《第二十二條軍規(guī)》中的反英雄人物 角色解析

1、學(xué) 院：專 業(yè)：學(xué)生姓名：導(dǎo)師姓名：完成日期：畢 業(yè) 論 文 外國語學(xué)院 英語 班 級： 0704 學(xué) 號：200704010425 喻 柳 艷 王 榮 富 2011年6月·ANALYSIS OF THE ANTI-HERO CHARACTERSIN CATCH-22THESISSubmitted in partial fulfillment of the requirements for The degree of Bachelor of ArtsIn Hunan Institute of EngineeringBy: Yu LiuyanSupervisor： Wang Rongf

2、uCollege of Foreign LanguagesHunan Institute of EngineeringJune 2011誠 信 聲 明本人聲明：1、本人所呈交的畢業(yè)設(shè)計(jì)（論文）是在老師指導(dǎo)下進(jìn)行的研究工作及取得的研究成果；2、據(jù)查證，除了文中特別加以標(biāo)注和致謝的地方外，畢業(yè)設(shè)計(jì)（論文）中不包含其他人已經(jīng)公開發(fā)表過的研究成果，也不包含為獲得其他教育機(jī)構(gòu)的學(xué)位而使用過的材料；3、我承諾，本人提交的畢業(yè)設(shè)計(jì)（論文）中的所有內(nèi)容均真實(shí)、可信。作者簽名： 日期： 年 月 日設(shè)計(jì)（論文）任務(wù)書姓名 喻柳艷 系 外國語學(xué)院 專業(yè) 英語 班級 0704 學(xué)號 200704010425 指導(dǎo)老師

3、 王榮富 職稱 講師 教研室主任 劉欣一、基本任務(wù)及要求：培養(yǎng)學(xué)生獨(dú)立檢索中外文資料的能力，初步具備搜集、整理、篩選信息資料的能力，初步掌握科學(xué)研究的基本方法，了解科學(xué)研究論文的寫作技巧與規(guī)范化要求。閱讀并充分理解第二十二條軍規(guī)的原著。在較多地查閱反英雄的定義與特點(diǎn)、小說的寫作背景，及對本部小說的本專題的評論著作后，撰寫出2500字的文獻(xiàn)綜述，然后進(jìn)一步搜集、整理、擴(kuò)充查閱范圍。構(gòu)思論文框架，撰寫出論文提綱，向指導(dǎo)教師提交開題報(bào)告。分析、篩選已有的信息資料，提出研究設(shè)想與計(jì)劃撰寫論文初稿，完成5000單詞左右的英文論文的撰寫工作，反復(fù)修改，提交二稿、三稿、定稿及打印稿。論文應(yīng)做到主題明確，結(jié)構(gòu)

4、合理，語言流暢，條理清楚。二、進(jìn)度安排及完成時(shí)間：12011年1月15日前 學(xué)生確定論文題目22011年1月21日2011年3月11日 學(xué)生完成文獻(xiàn)綜述32011年3月12日3月18日 學(xué)生提交開題報(bào)告4. 2011年4月22日 提交論文第一稿52011年5月13日 提交論文第二稿62011年5月27日 提交論文第三稿72011年6月5日 提交論文正稿82011年6月7日 論文形式審查92011年6月 9日 學(xué)生公開答辯 102011年6月11日 學(xué)生進(jìn)行畢業(yè)論文第一輪答辯 112011年 6月18日 學(xué)生進(jìn)行畢業(yè)論文第一輪答辯 122011年 6月30日前 論文歸檔ContentsAbstr

5、act (1)Introduction. . .(2)1. Brief Introduction of the Anti-hero.(2)1.1 Definition of the Anti-hero . .(4)1.2 Features of the Anti-hero .(4)2. Characteristic of the Anti-heroes in Catch-22.(5)2.1 Conflict and Uncertainty.(5)2.2 Relentless Quest for Personality (7)2.3 The Tragic Fate of the Characte

6、rs(8)3. Embodiments of the Anti-hero Images in Catch-22 (9)3.1 Colonel Cathcart - Arbitrary (9)3.2 Milo - Mercenary. (10)3.3 Lieutenant Scheisskopf - Ambition. (12)3. 4 Doc Daneeka - Untrue wisdom (12)3.5 Yossarian - Fear of Death (13)4 Causes of the Formation of the Anti-heroes in Catch-22 (14)4.1

7、Bureaucratic Collusion (13)4.2 Religious Bondage. (14) Conclusion (16)Bibliography.(17)Acknowledgements(19)Analysis of the Anti-Hero Characters in Catch-22Abstract: Joseph Heller is a great writer of the Unite State in the 1860s. In his typical work Catch-22, he shows numerous absurd, crazy and diso

8、rder farces about the world for human beings by means of the fantastic form of war and the vivid depiction of characters. This thesis is aimed to make research into the images of the characters in Catch-22, and focus on the theme revealed in it. From the perspective of the anti hero, this thesis car

9、efully expatiates on Milo who is a mercenary officer; Colonel Cathcart, an arbitrary person and Lieutenant Scheisskopf, who is full of ambition; Yossarian, the bomber, who is afraid to die among the blind-minded common people, and who attempts many stratagems only to get rid of the death and escape

10、from the war. Research into this subject may help us understand the absurd theme in the novel and the dark aspect of American bureaucratic society after World War.Key words: Catch-22; anti-hero; character; absurd第二十二條軍規(guī)中的反英雄人物角色解析摘 要：約瑟夫海勒是美國十九世紀(jì)六十年代偉大作家。在其代表作品 第二十二條軍規(guī)中，海勒以一種荒誕離奇的戰(zhàn)爭形式以及對作品中人物的生動地刻畫，

11、向人們展示了一幕幕荒誕、瘋狂、混亂的人間鬧劇。本文筆者將對第二十二條軍規(guī)中這類型人物形象的特點(diǎn)加以研究，體現(xiàn)其內(nèi)在的文學(xué)主題。從反英雄的視角，本文詳細(xì)闡述了專橫無理的卡思卡特上校，唯利是圖的食堂管理員米洛，野心勃勃的謝司科普夫少尉，聰明反被聰明誤的丹尼卡醫(yī)生及“貪生怕死”的轟炸手尤索林。對此課題的研究可以幫助我們理解出這部小說荒誕的主題和戰(zhàn)后美國官僚社會的陰暗的一面。關(guān)鍵字：第二十二條軍規(guī)；反英雄；人物形象；荒謬1IntroductionJoseph Heller was an American satirical novelist, short story writer and playwr

12、ight, and one of the most outstanding American novelists and the representative of Black Humor; he was born in Brooklyn, New York on May 1, 1923. His first and best known novel Catch-22 is now widely recognized as one of the most important books written by American vocabulary to express the frustrat

13、ion of encountering obstacles. The title of this work entered the English lexicon to refer to absurd, no-win choices, particularly in situations in which the desired outcome of the choice is impossibility, and regardless of choice, the same negative outcome is a certainty. Heller is widely regarded

14、as one of the best postWorld War II satirists.Shortly after Catch-22 was published, Heller thought of an idea for his next novel, which would become Something Happened., published in 1974, Good as Gold in 1979, God Knows in 1984, Picture This in 1988, Closing Time in 1994 Portrait of an Artist as an

15、 Old Man in 2000.Catch-22 draws heavily on Hellers Air Force experience and presents a war story that is at once hilarious, grotesque, cynical, and stirring. Even though the theme of Catch-22 is based on the U.S. Air Force team during World War II, In fact, there is no specific description of the wa

16、r in the novel. Heller once said that he was not interested in the subject of war, in Catch-22, he had no interest in war, and he was interested in the bureaucratic power structure of personal relationships. Heller is in a deep disgust and despair thought. Borrowing chaos of war and full of a sense

17、of the wide stage, he shows his absurd sense of social and personal situation in this society and fate.So far, the research on the novel is mainly focused on the following aspects: writing style, plot, black humor, historical accuracy, etc. Many researches are based on the black humor. It is thought

18、 that the representative of Black Humor .Some researches do research on the writing style. However there has been seldom research on it from the perspective of the anti-hero. In the following research into the characters in the novel will be made from the perspective of the anti-hero.This paper main

19、ly consists of four parts: Part One is a brief introduction to anti-hero, and it includes two sections. The first section is the definition of the anti-hero, while the second section introduces the features of the anti-hero. Part Two is the characteristic of the anti-hero in Catch-22, which includes

20、 three sections: conflict and uncertainty, relentless quest for personality and the2tragic fate of the characters. This can help us to understand the theme of the anti-hero. Part Three is a detailed analysis of embodiments of the anti-hero images in Catch-22 and it includes five sections. Each secti

21、on is about an image. There are Colonel Cathcart, Milo, Lieutenant Scheisskopf, Doc Daneeka and Yossarian. Part Four is the causes of the formation of the anti-heroes in Catch-22, it includes two sections, the first section is the bureaucratic collusion, and the second section is the religious bonda

22、ge. Through the analysis, we can see how the bureaucracy and the religion affect and control the thoughts, behavior and fate of the characters. The conclusion generalizes the paper and the significance and points out from which aspects further research can be made into.31. Brief Introduction of the

23、Anti-heroThe anti-hero is a term in modern literature and it has close relation with hero. Its development means the gradual decline of the lofty ideals of human. It emerges and develops, which has great influence on American society. This part is a brief introduction of the anti-hero.1.1 Definition

24、 of the Anti-heroWhen it comes to the term “anti-hero”, many can answer the question what anti-hero is, but few can give a precise definition acceptable to all. Websters Dictionary gives a concise definition:A protagonist or notable figure who is conspicuously lacking in heroic qualities.The Longman

25、 Companion to 20th Century Literature (1981 Edition) gave the “Anti-hero” concept a brief explanation:Anti-hero denies the standard of behavior or the social behavior previously considered as the basis of a civilized society. Such people deliberately resist or totally disregard the code of conduct,

26、even regard the modern society as a non-human world. (Ward, 1981: 342)And in Websters Encyclopedia, we can find a comparatively more detailed definition: "Anti hero", a concept antithetical to “hero”, is a type of roles in films, dramas or novels. Through depicting changes of fate of such

27、kind of people, writers “falsify” traditional values, which marked the display of individualistic thought, the decline of traditional moral values and the query of ideals and beliefs. Anti-hero is a protagonist or notable figure who is conspicuously lacking in heroic qualities. "Anti-hero” is n

28、ot the synonym of “negative character "or" villain”, but the collective name of a certain type of characters in literary works.1.2 Features of the Anti-heroAccording to Websters Encyclopedia, the anti-hero has following features: Characteristics of heroes can be summarized as handsome, cap

29、able and well-conducted. In contrast, the anti-hero has such unhealthy and not heroic features as repulsive looks, clumsy action, dull intellect, passive disposition, poor situations, and abnormal conduct, and they are faulted or failing in some fundamental aspects. Anti-heroes can have ideals and c

30、apabilities lofty and great as heroes', or approaching or even inferior to those of ordinary people, but they have to complete something extraordinary all the same. Therefore, the anti-hero is a contradictory character: in a4scene, he is a hero, and in another scene, maybe he is the villain or a

31、 persona non grata. Anti-hero is closer to the actual than hero of near-perfect.Yossarian, the main character in Catch-22, is not those of a typical hero, and he does not risk his life to save others; in fact, his primary goal throughout the novel is to avoid risking his life whenever possible. Unli

32、ke a conventional hero, Yossarian doesnt generalize this idea to mean that he should risk his own life in attempts to save everybody elses. Colonel Cathcart, the ambitious, unintelligent officer in charge of Yossarians squadron, wants to be a general, and he tries to impress his superiors by bravely

33、 volunteering his men for dangerous combat duty whenever he gets the chance. As he tries to scheme his way ahead, he thinks of successful actions as “father in his cap” and unsuccessful ones as “black eyes.” It is clear that all of them want to be a hero, but what they do is the action of an anti-he

34、ro.2. Characteristics of the Anti-heroes in Catch-22The appearance of anti-hero characters marks the declining of the indomitable enterprising spirit, consciousness and tenacious struggle of the hero image, and the anti-hero character is one of the main features of the post-war literature, the three

35、 characteristics of the anti-hero will be discussed in the following.2.1 Conflict and UncertaintyThe Anti-heros images in Catch-22 are more conflicting and uncertain than the traditional anti-hero images of the hero in literature which have firm will and goals. On one hand, they put importance on th

36、e self- independence and individuation; on the other hand, they display a strong resistance for the reality of powerlessness; when facing the external control in the suppression of individuality, they fail again and again because of the indecisive temperament. This contradiction can often play a ver

37、y significant "tragic sense of humor “effect.The hero Yossarian in Catch-22 is a contradictory character, and he is described in the following chapter:After he had made up his mind to spend the rest of the war in the hospital, Yossarian wroteletters to everyone he knew saying that he was in the

38、 hospital but never mentioning why(Joseph Heller, 1961:18).5Yossarian was a lead bombardier who had been demoted because he no longer gave a damnwhether he missed or not. He had decided to live forever or die in the attempt, and his onlymission each time he went up was to come down alive. (Joseph He

39、ller, 1961:25)In one way, he loves life, on the other way, he struggles to escape the war for he may be killed at any time in the environment, and it means he is trying to save his lives, but at the same time, he has shown contempt for the strong feeling of life.Yossarian ridicules the injured soldi

40、ers and attaches importance to his own live in contrast, which shows such a strong contrast between the characters their own cowardice and insensitivity of death. Behind the humor is chilling indifference, the reader can see in all of modern man in his shadow.The other character in the novel, Colone

41、l Carter, is also a contradictory character, and his nature reflects clearer in the novel:He was dashing and dejected, poised and chagrined. He was complacent and insecure;daring in the administrative stratagems he employed to bring himself to the attention of hissuperiors and craven in his concern

42、that his schemes might all backfire. He was handsomeand unattractive, a swashbuckling, beefy, conceited man who was putting on fat and wastormented chronically by prolonged seizures of apprehension. (Joseph Heller, 1961:103)Colonel Carter hates but loves the lieutenant colonel, because he can give a

43、dvice for him; when the priest prays, the content which refers the God and the Bible are forbidden, what the priest prays is that the bomb could be thrown farther.“Then we'll begin with this afternoon's mission.' The colonel's hostility softened graduallyas he applied himself to deta

44、ils. Now, I want you to give a lot of thought to the kind ofprayers we're going to say. I don't want anything heavy or sad. I'd like you to keep it light andsnappy, something that will send the boys out feeling pretty good. Do you know what I mean?I don't want any of this Kingdom of

45、God or Valley of Death stuff. That's all too negative.6What are you making such a sour face for?”（Joseph Heller, 1961:104）Colonel Carter is a microcosm of those in power at that time; the readers laugh at and curse these ridiculous officers, which can vent from this humorous discontent for the r

46、eal world.2.2 Relentless Quest for PersonalityAnti-heroes reflect the personality of contradictions and uncertainties, which make them trapped into the embarrassing situation of self-contradiction, but at the same time, what lies behind this contradictory character is their relentless pursuit in spi

47、rit and the constant quest of “self”. In the novel, the hero Yossarian is described as follows:Yossarian did feel almost sick enough to go back into the hospital, and he felt even sickerthree combat missions later when Doc Daneeka still shook his melancholy head and refusedto ground him. (Joseph Hel

48、ler, 1961:48)In order to survive and break out of the inescapable net woven by the officers who have no patriotism, Yossarian exhausts such methods as lying, malingering, pretending crazy, and even pretends to be assassinated. The most typical approach is staying in the field hospital by pretending

49、sickness to escape the never-ending and randomly increasable flights. His companions fall and injure themselves seriously again and again for the sake of escaping flights and enjoying delicious meals.For such people in the writing, the direction of their efforts -to escape their combat missions- may

50、 not be worth encouraging, but it shows their character of striving for the goal. However the odd environment of the military camp created by way of irony makes it difficult for readers to criticize the hero's behavior. Instead, readers may generate sympathy and admiration to the hero's unre

51、mitting efforts in the enjoyment of humor. Finally, of course, the protagonist's spirit was rewarded, he piloting an aero plane towards his ideal country Sweden.2.3 The Tragic Fate of the Characters7Anti-hero characters express strong dissatisfaction with reality problems through their own rebel

52、lious actions. They are eager to realize individual freedom and find the value of exist. However, the origin of black humor generated from the sense of powerlessness toward the real world determines that the characters in works of black humor are ultimately unable to succeed in escaping the tragic e

53、nding.In Catch-22, what frightened Yossarian was not the ruthless God, although "Considering he had full opportunities and authority to act and he made things such a mess, his ineptitude was really surprising enough”(Joseph Heller, 1961:60); nor the roaring gunfire in the battlefield, although

54、it threatened his life every minute, but the invisible and insurmountable existence of “catch” which horripilated him and put him in panic all day long:“Sure there's a catch,” Doc Daneeka replied. “Catch-22, Anyone who wants to get out ofcombat duty isn't really crazy.' There was only on

55、e catch and that was Catch-22, andimmediate was the process of a rational mind. Orr was crazy and could be grounded. All hehad to do was ask; and as soon as he did, he would no longer be crazy and would have to flymore missions. Orr would be crazy to fly more missions and sane if he didn't, but

56、if he wassane he had to fly them. If he flew them he was crazy and didn't have to; but if he didn't wantto he was sane and had to” (Joseph Heller, 1961:125)This catch prescribed a limit to man's freedom and individuality like the shadow of death and the boulders placed on the hero's

57、shoulder, which forecasted the tragic ending to Yossarian. Although at the end of the novel, Yossarian, in the form of a deserter, broke away from the war and the absurd military life, flying toward the country of freedom-Sweden, but ultimately he failed to overcome the catch-22 paradox , for the catch is everywhere and changeful. Yossarian ran from the barracks, but he could never escape from the “Catch-22" in real life. Escapist behavior is also tragic in nature. Behind the hopeful ending lies the endless despair of life, which i