“面对人类历史上前所未有的巨大灾难，二战后美国社会遭遇了一场意识形态领域的重大危机。人们突然发现他们的所作所为都是漫无目而没有意义，不知道应该去相信什么。对于现状和将来，人们充满了困惑和焦虑，于是产生了一种荒诞感。一时之间，对“荒诞”主题的描述贯穿了战后文学和哲学领域。在这样的社会思潮下，约瑟夫•海勒在1961年发表了讽刺小说《第22条军规》，生动地反映了现代社会机构对人性的摧残以及个体失却形而上学依靠的疼痛感。由于二战时期参加过美国空军，海勒拥有大量一手材料用于小说创作。海勒认为官僚体系的腐败和战争时期个人的异化是阐释“荒诞”主题的最恰切的。 作为20世纪“反文学”的经典之作，《第22条军规》以黑色幽默著称。总的来说，黑色幽默即是指用喜剧的形式表达悲剧的艺术方法。本论文将深入分析小说《第22条军规》的黑色幽默特质，主要从三个方面入手，即“反小说”的结构，经典语言片段和“反英雄”形象的塑造。

Confronting the unprecedented calamity of human beings, there’s a radical crisis of the ideological field in the United States after World War II. People found it hard to believe things －all matters done were aimless and meaningless. They felt perplexed and anxious about their existence and the future, which lead to the sense of absurdity. Absurdity became the main subject in both literature and philosophy. Against this social background, Joseph Heller produced the sardonic novel Catch 22 in 1961, which vividly displays the dehumanization of all contemporary mechanisms and individual’s metaphysical pains. As Heller once enlisted in the army and became an Air Force bombardier during the war, he got plentiful materials to use in the novel. From Heller’s perspective, the corruption of the bureaucracy and alienation of individuals at the war were the most outrageous example to explicit the subject of Absurdity. Recognized as a classic work of “protest literature”, Catch 22 is noted for the artistic feature of black humor during the 20th century. Generally speaking, it is a literary approach that expresses tragic contents in the form of comedy. This thesis will go deeply to analyze the artistic feature of black humor used in Catch 22 from three aspects－anti-novel structure, classic pieces of language and the building of anti-hero.