不在场的他者——从存在主义角度分析《等待戈多》_毕业论文

学科分类号（二级）7405011 本科学生毕业论文（ 设计 领导形象设计圆作业设计ao工艺污水处理厂设计附属工程施工组织设计清扫机器人结构设计 ） 　 题 快递公司问题件快递公司问题件货款处理关于圆的周长面积重点题型关于解方程组的题及答案关于南海问题 　　目 Waiting for the Absent Other: An Existentialistic Analysis of Waiting for Godot 不在场的他者——从存在主义角度分析 《等待戈多》 姓　　名　李秀才　　　　　　　 　　 学　　号　094050113　　　　　　　　　 院、　系　外国语学院 英语系 专　　业　英语（师范 4）　　　　 指导教师　谢楠　　　　　　 职称（学历）　助教（硕士）　　　　　　　 　 2013年04月30日 独创性声明 本人声明所呈交的学位论文是我个人在导师指导下进行的研究工作及取得的研究成果。尽我所知，除文中已经标明引用的内容外，本论文不包含任何其他个人或集体已经发表或撰写过的研究成果。对本文的研究做出贡献的个人和集体，均已在文中以明确方式标明。本人完全意识到本声明的法律结果由本人承担。 学位论文作者签名： 年 月 日 学位论文版权使用授权书 本学位论文作者完全了解学校有关保留、使用学位论文的规定，即：学校有权保留并向国家有关部门或机构送交论文的复印件和电子版，允许论文被查阅和借阅。本人授权云南师范大学可以将本学位论文的全部或部分内容编入有关数据库进行检索，可以采用影印、缩印或扫描等复制手段保存和汇编本学位论文。 学位论文作者签名： 指导教师签名： 年 月 日 年 月 日 STATEMENT OF AUTHORSHIP Except where 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. 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 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 years 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 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 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 tries 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 of 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 relationship 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 萨缪尔贝克特的巨作《等待戈多》是世界著名的荒诞派戏剧。它总是被冠名为“反戏剧”，“新戏剧”以及“荒诞派戏剧”。 正如我们所知，《等待戈多》是马丁艾斯林荒诞派戏剧名义下的作品。荒诞派戏剧经典之作的《等待戈多》被认为是贝克特从小说写作到戏剧创作的转折点，也被认为是20世纪现代主义向后现代主义过渡的代表作。在西方世界精神危机和复杂的社会环境大背景下，这部作品旨在揭露西方人民荒诞的生活状况，孤独感，绝望感，分离感以及无意义的生活。 《等待戈多》在巴黎上演处女秀过后，引起了成千上万人的共鸣。这部作品同时吸引了文学界大量学者的眼球。文学界从不同角度分析的著作源源不断，潺潺不息。许多评论员认为这部作品并没有呈现存在主义，但也有人认为它和存在主义有密不可分的关系。因此本论文将从存在主义的角度来分析《等待戈多》同存在主义的关系，讨论《等待戈多》找中等待的意蕴以及这部戏剧的荒诞性。 关键词: 《等待戈多》；不在场的他者；存在主义；荒诞 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……………………………………………………………………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…………………………………...........................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 Dialogue……………………………………..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 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……………………………………………………………………...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 widely 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 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, which—— 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 and 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 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 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 on 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 and 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 Godot 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 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 been 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 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 at 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 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 shows 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 Waiting 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 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 Parable 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 parable 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 appeared, 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-all 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 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 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 Waiting 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. 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 illustration 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 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, Foreign 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 and 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 development 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 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. 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 more 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 kind 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 of 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 gives 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 massage 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 till 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 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 the 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 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: Théâtre de l'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 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. Though 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 cyclical or absurdly expansive. Playwrights commonly associated with the Theatre of the Absurd include Samuel Beckett, Eugène Ionesco, Jean Genet, Harold Pinter, Tom Stoppard, Friedrich Dürrenmatt, Alejandro Jodorowsky, Fernando Arrabal and Edward Albee. 3.2 Existentialism Influenced by Martin Heidegger's Being and Time, Sartre wrote the book Being and Nothingness: An Essay on Phenomenological Ontology (French: L'Être et le néant: Essai d'ontologie phénoménologique) in 1943. Its main purpose is to assert the individual's existence as prior to the individual's essence. Sartre’s overriding concern in writing 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: existence 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 individual's 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 Existence precedes essence is the central proposition of existentialism. It means that the most important consideration for the individual is the fact that he or she is an individual—an independently acting and responsible conscious being ("existence")—rather than what labels, roles, stereotypes, definitions, or other preconceived categories the individual fits ("essence"). In Existentialism and Humanism, Sartre proclaimed that existence preceded essence. “Man first of all exists, encounters himself, surges up in the world---and defined himself afterwards”( May 7). When an individual is born, there is no essence coming before him of following him. There is no essence for him to pursue for and to shape himself. Man is not to become a certain kind of people which is already settled before he comes to the world. The individual is free to choose to be what kind of person he wants. There are no such limitations as the settled essence to follow. The authentic essence of individual lies in the actions which he shapes himself. The essence does not come before the existence. It is an essence changing all the time according to the individual’s wills and actions. Both the existence and essence of individuals are determined by the individuals themselves. Individuals are not created as what they should be, but are shaped all by themselves. 3.2.2 Being and Nothingness In 1943 Sartre wrote a book Being and Nothingness: An Essay on Phenomenological Ontology. Its main purpose is to assert the individual's existence as prior to the individual's essence. Sartre's overriding concern in writing Being and Nothingness was to demonstrate that free will exists.In Being and Nothingness, man is a creature haunted by a vision of "completion", which religions identify as God. Born into the material reality of one's body, in a material universe, one finds oneself inserted into being. Consciousness has the ability to conceptualize possibilities, and to make them appear.Sartre 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 required.in 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. 4.Waiting for the Absent Other : An Existentialistic Analysis of Waiting for Godot 4.1 The Absurdity of Waiting for Godot Much of Beckett'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 incomprehensible world, no matter how illogical. And the following is to discuss the absurdity in Waiting for Godot. 4.1.1Plot Waiting for Godot is divided in to two acts. Act I The 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 heavily-laden 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 self-proclaimed 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 company 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 coming 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 II Act 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 day'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 notices Lucky's hat, and tries it on. They play at imitating Pozzo and Lucky, but Estragon can barely remember having met them and simply does what Vladimir asks. They fire insults at each other and then make up. After that, they attempt some physical routines which do not work out well. Pozzo and Lucky arrive with Pozzo now blind and insisting that Lucky is dumb. The rope is much shorter, and Lucky – who has acquired a new hat – leads Pozzo, rather than being driven by him. Pozzo has lost all notion of time, and assures them he cannot remember meeting them the day before, and does not expect to remember the current day's events when they are over. Lucky and Pozzo depart. The same boy returns to inform them not to expect Godot today, but promises he will arrive the next day. The two again consider suicide but their rope, Estragon's belt, breaks in two when they tug on it. Estragon's trousers fall down, but he does not notice until Vladimir tells him to pull them up. They resolve to bring a more suitable piece and hang themselves the next day, if Godot fails to arrive. Again, they agree to leave but neither of them makes any move to go. 4..1.2 Characters Vladimir and Estragon When Beckett started writing he did not have a visual image of Vladimir and Estragon. They are never referred to as tramps in the text. There are no physical descriptions of either of the two characters. Throughout the play the couple refers to each other by pet names, "Didi" and "Gogo". Pozzo and Lucky Although Beckett refused to be drawn on the backgrounds of the characters, this has not stopped actors looking for their own motivation. When Beckett was asked why Lucky was so named, he replied that he supposed he is lucky to have no more expectations. Little is learned about Pozzo besides the fact that he is on his way to the fair to sell his slave, Lucky. Pozzo is a character who has to overcompensate. That's why he overdoes things. Pozzo controls Lucky by means of an extremely long rope which he jerks and tugs if Lucky is the least bit slowly. Lucky is the absolutely subservient slave of Pozzo and he unquestioningly does his every bidding with dog-like devotion. The Boy The cast list specifies only one boy. The boy in Act I, a local lad, assures Vladimir that this is the first time he has seen him. He says he was not there the previous day. He confirms he works for Mr. Godot as a goatherd. His brother, whom Godot beats, is a shepherd. Godot feeds both of them and allows them to sleep in his hayloft. The boy in Act II also assures Vladimir that it was not he who called upon them the day before. He insists that this too is his first visit. When Vladimir asks what Godot does the boy tells him that he does nothing. We also learn he has a white beard – possibly, the boy is not certain. This boy also has a brother who it seems is sick but there is no clear evidence to suggest that his brother is the boy that came in Act I or the one who came the day before that. Godot The identity of Godot has been the subject of much debate. When Roger Blin asked him who or what Godot stood for, Beckett replied that it suggested itself to him by the slang word for boot in French, godillot, godasse because feet play such a prominent role in the play. This is the explanation he has given most often. 4.1.3The Illogical and Meaningless Dialogue Black humor might be connected with these dialogues. The two leading roles are totally talking nonsense. Their words are meaningless and illogical: …… Estragon:（giving up again） Nothing to be done. Vladimir: …… So there you are again Estragon: Am I? …… Vladimir: And they didn’t beat you? Estragon: Beat me? Certainly they beat me. Vladimir: The same lot as usual? Estragon: The same? I don’t know. …… These two friends are not certain about their past and their daily life. And they also have no idea what they are doing and they also know nothing about the one they are waiting: …… Estragon: …… Let’s go. Vladimir: We can’t. Estragon: Why not? Vladimir: We’re waiting for Godot. …… Estragon: Don’t let’s do anything. It’s safer. Vladimir: Let’s wait and see what he says. Estragon: who? Vladimir: Godot. Estragon: good idea. …… Vladimir: I’m curious to hear what he has to offer. Then we’ll take it or leave it. Estragon: What exactly did we ask for？ Vladimir: Were you not there? Estragon: I can’t have been listening. Vladimir: Oh…… Nothing very definite. …… Pozzo: （peremptory）. Who is Godot? Estragon: Godot? …… Pozzo: Who is he? Vladimir: Oh he’s a … he’s a kind of acquaintance. Estragon: Nothing of the kind, we hardly know him. Vladimir: True… we don’t know him very well… but all the same… Estragon: personally, I wouldn’t even know him if I saw him. 4.1.4Circulation As mentioned above, Act I and Act II are almost the same. And few changes can be found in the play: In Act I the play starts and ends like following: A country road. A tree. Evening. …… Vladimir: Well? Shall we go? Estragon: Yes, let’s go. They do not move. In Act II the play starts and ends like following: Next day. Same time. Same place. …… Vladimir: Well? Shall we go? Estragon: Yes, let’s go. They do not move. It gives us an information that we have no idea when would the play end. And we also can imagine how the poor two friends’ lives will be. And more details can be found in the play: Estragon, sitting on a low mound, is trying to take off his boot. He pulls at it with both hands, panting. He gives up…… Estragon: (giving up again). Nothing to be done. …… Estragon: Ah stop blathering and help me off with this bloody thing. Vladimir: …… (Estragon tears at his boot.) What are you doing? Estragon: Taking off my boot. Did that never happen to you? And Vladimir takes off his hat and peers inside it again and again. One repeats taking off the boot and another repeat taking off the hat. 4.1.5 No Certain Space- time Environment and Complete Plot Structure In any traditional play, certain space- time environment can be found, and the plot structure is complete. But we can hardly find definite time and space in Waiting for Godot, and throughout the play, the story does not have a perfect ending. This kind of writing makes the play different from the traditional play, so this kind of play is called Anti-Theatre. 4.2Waiting for the Absent Other Many critic hold that the theme of Waiting for Godot is hopeless waiting and exposing embarrassed and absurd situation of human being, or discussing the absurdity and nothingness of life. Absolutely this kind of decipherment catches Beckett’s thought about western people’s living conditions: The traditional value concept collapsed, people’s faith is lost. In the play, the two leading roles have nothing to do but waiting. It seems that waiting is the only hope, but Godot never show up. They even can’t recognize him though they meet Godot. From stem to stern, Godot is absent. But why the absent one is Godot? Though the god is dead, why the play still has mentioned God many times? Though waiting is hopeless, the two leading roles’ headstrong waiting might be another kind of hope and faith from the despair condition. And what we should believe from the play? Lots of people only touch the really sad way of Waiting for Godot, and they ignore the true value of the play: but if all conditions are despair, we still hold up for what we believe. And different views on the meaning of Godot —The Absent Other are divided into several kinds. Following are several meanings of The Absent Other: 4.2.1The Absent Other Is Nothingness The two leading roles Vladimir and Estragon say thousands of tines that they have nothing to do in the play. What they can only do is waiting for someone called Godot. The ludicrous thing which makes their life duplicate and meaningless is that Godot never show up. They don’t know when and where Godot will come. Who is Godot? What does Godot look like? Why they are waiting for Godot? What do they want from Godot? All these things make these two friends confused and unanswered. At the same time, this kind of condition has last for a long time in their life and it will follow on. And when is the vanishing point? They can’t answer and we can’t understand. So what they are waiting for is nothingness. The absent other is a kind of loss of hope. Waiting makes their lives meaningless and absurd. They are waiting for someone who is absent. They only want to look for comfort from the Absent Other. 4.2.2The Absent Other Is “Saviour” As mentioned above, many see God and Godot as one and the same. In the two fiends’ dialogue we also find that they talk about “Saviour”, rights, hell and death. They fall into deep desperation. They lose their hope of life. They need help from someone else. And the help from reality can’t satisfy their needs. So they look for the absent other——Godot. But Godot never come. Then they talk about “Saviour”, rights, hell and death again. They seem conscious of the confession through the endless waiting.The Absent Other is the gleam of hope and self-atonement. God or Godot may come if they have confessed all the “crime” they have made completely. 4.2.3The Absent Other Is Belief Though life and world are ruthless and absurd, one can insist on one’s belief. Their waiting may have no ends, but they never give up their waiting. In a way, they are totally stubborn and ignorant. But their waiting touches many people. They want to find a gleam of hope from the hopeless condition. Though they have to face too many unbelievable difficulties, they have the courage to wait all along. And few people can insist on their dream and belief, but they can do it. So the Absent Other is belief. 4.3An Existentialistic Analysis of Waiting for Godot Broadly speaking, existentialists believe that there are certain fundamental questions that every human being must come to face with if they are to take their subjective existences seriously to make internal value meaningful. The theories of existentialism assert that conscious reality is very complex and without an "objective" or universally known value: the individual must create value by affirming it and living it, not by simply talking about it in the mind. Themes such as death, the meaning of human existence and the place of God are discussing in existentialism. The play may be seen to touch on all of these issues. 4.3.1Death As we can see in the play, the two leading roles are too boring to have noting to do. They have done anything to spend time, they even want to hang themselves, but they can’t find a rope and a strong stand to kill themselves, and they also have no courage to do so: Estragon: let’s hang ourselves immediately! Vladimir: from a bough? (they go towards the tree.) I wouldn’t trust it. Estragon: We can always try Vladimir: Go ahead Estragon: After you. Vladimir: No no, you first. Estragon: Why me? Vladimir: You’re lighter than I am Estragon: Just so Vladimir: I don’t understand …… It seems that death is the only hope, but they have can’t touch the felling of death. They are totally despairing and lost. 4.3.2The Meaning of Human Existence All human beings are puzzled by the meaning of human existence. The play also touches this field. As mentioned above，this play was born after World War II, people were suffered a lot from the war, and they felt into the spirit crisis. People were wondering why they still live in the meaningless world? What we can do to make this world better? And what we are pursuing? Who can save us? Does god exist or not? People have lots of unanswered questions. And the play is the reflection of human conditions. 4.3.3The Place of God And the play also touches the Christian field. Does god exist? Many see God and Godot as one and the same. It’s easy to see the solitary tree as representative of the Christian cross, or the tree of life: “A country road. A tree. Evening …… The tree has four or five leaves.” And much can be found out from the story of the two thieves. Vladimir: Ah yes, the two thieves. Do you remember the story? Estragon: No. Vladimir: Shall I tell it to you? Estragon: No. Vladimir: It’ll pass the time. (pause.) Two thieves, crucified at the same time as our Saviour, one- Our what? …… Estragon: Who? Vladimir: What? Estragon: What’s all this about？Abused who? Vladimir: The Saviour. Estragon: Why? Vladimir: Because he wouldn’t save them. Estragon: From hell? …… Even though no unambiguous evidence could show whether the “Saviour” mentioned in the play is “God” or not, obviously, the “Saviour” has relationship with “Godot”. And it shows that human being trapped in the road of salvation and the thirst of God’s help. 5. Conclusion Through the analysis from different concepts, we may draw the conclusion that visions expressed in Waiting for Godot and those in existentialism. Waiting for Godot expressed the untouchable emotional experience, extremely hopeless living condition, and absurd life in western world. Waiting for Godot reflects hesitations and confusions of modern western people. In my argument, this thesis has tried o use Existentialism to analyze Waiting for Godot. The play shows us an Absurd world through the absurd plot, characters, the illogical and meaningless dialogue, uncertain space- time environment and imperfect plot structure. We notice that people are extremely struggled in the ludicrous life. The talk about death, hope, rights or anything other could make a place for their nonsense. And finally they still involve in the hopeless condition. They can hardly find out the meaning of life. They only can seek for help from the Absent Other. However the Absent Other still get several meaning. The absent Other is nothingness, Savior, or belief? What we should believe is that though life and world are ruthless and absurd, one can insist on one’s belief. Their waiting may have no ends, but they never give up their waiting. In a way, they are totally stubborn and ignorant. But their waiting touches many people. They want to find a gleam of hope from the hopeless condition. Though they have to face too many unbelievable difficulties, they have the courage to wait all along. And few people can insist on their dream and belief, but they can do it. We must be positive if we want to live happily. References Beckett, Samuel. Waiting for Godot: A Tragicomedy in Two Acts. London and Boston: Faber and Faber, 1956. Esslin, Martin. The Theatre of the Absurd. New York:Doubleday&Co, 1961. Jia Xifeng. An Interpretation of Waiting for Godot: The Theatre of the Absurd—Reflection on the Existential Condition of Human Being, 2005. Jin Ying. The Same Waiting, Different Results——Comparative Study of Samuel Beckett’s Waiting for Godot and Gao Xingjian’s Bus Stop, 2008. R.Flynn, Thomas. Existentialism: A Very Short Introduction. New York: Oxford University Press, 2006. Sartre, Jean-Paul. Being and Nothingness: An Essay on Phenomenology and Existentialism. Blackwell Publishing Ltd, 2006. Sartre, Jean-Paul. Existentialism and Humanism. London: Methuen and Co. Ltd, 1984. Webber, Jonathan. The Existentialism of Jean-Paul Sartre. New York, NY: Routledge, 2009. Zhang Jingjing. On the Absurd Style of “Waiting for Godot” Read and Write Periodical Vol.7 No.5 May 2010. 王珊珊.《等待戈多》的“等待”[J].外国文学研究，2005年第4期，第88-92页 肖四新. 信仰的破灭与重建：论《等待戈多》的潜在主题，当代外国文学[M] 2001,1, p.p.127-131 萨缪尔·贝克特.等待戈多[M] 施咸荣译. 人民文学出版社. 2002-1. 毕业设计（论文）原创性声明和使用授权说明 原创性声明 本人郑重承诺：所呈交的毕业设计（论文），是我个人在指导教师的指导下进行的研究工作及取得的成果。尽我所知，除文中特别加以标注和致谢的地方外，不包含其他人或组织已经发表或公布过的研究成果，也不包含我为获得 及其它教育机构的学位或学历而使用过的材料。对本研究提供过帮助和做出过贡献的个人或集体，均已在文中作了明确的说明并表示了谢意。 作 者 签 名：　　 　 　　日　 期：　　 　 　　 ​​​​​​​​​​​​ 指导教师签名：　　 　 　　 日　　期：　　 　 　　 使用授权说明 本人完全了解 大学关于收集、保存、使用毕业设计（论文）的规定，即：按照学校要求提交毕业设计（论文）的印刷本和电子版本；学校有权保存毕业设计（论文）的印刷本和电子版，并提供目录检索与阅览服务；学校可以采用影印、缩印、数字化或其它复制手段保存论文；在不以赢利为目的前提下，学校可以公布论文的部分或全部内容。 作者签名：　　 　 　　 日　 期：　　 　 　　 ​​​​​​​​​​​​ 学位论文原创性声明 本人郑重声明：所呈交的论文是本人在导师的指导下独立进行研究所取得的研究成果。除了文中特别加以标注引用的内容外，本论文不包含任何其他个人或集体已经发表或撰写的成果作品。对本文的研究做出重要贡献的个人和集体，均已在文中以明确方式标明。本人完全意识到本声明的法律后果由本人承担。 作者签名： 日期： 年 月 日 学位论文版权使用授权书 本学位论文作者完全了解学校有关保留、使用学位论文的规定，同意学校保留并向国家有关部门或机构送交论文的复印件和电子版，允许论文被查阅和借阅。本人授权　　 　 　大学可以将本学位论文的全部或部分内容编入有关数据库进行检索，可以采用影印、缩印或扫描等复制手段保存和汇编本学位论文。 涉密论文按学校规定处理。 作者签名： 日期： 年 月 日 导师签名： 日期： 年 月 日 指导教师评阅书 指导教师评价： 一、撰写（设计）过程 1、学生在论文（设计）过程中的治学态度、工作精神 □ 优 □ 良 □ 中 □ 及格 □ 不及格 2、学生掌握专业知识、技能的扎实程度 □ 优 □ 良 □ 中 □ 及格 □ 不及格 3、学生综合运用所学知识和专业技能分析和解决问题的能力 □ 优 □ 良 □ 中 □ 及格 □ 不及格 4、研究方法的科学性；技术线路的可行性；设计 方案 气瓶 现场处置方案 .pdf气瓶 现场处置方案 .doc见习基地管理方案.doc关于群访事件的化解方案建筑工地扬尘治理专项方案下载 的合理性 □ 优 □ 良 □ 中 □ 及格 □ 不及格 5、完成毕业论文（设计）期间的出勤情况 □ 优 □ 良 □ 中 □ 及格 □ 不及格 二、论文（设计）质量 1、论文（设计）的整体结构是否符合撰写规范？ □ 优 □ 良 □ 中 □ 及格 □ 不及格 2、是否完成指定的论文（设计）任务（包括装订及附件）？ □ 优 □ 良 □ 中 □ 及格 □ 不及格 三、论文（设计）水平 1、论文（设计）的理论意义或对解决实际问题的指导意义 □ 优 □ 良 □ 中 □ 及格 □ 不及格 2、论文的观念是否有新意？设计是否有创意？ □ 优 □ 良 □ 中 □ 及格 □ 不及格 3、论文（设计说明书）所体现的整体水平 □ 优 □ 良 □ 中 □ 及格 □ 不及格 建议成绩：□ 优 □ 良 □ 中 □ 及格 □ 不及格 （在所选等级前的□内画“√”） 指导教师： （签名） 单位： （盖章） 年 月 日 评阅教师评阅书 评阅教师评价： 一、论文（设计）质量 1、论文（设计）的整体结构是否符合撰写规范？ □ 优 □ 良 □ 中 □ 及格 □ 不及格 2、是否完成指定的论文（设计）任务（包括装订及附件）？ □ 优 □ 良 □ 中 □ 及格 □ 不及格 二、论文（设计）水平 1、论文（设计）的理论意义或对解决实际问题的指导意义 □ 优 □ 良 □ 中 □ 及格 □ 不及格 2、论文的观念是否有新意？设计是否有创意？ □ 优 □ 良 □ 中 □ 及格 □ 不及格 3、论文（设计说明书）所体现的整体水平 □ 优 □ 良 □ 中 □ 及格 □ 不及格 建议成绩：□ 优 □ 良 □ 中 □ 及格 □ 不及格 （在所选等级前的□内画“√”） 评阅教师： （签名） 单位： （盖章） 年 月 日 教研室（或答辩小组）及教学系意见 教研室（或答辩小组）评价： 一、答辩过程 1、毕业论文（设计）的基本要点和见解的叙述情况 □ 优 □ 良 □ 中 □ 及格 □ 不及格 2、对答辩问题的反应、理解、表达情况 □ 优 □ 良 □ 中 □ 及格 □ 不及格 3、学生答辩过程中的精神状态 □ 优 □ 良 □ 中 □ 及格 □ 不及格 二、论文（设计）质量 1、论文（设计）的整体结构是否符合撰写规范？ □ 优 □ 良 □ 中 □ 及格 □ 不及格 2、是否完成指定的论文（设计）任务（包括装订及附件）？ □ 优 □ 良 □ 中 □ 及格 □ 不及格 三、论文（设计）水平 1、论文（设计）的理论意义或对解决实际问题的指导意义 □ 优 □ 良 □ 中 □ 及格 □ 不及格 2、论文的观念是否有新意？设计是否有创意？ □ 优 □ 良 □ 中 □ 及格 □ 不及格 3、论文（设计说明书）所体现的整体水平 □ 优 □ 良 □ 中 □ 及格 □ 不及格 评定成绩：□ 优 □ 良 □ 中 □ 及格 □ 不及格 （在所选等级前的□内画“√”） 教研室主任（或答辩小组组长）： （签名） 年 月 日 教学系意见： 系主任： （签名） 年 月 日 学位论文原创性声明 本人郑重声明：所呈交的学位论文，是本人在导师的指导下进行的研究工作所取得的成果。尽我所知，除文中已经特别注明引用的内容和致谢的地方外，本论文不包含任何其他个人或集体已经发表或撰写过的研究成果。对本文的研究做出重要贡献的个人和集体，均已在文中以明确方式注明并表示感谢。本人完全意识到本声明的法律结果由本人承担。 学位论文作者（本人签名）： 年 月 日 学位论文出版授权书 本人及导师完全同意《中国博士学位论文全文数据库出版 章程 公司章程范本下载项目章程下载公司章程下载公司章程下载公司章程下载 》、《中国优秀硕士学位论文全文数据库出版章程》(以下简称“章程”)，愿意将本人的学位论文提交“中国学术期刊（光盘版）电子杂志社”在《中国博士学位论文全文数据库》、《中国优秀硕士学位论文全文数据库》中全文发表和以电子、网络形式公开出版，并同意编入CNKI《中国知识资源总库》，在《中国博硕士学位论文评价数据库》中使用和在互联网上传播，同意按“章程”规定享受相关权益。 论文密级： □公开 □保密（___年__月至__年__月）(保密的学位论文在解密后应遵守此协议) 作者签名：_______ 导师签名：_______ _______年_____月_____日 _______年_____月_____日 独 创 声 明 本人郑重声明：所呈交的毕业设计(论文)，是本人在指导老师的指导下，独立进行研究工作所取得的成果，成果不存在知识产权争议。尽我所知，除文中已经注明引用的内容外，本设计（论文）不含任何其他个人或集体已经发表或撰写过的作品成果。对本文的研究做出重要贡献的个人和集体均已在文中以明确方式标明。 本声明的法律后果由本人承担。   作者签名: 二〇一〇年九月二十日   毕业设计（论文）使用授权声明 本人完全了解滨州学院关于收集、保存、使用毕业设计（论文）的规定。 本人愿意按照学校要求提交学位论文的印刷本和电子版，同意学校保存学位论文的印刷本和电子版，或采用影印、数字化或其它复制手段保存设计（论文）；同意学校在不以营利为目的的前提下，建立目录检索与阅览服务系统，公布设计（论文）的部分或全部内容，允许他人依法合理使用。 （保密论文在解密后遵守此规定）   作者签名: 二〇一〇年九月二十日 致 谢 时间飞逝，大学的学习生活很快就要过去，在这四年的学习生活中，收获了很多，而这些成绩的取得是和一直关心帮助我的人分不开的。 首先非常感谢学校开设这个课题，为本人日后从事计算机方面的工作提供了经验，奠定了基础。本次毕业设计大概持续了半年，现在终于到结尾了。本次毕业设计是对我大学四年学习下来最好的检验。经过这次毕业设计，我的能力有了很大的提高，比如操作能力、分析问题的能力、合作精神、严谨的工作作风等方方面面都有很大的进步。这期间凝聚了很多人的心血，在此我表示由衷的感谢。没有他们的帮助，我将无法顺利完成这次设计。 首先，我要特别感谢我的知道郭谦功老师对我的悉心指导，在我的论文书写及设计过程中给了我大量的帮助和指导，为我理清了设计思路和操作方法，并对我所做的课题提出了有效的改进方案。郭谦功老师渊博的知识、严谨的作风和诲人不倦的态度给我留下了深刻的印象。从他身上，我学到了许多能受益终生的东西。再次对周巍老师表示衷心的感谢。 其次，我要感谢大学四年中所有的任课老师和辅导员在学习期间对我的严格要求，感谢他们对我学习上和生活上的帮助，使我了解了许多专业知识和为人的道理，能够在今后的生活道路上有继续奋斗的力量。 另外，我还要感谢大学四年和我一起走过的同学朋友对我的关心与支持，与他们一起学习、生活，让我在大学期间生活的很充实，给我留下了很多难忘的回忆。 最后，我要感谢我的父母对我的关系和理解，如果没有他们在我的学习生涯中的无私奉献和默默支持，我将无法顺利完成今天的学业。 四年的大学生活就快走入尾声，我们的校园生活就要划上句号，心中是无尽的难舍与眷恋。从这里走出，对我的人生来说，将是踏上一个新的征程，要把所学的知识应用到实际工作中去。 回首四年，取得了些许成绩，生活中有快乐也有艰辛。感谢老师四年来对我孜孜不倦的教诲，对我成长的关心和爱护。 学友情深，情同兄妹。四年的风风雨雨，我们一同走过，充满着关爱，给我留下了值得珍藏的最美好的记忆。 在我的十几年求学历程里，离不开父母的鼓励和支持，是他们辛勤的劳作，无私的付出，为我创造良好的学习条件，我才能顺利完成完成学业，感激他们一直以来对我的抚养与培育。 最后，我要特别感谢我的导师赵达睿老师、和研究生助教熊伟丽老师。是他们在我毕业的最后关头给了我们巨大的帮助与鼓励，给了我很多解决问题的思路，在此表示衷心的感激。老师们认真负责的工作态度，严谨的治学精神和深厚的理论水平都使我收益匪浅。他无论在理论上还是在实践中，都给与我很大的帮助，使我得到不少的提高这对于我以后的工作和学习都有一种巨大的帮助，感谢他耐心的辅导。在论文的撰写过程中老师们给予我很大的帮助，帮助解决了不少的难点，使得论文能够及时完成，这里一并表示真诚的感谢。 毕业设计（论文）原创性声明和使用授权说明 原创性声明 本人郑重承诺：所呈交的毕业设计（论文），是我个人在指导教师的指导下进行的研究工作及取得的成果。尽我所知，除文中特别加以标注和致谢的地方外，不包含其他人或组织已经发表或公布过的研究成果，也不包含我为获得 及其它教育机构的学位或学历而使用过的材料。对本研究提供过帮助和做出过贡献的个人或集体，均已在文中作了明确的说明并表示了谢意。 作 者 签 名：　　 　 　　日　 期：　　 　 　　 ​​​​​​​​​​​​ 指导教师签名：　　 　 　　 日　　期：　　 　 　　 使用授权说明 本人完全了解 大学关于收集、保存、使用毕业设计（论文）的规定，即：按照学校要求提交毕业设计（论文）的印刷本和电子版本；学校有权保存毕业设计（论文）的印刷本和电子版，并提供目录检索与阅览服务；学校可以采用影印、缩印、数字化或其它复制手段保存论文；在不以赢利为目的前提下，学校可以公布论文的部分或全部内容。 作者签名：　　 　 　　 日　 期：　　 　 　　 ​​​​​​​​​​​​ 学位论文原创性声明 本人郑重声明：所呈交的论文是本人在导师的指导下独立进行研究所取得的研究成果。除了文中特别加以标注引用的内容外，本论文不包含任何其他个人或集体已经发表或撰写的成果作品。对本文的研究做出重要贡献的个人和集体，均已在文中以明确方式标明。本人完全意识到本声明的法律后果由本人承担。 作者签名： 日期： 年 月 日 学位论文版权使用授权书 本学位论文作者完全了解学校有关保留、使用学位论文的规定，同意学校保留并向国家有关部门或机构送交论文的复印件和电子版，允许论文被查阅和借阅。本人授权　　 　 　大学可以将本学位论文的全部或部分内容编入有关数据库进行检索，可以采用影印、缩印或扫描等复制手段保存和汇编本学位论文。 涉密论文按学校规定处理。 作者签名： 日期： 年 月 日 导师签名： 日期： 年 月 日 独 创 声 明 本人郑重声明：所呈交的毕业设计(论文)，是本人在指导老师的指导下，独立进行研究工作所取得的成果，成果不存在知识产权争议。尽我所知，除文中已经注明引用的内容外，本设计（论文）不含任何其他个人或集体已经发表或撰写过的作品成果。对本文的研究做出重要贡献的个人和集体均已在文中以明确方式标明。 本声明的法律后果由本人承担。   作者签名: 年 月 日   毕业设计（论文）使用授权声明 本人完全了解**学院关于收集、保存、使用毕业设计（论文）的规定。 本人愿意按照学校要求提交学位论文的印刷本和电子版，同意学校保存学位论文的印刷本和电子版，或采用影印、数字化或其它复制手段保存设计（论文）；同意学校在不以营利为目的的前提下，建立目录检索与阅览服务系统，公布设计（论文）的部分或全部内容，允许他人依法合理使用。 （保密论文在解密后遵守此规定）   作者签名: 年 月 日 基本要求：写毕业论文主要目的是培养学生综合运用所学知识和技能，理论联系实际，独立分析，解决实际问题的能力，使学生得到从事本专业工作和进行相关的基本训练。毕业论文应反映出作者能够准确地掌握所学的专业基础知识，基本学会综合运用所学知识进行科学研究的方法，对所研究的题目有一定的 心得体会 决胜全面小康心得体会学党史心得下载党史学习心得下载军训心得免费下载党史学习心得下载 ，论文题目的范围不宜过宽，一般选择本学科某一重要问题的一个侧面。 毕业论文的基本教学要求是： 1、培养学生综合运用、巩固与扩展所学的基础理论和专业知识，培养学生独立分析、解决实际问题能力、培养学生处理数据和信息的能力。2、培养学生正确的理论联系实际的工作作风，严肃认真的科学态度。3、培养学生进行社会调查研究；文献资料收集、阅读和整理、使用；提出论点、综合论证、总结写作等基本技能。 毕业论文是毕业生总结性的独立作业，是学生运用在校学习的基本知识和基础理论，去分析、解决一两个实际问题的实践锻炼过程，也是学生在校学习期间学习成果的综合性总结，是整个教学活动中不可缺少的重要环节。撰写毕业论文对于培养学生初步的科学研究能力，提高其综合运用所学知识分析问题、解决问题能力有着重要意义。 毕业论文在进行编写的过程中，需要经过开题报告、论文编写、论文上交评定、论文答辩以及论文评分五个过程，其中开题报告是论文进行的最重要的一个过程，也是论文能否进行的一个重要指标。 撰写意义：1.撰写毕业论文是检验学生在校学习成果的重要措施，也是提高教学质量的重要环节。大学生在毕业前都必须完成毕业论文的撰写任务。申请学位必须提交相应的学位论文，经答辩通过后，方可取得学位。可以这么说，毕业论文是结束大学学习生活走向社会的一个中介和桥梁。毕业论文是大学生才华的第一次显露，是向祖国和人民所交的一份有份量的答卷，是投身社会主义现代化建设事业的报到书。一篇毕业论文虽然不能全面地反映出一个人的才华，也不一定能对社会直接带来巨大的效益，对专业产生开拓性的影响。但是，实践证明，撰写毕业论文是提高教学质量的重要环节，是保证出好人才的重要措施。 2.通过撰写毕业论文，提高写作水平是干部队伍“四化”建设的需要。党中央要求，为了适应现代化建设的需要，领导班子成员应当逐步实现“革命化、年轻化、知识化、专业化”。这个“四化”的要求，也包含了对干部写作能力和写作水平的要求。 3.提高大学生的写作水平是社会主义物质文明和精神文明建设的需要。在新的历史时期，无论是提高全族的科学文化水平，掌握现代科技知识和科学管理方法，还是培养社会主义新人，都要求我们的干部具有较高的写作能力。在经济建设中，作为领导人员和机关的办事人员，要写指示、通知、总结、调查报告等应用文；要写说明书、广告、解说词等说明文；还要写科学论文、经济评论等议论文。在当今信息社会中，信息对于加快经济发展速度，取得良好的经济效益发挥着愈来愈大的作用。写作是以语言文字为信号，是传达信息的方式。信息的来源、信息的收集、信息的储存、整理、传播等等都离不开写作。 论文种类：毕业论文是学术论文的一种形式，为了进一步探讨和掌握毕业论文的写作规律和特点，需要对毕业论文进行分类。由于毕业论文本身的内容和性质不同，研究领域、对象、方法、表现方式不同，因此，毕业论文就有不同的分类方法。 按内容性质和研究方法的不同可以把毕业论文分为理论性论文、实验性论文、描述性论文和设计性论文。后三种论文主要是理工科大学生可以选择的论文形式，这里不作介绍。文科大学生一般写的是理论性论文。理论性论文具体又可分成两种：一种是以纯粹的抽象理论为研究对象，研究方法是严密的理论推导和数学运算，有的也涉及实验与观测，用以验证论点的正确性。另一种是以对客观事物和现象的调查、考察所得观测资料以及有关文献资料数据为研究对象，研究方法是对有关资料进行分析、综合、概括、抽象，通过归纳、演绎、类比，提出某种新的理论和新的见解。 按议论的性质不同可以把毕业论文分为立论文和驳论文。立论性的毕业论文是指从正面阐述论证自己的观点和主张。一篇论文侧重于以立论为主，就属于立论性论文。立论文要求论点鲜明，论据充分，论证严密，以理和事实服人。驳论性毕业论文是指通过反驳别人的论点来树立自己的论点和主张。如果毕业论文侧重于以驳论为主，批驳某些错误的观点、见解、理论，就属于驳论性毕业论文。驳论文除按立论文对论点、论据、论证的要求以外，还要求针锋相对，据理力争。 按研究问题的大小不同可以把毕业论文分为宏观论文和微观论文。凡届国家全局性、带有普遍性并对局部工作有一定指导意义的论文，称为宏观论文。它研究的面比较宽广，具有较大范围的影响。反之，研究局部性、具体问题的论文，是微观论文。它对具体工作有指导意义，影响的面窄一些。 另外还有一种综合型的分类方法，即把毕业论文分为专题型、论辩型、综述型和综合型四大类： 1．专题型论文。这是分析前人研究成果的基础上，以直接论述的形式发表见解，从正面提出某学科中某一学术问题的一种论文。如本书第十二章例文中的《浅析领导者突出工作重点的方法与艺术》一文，从正面论述了突出重点的工作方法的意义、方法和原则，它表明了作者对突出工作重点方法的肯定和理解。2．论辩型论文。这是针对他人在某学科中某一学术问题的见解，凭借充分的论据，着重揭露其不足或错误之处，通过论辩形式来发表见解的一种论文。3．综述型论文。这是在归纳、总结前人或今人对某学科中某一学术问题已有研究成果的基础上，加以介绍或评论，从而发表自己见解的一种论文。4．综合型论文。这是一种将综述型和论辩型两种形式有机结合起来写成的一种论文。如《关于中国民族关系史上的几个问题》一文既介绍了研究民族关系史的现状，又提出了几个值得研究的问题。因此，它是一篇综合型的论文。 写作步骤：毕业论文是高等教育自学考试本科专业应考者完成本科阶段学业的最后一个环节，它是应考者的 总结 性独立作业，目的在于总结学习专业的成果，培养综合运用所学知识解决实际 问题 的能力。从文体而言，它也是对某一专业领域的现实问题或 理论 问题进行 科学 研究 探索的具有一定意义的论说文。完成毕业论文的撰写可以分两个步骤，即选择课题和研究课题。 首先是选择课题。选题是论文撰写成败的关键。因为，选题是毕业论文撰写的第一步，它实际上就是确定“写什么”的问题，亦即确定科学研究的方向。如果“写什么”不明确，“怎么写”就无从谈起。 教育部自学考试办公室有关对毕业论文选题的途径和要求是“为鼓励理论与工作实践结合，应考者可结合本单位或本人从事的工作提出论文题目，报主考学校审查同意后确立。也可由主考学校公布论文题目，由应考者选择。毕业论文的总体要求应与普通全日制高等学校相一致，做到通过论文写作和答辩考核，检验应考者综合运用专业知识的能力”。但不管考生是自己任意选择课题，还是在主考院校公布的指定课题中选择课题，都要坚持选择有科学价值和现实意义的、切实可行的课题。选好课题是毕业论文成功的一半。 第一、要坚持选择有科学价值和现实意义的课题。科学研究的目的是为了更好地认识世界、改造世界，以推动社会的不断进步和发展 。因此，毕业论文的选题，必须紧密结合社会主义物质文明和精神文明建设的需要，以促进科学事业发展和解决现实存在问题作为出发点和落脚点。选题要符合科学研究的正确方向，要具有新颖性，有创新、有理论价值和现实的指导意义或推动作用，一项毫无意义的研究，即使花很大的精力，表达再完善，也将没有丝毫价值。具体地说，考生可从以下三个方面来选题。首先，要从现实的弊端中选题，学习了专业知识，不能仅停留在书本上和理论上，还要下一番功夫，理论联系实际，用已掌握的专业知识，去寻找和解决工作实践中急待解决的问题。其次，要从寻找科学研究的空白处和边缘领域中选题，科学研究。还有许多没有被开垦的处女地，还有许多缺陷和空白，这些都需要填补。应考者应有独特的眼光和超前的意识去思索，去发现，去研究。最后，要从寻找前人研究的不足处和错误处选题，在前人已提出来的研究课题中，许多虽已有初步的研究成果，但随着社会的不断发展，还有待于丰富、完整和发展，这种补充性或纠正性的研究课题，也是有科学价值和现实指导意义的。 第二、要根据自己的能力选择切实可行的课题。毕业论文的写作是一种创造性劳动，不但要有考生个人的见解和主张，同时还需要具备一定的客观条件。由于考生个人的主观、客观条件都是各不相同的，因此在选题时，还应结合自己的特长、兴趣及所具备的客观条件来选题。具体地说，考生可从以下三个方面来综合考虑。首先，要有充足的资料来源。“巧妇难为无米之炊”，在缺少资料的情况下，是很难写出高质量的论文的。选择一个具有丰富资料来源的课题，对课题深入研究与开展很有帮助。其次，要有浓厚的研究兴趣，选择自己感兴趣的课题，可以激发自己研究的热情，调动自己的主动性和积极性，能够以专心、细心、恒心和耐心的积极心态去完成。最后，要能结合发挥自己的业务专长，每个考生无论能力水平高低，工作岗位如何，都有自己的业务专长，选择那些能结合自己工作、发挥自己业务专长的课题，对顺利完成课题的研究大有益处。 致 谢 这次论文的完成，不止是我自己的努力，同时也有老师的指导，同学的帮助，以及那些无私奉献的前辈，正所谓你知道的越多的时候你才发现你知道的越少，通过这次论文，我想我成长了很多，不只是磨练了我的知识厚度，也使我更加确定了我今后的目标：为今后的计算机事业奋斗。在此我要感谢我的指导老师——***老师，感谢您的指导，才让我有了今天这篇论文，您不仅是我的论文导师，也是我人生的导师，谢谢您！我还要感谢我的同学，四年的相处，虽然我未必记得住每分每秒，但是我记得每一个有你们的精彩瞬间，我相信通过大学的历练，我们都已经长大，变成一个有担当，有能力的新时代青年，感谢你们的陪伴，感谢有你们，这篇论文也有你们的功劳，我想毕业不是我们的相处的结束，它是我们更好相处的开头，祝福你们！我也要感谢父母，这是他们给我的，所有的一切；感谢母校，尽管您不以我为荣，但我一直会以我是一名农大人为荣。 通过这次毕业设计，我学习了很多新知识，也对很多以前的东西有了更深的记忆与理解。漫漫求学路，过程很快乐。我要感谢信息与管理科学学院的老师，我从他们那里学到了许多珍贵的知识和做人处事的道理，以及科学严谨的学术态度，令我受益良多。同时还要感谢学院给了我一个可以认真学习，天天向上的学习环境和机会。 即将结束*大学习生活，我感谢****大学提供了一次在**大接受教育的机会，感谢院校老师的无私教导。感谢各位老师审阅我的论文。