mla畢業(yè)論文模板

1、外國語學(xué)院本科生英語專業(yè)畢業(yè)論文裝訂順序（MLA格式）（注：此格式用于文學(xué)、翻譯方向的論文）1. 畢業(yè)論文封面（漢語）2. 畢業(yè)論文首頁 （英語）3. 致謝（英文）4. 畢業(yè)論文中文摘要及關(guān)鍵詞5. 畢業(yè)論文英文摘要及關(guān)鍵詞6. 目錄7. 正文8. 尾注（可選）9. 參考文獻(xiàn)（英語文獻(xiàn)在前，漢語文獻(xiàn)在后）10. 附錄（可選）附：論文模板（模板內(nèi)容僅供參考，畢業(yè)生可根據(jù)實際情況填寫）河南師范大學(xué)本科畢業(yè)論文 學(xué)號：060501010085 四號黑體20磅字號，華文中宋，加粗，居中從后現(xiàn)代主義視角看等待戈多的反戲劇手法黑體，小三，居中學(xué) 院 名 稱： 外 國 語 學(xué) 院 專 業(yè) 名 稱： 英 語

2、教 育 年 級 班 別： 2002 級 5 班 姓 名： 劉 海 濤 指 導(dǎo) 教 師： 李 慶 東 2007 年 5 月 A Study of “Anti-play” Techniques on Waiting for Godot from the Perspectives of PostmodernismA Thesis Submittedto Faculty of International Studies of Henan Normal Universityin Partial Fulfillment of the Requirementsfor the Degree of Bachel

3、or of ArtsByYour nameSupervisor：Li QingdongMay 5, 2007全文每段首行縮進(jìn)3-5個字符Acknowledgements (Times New Roman 三號 粗體 居中) I would like to thank all those who have given me their generous helps, commitment and enthusiasm, which have been the major driving force to complete the current paper. Times New Roman 五號

4、，1.5倍行距羅馬數(shù)字編排頁碼摘要（此處為宋體，小二號，粗體）宋體，小四號，1.5倍行距本文作者嘗試從后現(xiàn)代主義的視角去認(rèn)識等待戈多的反戲劇手法，感受貝克特通過此劇所傳達(dá)的后現(xiàn)代主義精神。這里，本文關(guān)注了四個典型的后現(xiàn)代主義特征，它們分別是：主體的消失；深層模式削平；不確定性；戲擬和反諷。通過分析我們不僅看到他對傳統(tǒng)戲劇規(guī)范所進(jìn)行的空前激烈的顛覆，也體會到他作為后現(xiàn)代主義的先驅(qū)所傳達(dá)給我們的后現(xiàn)代主義精神。貝克特高超的藝術(shù)手法不僅在風(fēng)起云涌的現(xiàn)代主義文學(xué)運動中具有獨特的藝術(shù)價值，而且在剛剛興起的后現(xiàn)代主義文學(xué)的形式革新中獨領(lǐng)風(fēng)騷。關(guān)鍵詞：塞繆爾·貝克特；等待戈多；反戲劇；后現(xiàn)代主義宋

5、體，小四號，粗體全文每段首行縮進(jìn)3-5個字符 Abstract（Times New Roman，三號，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 cla

6、ssic 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

7、subject; depth-less-ness; indeterminacy; parody and irony. By the analysis of Becketts 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

8、 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. Key words: Samuel Beckett; Waiting for Godot; anti-pl

9、ay; postmodernismTimes New Roman 五號，1.5倍行距Times New Roman 五號 粗體Times New Roman，三號，粗體，居中 Table of ContentsACKNOWLEDGEMENTSII摘要IIIABSTRACTVTABLE OF CONTENTSVIIIINTRODUCTION1PART ONE THE THEORETICAL PREMISES61.1 The Dissolution of the Subject10Times New Roman 五號，1.5倍行距1.2 Depth-less-ness111.3 Indetermi

10、nacy121.3.1 Indeterminacy of the Theme121.3.2 Indeterminacy of Characters121.3.3 Indeterminacy of the Plot131.3.4 Indeterminacy of the Language131.4 Parody and Irony14PART TWO DEHUMANIZED CHARACTERS AND PAIRING RELATIONSHIPS IN WAITING FOR GODOT15PART THREE DIRECT EXPRESSION IN WAITING FOR GODOT233.

11、1 Empty Stage and Muddle-headed Characters243.2 Disordered Temporal Structure263.3 Devalued Language and Silence Aesthetics28PART FOUR THE “INDETERMINACY” IN WAITING FOR GODOT334.1 Indeterminacy of the Characters334.2 Indeterminacy of the Theme384.3 Indeterminacy of the Plot40PART FIVE WAITING FOR G

12、ODOT: JUXTAPOSITION OF COMEDY AND TRAGEDY44CONCLUSION50WORKS CITED53 Times New Roman 三號，粗體，居中Introduction全文每段首行縮進(jìn)3-5個字符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 aw

13、arded 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

14、 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.正文部分用阿拉伯?dāng)?shù)字編排頁碼The play contains two acts in which two tramps, Vl

15、adimir 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 tha

16、t 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

17、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

18、but they do not move. The moon comes 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.Times New Roman 五號，1.5倍行距The thesis consists of three parts. Part One is an introduction to Samuel Beckett

19、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

20、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 Becketts use of “direct expression”, which serves as a strategy of depth-less-ness in postmodernism. Chapter Four is a

21、n analysis of “indeterminacy” in this play. The last chapter is about the juxtaposition of comedy and tragedy. Part Three is a conclusion of the thesis.Part One Dehumanized Characters and Pairing Relationships in Waiting for GodotTimes New Roman 三號，粗體，居中Times New Roman, 小四號，粗體As a practice of postmo

22、dernism 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 litera

23、ture 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

24、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 t

25、hemselves are turned into part of the absurd world.1.1 The Dissolution of the Subject Postmodernism is an era in which the subject dissolves. Most of the ideologists in western countries believe that with Nietzsches proclaiming of “God is dead”, there comes with human beings death, for all values of

26、 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

27、 of postmodernism, 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 ess

28、ence, 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

29、 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 grea

30、ter 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