【正文】 s overriding concern in writing Being and Nothingness was to demonstrate that free will Being and Nothingness, man is a creature haunted by a vision of pletion, which religions identify as God. Born into the material reality of one39。 dialogue full of nonsense。這部作品同時(shí)吸引了文學(xué)界大量學(xué)者的眼球。學(xué)科分類號(hào)（二級(jí)）7405011本科學(xué)生畢業(yè)論文（設(shè)計(jì)）　題　　目 Waiting for the Absent Other: An Existentialistic Analysis of Waiting for Godot 不在場(chǎng)的他者——從存在主義角度分析 《等待戈多》 姓　　名　李秀才　　　　　　　 　　 學(xué)　　號(hào)　094050113　　　　　　　　　 院、　系　外國(guó)語學(xué)院 英語系 專　　業(yè)　英語（師范 4）　　　　 指導(dǎo)教師　謝楠　　　　　　 職稱（學(xué)歷）　助教（碩士）　　　　　　　 　 2013年04月30日獨(dú)創(chuàng)性聲明本人聲明所呈交的學(xué)位論文是我個(gè)人在導(dǎo)師指導(dǎo)下進(jìn)行的研究工作及取得的研究成果。文學(xué)界從不同角度分析的著作源源不斷，潺潺不息。 plots that are cyclical or absurdly expansive.Playwrights monly associated with the Theatre of the Absurd include Samuel Beckett, Eug232。s body, in a material universe, one finds oneself inserted into being. Consciousness has the ability to conceptualize possibilities, and to make them contends that human existence is a conundrum whereby each of us exists, for as long as we live, within an overall condition of nothingness that ultimately allows for free consciousness. But simultaneously, within our being (in the physical world), we are constrained to make continuous, conscious choices. Sartre contends our conscious choices run counter to our intellectual freedom. Yet we are bound to the conditioned and physical world in which some form of action is always a word,there is no meaning to be found in the world. World is absurd and meaningless. At any point in time and space, anything could happen to any one no matter he or she is good or bad, and any tragic and absurd event could happen to any one. for the Absent Other : An Existentialistic Analysis of Waiting for Godot The Absurdity of Waiting for GodotMuch of Beckett39。s essence. Sartre39。 characters caught in hopeless situations forced to do repetitive or meaningless actions?！兜却甓唷吩诎屠枭涎萏幣氵^后，引起了成千上萬人的共鳴。盡我所知，除文中已經(jīng)標(biāo)明引用的內(nèi)容外，本論文不包含任何其他個(gè)人或集體已經(jīng)發(fā)表或撰寫過的研究成果。許多評(píng)論員認(rèn)為這部作品并沒有呈現(xiàn)存在主義，但也有人認(rèn)為它和存在主義有密不可分的關(guān)系。ne Ionesco, Jean Genet, Harold Pinter, Tom Stoppard, Friedrich D252。s work – including Waiting for Godot – is often considered by philosophical and literary scholars to be part of the movement of the Theatre of the Absurd. Thus humanity is doomed to be faced with the Absurd. This kind of plays are absurd in which they do not focus on logical acts, realistic occurrences, or traditional character development, instead, they focus on human beings trapped in an inprehensible world, no matter how illogical. And the following is to discuss the absurdity in Waiting for Godot. Waiting for Godot is divided in to two acts.Act IThe play opens with Estragon struggling to remove a boot. Estragon eventually gives up, muttering, Nothing to be done. His friend Vladimir takes up the thought and muses on it. The pair discusses repentance, particularly in relation to the two thieves and crucified Jesus. Estragon dozes off, but, after rousing him, Vladimir is not interested in hearing about his dream. Estragon suggests that they hang themselves, but they abandon the idea when it seems that they might not both die: leaving one of them alone. Their waiting is interrupted by the passing through of Pozzo and his heavilyladen slave Lucky who has a rope tied around his neck and his master Pozzo holds the other end. Pozzo orders his slave and frequently calls him a pig. They mistake him at first for Godot and clearly do not recognize him for the selfproclaimed personage he is. Vladimir takes Pozzo to task regarding his mistreatment of his slave, but his protestations are ignored. Before he leaves, Pozzo asks if he can do anything for the pair in exchange for the pany they have provided during his rest. Estragon tries to ask for some money, but Vladimir cuts him short, explaining that they are not beggars. They nevertheless accept an offer to have Lucky dance and to think.Once Lucky has been revived, Pozzo has him pack up his things and they leave. At the end of the act, a boy arrives, purporting to be a messenger sent from Godot, to advise the pair that he will not be ing that evening but surely tomorrow. After the boy departs, they decide to leave but make no attempt to do so, an action repeated in Act II, as the curtain is drawn.Act IIAct II opens with Vladimir singing about a dog.Once again Estragon maintains he spent the night in a ditch and was beaten. Vladimir tries to talk to him about what appears to be a seasonal change in the tree and the proceedings of the day before, but he has only a vague recollection. Vladimir tries to get Estragon to remember Pozzo and Lucky, but all he can call to mind are the bones and getting kicked. Vladimir realizes an opportunity to produce tangible evidence of the previous day39。s existence as prior to the individual39。Absurde) is a designation for particular plays written by a number of primarily European playwrights in the late 1950s, their works expressed the belief that human existence has no meaning purpose and therefore all munication breaks down in irrational and illogical ways. These plays try to show how man controlled by invisible outside and forces react to a world apparently without meaning. Though Theatre of the Absurd is applied to a wide rage of plays, some characteristics coincide in many of the plays: broad edy mixed with horrific or tragic images。在西方世界精神危機(jī)和復(fù)雜的社會(huì)環(huán)境大背景下，這部作品旨在揭露西方人民荒誕的生活狀況，孤獨(dú)感，絕望感，分離感以及無意義的生活。對(duì)本文的研究做出貢獻(xiàn)的個(gè)人和集體，均已在文中以明確方式標(biāo)明。因此本論文將從存在主義的角度來分析《等待戈多》同存在主義的關(guān)系，討論《等待戈多》找中等待的意蘊(yùn)以及這部戲劇的荒誕性。rrenmatt, Alejandro Jodorowsky, Fernando Arrabal and Edward Albee. Existentialism Influenced by Martin Heidegger39。s events. With some difficulty he gets Estragon to show him his leg. There is a wound which is beginning to fester. Only then Vladimir notices that Estragon is not wearing any boots.Vladimir noti