英語(yǔ)畢業(yè)論文第二十二條軍規(guī)賞析AnExistentialAnalysisofCatch22.doc

An Existential Analysis of Catch-22ContentsAcknowledgements. iAbstract(English). iiAbstract(Chinese). iii1. Introduction.11.1 Catch-22. 11.2 Writing Background .12. The Existentialism.22.1 “I think, so I am” and “existence before essence” .22.2 The initiative of the soldiers.33. Free Choice .43.1 Orr.53.2 Yossarian .64. The Absurdity of the World.74.1 The Absolute power of the Bureaucracy.74.2 The Moral Insanity.84.3 The Inevitability of Death.95. Conclusion .10Work Cited.12AbstractThis paper is going to talk about the existentialism in Joseph Hellers masterpiece Catch-22. As regards to the influence of existentialism on literature, Jean Paul Sartres theories are the one of the great significance, which is the main concern in this thesis.Joseph Heller (1923-1999) is one of the most representative writers of Black Humor, which forecasts the dominating of American post-modernism literature. The heart of Black Humor is the description of the absurdity of the world, which is also a doctrine of existentialism. So it is said that existentialism is one of the origins of Black Humor.In Catch-22, there are bounds of freedom and the struggles to get off from them, which is a main theme of the book. And as regard to Sartres existentialism, the central thought is the freedom to choose what one wants to be or to do, which agrees with the theme of Catch-22 above I have mentioned. So in this paper I just choose Sartres existentialist thoughts to analyze it, despite other existentialists. Existentialism is a different point of view to look at the traditional war-novel, from which I think a deeper and more theoretical criticism of the war as well as that of the world can be obtained.For the value of this paper, first of all, it will prove Catch-22 an existential novel. Both centered on the theme of freedom, this novel and existentialism share the same basis, so its natural to connect them together. Also, there is chapter four on absurdity to illustrate this point. Thirdly, I want to stress the subjectivity and advantages of existentialism. Although many people think it as superficial and spiritual, it stresses on humanism, paying attention to initiative and subjectivity, which are still hot centers of discussion till now. Key words: Catch-22; Existentialism; Free choice; Absurdity內(nèi)容摘要約瑟夫海勒的代表作二十二條軍規(guī)中滲透著存在主義的思想,這也是本論文討論的主旨所在。在存在主義理論，特別是其對(duì)文學(xué)有影響的存在主義理論中，薩特的理論是有著重要的地位。雖然他的理論觀點(diǎn)看法總是在不斷地改進(jìn)中，自由問(wèn)題始終是他所重點(diǎn)關(guān)注的問(wèn)題。薩特的哲學(xué)被稱為“自由哲學(xué)”的原因，就是因?yàn)樗麑?duì)人類自由問(wèn)題的關(guān)注和闡釋。根據(jù)薩特的重要理論“存在先于本質(zhì)”，人必須得先發(fā)揮主動(dòng)性積極為自己思考，然后去做自由的選擇，這些也是本論文中要涉及的內(nèi)容。雖然薩特本體論為徹底完善，但使用它分析小說(shuō),可以從宏觀上看到海勒對(duì)軍隊(duì)，對(duì)戰(zhàn)爭(zhēng)的厭惡,以及對(duì)社會(huì)的批判。約瑟夫海勒是黑色幽默小說(shuō)的代表作家之一，而黑色幽默小說(shuō)預(yù)示著美國(guó)后現(xiàn)代文學(xué)將在美國(guó)文壇占有重要的地位。黑色幽默理論的核心是世界的荒誕性，而這也是存在主義所堅(jiān)持的信條。本論文通過(guò)存在主義，特別是薩特的存在主義理論，嘗試著從一個(gè)全新的角度去闡釋第二十二條軍規(guī)從存在主義關(guān)于自由，世界荒謬性，對(duì)人的主動(dòng)性的強(qiáng)調(diào)，我們可以看到，小說(shuō)中無(wú)處不滲透著存在主義的痕跡。在本文里我想強(qiáng)調(diào)存在主義的優(yōu)點(diǎn)之一，注重人的主動(dòng)性。雖然很多人認(rèn)為它是迷信的精神的，但是它強(qiáng)調(diào)人道主義，注重人的主動(dòng)性和主體性，而這些現(xiàn)在仍是被討論的重點(diǎn)。關(guān)鍵詞：第二十二條軍規(guī)；存在主義；自由；荒誕性An Existential Analysis of Catch-22OutlineThesis Statement: This paper is meant to talk about the existentialism in Joseph Hellers masterpiece Catch-22. As regards to the influence of existentialism on literature, Jean Paul Sartres theories are the one of the outstanding significance, which is the main concern in this thesis. In Catch-22, there are bounds of freedom as well as the struggles to get off from them, which is a main theme of the book. And for Sartres existentialism, the central thought is the freedom to choose what one wants to be or to do, which agrees with the theme of Catch-22 above I have mentioned. So here I just choose Sartres existentialist thoughts to analyze it. Introduction: Catch-22 and its writing background. The ExistentialismA. “I think, so I am” and “existence before essence”B. The initiative of the soldiers. Free Choice A. OrrB. Yossarian. The Absurdity of the WorldA. The Absolute power of the BureaucracyB. The Moral InsanityC. The Inevitability of Death. Conclusion畢業(yè)論文開題報(bào)告1結(jié)合畢業(yè)論文課題情況，根據(jù)所查閱的文獻(xiàn)資料，每人撰寫500字左右的文獻(xiàn)綜述，闡述當(dāng)前的研究現(xiàn)狀：Literature ReviewJoseph Heller, one of the most outstanding American novelists and the representative of Black Humor, His first and best known novel Catch-22 is now widely recognized as one of the most important books written by Americans since World War II. term Catch-22 has entered the American vocabulary to express the frustration of encountering absurd obstacles. Therefore a thorough existentialist reading of Joseph Hellers Catch-22 may give us some enlightenment and inspiration. According to Brian Czech in her essay A potential catch-22 for a sustainable American ideology, the history of American ideology includes elements of increasing sustainability. Laissez-faire, racism, sexism, and anthropocentrism have been declining throughout the 20th century, as indicated by various social movements and institutional developments. Economic growth has proceeded concurrently and the material standard of living has generally done likewise. Proponents of an environmental Kuznets curve posit that continued economic growth and associated increases in the standard of living will have the effect of, and are required for, producing an increasingly sustainable ideology.In the paper of From Modernism to Postmodernism , the auther Zhao Guofan says it is widely accepted that the emergence of Black Humor was under the influence of Existentialism. Existentialism is a philosophy which grew out of France around World War II, with Jean-Paul Sartre and Albert Camus as its representatives. The two world wars exerted great influence on Existentialism and Black Humor, both of which share a common viewpoint of the artistic demand of facing up an absurd universe without intrinsic values. Joseph Heller, as a Black Humorist, was inevitably influenced by the existentialist philosophy and presented it in his Catch-22 There was a study by Gary w . Davis, in A detailed Summary of Catch 22, he criticized that through Catch-22 Joseph Heller permeates the idea that there is no single definitive truth, that the world is the form of a continual clash of truths. Heller permeates his ideas of existentialism throughout the novel. Each character lives within his/her own world where each creates their individual ideas of right and wrong. Through this no single truth remains a constant. The principal behind existentialism states that oneself is the only definitive reference to what may be perceived of the world. The only truths that remain become those created by the individual. Each character within Catch-22 lives within the world perceived by their mind, the ideas of right and wrong perpetuated by the individual. Catch-22 is an extraordinary novel whose basic assumption is that all men are equally mad in war. Many critics have properly identified the distinctive features of Catch-22: its wild and truly hilarious humor, its broadly satiric portrait of the military, and its savage characterization of the modern social order. Since the publication of Catch-22, it has caused much discussion and argument. After a series of study on the critical works of Joseph Heller, I have a clear understanding of the significance of existentialism in his works and give me inspiration to have a deep knowledge of Catch-22.Bibliography:Barrett, William. Irrational Man: A Study in Existential Philosophy. Garden City: Doubleday, 1958. Kaufmann, Walter. Existentialism from Dostoevsky to Sartre. New York: Meridian, 1956.Kennard, Jean E. World Literature Criticism. Detroit: Gale Research Inc., 1997.Nagel, James. Critical Essays on Joseph Heller. Boston: G.K. Hall & Co., 1984.Seed, David. The Fiction of Joseph Heller: Against the Grain. London: Macmillan, 1989.Sartre, Jean-Paul. Being and Nothing. Beijing: China Social Sciences Publishing House, 1993.湯永寬. 第二十二條軍規(guī)譯本序. 上海：上海譯文出版社, 1981.吳曉東. 20世紀(jì)外國(guó)文學(xué)專題. 北京: 北京大學(xué)出版社, 2002.潘利鋒. 全球化語(yǔ)境與東西方文學(xué). 長(zhǎng)沙: 湖南人民出版社, 2004.錢滿素. 美國(guó)當(dāng)代小說(shuō)家論. 北京: 中國(guó)社會(huì)科學(xué)出版社, 1987.畢業(yè)論文開題報(bào)告本課題研究的主要內(nèi)容和擬解決的問(wèn)題：主要內(nèi)容：20世紀(jì)60年代稱霸于西方劇壇的荒誕派戲劇以薩特的存在主義哲學(xué)為思想基拙，強(qiáng)調(diào)人的分離與隔膜、存在的危機(jī)與友酷、人生的無(wú)用以及世界的荒誕。本文通過(guò)分析美國(guó)現(xiàn)代作家海勒的“黑色幽默”經(jīng)典之作第二十二條軍規(guī)中體現(xiàn)的人與其生存的世界的隔離、人與宗教、人與人以及人與自然的隔離，以闡明在現(xiàn)代社會(huì)里人類存在的荒誕與無(wú)奈。第二十二條軍規(guī)中通過(guò)尤索林的遭遇，反映了戰(zhàn)爭(zhēng)和官僚機(jī)器的瘋狂、荒誕，并通過(guò)“第二十二條軍規(guī)”的象征，達(dá)到一種形而上的藝術(shù)境界。主人公尤索林是一個(gè)浸透著存在主義意識(shí)的“反英雄”形象，身兼批判現(xiàn)實(shí)的積極因素和取消斗爭(zhēng)的消極因素。他是荒誕與瘋狂社會(huì)中的清醒者。親眼目睹的許多事實(shí)，促使他進(jìn)行痛苦的思考。他有一定的社會(huì)意識(shí)和正義感。對(duì)于瘋狂的世界，他一直進(jìn)行著道義的評(píng)判。尤索林信仰的喪失，理想的落空，英雄氣概的消亡，都反映了西方資產(chǎn)階級(jí)的日趨衰敗并漸漸走向衰亡擬解決的問(wèn)題： 通過(guò)對(duì)作品中主要人物尤索林的遭遇的分析，體現(xiàn)第二十二條軍規(guī)中人與其生存的世界的隔離、人與宗教、人與人以及人與自然的隔離。分析后現(xiàn)代主義，充分論證闡明小說(shuō)中體現(xiàn)的現(xiàn)代社會(huì)里人類存在的荒誕與無(wú)奈。畢業(yè)論文開題報(bào)告指導(dǎo)教師意見：1對(duì)“文獻(xiàn)綜述”的評(píng)語(yǔ)：2對(duì)本課題的深度、廣度及工作量的意見和對(duì)論文結(jié)果的預(yù)測(cè)： 指導(dǎo)教師： 年 月 日系（教研室）審核意見： 負(fù)責(zé)人： 年 月 日畢業(yè)論文任務(wù)書1本畢業(yè)論文應(yīng)達(dá)到的目的： 本論文主要從存在主義的角度去發(fā)現(xiàn)作品中約瑟夫海勒表達(dá)的存在主義思想，理解他表達(dá)的后現(xiàn)代主義的內(nèi)涵。希望能夠?qū)ψ髌酚猩顚哟蔚恼J(rèn)識(shí)，并從中得到啟迪。為了能夠?qū)@一課題有深入詳實(shí)的理解和分析，將認(rèn)真閱讀原著并盡力搜集相關(guān)著作，綜合自己的感想理解和批評(píng)著作，以期在論文中使自己的主觀理解中肯并不失個(gè)人色彩。2本畢業(yè)論文的主要內(nèi)容和任務(wù)要求：主要內(nèi)容：20世紀(jì)60年代荒誕派戲劇以薩特的存在主義哲學(xué)為思想基拙，強(qiáng)調(diào)人的分離與存在的危機(jī)、人生的無(wú)用以及世界的荒誕。本文通過(guò)分析美國(guó)現(xiàn)代作家海勒的第二十二條軍規(guī)中體現(xiàn)的人與世界的隔離、人與宗教、人與人以及人與自然的隔離，以闡明在現(xiàn)代社會(huì)里人類存在的荒誕與無(wú)奈。文中通過(guò)尤索林的遭遇，反映了戰(zhàn)爭(zhēng)和官僚機(jī)器的瘋狂、荒誕，并通過(guò)“第二十二條軍規(guī)”的象征，達(dá)到一種形而上的藝術(shù)境界。尤索林是有著存在主義意識(shí)的“反英雄”形象，身兼批判現(xiàn)實(shí)的積極因素和取消斗爭(zhēng)的消極因素，他的理想的落空，英雄氣概的消亡，都反映了西方資產(chǎn)階級(jí)的日趨衰敗并漸漸走向衰亡任務(wù)要求：1、查找相關(guān)資料，按時(shí)上交論文大綱與開題報(bào)告；2、認(rèn)真填寫畢業(yè)論文工作手冊(cè)；3、在分析材料的基礎(chǔ)上，運(yùn)用所學(xué)知識(shí)，理論與實(shí)踐相結(jié)合，突出自己的創(chuàng)新點(diǎn)，按時(shí)完成論文的一稿、二稿與定稿。畢業(yè)論文任務(wù)書3對(duì)畢業(yè)論文成果的要求： 1、論文應(yīng)觀點(diǎn)明確，資料翔實(shí)，結(jié)構(gòu)完整，層次清楚，語(yǔ)言通順，格式規(guī)范。2、論文要按照規(guī)定格式打印、裝訂成冊(cè)，按時(shí)提交（含word格式電子稿一份）。3、及時(shí)向指導(dǎo)老師提交與論文相關(guān)資料，以便存檔。4、對(duì)論文內(nèi)容涉及的有關(guān)技術(shù)資料應(yīng)負(fù)有保密責(zé)任，論文未經(jīng)導(dǎo)師許可不能擅自對(duì)外交流或發(fā)表。 4主要參考文獻(xiàn)：Heller, Joseph. Catch-22: with an Introduction by Malcolm Bradbury. New York: Alfred A. Knopf, 1995. Kennard, Jean E. World Literature Criticism. Detroit: Gale Research Inc., 1997.Matuz, Roger. Contemporary Literary Criticism. Detroit: Gale Research Inc., 1991.Nagel, James. Critical Essays on Joseph Heller. Boston: G.K. Hall & Co., 1984.Seed, David. The Fiction of Joseph Heller: Against the Grain. London: Macmillan, 1989.Sartre, Jean-Paul. Being and Nothing. Beijing: China Social Sciences Publishing House, 1993.湯永寬. 第二十二條軍規(guī)譯本序. 上海: 上海譯文出版社, 1981.吳曉東. 20世紀(jì)外國(guó)文學(xué)專題. 北京: 北京大學(xué)出版社, 2002.潘利鋒. 全球化語(yǔ)境與東西方文學(xué). 長(zhǎng)沙: 湖南人民出版社, 2004.錢滿素. 美國(guó)當(dāng)代小說(shuō)家論. 北京: 中國(guó)社會(huì)科學(xué)出版社, 1987.1. Introduction1.1 Catch-22Before Catch-22, Joseph Heller has written several works, including many short stories, three plays and several novels. But it is after the publication of Catch-22 that Heller as a specialized writer is remembered by the world. This work is called the epic in the 1960s.By describing a apparently crazy world, he exposes the corruption of American society, where the social bureaucrats, related to capital power, brought suffering and death to the ordinary people.The novel Catch-22 mainly tells a story about a pilot soldier named Yossarian. This story happens in World War II. Serving in the army for a long time, he gets tired of it, and wants to go back home away from the war and from the threat to be killed. After the death of his friend Snowden, Yossarian begins to try to be grounded, to be an ordinary person away from the cruel world. In order to accomplish his dream, he pretends to be insane; to be ill and even behaves in insane manners. At last, he, obeying his own authentic self, refuses to work together with the upper officials and deserts from the army. Also there are some sub-stories about other soldiers beside Yossarian, such as his co-pilot Orr, who deserts successfully at last, another one, Nately, who falls in love with a whore, etc.1.2 Writing Background Joseph Heller was born in Brooklyn, New York, as the son of poor Jewish parents. His father, who was a bakery truck driver, died in 1927. After graduating from Abraham Lincoln High School in 1941, Heller joined the Twelfth Air Force. He was posted in Corsica, where he flew 60 combat missions as a B-25 bombardier. In 1949 Heller received his M.A. from Columbia University. He was a Fulbright scholar at Oxford in 1949-1950. Heller worked as a teacher at Pennsylvania State University (1950-1952), copywriter for the magazines Time (1952-56), Look (1956-58), and promotion manager for McCalls. He left McCalls in 1961 to teach fiction and dramatic writing at Yale University and the University of Pennsylvania. All those experiences contribute to Hellers writing. After WW, American government didnt pay much attention to social reforms, and instead it lent much money to Europe and carried out commercialism, which dissatisfied the people deeply. In politics, the horror of McCarthyism swept every corner of America. Those conditions mentioned above are the writing background of Catch-22. At the very beginning of the story, Heller told that it is not just an anti-war story. Wayne Charles Miller, in his An Armed American: Its Face in Fiction, said that Pianosa, where the story Catch-22 happened, is a mirror of America, a tool that allowed Heller to criticize justice, romantic love, heroism, the military, and capitalism. People in this background are calling for true freedom and responsibility of the government as well as themselves. So Sartres theories just pleased what those people needed. All those above mentioned are the background reasons why I choose existentialism to analyze Catch-22.2. ExistentialismExistentialists tend, for example, to highlight the unique and particular in human experience; they put the individual person at the centre of their pictures of the world, and are suspicious of philosophical or psychological doctrines that obscure this existential individuality by speaking as if there were some abstract “human nature”, some set of general laws or principles, to which men are determined or required, by their common humanity, and to conform that each man is what he chooses to be or make himself to be, and he cannot escape responsibility for his character or his deeds by claiming that they are the pre-determined consequence of factors beyond his power to control resist, nor can he justify what he does in terms upon him from without.For the relationship of existentialism with the literature, Sartres theories are much more powerful than the others. Sartres theory “Existence before essence” stresses the initiative of human being, for which it is called “the philosophy of action”. In this chapter, focusing on the Catch-22, Ill have a discussion about soldiers different responses to the war according to their different initiative.2.1 “I think, so I am” and “existence before essence”“Cogito ergo sum” is the slogan of a French philosopher, Decarte, which means in English “I think before I am.”, which is almost the equation of Sarters “existence before essence.” Both of them tell us that we should be suspicious to everything in the world except that “Im suspecting” or “Im thinking”, in spite of which I have nothing. This suspicion I have proves the existence of myself as well as the initiative of the very person, I. As I have mentioned, “existence before essence” means “we as human beings have no given essence or nature but must forge our own values and meanings in an inherently meaningless or absurd world of existence.” Man was not created according to a certain style or pattern. Man has no pre-existing essence, as a result of which he is what he conceives himself to be and what he makes of himself. He sets up his own ethics and creates his own human nature. Man is thrown into the world and he must accept himself and look forwards to the future.For all the existentialists, Sartre defers from others most by his human-centered thinking. “Sartre appreciated Decartes I think, and thought that any truth in the world can not depart with I think before I am, only from which we can get an absolute real self-consciousness.” Of course, there are differences between them. In Sartres opinion, “Before Decartes reflective cogito, i.e., I think, there should and must be the pre-reflective thought, which should be the subject of philosophy and the starting line of the phonology.” There are shortcomings in Decartes thinking. For example, “from the pre-reflective cogito, Decarte sets up I as the instinctive structu