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mla论文模板

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）

河南师范大学

本科毕业论文

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

姓名：

刘海涛

指导教师：

李庆东

年月

AStudyof“Anti-play”TechniquesonWaitingforGodotfromthePerspectivesofPostmodernism

AThesisSubmitted

toFacultyofInternationalStudiesof

HenanNormalUniversity

inPartialFulfillmentoftheRequirements

fortheDegreeofBachelorofArts

By

Yourname

Supervisor：

LiQingdong

英文年月日

Acknowledgements（TimesNewRoman三号粗体居中）

Iwouldliketothankallthosewhohavegivenmetheirgeneroushelps,commitmentandenthusiasm,whichhavebeenthemajordrivingforcetocompletethecurrentpaper.…

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

Abstract（TimesNewRoman，三号，粗体，居中）

SamuelBarclayBeckett（1906-1989）wasanIrish-bornpoet,novelistandplaywright,andisadmittedlyregardedasoneofthegreatestmastersintheliteraryworldof20thcentury.HismasterpieceWaitingforGodot,iswidelyregardedasaclassicoftheTheatreoftheAbsurd.Thewriterofthisthesistriestounderstandthoseanti-playtechniquesfromtheperspectivesofpostmodernismandperceivethespiritofpostmodernismthattheplayowns.Here,thisthesisfocusesonfourtypicalfeaturesofpostmodernism:

thedissolutionofthesubject;depth-less-ness;indeterminacy;parodyandirony.BytheanalysisofBeckett’santi-playtechniquesinWaitingforGodot,wecannotonlyperceivehowheoverthrowstraditionaldramaticregulationsthoroughlyandextraordinarilybutalsoexperiencethespiritofpostmodernismthatheconveystousasaprecursorofpostmodernism.TheprominenttechniquesofBeckettnotonlyhaveinimitableartisticvalueinmodernismmovement,whichissurgingforwardathistimesbutalsoleadsliteraryexcellenceinthenewlyarisenpostmodernism.

Keywords:

SamuelBeckett;WaitingforGodot;anti-play;postmodernism

TableofContents

Acknowledgementsii

摘要iii

Abstractv

TableofContentsviii

Introduction1

PartOneTheTheoreticalPremises6

1.1TheDissolutionoftheSubject10

1.2Depth-less-ness11

1.3Indeterminacy12

1.3.1IndeterminacyoftheTheme12

1.3.2IndeterminacyofCharacters12

1.3.3IndeterminacyofthePlot13

1.3.4IndeterminacyoftheLanguage13

1.4ParodyandIrony14

partTwoDehumanizedCharactersandPairingRelationshipsinWaitingforGodot15

partThreeDirectExpressioninWaitingforGodot23

3.1EmptyStageandMuddle-headedCharacters24

3.2DisorderedTemporalStructure26

3.3DevaluedLanguageandSilenceAesthetics28

partFourThe“Indeterminacy”inWaitingforGodot33

4.1IndeterminacyoftheCharacters33

4.2IndeterminacyoftheTheme38

4.3IndeterminacyofthePlot40

partFiveWaitingforGodot:

JuxtapositionofComedyandTragedy44

Conclusion50

WorksCited53

Introduction

SamuelBarclayBeckett（1906-1989）,anIrishnovelistandplaywright,isadmittedlyregardedasoneofthegreatestmastersintheliteraryworldof20thcentury.In1969,hewasawardedtheNobelPrizeforLiteraturebyrightofhiseminentplay,WaitingforGodot,whichhasinfluencedlatergenerationsofcontemporaryplaywrightsthroughouttheworld.ActuallyBeckettconsideredhimselfamuchbetternovelistandhethoughtofhisplaysasdiversionsundertakenattimeswhenworkonhisfictionhadbroughthimtoacreativeimpasse,butsinceWaitingforGodotwasfirstperformedinParison5January1953,thegreaterpartofhisliterarycareerhasresultedinhisspecialformofwritingforthetheatre.

Theplaycontainstwoactsinwhichtwotramps,VladimirandEstragon,waitforsomeonenamedGodotwhoissupposedtokeepanappointmentwiththem.Theyarejoinedbyamanandhisservant,PozzoandLucky,whostaywiththembriefly,thencontinueontheirunspecifiedway.AboycomesattheendofthefirstacttotellVladimirandEstragonthatMr.Godotwillnotcomethatday,butmostsurelythenext.Atreewhichhasbeenbareofleavesistheonlysetting,andamoonrisestosignifythatdayhasendedandnighthascomeasthefirstactends.Inthesecondact,thetreemiraculouslysproutsafewleavesbutnothingelsehaschangedforVladimirandEstragon.PozzoandLuckyreturnandthenleave;theboycomesagainandrepeatsthesameinformation.VladimirandEstragonaredisappointedandconsidercommittingsuicide,buttheyevenhavenotgotaropestrongenoughtohangthemselves.Theyspeakofleavingforseveraltimesbuttheydonotmove.Themooncomesupagain,andthecurtainfallsasthetwomenstandsilentlyfacingtheaudienceinattitudesofsolemndignity,displayingbothresignationanddejection.

Thethesisconsistsofthreeparts.PartOneisanintroductiontoSamuelBeckettandWaitingforGodot,theresearchbackground,thereasonsandpurposeofstudyingWaitingforGodotfromtheperspectivesofpostmodernism.PartTwoisadetailedanalysisofWaitingforGodotandtheanti-playtechniquesofit,basingonfourtypicalfeaturesofpostmodernism.Itisalsodividedintofivechapters.ChapterOneisthetheoreticalpremises.ChapterTwofocusesonthedehumanizedcharactersand“pairing”relationshipsintheplay.ChapterThreeismainlyaboutBeckett’suseof“directexpression”,whichservesasastrategyofdepth-less-nessinpostmodernism.ChapterFourisananalysisof“indeterminacy”inthisplay.Thelastchapterisaboutthejuxtapositionofcomedyandtragedy.PartThreeisaconclusionofthethesis.

PartOneDehumanizedCharactersandPairingRelationshipsinWaitingforGodot

Asapracticeofpostmodernismdiscourse,thedissolutionofthesubjectisaremarkablefeatureoftheTheateroftheAbsurd.Therefore,intheTheatreoftheAbsurd,theimagesofcharactersarereducedminimallyanddeprivedallthecharacteristicsas“man”.Generallyspeaking,torepresent“man”isthethemeofliteratureallthroughtheages.Intraditionalplays,playwrightshaveportrayedagroupofcharacterswithsmartbrains,passionatetemperament,eloquentspeechcraft,whereascharactersoftheTheatreoftheAbsurdbelongtothepostmodernistswhoareinthesituationof“burn-out”,sotheydonothaveanintegrated“self”butafragmentedone.Theydonotfightagainstorcommentontheworldanymore.Actually,theyhavelosttheirsubjectivityasmanandbecometotallyspeciousbodies.Havingbeendeprivedallthedignityof“man”,charactersarenot“characterized”but“dehumanized”andtheythemselvesareturnedintopartoftheabsurdworld.

1.1TheDissolutionoftheSubject

Postmodernismisanerainwhichthesubjectdissolves.MostoftheideologistsinwesterncountriesbelievethatwithNietzsche’sproclaimingof“Godisdead”,therecomeswithhumanbeings’death,forallvaluesofhumanbeingsliewithGod.Asitisexpected,ahundredyearslater,Foucaultannouncesthedeathofhumanbeings.Andhesays,“Theexistenceoflanguagecomesintobeingonlywiththedissolutionofthesubject”（qtd.inYan109）.

1.2Depth-less-ness

The“depth-less-ness”isasignificantfeatureofpostmodernism,whichiscalled“flatness”or“superficiality”byJameson（Jameson4）.Thedepth-less-nessismeanttoeliminatetheantithesesbetweensurfaceandessence,latencyandpatency,authenticityandnon-authenticity,signifierandsignified.Itaimsattendingtowardssurfacefromessence,towardspatencyfromlatency,towardsnon-authenticityfromauthenticity,towardssignifierfromsignified.Inaword,profundityisgoingtobereplacedbysuperficialityhere.Jamesonexplainsthis"depth-less-ness"asalossofthehermeneuticrelationshipbetweenanimageandtheviewer:

Theviewercannolongerinterpretanimage,duetothedepth-less-ness;thesurfaceoftheimageisalsothemeaningoftheimage,forthereisnolargerordeepermeaningwhichcanbeinterpretedthroughanencounterwiththetext.Thereisnomeaningbeyondtheimage.Thesearchforgreatermeaningorunderstandingofhumanityconnotedintheimageisforgone（Jameson8）.

1.3Indeterminacy

Thistermincludesallmannerofambiguities,ruptures,anddisplacementsaffectingknowledgeandsociety.AccordingtoHassan,indeterminacy,whichhasvariousderivativemeanings:

ambiguity,discontinuity,heterodoxy,pluralism,disorganization,rebellion,misinterpretationanddistortion,isabasicfeatureofpostmodernism.（Hassan1983:

27-28）.Theindeterminacyofpostmodernismliteratureisalsoreflectedinfouraspects:

indeterminacyofthetheme;indeterminacyofcharacters;indeterminacyoftheplotandindeterminacyofthelanguage（Liu,YangandZeng15）.

1.3.1IndeterminacyoftheTheme

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GreenwoodPress,1998.

Bair,Deirdre.SamuelBeckett.London:

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OxfordUniversityPress,1996.

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W.W.Norton&Company,2003.

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74-80.

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