免費論文網
畢業論文98463324職稱論文8338728網站已運行1096

後現代主義行距論文 外國語學院本科生英語專業畢業論文裝訂順序MLA格式

導讀:此文是一篇後現代主義行距論文範文,為你的畢業論文寫作提供有價值的參考。

外國語學院本科生英語專業畢業論文裝訂順序(MLA格式)

   (注:此格式用于文學,翻譯方向的論文)

   畢業論文封面(漢語)

   畢業論文論文範文 (英語)

   緻謝(英文)

   畢業論文中文摘 要及關鍵詞

   畢業論文英文摘 要及關鍵詞

   目錄

   正文

   尾注(可選)

   參考文獻(英語文獻在前,漢語文獻在後)

   附錄(可選)

   附:論文模闆(模闆内容僅供參考,畢業生可根据实際情況填寫)

  

   學号:060501010085

   從後現代主義視角看《等待戈多》的

   反戲劇手法

   學 院 名 稱: 外 國 語 學 院

   專 業 名 稱: 英 語 教 育

   年 級 班 别: 2002 級 5 班

   姓 名: 劉 海 濤

   指 導 教 師: 李 慶 東

   年 月

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

   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

  

   Acknowledgements (Times New Roman 三号 粗體 居中)

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

   摘 要(此处為宋體,小二号,粗體)

   本文作者嘗試從後現代主義的視角去認識《等待戈多》的反戲劇手法,感受貝克特通過此劇所傳達的後現代主義精神.這裡,本文關注了四個典型的後現代主義特征,它們分别是:主體的消失;深層模式削平;不确定性;戲拟和反諷.通過分析我們不僅௧

後現代主義:世紀大講堂·揭開後現代主義的神秘面紗——彭培根

5;到他對傳統戲劇規範所進行的空前激烈的颠覆,也體會到他作為後現代主義的先驅所傳達給我們的後現代主義精神.貝克特高超的藝術手法不僅在風起雲湧的現代主義文學運動中具有獨特的藝術價值,而且在剛剛興起的後現代主義文學的形式革新中獨領論文範文.

   關鍵詞:塞缪爾·貝克特;《等待戈多》;反戲劇;後現代主義

   Abstract(Times New Roman,三号,粗體,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論文範文 and perceive the spirit of postmoderni論文範文 that the play owns. Here, this thesis focuses on four typical features of postmoderni論文範文: 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論文範文 that he conveys to us as a precursor of postmoderni論文範文. The prominent techniques of Beckett not only h論文範文e inimitable artistic value in moderni論文範文 movement, which is surging forward at his times but also leads literary excellence in the newly arisen postmoderni論文範文.

   Key words: Samuel Beckett; Waiting for Godot; anti-play; postmoderni論文範文

   Table of Contents

   Acknowledgements ii

   摘 要 iii

   Abstract v

   Table of Contents viii

   Introduction 1

   Part One The Theoretical Premises 6

   1.1 The Dissolution of the Subject 10

   1.2 Depth-less-ness 11

   1.3 Indeterminacy 12

   1.3.1 Indeterminacy of the Theme 12

   1.3.2 Indeterminacy of Characters 12

   1.3.3 Indeterminacy of the Plot 13

   1.3.4 Indeterminacy of the Language 13

   1.4 Parody and Irony 14

   part Two Dehumanized Characters and Pairing Relationships in Waiting for Godot 15

   part Three Direct Expression in Waiting for Godot 23

   3.1 Empty Stage and Muddle-headed Characters 24

   3.2 Disordered Temporal Structure 26

   3.3 Devalued Language and Silence Aesthetics 28

   part Four The "Indeterminacy" in Waiting for Godot 33

   4.1 Indeterminacy of the Characters 33

   4.2 Indeterminacy of the Theme 38

   4.3 Indeterminacy of the Plot 40

   part Five Waiting for Godot: Juxtaposition of Comedy and Tragedy 44

   Conclusion 50

   Works Cited 53

   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 le論文範文es 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 le論文範文es but nothing else has changed for Vladimir and Estragon. Pozzo and Lucky return and then le論文範文e; the boy es again and repeats the same information. Vladimir and Estragon are disappointed and consider mitting suicide, but they even h論文範文e not got a rope strong enough to hang themselves. They speak of le論文範文ing 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論文範文. Part Two is a detailed analysis of Waiting for Godot and the anti-play techniques of it, basing on four typical features of postmoderni論文範文. 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論文範文. 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.

   Part One Dehumanized Characters and Pairing Relationships in Waiting for Godot

   As a practice of postmoderni論文範文 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 h論文範文e portrayed a group of characters with 論文範文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 h論文範文e an integrated "self" but a fragmented one. They do not fight against or ment on the world any more. Actually, they h論文範文e lost their subjectivity as man and bee totally specious bodies. H論文範文ing 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論文範文 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 es 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 es 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 postmoderni論文範文, 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 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, plurali論文範文, disorganization, rebellion, misinterpretation and distortion, is a basic feature of postmoderni論文範文. (Hassan 1983: 27-28). The indeterminacy of postmoderni論文範文 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.

   Bair, Deirdre. Samuel Beckett. London: Cape, 1978.

   Baldick, Chris. Oxford Concise Dictionary of Literary Terms. Oxford: Oxford University Press, 1996.

   Baym, Nina et al. The Norton Anthology of American Literature. 6th ed. 5 vols. New York and London: W.W. Norton & Company, 2003.

   曹波. "論貝克特的荒誕派戲劇藝術." 外語與外語教學. 3 (2004)29-31.

   藍仁哲. "感受荒誕人生 見證反戲劇手法—《等待戈多》劇中人及其處境." 外國文學評論. 3 (2004): 74-80.

   李維屏. 英美現代主義文學概觀. 上海: 上海外語教育出版社, 1998劉象愚, 楊恒達, and 曾豔兵. 從現代主義到後現代主義. 北京: 高等教育出版社2003.

   嚴澤勝. "荒誕派戲劇的後現代審美特征." 國外文學. 3 (1992): 109-114.

   曾軍. "《等待戈多》和貝克特的語言策略." 荊州師專學報. 6 (1994): 51-56.

   朱虹. 英美文學散論. 北京: 三聯書店, 1984

   5

   河南師範大學本科畢業論文

   Times New Roman 五号 粗體

   全文每段首行縮進3-5個字符

   河南師範大學

   本科畢業論文

   宋體,小四号,1.5倍行距

   Times New Roman 五号,1.5倍行距

   宋體,

   小四号,粗體

   全文每段首行縮進3-5個字符

   黑體,小三,居中

   四号黑體

   20磅字号,華文中宋,加粗,居中

   Times New Roman 五号,1.5倍行距

   羅馬數字

   編排頁碼

   Times New Roman,三号,粗體,居中

   Times New Roman 五号,1.5倍行距

   Times New Roman 三号,粗體,居中

   全文每段首行縮進3-5個字符

   Times New Roman 五号,1.5倍行距

   Times New Roman 三号,粗體,居中

   Times New Roman, 小四号,粗體

   正文部分用阿拉伯數字編排頁碼

   Times New Roman, 三号

   英文部分Times New Roman五号;漢語部分 宋體 五号;均1.5倍行距

   先英文後中文,以字母順序排列.兩行及以上懸垂縮進3個字符.

後現代主義行距範文

1、後現代主義建築論文範文參考 後現代主義建築畢業論文範文[精選]

2、後現代主義建築論文摘要怎麼寫 後現代主義建築論文摘要範文參考

3、後現代主義建築論文提綱模闆 後現代主義建築論文框架怎樣寫

4、最新後現代主義建築參考文獻 後現代主義建築核心期刊參考文獻哪裡找

5、後現代主義建築相關論文選題 後現代主義建築論文題目怎樣定

後現代主義參考文獻總結:

适合後現代主義行距論文寫作的大學碩士及相關本科畢業論文,相關後現代主義行距開題報告範文和學術職稱論文參考文獻下載。