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1、外国语学院本科生英语专业毕业论文装订顺序（MLA 格式） （注：此格式用于文学、翻译方向的论文） 1. 毕业论文封面（汉语） 2. 毕业论文首页 （英语） 3. 致谢（英文） 4. 毕业论文中文摘要及关键词 5. 毕业论文英文摘要及关键词 6. 目录 7. 正文 8. 尾注（可选） 9. 参考文献（英语文献在前，汉语文献在后） 10. 附录（可选） 附：论文模板（模板内容仅供参考，毕业生可根据实际情况填写） 学号：060501010085 从后现代主义视角看等待戈多的 反戏剧手法 学 院 名 称： 外 国 语 学 院 专 业 名 称： 英 语 教 育 年 级 班 别： 2002 级 5 班 姓

2、 名： 刘 海 涛 指 导 教 师： 李 庆 东 2007 年 5 月 河南师范大学 本科毕业论文 20 磅字号，华文中 宋，加粗，居中四号黑体 黑体，小三，居中 A Study of “Anti-play” Techniques on Waiting for Godot from the Perspectives of Postmodernism A Thesis Submitted to Faculty of International Studies of Henan Normal University in Partial Fulfillment of the Requirements

3、 for the Degree of Bachelor of Arts By Your name Supervisor：Li Qingdong May 5, 2007 I Acknowledgements (Times New Roman 三号 粗体 居中) I would like to thank all those who have given me their generous helps, commitment and enthusiasm, which have been the major driving force to complete the current paper.

4、Times New Roman 五号，1.5 倍行距 全文每段首行缩 进 3-5 个字符 罗马数字 编排页码 II 摘要（此处为宋体，小二号，粗体） 本文作者尝试从后现代主义的视角去认识等待戈多的反戏剧手法，感受 贝克特通过此剧所传达的后现代主义精神。这里，本文关注了四个典型的后现 代主义特征，它们分别是：主体的消失；深层模式削平；不确定性；戏拟和反 讽。通过分析我们不仅看到他对传统戏剧规范所进行的空前激烈的颠覆，也体 会到他作为后现代主义的先驱所传达给我们的后现代主义精神。贝克特高超的 艺术手法不仅在风起云涌的现代主义文学运动中具有独特的艺术价值，而且在 刚刚兴起的后现代主义文学的形式革新中

5、独领风骚。 关键词：塞缪尔贝克特；等待戈多 ；反戏剧；后现代主义 宋体，小四号， 1.5 倍行距 宋体， 小四号， 粗体 III Abstract（Times New Roman，三号，粗体，居中 ） Samuel Barclay Beckett (1906-1989) was an Irish-born poet, novelist and playwright, and is admittedly regarded as one of the greatest masters in the literary world of 20th century. His masterpiece Wa

6、iting for Godot, is widely regarded as a classic of the Theatre of the Absurd. The writer of this thesis tries to understand those anti-play techniques from the perspectives of postmodernism and perceive the spirit of postmodernism that the play owns. Here, this thesis focuses on four typical featur

7、es of postmodernism: the dissolution of the subject; depth-less-ness; indeterminacy; parody and irony. By the analysis of Becketts anti-play techniques in Waiting for Godot, we can not only perceive how he overthrows traditional dramatic regulations thoroughly and extraordinarily but also experience

8、 the spirit of postmodernism that he conveys to us as a precursor of postmodernism. The prominent techniques of Beckett not only have inimitable artistic value in modernism movement, which is surging forward at his times but also leads literary excellence in the newly arisen postmodernism. Key words

9、: Samuel Beckett; Waiting for Godot; anti-play; postmodernism Times New Roman 五号，1.5 倍行距 全文每段首 行缩进 3-5 个字符 Times New Roman 五号 粗体 IV Table of Contents ACKNOWLEDGEMENTS .II 摘要 .III ABSTRACT.V TABLE OF CONTENTS.VIII INTRODUCTION .1 PART ONE THE THEORETICAL PREMISES.6 1.1 THE DISSOLUTION OF THE SUBJECT

10、.10 1.2 DEPTH-LESS-NESS.11 1.3 INDETERMINACY .12 1.3.1 Indeterminacy of the Theme.12 1.3.2 Indeterminacy of Characters .12 1.3.3 Indeterminacy of the Plot.13 1.3.4 Indeterminacy of the Language .13 1.4 PARODY AND IRONY.14 PART TWO DEHUMANIZED CHARACTERS AND PAIRING RELATIONSHIPS IN WAITING FOR GODOT

11、.15 PART THREE DIRECT EXPRESSION IN WAITING FOR GODOT.23 3.1 EMPTY STAGE AND MUDDLE-HEADED CHARACTERS .24 3.2 DISORDERED TEMPORAL STRUCTURE.26 3.3 DEVALUED LANGUAGE AND SILENCE AESTHETICS .28 PART FOUR THE “INDETERMINACY” IN WAITING FOR GODOT.33 4.1 INDETERMINACY OF THE CHARACTERS.33 4.2 INDETERMINA

12、CY OF THE THEME .38 4.3 INDETERMINACY OF THE PLOT .40 Times New Roman，三号，粗体，居 中 Times New Roman 五号，1.5 倍行距 V PART FIVE WAITING FOR GODOT: JUXTAPOSITION OF COMEDY AND TRAGEDY .44 CONCLUSION.50 WORKS CITED .53 河南师范大学本科毕业论文 1 Introduction Samuel Barclay Beckett (1906-1989), an Irish novelist and playwr

13、ight, is admittedly regarded as one of the greatest masters in the literary world of 20th century. In 1969, he was awarded the Nobel Prize for Literature by right of his eminent play, Waiting for Godot, which has influenced later generations of contemporary playwrights throughout the world. Actually

14、 Beckett considered himself a much better novelist and he thought of his plays as diversions undertaken at times when work on his fiction had brought him to a creative impasse, but since Waiting for Godot was first performed in Paris on 5 January 1953, the greater part of his literary career has res

15、ulted in his special form of writing for the theatre. The play contains two acts in which two tramps, Vladimir and Estragon, wait for someone named Godot who is supposed to keep an appointment with them. They are joined by a man and his servant, Pozzo and Lucky, who stay with them briefly, then cont

16、inue on their unspecified way. A boy comes at the end of the first act to tell Vladimir and Estragon that Mr. Godot will not come that day, but most surely the next. A tree which has been bare of leaves is the only setting, and a moon rises to signify that day has ended and night has come as the fir

17、st act ends. In the second act, the tree miraculously sprouts a few leaves but nothing else has changed for Vladimir and Estragon. Pozzo and Lucky return and then leave; the boy comes again and repeats the same information. Vladimir and Estragon are disappointed and consider committing suicide, but

18、they even have not got a rope strong enough to hang themselves. They speak of leaving for several times but they do not move. The moon comes up again, and the curtain falls as the two men stand silently facing the audience in attitudes of solemn dignity, displaying both resignation and dejection. Ti

19、mes New Roman 三号，粗体，居中 全文每段首行缩 进 3-5 个字符 正文部分用阿拉伯 数字编排页码 河南师范大学本科毕业论文 2 The thesis consists of three parts. Part One is an introduction to Samuel Beckett and Waiting for Godot, the research background, the reasons and purpose of studying Waiting for Godot from the perspectives of postmodernism. Part

20、 Two is a detailed analysis of Waiting for Godot and the anti-play techniques of it, basing on four typical features of postmodernism. It is also divided into five chapters. Chapter One is the theoretical premises. Chapter Two focuses on the dehumanized characters and “pairing” relationships in the

21、play. Chapter Three is mainly about Becketts use of “direct expression”, which serves as a strategy of depth-less-ness in postmodernism. Chapter Four is an analysis of “indeterminacy” in this play. The last chapter is about the juxtaposition of comedy and tragedy. Part Three is a conclusion of the t

22、hesis. Times New Roman 五号，1.5 倍行距 河南师范大学本科毕业论文 3 Part One Dehumanized Characters and Pairing Relationships in Waiting for Godot As a practice of postmodernism discourse, the dissolution of the subject is a remarkable feature of the Theater of the Absurd. Therefore, in the Theatre of the Absurd, the

23、images of characters are reduced minimally and deprived all the characteristics as “man”. Generally speaking, to represent “man” is the theme of literature all through the ages. In traditional plays, playwrights have portrayed a group of characters with smart brains, passionate temperament, eloquent

24、 speechcraft, whereas characters of the Theatre of the Absurd belong to the postmodernists who are in the situation of “burn-out”, so they do not have an integrated “self” but a fragmented one. They do not fight against or comment on the world any more. Actually, they have lost their subjectivity as

25、 man and become totally specious bodies. Having been deprived all the dignity of “man”, characters are not “characterized” but “dehumanized” and they themselves are turned into part of the absurd world. 1.1 The Dissolution of the Subject Postmodernism is an era in which the subject dissolves. Most o

26、f the ideologists in western countries believe that with Nietzsches proclaiming of “God is dead”, there comes with human beings death, for all values of human beings lie with God. As it is expected, a hundred years later, Foucault announces the death of human beings. And he says, “The existence of l

27、anguage comes into being only with the dissolution of the subject” (qtd. in Yan 109). 1.2 Depth-less-ness The “depth-less-ness” is a significant feature of postmodernism, which is called “flatness” Times New Roman 三号，粗体，居中 Times New Roman, 小 四号，粗体 河南师范大学本科毕业论文 4 or “superficiality” by Jameson (James

28、on 4). The depth-less-ness is meant to eliminate the antitheses between surface and essence, latency and patency, authenticity and non-authenticity, signifier and signified. It aims at tending towards surface from essence, towards patency from latency, towards non-authenticity from authenticity, tow

29、ards signifier from signified. In a word, profundity is going to be replaced by superficiality here. Jameson explains this depth-less-ness as a loss of the hermeneutic relationship between an image and the viewer: The viewer can no longer interpret an image, due to the depth-less-ness; the surface o

30、f the image is also the meaning of the image, for there is no larger or deeper meaning which can be interpreted through an encounter with the text. There is no meaning beyond the image. The search for greater meaning or understanding of humanity connoted in the image is forgone (Jameson 8). 1.3 Inde

31、terminacy This term includes all manner of ambiguities, ruptures, and displacements affecting knowledge and society. According to Hassan, indeterminacy, which has various derivative meanings: ambiguity, discontinuity, heterodoxy, pluralism, disorganization, rebellion, misinterpretation and distortio

32、n, is a basic feature of postmodernism. (Hassan 1983: 27-28). The indeterminacy of postmodernism literature is also reflected in four aspects: indeterminacy of the theme; indeterminacy of characters; indeterminacy of the plot and indeterminacy of the language (Liu, Yang and Zeng 15). 1.3.1 Indetermi

33、nacy of the Theme 河南师范大学本科毕业论文 5 Works Cited Andonian, Cathleen Culotta. The Critical Response to Samuel Beckett. West Port, Conn: Greenwood Press, 1998. Bair, Deirdre. Samuel Beckett. London: Cape, 1978. Baldick, Chris. Oxford Concise Dictionary of Literary Terms. Oxford: Oxford University Press, 1

34、996. Baym, Nina et al. The Norton Anthology of American Literature. 6th ed. 5 vols. New York and London: W.W. Norton & Company, 2003. 曹波. “论贝克特的荒诞派戏剧艺术.” 外语与外语教学. 3 (2004): 29-31. 蓝仁哲. “感受荒诞人生 见证反戏剧手法等待戈多剧中人及其处境.” 外国文学评论. 3 (2004): 74-80. 李维屏. 英美现代主义文学概观. 上海: 上海外语教育出版社, 1998. 刘象愚, 杨恒达, and 曾艳兵. 从现代主义到后现代主义. 北京: 高等教育出版社, 2003. 严泽胜. “荒诞派戏剧的后现代审美特征.” 国外文学. 3 (1992): 109-114. 曾军. “等待戈多和贝克特的语言策略.” 荆州师专学报. 6 (1994): 51-56. 朱虹. 英美文学散论. 北京: 三联书店, 1984. Times New Roman, 三号 英文部分 Times New Roman 五号； 汉语部分 宋体 五号；均 1.5 倍行距 先英文后中文，以字母顺序排列。两 行及以上悬垂缩进 3 个字符。 封底 （此部分不编入页码，且不写入任何内容）