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【正文】 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 Bachelor of ArtsByYour nameSupervisor：Li Qingdong英文年月日IAcknowledgements (Times New Roman 三號 粗體 居中) I would like to thank all those who have given me their generous helps, mitment and enthusiasm, which have been the major driving force to plete the current paper. …Times New Roman 五號， 倍行距全文每段首行縮進 35 個字符羅馬數(shù)字編排頁碼II摘要（此處為宋體，小二號，粗體）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。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。貝克特；《等待戈多》 ；反戲??；后現(xiàn)代主義宋體，小四號， 倍行距宋體，小四號，粗體III Abstract（Times New Roman，三號，粗體，居中 ）Samuel Barclay Beckett (19061989) was an Irishborn 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 antiplay 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 subject。 indeterminacy。 Waiting for Godot。 postmodernismTimes New Roman 五號， 倍行距全文每段首行縮進 35個字符Times New Roman 五號 粗體IV Table of ContentsACKNOWLEDGEMENTS ..................................................................................................................................II摘要 .....................................................................................................................................................................IIIABSTRACT..........................................................................................................................................................VTABLE OF CONTENTS..................................................................................................................................VIIIINTRODUCTION .................................................................................................................................................1PART ONE THE THEORETICAL PREMISES...................................................................................................6 THE DISSOLUTION OF THE SUBJECT ...........................................................................................................10 DEPTHLESSNESS................................................................................................
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