或者让我们说，您希望研究人们对近期某些事件（肯尼迪遇刺事件）的记忆。在这种情况下，口述历史很可能会成为您研究的重要方法。在提案中，您必须证明您对社会人类学中的这种方法有所了解，并且理想情况下，您已经实践过它。

但也可能会出现这样的问题，即对这个人进行录音是否足够，或者对他或她进行录像是否更好。您提案的读者会想知道，当录音可能足够时，为什么应该为更昂贵的事情（例如拍摄）提供资金。如果你能说服读者，拍摄确实是至关重要的，你必须证明你知道如何有效地使用这些设备。

最后，回答“如何？”这个问题的一部分，是给出研究的时间表——即完成实地工作的阶段——以便读者可以评估预计的时间线是否现实和有意义。

WHY?

这很可能是最难回答的问题。您可能对某个主题充满热情，但读者仍然想知道为什么他或她应该为此提供资金。换句话说，您必须更具体地解释该主题对学科的意义，但也必须更广泛地解释该主题对科学的意义。

也许您的主题对于世界和平或以其他方式减轻人类苦难至关重要——而且更好——但如果是这样，你仍然是作为一名人类学家这样做，作为一名人类学家你最终必须在你的提案中解释你自己并证明你的研究是正确的。

例如，最简单的方法之一是声称我们的人类学知识存在一些“空白（gap）”，而您的研究将“填补”它。但是您仍然必须争辩说，这个空白是至关重要的。

无论哪种方式，对相关文献的批判性讨论对于你的论点都是至关重要的。如果你有幸找到一些该领域的“权威人士”指出这个“空白”，那对你来说更好，但这仍然无法替代某种批判性文献综述。

更有趣的重要性标准是“新颖性”或“原创性”（“以前从未做过”的论点），尽管您必须再次证明这一主张。例如，您可能决定研究一个已经写了很多的问题，但您研究的意义在于您正在以一种新的方式看待（即应用早期研究人员无法使用的新分析框架) 从而教给我们一些我们还不知道的东西。

您仍然必须证明差异很大。

BUDGET?

几乎所有资助机构都会要求您提交一份研究费用的明细预算。虽然这些成本的评估标准和方法因资助机构而异，但作为一般规则，您应该根据自己的最佳估算进行工作，全面但切合实际，并且仅包括您在您的方法部分证明合理的研究设备等费用提议。仔细考虑你的项目的长度、你将要去的不同地方、你在这些地方之间的交通方式，以及你在每个地方的研究活动和生活费用的细节。主要预算类别包括国际旅行、当地交通、食物和住宿、健康、研究设备和用品、礼物、进入或使用设施（图书馆、大学、博物馆、视频或照相馆）的费用和其他杂费（邮票、电话电话、书籍、杂志、报纸、复印件、名片、运费）。最好以单一货币（最好是美元）呈现您的预算，并提供您正在使用的汇率（如果适用）的解释。

格式和结构

我们下面来学习资助提案的基本格式要求。该要求来自 Science of Living Systems 19: Nutrition and Global Health 课程中给出的资助申请的格式和结构。该课程是关于健康和营养的，因此，下面内容中谈到一些关于人类营养方面的内容。

什么是资助（Grant）？

在全球卫生领域，来自政府和私人基金会的资助是对健康和营养干预措施的财政支持的支柱。然而，资助并非仅卫生领域所独有。其他领域，包括视觉艺术、教育和社区组织，需要有效的资助申请才能实施成功的计划。在现实世界政府机构和捐助者都有特定的授权（mandates）范围，只资助适合其目标和需求的项目。也有一些其他资助的范围很广泛，允许申请人有更大的灵活性。

虽然本课程不要求学生根据一个特别的提案请求（RFP：request for proposals）编写资助提案，但在资助写作中最重要的步骤之一是确定合适的捐助者以及他们的提案请求 (RFP) 或申请请求（RFA）的具体标准。然而，这项作业将使学生能够根据他们选择的全球营养主题练习撰写资助。

一份资助提案的主要组成部分是什么？

大多数 RFA 和 RFP 都会对其资助申请的格式有明确的规范。但是，一般将包括以下部分：

1) 执行摘要（Executive Summary）—— 您的案例（case）的概括性陈述（umbrella statement）和整个提案（proposal）的摘要（summary）。

2) 背景和基本原理/需求说明（Background & Rationale/Statement of Need）—— 解释该项目将服务的社区以及为什么需要该项目。

3) 项目目标（Program Objectives）—— 你干预（intervention）的目的是什么？具体说明您想要实现（achieve）的结果（outcome）类型！

4) 项目描述 —— 你将使用什么方法来实施你的项目？这应该是该项目将如何实施以及如何评估的具体细节（nuts and bolts）。

5) 预算 —— 项目的财务描述加上解释性说明

6) 组织信息 —— 非营利组织或实施机构的历史和治理结构。它的主要活动、受众和服务是什么？为什么这个组织特别适合实施这个项目？

7) 讨论 —— 该计划将面临（confront）哪些预期的挑战和机遇（opportunities）？该计划的可行性和可持续性（sustainable）如何？对以后的工作有什么影响（implications）？

8) 结论 —— 提案要点（main points）的总结。

在实践中，遵循资助机构和基金会的具体要求非常重要。建议遵循他们使用的结构和词汇。换句话说，如果资助机构要求您阐明“项目目标”，您可能希望有一个标题为“项目目标”的部分，而不是“项目目的”。当资助机构阅读提案时，他们会寻找各项具体信息；因此，使用他们要求的词汇来构建信息，可以帮助他们找到他们正在寻找的东西。

范文

这是一篇哈佛人类学的范文，带有老师的注释。

资助申请：音乐对苏格兰独立运动的影响，PDF 链接

另外两篇范文见附件。

参考文献


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附录：示例 1：Harvard College Research Program

哈佛学院有给本科生做毕业论文的研究资助。这是一篇申请哈佛学院资助的范文：

Research Proposal

Anglo-American Modernism has long intrigued me. My interest was first piqued in high school, where I read T.S. Eliot’s poetry in class and Virginia Woolf’s Mrs. Dalloway at home, and then cemented during my first semester at Harvard in my Expository Writing course on Woolf and Hemingway. Largely because of my interest in these figures, I became a History and Literature concentrator in the Britain and America field at the end of my freshman year. Since then, I have encountered Woolf in English 10b (Major British Writers II) and written a sophomore essay for History and Literature entitled “‘For all the world to read’: Vita Sackville-West and Virginia Woolf’s Orlando.” This year, I have expanded my study beyond Woolf with a junior tutorial focused on British fiction in the Modernist and pre-Modernist periods. In addition to various articles, I have read such authors as James Joyce, Wyndham Lewis, Ford Madox Ford, and Henry James. My tutorial has emphasized British writers because my tutor, Michele Martinez, specializes in British literature. However, because my field is Britain and America, I have also engaged American Modernists outside of tutorial. For example, in History 1666, The World of William James, I have written one essay on the links between Gertrude Stein’s aesthetic and James’s description of consciousness, and I am writing a long research paper on the same subject and its implications for the interest of both Stein and James in painting. I have also sought to understand the place of Modernism in the history of literature by constructing a schedule of courses this spring that brackets my tutorial in British Modernism on one side with The World of William James and on the other with English 169, The Road to Postmodernism.

This longstanding interest in Modernism has culminated this year in my junior paper for History and Literature, entitled “‘Swagger Sex’: The Politics of the Female Body and Reproduction in Wyndham Lewis’s Tarr.” In this essay, I explore the character of Anastasya Vasek in Lewis’s 1918 novel, focusing primarily on her control of her own sexuality, body, and reproduction and the threat that such autonomy presents for the title character, Frederick Tarr. Tarr remains caught between Anastasya and another sort of woman represented by Bertha Lunken and Rose Fawcett, whose children pin him down into forced, boring relationships. I examine the ways in which Lewis’s biography to some extent lies beneath the development of these characters and Tarr’s dilemma, trace the additions and revisions that Lewis made to Tarr over time, and turn finally to a discussion of Lewis’s attitude towards contraceptives, which he presents as an aid to feminists in later writings. Ultimately, readers of Lewis might well view contraceptives as an aid to philandering male artists like Lewis and Tarr and as a partial solution to Tarr’s dilemma.

For my senior thesis in History and Literature next year, I am planning an expansion of my junior paper, and it is for this project that I am applying for funding from the Harvard College Research Program. I will extend my examination of body politics to other works by Wyndham Lewis, particularly his 1937 novel The Revenge for Love. I also hope to undertake a comparison between the body politics of Lewis’s work and life and the body politics of another Modernist. Gertrude Stein seems the most likely candidate for this comparison. Both she and Lewis spent many years in Paris in communities of artistic expatriates, and both possessed a passionate interest in visual art; Lewis was a leading avantgarde painter as well as a writer, and Stein was an important collector and critic of art and a friend to artists such as Matisse and Picasso. Lewis and Stein even met once, in 1913 in Paris, and wrote about each other with marked vehemence. Indeed, Stein’s American- and woman-centered life and work serve as an excellent contrast to Lewis’s marked British masculinity. In my thesis, I would examine these connections and contrasts and focus on the body politics of both artists, particularly in relation to the representation of the female body and reproduction in their work. I would also investigate the responses of Lewis and Stein to the changing patterns of reproduction in the inter-war period, when fertility rates fell sharply and birth control became a political issue in Britain and United States for the first time.

In this project, I hope to be advised by Michele Martinez, a member of the Committee on Degrees in History and Literature and the Department of English and American Literature and Language. She has worked with me this year as my junior tutor, and her familiarity with feminist and other theories about the female body and the work of Wynham Lewis certainly qualify her to advise my thesis. However, because she specializes in British literature, any extension of my project to include Gertrude Stein would require me to seek some outside advice from a scholar of American literature.

I plan to undertake the research for my thesis during the summer at the Robert W. Woodruff Library at Emory University in Atlanta, GA, my home city. Since I must remain at Harvard for three weeks to fulfill my commitment to the Harvard University Student Porter Program, I will not be able to begin my research until July. Once I begin, however, I plan to research my thesis in lieu of finding employment, and I have applied for a stipend to support my work. I will spend the months of July and August at Emory, using their collections to read texts by Lewis and Stein and to research the cultural conceptions of the female body and reproduction that surrounded them and the ways in which these notions were changing at the time. At the end of the summer, I plan to travel for two or three days to the Carl A. Kroch Library at Cornell University and examine the papers of Wyndham Lewis in the Rare and Manuscripts Collections there. As a less frequently studied Modernist, his letters have not drawn the attention that Stein’s papers have, and they are less readily available in collected form.

In order to support this project, I have applied for a stipend because research for my thesis will take the place of a job during July and August. I have also requested reimbursement for the expenses I will incur at the Woodruff Library, where I will be unable to take books out of the library and will need to photocopy all source material. Finally, I have requested reimbursement for transportation, lodging, and food during my brief trip to Cornell University in Ithaca, New York at the end of August.

附录2： 示例 Thesis Research Proposal for “Anti-Colonial Protest in Literature: Moroccan Theatre in the French Protectorate”

Most scholars agree that Napoleon’s invasion of Egypt in 1798 catalyzed modernization in the Arab world through contact with the West. During a decline that had lasted several centuries, Arab literature had also stagnated, but the arrival of the printing press from Europe along with the influence of European writers provided Egyptians with new ideas and possibilities. Soon, Arabs had appropriated and experimented with the traditionally Western literary forms of the short story, the novel, and theatre.1

While many scholars have studied the West’s influence on Egyptian, Levantine, and Iraqi literature of the 19th century, a much later Franco-Arab encounter has remained largely ignored. In 1912, Morocco was the last African country to be colonized. Although Moroccans had contact with the West before Spain and France divided their country into regions of separate European control, it is interesting to note that the first theatre in Morocco did not open until 1913. Furthermore, it seems that no Moroccan wrote Arabiclanguage drama until the early 1920s. Thereafter, two forms of theatre apparently became widely popular: plays by the French writer Molière (translated into Arabic), and anticolonial drama performed in the Moroccan dialect of Arabic.2

Within this story lays a central paradox and many questions that I hope to answer. A combination of historical and literary methods may explain the effect of European influence on Moroccan literature as well as Moroccan strategies for struggling against colonialism. How and why did Moroccans adopt (and therefore accept) a European literary form to protest European politics? Why didn’t theatre exist until the 1920s and then suddenly become widely popular? Why did writers use theatre to fight French and Spanish colonialism instead of other literary forms, or how did their use of theatre differ? How did European or other Arab literature influence Moroccan writing? How did Moroccan theatre affect the anti-colonial movement and the colonial powers, if at all?

While research has offered answers to similar questions for different parts of the world and other types of literature (my bibliography mentions examples of works on anticolonial poetry and drama from the Arab east, especially Egypt), little has been published that addresses this phenomenon in Morocco; moreover, the few works I have found lack a theoretical background, revealing close readings, or a synthesis of the evidence into conclusions that further our understanding of the cultural effects of political/military encounters on the one hand, and about methods of resisting colonialism on the other. Several barriers may have prevented scholars from researching this subject — a thorough study requires knowledge of the languages spoken in Morocco, for instance, to ensure access to primary and secondary sources (Moroccan Arabic, Standard Arabic, French, and Spanish are necessary, all of which I know). Furthermore, many of the sources — including theatrical pieces that were never published and recordings of the performances, in addition to the writers, dramaturges, and actors — are only available in Morocco.

This summer, I hope to travel to Casablanca, Rabat, Fès, and other parts of Morocco to work with these sources. Through archival research, I will search for the texts of plays unavailable in the United States and secondary sources on those plays. In stores as well as archives, I will look for recordings of plays that were shown on TV. Finally, I will meet with Moroccans researching similar subjects (I have already found a graduate student in Fès who said he would tell me about the dissertation he is writing on Moroccan theatre if I came to see him) and interview primary sources, too. I will almost certainly be in Casablanca for an eight-week internship and will start my thesis research then since, in addition to having Casablanca’s resources available, I will be able to make day-trips to Rabat (the national archives are open on days I will most likely have free from work) and contact my human sources by phone. I would like to devote at least three weeks after my internship solely to thesis research, however, so that I can continue working in the archives in Rabat and elsewhere, in addition to conducting interviews in other parts of the country.

After spending this spring preparing for my summer research, I will arrive in Morocco with the tools, plans, and knowledge necessary to make the most of my time there. I am already delving into preliminary research with Professor William Granara, my tutor for my one-on-one Near Eastern Languages junior tutorial and Harvard’s leading academic of North African literature. He will probably become my faculty adviser for my thesis and continue working with me on this topic throughout next year, but, at the moment, he is helping me explore the subject of anti-colonial poetry from the Arab east and helping me find lesser-known materials touching on this theme in the context of Moroccan theatre. Furthermore, since the research topic I have chosen is considered cutting-edge in my field, I am lucky to have found many other instructors so interested in my work that they have already offered their resources, including my History and Literature junior tutorial leader Zahr Stauffer (who is especially helpful at working through frustrating moments of long-term projects with me, as well as directing my attention to productive questions), a graduate student in Near Eastern Languages applying to work for the History and Literature department, Jonathan Smolin (he is writing his dissertation on Moroccan theatre and has already provided me with a list of useful references and information about conducting research in Morocco), and Susan Slyomovics, an anthropology professor at MIT for whom I worked freshman year and who will put me in touch with her contacts in Morocco.

Thank you for considering to provide the funds necessary to make this project possible.

For an example of this widely accepted point of view, see M. M. Badawi, ed. The Cambridge History of Arabic Literature. Cambridge: Cambridge University Press, 1992. 2

Abdelwahed Ouzri. Le Théâtre au Maroc: Structures et Tendances. Casablanca: Les Editions Toubkal, 1997.