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从后现代主义视角看《等待戈多》的

反戏剧手法

姓 名 李四

学 号 

A Study of "Anti-play" Techniques on Waiting for Godot from the Perspectives of Postmoderni

A Thesis Submitted

to Foreign Languages School of

Linyi University

in Partial Fulfillment of the Requirements

for the Degree of Bachelor of Arts

ByYour nameSupervisor: April 10, 2016

Acknowledgements (Times New Roman 三号 粗体 居中)

I would like to thank all those who he given me their generous helps, mitment and enthusia, which he been the major driving force to plete the current paper. 等

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 postmoderni and perceive the spirit of postmoderni that the play owns. Here, this thesis focuses on four typical features of postmoderni: 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 postmoderni that he conveys to us as a precursor of postmoderni. The prominent techniques of Beckett not only he inimitable artistic value in moderni movement, which is surging forward at his times but also leads literary excellence in the newly arisen postmoderni.

Key words: Samuel Beckett, Waiting for Godot, anti-play, postmoderni

摘 要 (此处为宋体,小二号,粗体,居中)

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.

关 键 词 :塞缪尔·贝克特,《等待戈多》,反戏剧,后现代主义

 Table of Contents

Acknowledgements等i

Abstractii

摘 要 iii

Table of Contentsiv

Introduction1

Chapter One The Theoretical Premises3

1.1 The Dissolution of the Subject5

1.2 Depth-less-ness5

1.3 Indeterminacy6

1.3.1 Indeterminacy of the Theme6

1.3.2 Indeterminacy of Characters7

1.3.3 Indeterminacy of the Plot7

1.3.4 Indeterminacy of the Language10

1.4 Parody and Irony14

Chapter Two Dehumanized Characters and Pairing Relationships in Waiting for Godot17

Chapter Three Direct Expression in Waiting for Godot20

3.1 Empty Stage and Muddle-headed Characters23

3.2 Disordered Temporal Structure30

3.3 Devalued Language and Silence Aesthetics34

Chapter Four The "Indeterminacy" in Waiting for Godot40

4.1 Indeterminacy of the Characters43

4.2 Indeterminacy of the Theme45

4.3 Indeterminacy of the Plot50

Chapter Five Waiting for Godot: Juxtaposition of Comedy and Tragedy55

Conclusion57

Works Cited60

 Introduction

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 es at the end of the first act to tell Vladimir and Estragon that Mr. Godot will not e that day, but most surely the next. A tree which has been bare of lees is the only setting, and a moon rises to signify that day has ended and night has e as the first act ends. In the second act, the tree miraculously sprouts a few lees but nothing else has changed for Vladimir and Estragon. Pozzo and Lucky return and then lee, the boy es again and repeats the same information. Vladimir and Estragon are disappointed and consider mitting suicide, but they even he not got a rope strong enough to hang themselves. They speak of leing for several times but they do not move. The moon es up again, and the curtain falls as the two men stand silently facing the audience in attitudes of solemn dignity, displaying both resignation and dejection.

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 postmoderni. Part Two is a detailed analysis of Waiting for Godot and the anti-play techniques of it, basing on four typical features of postmoderni. 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 postmoderni. Chapter Four is an analysis of "indeterminacy" in this play. The last chapter is about the juxtaposition of edy and tragedy. Part Three is a conclusion of the thesis.

Chapter One

Dehumanized Characters and Pairing Relationships in Waiting for Godot

As a practice of postmoderni 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 he portrayed a group of characters with art 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 he an integrated "self" but a fragmented one. They do not fight against or ment on the world any more. Actually, they he lost their subjectivity as man and bee totally specious bodies. Hing been deprived all the dignity of "man", characters are not "characterized" but "dehumanized" and they themselves are turned into part of the absurd world.

1.1 The Dissolution of the Subject

Postmoderni is an era in which the subject dissolv

此文是一篇文学评论论文范文,文学评论有关论文范文,与英语文学文格式郑州相关硕士毕业论文。适合不知如何写文学评论及外语教学及参考文献方面的论文致谢专业大学硕士和本科毕业论文以及文学评论类开题报告范文和职称论文的作为写作参考文献资料下载。

1.2 Depth-less-ness

The "depth-less-ness" is a significant feature of postmoderni, which is called "flatness" 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 fone (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, plurali, disanization, rebellion, misinterpretation and distortion, is a basic feature of postmoderni. The indeterminacy of postmoderni 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

Works Cited

Andonian, Cathleen Culotta. The Critical Response to Samuel Beckett. West Port, Conn: Greenwood Press, 1998.

独着姓,名. 书名. 出版地: 出版社, 出版年代.Horton, Rod W., and Herbert W. Edwards. Backgrounds of American Literary Thought. New York: Appleton-Century-Crofts, Inc., 1952.

Atwan, Robert, Donald Mcquade, and John Wright. Edsels, Luckies, and Frigidaires: Advertising the American Way. New York: Dell, 1979.

两至三名作者

姓,名, 名姓, and 名姓. 书名. 出版地: 出版社, 出版年代.

Baym, Nina et al. The Norton Anthology of American Literature. New York and London: W.W. Norton &, Company, 2003.

四名或以上作者姓,名, et al. 书名. 出版地: 出版社, 出版年代.Stewart, Donald C. "What Is an English Major, and What Should It Be" College Composition and Communication 40 (1989): 188-202.

一位作者写的文章

曹波. "论贝克特的荒诞派戏剧艺术." 外语与外语教学2004 (3): 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, 2004 (3): 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,1992 (3): 109-114.

朱虹. 英美文学散论. 北京: 三联书店, 1984ztflh.jourserv./

文学:I106

文化:G0

翻译:H315

临沂大学外国语学院本科毕业论文

临沂大学外国语学院本科毕业论文

临沂大学外国语学院本科毕业论文

ii

临沂大学外国语学院本科毕业论文

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