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：
反戏剧手法
学 院 名 称：专 业 名 称：年 级 班 别： 2002 级 5 班 姓 名： 刘 海 涛 指 导 教 师：
年 月
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
for the Degree of Bachelor of Arts
By
Your name
Supervisor：Li Qingdong
英文年月日
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居中)
all those who have given me their generous helps, commitment and …
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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
后现代主义文学的形式革新中独领风骚。
：塞缪尔·贝克特；《等待戈多》
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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 Waiting 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 features of postmodernism: the dissolution of the subject; depth-less-ness; indeterminacy; parody and irony. By the analysis of Beckett’s anti-play techniques in Waiting for Godot, we can not only perceive how he overthrows traditional dramatic regulations thoroughly and extraordinarily but also experience 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.
Samuel Beckett; Waiting for Godot
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ACKNOWLEDGEMENTS.....................................................................................错误！未定义书签。 摘要
.....................................................................................................................错误！未定义书签。 ABSTRACT .........................................................................................................错误！未定义书签。 TABLE OF CONTENTS ....................................................................................................................IV
INTRODUCTION ...............................................................................................................................1 PART ONE THE THEORETICAL PREMISES .........................................................错误！未定义书签。
1.1 THE DISSOLUTION OF THE SUBJECT错误！未定义书签。
1.2 DEPTH-LESS-NESS错误！未定义书签。 1.3 INDETERMINACY错误！未定义书签。
1.3.1 Indeterminacy of the Theme....................................................................................................4
1.3.2 Indeterminacy of Characters ....................................................................错误！未定义书签。
1.3.3 Indeterminacy of the Plot .........................................................................错误！未定义书签。
1.3.4 Indeterminacy of the Language .................................................................错误！未定义书签。
1.4 PARODY AND IRONY .......................................................................................错误！未定义书签。 PART TWO DEHUMANIZED CHARACTERS AND PAIRING RELATIONSHIPS IN WAITING
FOR GODOT ......................................................................................................................................3 PART THREE DIRECT EXPRESSION IN WAITING FOR GODOT............................错误！未定义书签。
3.1 EMPTY STAGE AND MUDDLE-HEADED CHARACTERS ..........................................错误！未定义书签。
3.2 DISORDERED TEMPORAL STRUCTURE...............................................................错误！未定义书签。
3.3 DEVALUED LANGUAGE AND SILENCE AESTHETICS .............................................错误！未定义书签。 PART FOUR THE “INDETERMINACY” IN WAITING FOR GODOT ........................错误！未定义书签。
4.1 INDETERMINACY OF THE CHARACTERS .............................................................错误！未定义书签。
4.2 INDETERMINACY OF THE THEME ......................................................................错误！未定义书签。
4.3 INDETERMINACY OF THE PLOT.........................................................................错误！未定义书签。 IV
PART FIVE WAITING FOR GODOT: JUXTAPOSITION OF COMEDY AND TRAGEDY错误！未定义书签。 CONCLUSION .....................................................................................................错误！未定义书签。
WORKS CITED ..................................................................................................................................5
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河南师范大学本科毕业论文
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Introduction Times New Roman 三号，粗体，居中
Samuel Barclay Beckett (1906-1989), an Irish novelist and playwright, 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 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 resulted 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 continue 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 first 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 they even have not got a rope strong enough to hang themselves. They speak of leaving for several times but they do
河南师范大学本科毕业论文
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 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 play. Chapter Three is mainly about Beckett’s 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 is about the juxtaposition of Times New Roman 五号，1.5倍行距
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河南师范大学本科毕业论文
Part One Dehumanized Characters and Pairing Relationships in Waiting for Godot
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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 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 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 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. Times New
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四号，粗体 1.1 The Dissolution Postmodernism is an era in which the subject dissolves. Most of the ideologists in western countries believe that with Nietzsche’s 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 language 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” 3
河南师范大学本科毕业论文
or “superficiality” by Jameson (Jameson 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, towards 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 of
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 Indeterminacy
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 distortion, 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 Indeterminacy of the Theme
4
河南师范大学本科毕业论文
Andonian, Cathleen Culotta.
Greenwood Press, 1998.
Bair, Deirdre.Baldick, Chris. Oxford Concise Dictionary of Literary Terms. Oxford: Oxford University Press,
1996.
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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: 5
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