PAGEPAGEI外國語學(xué)院本科生英語專業(yè)畢業(yè)論文裝訂順序（MLA格式）（注：此格式用于文學(xué)、翻譯方向的論文）畢業(yè)論文封面（漢語）畢業(yè)論文首頁（英語）致謝（英文）畢業(yè)論文中文摘要及關(guān)鍵詞畢業(yè)論文英文摘要及關(guān)鍵詞目錄正文尾注（可選）參考文獻(xiàn)（英語文獻(xiàn)在前，漢語文獻(xiàn)在后）附錄（可選）附：論文模板（模板內(nèi)容僅供參考，畢業(yè)生可根據(jù)實(shí)際情況填寫） 河南師范大學(xué)本科畢業(yè)論文學(xué)號：060501010085河南師范大學(xué)本科畢業(yè)論文四號黑體20磅字號，華文中宋，加粗，居中四號黑體20磅字號，華文中宋，加粗，居中從后現(xiàn)代主義視角看《等待戈多》的反戲劇手法黑體，小三，居中黑體，小三，居中學(xué)院名稱：外國語學(xué)院專業(yè)名稱：英語教育年級班別：2002級5班姓名：劉海濤指導(dǎo)教師：李慶東年月摘要（此處為宋體，小二號，粗體）宋體，小四號，1.5倍行距本文作者嘗試從后現(xiàn)代主義的視角去認(rèn)識《等待戈多》的反戲劇手法，感受貝克特通過此劇所傳達(dá)的后現(xiàn)代主義精神。這里，本文關(guān)注了四個典型的后現(xiàn)代主義特征，它們分別是：主體的消失；深層模式削平；不確定性；戲擬和反諷。通過分析我們不僅看到他對傳統(tǒng)戲劇規(guī)范所進(jìn)行的空前激烈的顛覆，也體會到他作為后現(xiàn)代主義的先驅(qū)所傳達(dá)給我們的后現(xiàn)代主義精神。貝克特高超的藝術(shù)手法不僅在風(fēng)起云涌的現(xiàn)代主義文學(xué)運(yùn)動中具有獨(dú)特的藝術(shù)價值，而且在剛剛興起的后現(xiàn)代主義文學(xué)的形式革新中獨(dú)領(lǐng)風(fēng)騷。宋體，小四號，1.5倍行距關(guān)鍵詞：塞繆爾·貝克特；《等待戈多》；反戲??；后現(xiàn)代主義宋體，宋體，小四號，粗體全文每段首行縮進(jìn)3-5個字符Abstract（TimesNewRoman，三號，粗體，居中）全文每段首行縮進(jìn)3-5個字符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;postmodernismTimesNewRomanTimesNewRoman五號，1.5倍行距TimesNewRoman五號粗體

TimesNewRoman，三號，粗體，居中TableofContentsTimesNewRoman五號粗體TimesNewRoman，三號，粗體，居中TOC\o"1-3"\uAcknowledgements 錯誤!未定義書簽。摘要 錯誤!未定義書簽。Abstract 錯誤!未定義書簽。TableofContents IVIntroduction 1PartOneTheTheoreticalPremises 錯誤!未定義書簽。1.1TheDissolutionoftheSubject 錯誤!未定義書簽。TimesNewRoman五號，1.5倍行距1.2Depth-less-ness 錯誤!未定義書簽。TimesNewRoman五號，1.5倍行距1.3Indeterminacy 錯誤!未定義書簽。1.3.1IndeterminacyoftheTheme 41.3.2IndeterminacyofCharacters 錯誤!未定義書簽。1.3.3IndeterminacyofthePlot 錯誤!未定義書簽。1.3.4IndeterminacyoftheLanguage 錯誤!未定義書簽。1.4ParodyandIrony 錯誤!未定義書簽。partTwoDehumanizedCharactersandPairingRelationshipsinWaitingforGodot 3partThreeDirectExpressioninWaitingforGodot 錯誤!未定義書簽。3.1EmptyStageandMuddle-headedCharacters 錯誤!未定義書簽。3.2DisorderedTemporalStructure 錯誤!未定義書簽。3.3DevaluedLanguageandSilenceAesthetics 錯誤!未定義書簽。partFourThe“Indeterminacy”inWaitingforGodot 錯誤!未定義書簽。4.1IndeterminacyoftheCharacters 錯誤!未定義書簽。4.2IndeterminacyoftheTheme 錯誤!未定義書簽。4.3IndeterminacyofthePlot 錯誤!未定義書簽。partFiveWaitingforGodot:JuxtapositionofComedyandTragedy 錯誤!未定義書簽。Conclusion 錯誤!未定義書簽。WorksCited 5河南師范大學(xué)本科畢業(yè)論文TimesNewRoman三號，粗體，居中IntroductionTimesNewRoman三號，粗體，居中全文每段首行縮進(jìn)3-5個字符全文每段首行縮進(jìn)3-5個字符SamuelBarclayBeckett(1906-1989),anIrishnovelistandplaywright,isadmittedlyregardedasoneofthegreatestmastersintheliteraryworldof20thcentury.In1969,hewasawardedtheNobelPrizeforLiteraturebyrightofhiseminentplay,WaitingforGodot,whichhasinfluencedlatergenerationsofcontemporaryplaywrightsthroughouttheworld.ActuallyBeckettconsideredhimselfamuchbetternovelistandhethoughtofhisplaysasdiversionsundertakenattimeswhenworkonhisfictionhadbroughthimtoacreativeimpasse,butsinceWaitingforGodotwasfirstperformedinParison5January1953,thegreaterpartofhisliterarycareerhasresultedinhisspecialformofwritingforthetheatre.正文部分用阿拉伯?dāng)?shù)字編排頁碼Theplaycontainstwoactsinwhichtwotramps,VladimirandEstragon,waitforsomeonenamedGodotwhoissupposedtokeepanappointmentwiththem.Theyarejoinedbyamanandhisservant,PozzoandLucky,whostaywiththembriefly,thencontinueontheirunspecifiedway.AboycomesattheendofthefirstacttotellVladimirandEstragonthatMr.Godotwillnotcomethatday,butmostsurelythenext.Atreewhichhasbeenbareofleavesistheonlysetting,andamoonrisestosignifythatdayhasendedandnighthascomeasthefirstactends.Inthesecondact,thetreemiraculouslysproutsafewleavesbutnothingelsehaschangedforVladimirandEstragon.PozzoandLuckyreturnandthenleave;theboycomesagainandrepeatsthesameinformation.VladimirandEstragonaredisappointedandconsidercommittingsuicide,buttheyevenhavenotgotaropestrongenoughtohangthemselves.Theyspeakofleavingforseveraltimesbuttheydonotmove.Themooncomesupagain,andthecurtainfallsasthetwomenstandsilentlyfacingtheaudienceinattitudesofsolemndignity,displayingbothresignationanddejection.正文部分用阿拉伯?dāng)?shù)字編排頁碼TimesNewRoman五號，1.5倍行距Thethesisconsistsofthreeparts.PartOneisanintroductiontoSamuelBeckettandWaitingforGodot,theresearchbackground,thereasonsandpurposeofstudyingWaitingforGodotfromtheperspectivesofpostmodernism.PartTwoisadetailedanalysisofWaitingforGodotandtheanti-playtechniquesofit,basingonfourtypicalfeaturesofpostmodernism.Itisalsodividedintofivechapters.ChapterOneisthetheoreticalpremises.ChapterTwofocusesonthedehumanizedcharactersand“pairing”relationshipsintheplay.ChapterThreeismainlyaboutBeckett’suseof“directexpression”,whichservesasastrategyofdepth-less-nessinpostmodernism.ChapterFourisananalysisof“indeterminacy”inthisplay.Thelastchapterisaboutthejuxtapositionofcomedyandtragedy.TimesNewRoman五號，1.5倍行距

PartOneDehumanizedCharactersandPairingRelationshipsinWaitingforGodotTimesNewRomanTimesNewRoman三號，粗體，居中TimesNewRoman,小四號，粗體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”andtheythemselvesTimesNewRoman,小四號，粗體1.1TheDissolutionoftheSubjectPostmodernismisanerainwhichthesubjectdissolves.MostoftheideologistsinwesterncountriesbelievethatwithNietzsche’sproclaimingof“Godisdead”,therecomeswithhumanbeings’death,forallvaluesofhumanbeingsliewithGod.Asitisexpected,ahundredyearslater,Foucaultannouncesthedeathofhumanbeings.Andhesays,“Theexistenceoflanguagecomesintobeingonlywiththedissolutionofthesubject”(qtd.inYan109).1.2Depth-less-nessThe“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).1.3IndeterminacyThistermincludesallmannerofambiguities,ruptures,anddisplacementsaffectingknowledgeandsociety.AccordingtoHassan,indeterminacy,whichhasvariousderivativemeanings:ambiguity,discontinuity,heterodoxy,pluralism,disorganization,rebellion,misinterpretationanddistortion,isabasicfeatureofpostmodernism.(Hassan1983:27-28).Theindeterminacyofpostmodernismliteratureisalso