mla毕业论文模板1

/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）毕业论文封面（汉语）毕业论文首页（英语）致谢（英文）毕业论文中文摘要与关键词毕业论文英文摘要与关键词目录正文尾注（可选）参考文献（英语文献在前，汉语文献在后）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：5河南师范大学本科毕业论文四号黑体20磅字号，华文中宋，加粗，居中四号黑体20磅字号，华文中宋，加粗，居中从后现代主义视角看《等待戈多》的反戏剧手法黑体，小三，居中黑体，小三，居中学院名称：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2007年5月AStudyof“Anti-play”TechniquesonWaitingforGodotfromthePerspectivesofPostmodernismAThesisSubmittedtoFacultyofInternationalStudiesofHenanNormalUniversityinPartialFulfillmentoftheRequirementsfortheDegreeofBachelorofArtsByYournameSupervisor：LiQingdongMay5,2007全文每段首行缩进3-5个字符全文每段首行缩进3-5个字符Acknowledgements(TimesNewRoman三号粗体居中)Iwouldliketothankallthosewhohavegivenmetheirgeneroushelps,commitmentandenthusiasm,whichhavebeenthemajordrivingforcetocompletethecurrentpaper.…TimesNewRomanTimesNewRoman五号，1.5倍行距罗马数字罗马数字编排页码摘要（此处为宋体，小二号，粗体）宋体，小四号，1.5倍行距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。宋体，小四号，1.5倍行距关键词：塞缪尔·贝克特；《等待戈多》；反戏剧；后现代主义宋体，宋体，小四号，粗体全文每段首行缩进3-5个字符Abstract（TimesNewRoman，三号，粗体，居中）全文每段首行缩进3-5个字符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五号，1.5倍行距TimesNewRoman五号粗体

TimesNewRoman，三号，粗体，居中TableofContentsTimesNewRoman五号粗体TimesNewRoman，三号，粗体，居中TOC\o"1-3"\uAcknowledgements ii摘要 iiiAbstract vTableofContents viiiIntroduction 1PARTOneTheTheoreticalPremises 61.1TheDissolutionoftheSubject 10TimesNewRoman五号，1.5倍行距1.2Depth-less-ness 11TimesNewRoman五号，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三号，粗体，居中IntroductionTimesNewRoman三号，粗体，居中全文每段首行缩进3-5个字符全文每段首行缩进3-5个字符SamuelBarclayBeckett(1906-1989),anIrishnovelistandplaywright,isadmittedlyregardedasoneofthegreatestmastersintheliteraryworldof20thcentury.In1969,hewasawardedtheNobelPrizeforLiteraturebyrightofhiseminentplay,WaitingforGodot,whichhasinfluencedlatergenerationsofcontemporaryplaywrightsthroughouttheworld.ActuallyBeckettconsideredhimselfamuchbetternovelistandhethoughtofhisplaysasdiversionsundertakenattimeswhenworkonhisfictionhadbroughthimtoacreativeimpasse,butsinceWaitingforGodotwasfirstperformedinParison5January1953,thegreaterpartofhisliterarycareerhasresultedinhisspecialformofwritingforthetheatre.正文部分用阿拉伯数字编排页码Theplaycontainstwoactsinwhichtwotramps,VladimirandEstragon,waitforsomeonenamedGodotwhoissupposedtokeepanappointmentwiththem.Theyarejoinedbyamanandhisservant,PozzoandLucky,whostaywiththembriefly,thencontinueontheirunspecifiedway.AboycomesattheendofthefirstacttotellVladimirandEstragonthatMr.Godotwillnotcomethatday,butmostsurelythenext.Atreewhichhasbeenbareofleavesistheonlysetting,andamoonrisestosignifythatdayhasendedandnighthascomeasthefirstactends.Inthesecondact,thetreemiraculouslysproutsafewleavesbutnothingelsehaschangedforVladimirandEstragon.PozzoandLuckyreturnandthenleave;theboycomesagainandrepeatsthesameinformation.VladimirandEstragonaredisappointedandconsidercommittingsuicide,buttheyevenhavenotgotaropestrongenoughtohangthemselves.Theyspeakofleavingforseveraltimesbuttheydonotmove.Themooncomesupagain,andthecurtainfallsasthetwomenstandsilentlyfacingtheaudienceinattitudesofsolemndignity,displayingbothresignationanddejection.正文部分用阿拉伯数字编排页码TimesNewRoman五号，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五号，1.5倍行距

PartOneDehumanizedCharactersandPairingRelationshipsinWaitingforGodotTimesNewRomanTimesNewRoman三号，粗体，居中TimesNewRoman,小四号，粗体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,小四号，粗体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