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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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Baldick,Chris.OxfordConciseDictionaryofLiteraryTerms.Oxford:
OxfordUniversityPress,1996.
Baym,Ninaetal.TheNortonAnthologyofAmericanLiterature.6thed.5vols.NewYorkandLondon:
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-
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