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【正文】 tence of language es into being only with the dissolution of the subject” (qtd. in Yan 109). Depthlessness The “depthlessness” is a significant feature of postmodernism, which is called “flatness” Times New Roman 三號(hào)，粗體，居中Times New Roman, 小四號(hào)，粗體河南師范大學(xué)本科畢業(yè)論文 4or “superficiality” by Jameson (Jameson 4). The depthlessness is meant to eliminate the antitheses between surface and essence, latency and patency, authenticity and nonauthenticity, signifier and signified. It aims at tending towards surface from essence, towards patency from latency, towards nonauthenticity from authenticity, towards signifier from signified. In a word, profundity is going to be replaced by superficiality here. Jameson explains this depthlessness as a loss of the hermeneutic relationship between an image and the viewer: The viewer can no longer interpret an image, due to the depthlessness。 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). 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, disanization, rebellion, misinterpretation and distortion, is a basic feature of postmodernism. (Hassan 1983: 2728). The indeterminacy of postmodernism 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). Indeterminacy of the Theme河南師范大學(xué)本科畢業(yè)論文 5Works CitedAndonian, 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: . Norton amp。 Company, 2022.曹波. “論貝克特的荒誕派戲劇藝術(shù).” 外語(yǔ)與外語(yǔ)教學(xué). 3 (2022): 2931.藍(lán)仁哲. “感受荒誕人生 見(jiàn)證反戲劇手法—《等待戈多》劇中人及其處境.” 外國(guó)文學(xué)評(píng)論. 3 (2022): 7480.李維屏. 英美現(xiàn)代主義文學(xué)概觀. 上海: 上海外語(yǔ)教育出版社, 1998.劉象愚, 楊恒達(dá), and 曾艷兵. 從現(xiàn)代主義到后現(xiàn)代主義. 北京: 高等教育出版社, 2022. 嚴(yán)澤勝. “荒誕派戲劇的后現(xiàn)代審美特征.” 國(guó)外文學(xué). 3 (1992): 109114.曾軍. “《等待戈多》和貝克特的語(yǔ)言策略.” 荊州師專(zhuān)學(xué)報(bào). 6 (1994): 5156.朱虹. 英美文學(xué)散論. 北京: 三聯(lián)書(shū)店, 1984.Times New Roman, 三號(hào)英文部分 Times New Roman 五號(hào)；漢語(yǔ)部分 宋體 五號(hào)；均 倍行距先英文后中文，以字母順序排列。兩行及以上懸垂縮進(jìn) 3 個(gè)字符。封底（此部分不編入頁(yè)碼，且不寫(xiě)入任何內(nèi)容）
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