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1、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(yǔ)學(xué)院

2、 英語(yǔ)系 ?！　I(yè)　英語(yǔ)（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。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(guò)的研究成果。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。本人完全意識(shí)到本聲明的法律結(jié)果由本人承擔(dān)。

3、 學(xué)位論文作者簽名： 年 月 日 學(xué)位論文版權(quán)使用授權(quán)書 本學(xué)位論文作者完全了解學(xué)校有關(guān)保留、使用學(xué)位論文的規(guī)定，即：學(xué)校有權(quán)保留并向國(guó)家有關(guān)部門或機(jī)構(gòu)送交論文的復(fù)印件和電子版，允許論文被查閱和借閱。本人授權(quán)云南師范大學(xué)可以將本學(xué)位論文的全部或部分內(nèi)容編入有關(guān)數(shù)據(jù)庫(kù)進(jìn)行檢索，可以采用影印、縮印或掃描等復(fù)制手段保存和匯編本學(xué)位論文。 學(xué)位論文作者簽名： 指導(dǎo)教師簽名： 年 月 日 年 月 日 STATEMENT OF AUTHORSHIP Except whe

4、re reference is made in the text of the thesis, this thesis contains no material published elsewhere or extracted in whole or part from a thesis presented by me for another degree or diploma. No other person’s work has been used without due acknowledge ment in the main text of the thesis.

5、This thesis has not been submitted for the award of any other degree or diploma in my tertiary institution. Signed Dated Acknowledgements I am deeply grateful to my supervisor Xie Nan for her patient guidance, general assistance, helpful advice and continual encouragement, all

6、of which have been of inestimable work to the completion of my paper. Without her helpful instruction, detailed comments, and beneficial advice, this paper would have never been finished so smoothly. My thanks also go to all the teachers who have taught me and helped me a lot during the four year

7、s of my study in Yunnan Normal University. Without their teaching, I could not have learned so much. At last, I would like to express my sincere gratitude to my family, who gave me great help and encouragement during my four years’ study and the thesis writing. Abstract

8、 Samuel Beckett’s masterpiece Waiting for Godot is one of famous absurd plays in the world. It is labeled as “Anti-Theater”, “New Theater”, and “Theater of the Absurd”. As we can see, Waiting for Godot is a work in the name of “Theater of the Absurd” coined by Martin Esslin. Waiting for Godot which

9、 is regarded as the classic of the Theatre of the Absurd is Beckett’s turning point from novel writing to drama, and also a representative work of the 20th century drama from modernity to postmodernity. Based on the complicated social background and spiritual crisis in the western world, this work t

10、ries to reveal the absurd living condition, loneliness and hopelessness, desolation and meaninglessness of western people. Waiting for Godot aroused thousands of people’s resonance after this work’s first show in Paris. This work also attracts much attention of critics in the literary world. Lots o

11、f new interpretations continuously emerge with varied views in the literary world. Some critics argue that this work does not display the existentialism, and some hold it is closely related to existentialism. So this paper attempts to use the literary and criticism of existentialism to analyze the r

12、elationship between existentialism and Waiting for Godot and to discuss the meanings of waiting in Waiting for Godot and the absurdity of the play. Key words: Waiting for Godot; The absent other; Existentialism; Absurdity 摘 要 薩繆爾貝克特的巨作《等待戈多》是世界著名的荒誕派戲劇。它總是被冠名為“反戲劇”，“新戲劇”以及“荒誕派戲劇”。 正如我們所知，《

13、等待戈多》是馬丁艾斯林荒誕派戲劇名義下的作品?；恼Q派戲劇經(jīng)典之作的《等待戈多》被認(rèn)為是貝克特從小說(shuō)寫作到戲劇創(chuàng)作的轉(zhuǎn)折點(diǎn)，也被認(rèn)為是20世紀(jì)現(xiàn)代主義向后現(xiàn)代主義過(guò)渡的代表作。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(wú)意義的生活。 《等待戈多》在巴黎上演處女秀過(guò)后，引起了成千上萬(wàn)人的共鳴。這部作品同時(shí)吸引了文學(xué)界大量學(xué)者的眼球。文學(xué)界從不同角度分析的著作源源不斷，潺潺不息。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。因此本論文將從存在主義的角度來(lái)分析《等待戈多》同存在主義的關(guān)系，討論《

14、等待戈多》找中等待的意蘊(yùn)以及這部戲劇的荒誕性。 關(guān)鍵詞: 《等待戈多》；不在場(chǎng)的他者；存在主義；荒誕 Contents 1. Introduction…………………………………………………………………………1 1.1Samuel Beckett and Waiting for Godot…………………...........1 1.2Jean-Paul Sartre’s Existentialism……………………………………...3 1.3The Outline of the Thesis 2. Literature review………………………………………………………

15、……………3 2.1The Studies Aboard and at Home …………………………………..…4 2.2The Uniqueness of the Study…………………………….............................5 3. Theoretical Framework……………………………………………………….…….6 3.1 The Theatre of the Absurd…………………………………….........6 3.2 Jean-Paul Stare’s Existentialism………………………………….........

16、..................7 4. Waiting for the Absent Other: An Existentialistic Analysis of Waiting for Godot....................................................…....8 4.1The Absurdity of Waiting for Godot………………...8 4.1.1 Plot……………………………………………..8 4.1.2Characters 4.1.2The Illogical and Meaningless Dial

17、ogue……………………………………..9 4.1.3Circulation.................................................................................11 4.1.4No Certain Space-time Environment and Complete Structure. 4.2 Waiting for the Absent Other……………...12 4.2.1The Absent Other Is Nothingness…………………………………13

18、 4.2.2 The Absent Other Is Savior……………………………………………..14 4.2.3The Absent Other Is Belief 4.3 An Existentialistic Analysis of Waiting for Godot……………….15 4.3.1Death…………………………………………..16 4.3.2 The Meaning of Human Existence………………………...17 4.3.3The Place of God 5. Conclusion………………………

19、……………………………………………...18 References……………………………………………………………………………19 1. Introduction 1.1 Samuel Becket and Waiting for Godot Samuel Beckett (1906-1989) whose work offers a black, tragicomic outlook on human nature was an Irish novelist, playwright, theatre director, and poet. Beckett is wi

20、dely regarded as one of the most influential writers of the 20th century, his work often coupled with black comedy and gallows humor. He is considered one of the last modernists because of the influence from James Joyce. As an inspiration to many later writers, he is also sometimes considered one of

21、 the first postmodernists. He is one of the key writers in what Martin Esslin called the Theatre of the Absurd. Especially his representative work Waiting for Godot becomes the classic in the genre of Theatre of the Absurd. Beckett was warded the 1969 Nobel Prize in Literature “for his writing, whic

22、h—— in new forms for the novel and drama,——in the destitution of modem man acquire its elevation” (The Nobel Prize in Literature 1969) Waiting for Godot was written in 1952, it was first published by French, and its first show was in Paris in 1953. The World War II had big influences to the play an

23、d Samuel Beckett. People around the world suffered too much from the World War II, too many people were still despair, helpless, panic, misgiving. Samuel Beckett witnessed the cruelness and inhumanity of the World War II and the spirit crisis of western people. Waiting for Godot has become a modern

24、classic because it gives us a human situation expressed with an emotional force. The play has a far-reaching influence. As we have seen, Beckett’s dramatic and verbal art embodies vivid images of action and a profound vision of human existence.Wherever we read Waiting for Godot, we can see images of

25、 spiritual loss, and of human sufferings. A profound sense of loss does pervade all this play. The play speaks to us of the real world, of human condition. 1.2 Jean-Paul Sartre’s Existentialism Here Existentialism will be a great help to analyze my thesis.There has never been general agreement o

26、n the definition of Existentialism. It is generally believed that the first prominent existentialist philosopher to adopt the term was Jean-Paul Sartre who did most to bring existentialism into the arts and into search of for an authentic way of life on the part of many disaffected youth of Europe a

27、nd America. 1.3 The Outline of the Thesis While doing my argument, the first thing I’m going to do is to introduce studies on Waiting for Godot from abroad and China. In this part, we can have a general knowledge of judgments on Waiting for Godot and understand the significance of Waiting for Godo

28、t in literature field and other fields. Then following part is to present theoretical framework which will help me to analyze my argument. This thesis will touch Existentialism and The Theatre of the Absurd. Through part of Sartre’s Existentialism and Esslin’s The Theatre of the Absurd, this thesis

29、will concentrate on the following topic:The absurdity of Waiting for Godot; The meaning of the Absent Other; The reflection of Existentialism in Waiting for Godot. Then finally this thesis will give a conclusion. 2. Literature Review The critical response to the works of Samuel Beckett has b

30、een overwhelming, especially after the successful first show of Waiting for Godot in Paris in 1953. And the play made Beckett a household word. And then numerous books and thousands of articles have been published on Beckett, primarily in Europe, the United States, and Canada. Since he wrote most of

31、 his works in French, and then translated them himself into English. And the diversity of the interpretations to Beckett’s woks has been varied: political, psychological, philosophical, historical, thematic, postmodernism, Christian, autobiographical, homoerotic, and so on. 2.1 Studies Abroad and a

32、t Home The first period is from 1960s to 1970s. During this period, studies mainly focus on form and content, the influence of literary, philosophical and historical ideas. And Martin Esslin wrote The Theatre of the Absurd, it was the most frequently cited resources for the research of Waiting for

33、Godot and other famous absurd plays. Esslin really thought highly of Waiting for Godot and gave special appraisements on it. In the Shape of Chaos: An Interpretation of the Art of Samuel Beckett, David Hesla examines Samuel Beckett’s novels and plays from the perception of the historical ideas. He s

34、hows how Samuel Beckett was influenced by the theories of the pre-Socratics, the rationalists of the seventeenth and eighteenth centuries, Schopenhauer, Bergson, Hegel, Kierkegard, Sartre, and Husserl. Any drama can’t live without the stage, so Ruby Cohn’s Samuel Beckett: the Comic Gamut concerned W

35、aiting for Godot’s stage performance. He used Bergson’s catalog of comic techniques as a starting point for her study of the comic elements in Becket’s prose and drama. The second period is in the early 1980s. Lots of critics made an in-depth analysis of art and identity. Some of them evaluate the

36、theme of self-consciousness in Beckett’s works, for instance, Hannah Case Copeland illustrated this in his book: Art and Artist in the work of Samuel Beckett. Some connected Samuel Beckett’s works with Existentialism. Lance St. John Butler in Samuel and the Meaning of Being: A Study in Ontological P

37、arable aims to try to lighten the Beckettian gloom with those philosophical lamps that seem to work the best: Heidegger, Sartre, and Hegel. In Waiting for Godot and Philosophy, Lance St. John Butler argues that Waiting for Godot is not a philosophical play by saying that Waiting for Godot is the par

38、able of human waiting. The third period is contemporary times. The studies have changed so much from 1950s to recent years abroad. Till now, Beckett’s work, were termed the banner of post-structuralism postmodernism, reader-response and feminism. Especially from 1980s to 2001 lots of essays appear

39、ed, many of them from American, which use new-found liberty of interpretation. For instance, James Calderwood’s essay “Ways of Waiting in Waiting for Godot” first appeared in the influential journal Modern Drama, it demonstrates that deconstructive criticism entails not the aggressive and once-for-a

40、ll liquidation of the coherence possessed by a given text, however, an attentive discussion of ways in which a text can simultaneously establish and undermine its own truth. Among them, there are few conspicuous works from the feminism aspect. Several pieces of feminist approach to Waiting for Godot

41、 could be found in Women in Beckett: Performance and Critical Perspectives which was edited by Linda Ben-Zui. The studies of Waiting for Godot and Samuel Beckett’s work have a very short history in China. Theatre of the absurd as well as Waiting for Godot was introduced to China by translators and

42、critics. Waiting for Godot was first translated by Shi Xianrong in 1965. But it was simply used as an example to criticize decayed life value of western capitalism at that time because of the influence from Cultural Revolution in China. So it’s really hard to spread the theatre of the absurd and Wai

43、ting for Godot in china widely at that time. Zhu Hong who wrote the Preface of this book said that Waiting for Godot tries to express the life condition of human being, the crisis of spirit and the decadency of the bourgeoisie. In 1980, Shi Xianrong translated The Anthology of the Theatre of Absurd

44、. This book gives us an overall introduction to the works of absurdist. Zhang Hongsheng assumed that Waiting for Godot was an interpretation of existentialism in his paper On the Theatre of the Absurd. But Cheng Ge was strongly against that Waiting for Godot can not be interpreted as the illustratio

45、n of existentialism simply and hastily, moreover, there are great disparities between absurd and existential drama. From mid 1980s, the scholars of china began to draw attention to the theatre of the absurd .And they started to criticize Waiting for Godot objectively, however, most of the studies

46、are just translation and the achievements of the foreign studies, only a few of them are original and initiative. Anyway some creative papers and books have worked out. Among these works, most of them are derived from some journals and books, such as Foreign Literature, Foreign Literature Review, Fo

47、reign Literature Study and other papers. And during this period, the collections of the Theatre of the Absurd were first published by Shanghai Translation Publishing House. Some thematic and linguistic interpretations had been flourishing from 1994 to 2004. And there are lots of remarkable papers a

48、nd books on Waiting for Godot. Such as On the Art of Beckett’s Absurd Theatre by Cao Bo: Waiting for Godot: the Disillusion and Reestablishment of Belief by Xiao Sixin; The Linguistic Features in Waiting for Godot by Shu Xiaomei; On Waiting in Waiting for Godot by Wang Shanshan and so on. The devel

49、opment of Chinese drama was obviously influenced by the theatre of absurd and Waiting for Godot deeply and profoundly. Play writers such as Gao Xingjian who has great accomplishment on literature and he also is a tremendous master of a foreign language became interesting in the theatre of absurd and

50、 absorb from this kind of drama. They introduced the theatre of absurd by translation, performance and etc. But the theatre of the absurd was not easily spread in China. So we are not surprise that the performance of Waiting for Godot presented by Gao Xingjian in 1970s couldn’t catch people’s eyes.

51、And in 1983, Gao Xingjian wrote The Bus Stop which was inspired by Waiting for Godot, and then The Bus Stop was performed in Beijing People’s Art Theater for several times. The story raised heated discussion among the audience and critics after the performance and Waiting for Godot became more and m

52、ore well-known in China. And in 1990s, Waiting for Godot, directed by Men Jinghui, was officially acted on the stage at last. It was still not easy for the audiences to totally understand the meanings of the play at that time. However Waiting for Godot had a great influence on Chinese drama. A new k

53、ind of drama which was named as Avant-garde Theatre appeared in China under the influence of the theatre of the absurd especially Waiting for Godot. And Gao Xingjian became the representative of Avant-garde Theatre. His ideal of total Theatre expanded the performance space and enriched the variety o

54、f Chinese drama. 2.2The Uniqueness of the Study Someone once asked Samuel Beckett the precise meaning of waiting in Waiting for Godot, he answered if only he knew. It proved why his work aroused so many comments. We can research Waiting for Godot from different angles, as we can see the author giv

55、es us huge spaces to express our own understandings. From the above-mentioned literature reviews home and abroad, this paper will focus on the following topics: the absurdity of the play; the meanings of waiting in Waiting for Godot; the relationship between the play and existentialism; the massag

56、e from the play to human being. From different aspects, we can find out that it is too difficult to find the meaning of life. And we fall into the lost of self pursuit and the absurd life. Our lives are ballons, though we have no ideas what we want, we can’t help blowing the ballons constantly til

57、l the ballons can’t stand any more. Waiting might be a gleam of hope, but might be nothingness. And what we should do to make the life meaningful? Therefore, considerations, choices, actions play the important roles for self existence and self-fulfillment. And humanity and individualism would be the

58、 eternal topic. And we should say that there too many studies on Waiting for Godot, definitely most of them are meaningful, however, they are insufficient. And the further work is needed to make the studies more comprehensive and complete. Hopefully this paper would be a part of the complement of t

59、he studies on Waiting for Godot. 3. Theoretical Framework While doing my argument, I will employ some relevant theories about the Theatre of the Absurd and existentialism. This paper focuses on the analysis of the meaning of waiting, the absurdity of the play, the reflection of human beings. And

60、 theses theories will help to my argument. 3.1 The Theatre of the Absurd The Theatre of the Absurd coined by the British critic Martin Esslin in his 1960 essay Theatre of the Absurd (French: Thtre de lAbsurde) is a designation for particular plays written by a number of primarily European playwrig

61、hts in the late 1950s, their works expressed the belief that human existence has no meaning purpose and therefore all communication 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. Th

62、ough Theatre of the Absurd is applied to a wide rage of plays, some characteristics coincide in many of the plays: broad comedy mixed with horrific or tragic images; characters caught in hopeless situations forced to do repetitive or meaningless actions; dialogue full of nonsense; plots that are cyc

63、lical or absurdly expansive. Playwrights commonly associated with the Theatre of the Absurd include Samuel Beckett, Eugne Ionesco, Jean Genet, Harold Pinter, Tom Stoppard, Friedrich Drrenmatt, Alejandro Jodorowsky, Fernando Arrabal and Edward Albee. 3.2 Existentialism Influenced by Martin Heideg

64、gers Being and Time, Sartre wrote the book Being and Nothingness: An Essay on Phenomenological Ontology (French: Ltre et le nant: Essai dontologie phnomnologique) in 1943. Its main purpose is to assert the individuals existence as prior to the individuals essence. Sartre’s overriding concern in writ

65、ing Being and Nothingness was to demonstrate that free will exists. Sartre’s primary idea is that people are condemned to be free. This theory relies upon his position that there is no creator. Sartre said that human beings have no essence before their existence because there is no Creator. Thus: ex

66、istence precedes essence. In other word, according to Sartre, humanity is not given being, but only existence, and there is no God and no absolute standards of morality of truth. In existentialism, the individuals starting point is characterized by what has been called "the existential attitude” or a sense of disorientation and confusion in the face of an apparently meaningless or absurd world. Following are the main concepts of existentialism: 3.2.1Existence Precedes Essence