/外國(guó)語(yǔ)學(xué)院本科生英語(yǔ)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(yǔ)）畢業(yè)論文首頁(yè)（英語(yǔ)）致謝（英文）畢業(yè)論文中文摘要與關(guān)鍵詞畢業(yè)論文英文摘要與關(guān)鍵詞目錄正文尾注（可選）參考文獻(xiàn)（英語(yǔ)文獻(xiàn)在前，漢語(yǔ)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(hào)：5河南師范大學(xué)本科畢業(yè)論文四號(hào)黑體20磅字號(hào)，華文中宋，加粗，居中四號(hào)黑體20磅字號(hào)，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(guó)語(yǔ)學(xué)院專業(yè)名稱：英語(yǔ)教育年級(jí)班別：2002級(jí)5班姓名：劉海濤指導(dǎo)教師：李慶東2007年5月AStudyof“Anti-play”TechniquesonWaitingforGodotfromthePerspectivesofPostmodernismAThesisSubmittedtoFacultyofInternationalStudiesofHenanNormalUniversityinPartialFulfillmentoftheRequirementsfortheDegreeofBachelorofArtsByYournameSupervisor：LiQingdongMay5,2007全文每段首行縮進(jìn)3-5個(gè)字符全文每段首行縮進(jìn)3-5個(gè)字符Acknowledgements(TimesNewRoman三號(hào)粗體居中)Iwouldliketothankallthosewhohavegivenmetheirgeneroushelps,commitmentandenthusiasm,whichhavebeenthemajordrivingforcetocompletethecurrentpaper.…TimesNewRomanTimesNewRoman五號(hào)，1.5倍行距羅馬數(shù)字羅馬數(shù)字編排頁(yè)碼摘要（此處為宋體，小二號(hào)，粗體）宋體，小四號(hào)，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(shí)《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(gè)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(duì)傳統(tǒng)戲劇規(guī)范所進(jìn)行的空前激烈的顛覆，也體會(huì)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(dòng)中具有獨(dú)特的藝術(shù)價(jià)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(hào)，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(hào)，粗體全文每段首行縮進(jìn)3-5個(gè)字符Abstract（TimesNewRoman，三號(hào)，粗體，居中）全文每段首行縮進(jìn)3-5個(gè)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(hào)，1.5倍行距TimesNewRoman五號(hào)粗體

TimesNewRoman，三號(hào)，粗體，居中TableofContentsTimesNewRoman五號(hào)粗體TimesNewRoman，三號(hào)，粗體，居中TOC\o"1-3"\uAcknowledgements ii摘要 iiiAbstract vTableofContents viiiIntroduction 1PARTOneTheTheoreticalPremises 61.1TheDissolutionoftheSubject 10TimesNewRoman五號(hào)，1.5倍行距1.2Depth-less-ness 11TimesNewRoman五號(hào)，1.5倍行距1.3Indeterminacy 121.3.1IndeterminacyoftheTheme 121.3.2IndeterminacyofCharacters 121.3.3IndeterminacyofthePlot 131.3.4IndeterminacyoftheLanguage 131.4ParodyandIrony 14PARTTwoDehumanizedCharactersandPairingRelationshipsinWaitingforGodot 15PARTThreeDirectExpressioninWaitingforGodot 233.1EmptyStageandMuddle-headedCharacters 243.2DisorderedTemporalStructure 263.3DevaluedLanguageandSilenceAesthetics 28PARTFourThe“Indeterminacy”inWaitingforGodot 334.1IndeterminacyoftheCharacters 334.2IndeterminacyoftheTheme 384.3IndeterminacyofthePlot 40PARTFiveWaitingforGodot:JuxtapositionofComedyandTragedy 44Conclusion 50WorksCited 53TimesNewRoman三號(hào)，粗體，居中IntroductionTimesNewRoman三號(hào)，粗體，居中全文每段首行縮進(jìn)3-5個(gè)字符全文每段首行縮進(jìn)3-5個(gè)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(yè)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(yè)碼TimesNewRoman五號(hào)，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(hào)，1.5倍行距

PartOneDehumanizedCharactersandPairingRelationshipsinWaitingforGodotTimesNewRomanTimesNewRoman三號(hào)，粗體，居中TimesNewRoman,小四號(hào)，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(hào)，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).Theindeterminacyofpostmodernismliteratureisalsoreflectedinfour