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1
Kosilova, Elena. "Conceptualization of the Absurd in Philosophy From Logic to Logic of Sense." Philosophy. Journal of the Higher School of Economics VI, no. 3 (2022): 208–21. http://dx.doi.org/10.17323/2587-8719-2022-3-208-221.
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The article discusses the question of what absurd is. At first, the absurd seems to exist in two forms — semantic and existential. Semantic absurd is a characteristic of a statement, whilst existential absurd is a characteristic of a person's existence. However, the article shows that these are not two different entities but one. In antiquity, absurdity was synonymous with the falsity of a conclusion. In modern philosophy, Husserl, in Logical Investigations, believes that absurd objects cannot be understood. However, Tertullian's line appears already in early Christianity, linking absurd with an act of faith. In the 19th century, Kierkegaard was its representative. IIn the middle of the 20th century, Camus showed that the attitude to life as absurd is an honest view of life without illusions, followed by Nagel. In the 20th century, the absurd appeared in art, where it expanded the boundaries of consciousness. The new philosophy of the absurd takes into account its connection with novelty, creativity, liberation. It breaks established ties and makes the familiar new. Soviet scientist B.F. Porshnev points out that a particular act of thinking, “deabsurdization”, underlies logic. J. Deleuze in Logic of Sense demonstrates that nonsense provides the “gift of meaning”, comprehension always begins with some bewilderment; common sense is unproductive, but nonsense makes thought work. Before Deleuze, the absurd was an anthropological phenomenon, howbeit Deleuze gave it an ontological status. The modern philosophy of the absurd may even turn out to be theology.
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Myropolska, E. V. "THE DRAMA SEARCHES ON THE FIELDS OF THE "PHILOSOPHY OF THE ABSURD": THE EXPERIENCE OF MODERN UNDERSTANDING." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 64–68. http://dx.doi.org/10.17721/ucs.2020.1(6).14.
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The article reflects the logics of the development of the "philosophy of absurd" – a term of intellectual tradition connected with attributive characteristic of reference between a man and surrounding world. The best productive ideas of the "philosophy of absurd" – non- conformism,resistance to the imposition of other people's thoughts, revolt, freedomand some others have been described.The "philosophy of absurd" is aphilosophical conception which examines a man in the context of his inevitable relations with the world which is sencseless and unfriendly to human individuality, in the result of which "absurd consciousness" is bearing. The nuances of the "philosophy of absurd" in the art practices of the XX-th – the first two decades of the XXI-st centuries, especially absurd drama has been disclosed. Its typical signs are the absence of act's plays and time, the plot and composition are breaking, existentialist's mood of characters, absurd plot's situations, words' nonsense and so on. The heroes of the plays by S. Becket from the very beginning are solitude. But S. Becket developes ideas of "the philosophy of absurd", showing that if such people find faith, there is no strength that can break them. The main theme of S. Becket's creation is man's doom, his solitude. S.Becket became the most typical interpretator of the ideas of "the philosophy of absurd" in the drama, finding both simple and non-traditional methodsfor classic theatre aesthetics and new means of their incarnation.The playwright very exactly expressed such thought: progress's movement causes "progress" to all mankind reticence, alienation, closeness. One of the reasons of the negative perception of the world S. Becket calls a man's unrealizness and as a result – man's deformation. The consciousness wich is prepared by philosophical comprehension and scene "playing" absurd situations, helps a modern man worthly treat such situations in the real life, understanding that life occurs Hic et Nunc, we can't delay it for tomorrow.
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Rybińska, Krystyna. "The Absurd as a Representation: Towards a Hermeneutics of the Inexplicable (The Problematic Case of Godot)." Studia Anglica Posnaniensia 51, no. 4 (2016): 67–86. http://dx.doi.org/10.1515/stap-2016-0020.
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Abstract This article attempts to re-signify the already extensively discussed conception of the absurd attributed to the aesthetic phenomenon presented by the so-called theatre of the absurd by critically reconsidering its paradigmatic work Waiting for Godot in relation to philosophical hermeneutics (Heidegger, Gadamer, Ricoeur). The fact that Beckett’s artistic method invalidates the transparency of the mirror-like relation between reality and art is known, and yet the potential theoretical consequences of such a literary revolution do not seem to have been exhausted - particularly in respect to the category of the absurd. Hence, the presented inquiry aims to view the phenomenon quite against its common conceptualizations derived from existentialist philosophy in order to indicate a possible route of exploring it from a hermeneutic perspective and thereby challenging, to some extent, Simon Critchley’s (2004: 165) famous assertion that Beckett’s oeuvre seems “uniquely resistant to philosophical interpretation”.
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Rumualdo Ávila, Mauricio Simón. "Del absurdo y el Eros: Albert Camus." Sincronía XXV, no. 80 (2021): 151–59. http://dx.doi.org/10.32870/sincronia.axxv.n80.6b21.
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This articule is a study about the relation between the philosophy of the absurd and the Eros in the literary work of the french writer Albert Camus, with the aim to show how these two conceptions are incompatible. To do this, the different settings of the absurd that are present in the books of Camus and their implications with the Eros were analyzed. This relation was approached with the visions of the characters that act with the presence or ausence of Eros
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Apressyan, Armen R. "Street artists: acquiring a face." Chelovek 33, no. 2 (2022): 165. http://dx.doi.org/10.31857/s023620070019517-5.
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Despite the growing popularity of street art, the names of street artists — with the possible exception of one or two - are not known to the general public, street art is impersonal in the mass consciousness. Of course, there is a significant amount of information resources dedicated to street art, but they do not significantly affect the wide popularity of artists. Like many years ago, even the names of very interesting authors are known only to a narrow circle of fans of the genre. An absurd situation is emerging: even Banksy, who can be considered as the most famous street artist in the world, is impersonal. No one knows who exactly is hiding behind this name, and for many years fans of his artworks have been putting forward a variety of theories, sometimes frankly fantastic. The article suggests that in today's art world, a street artist can gain wide popularity, «acquire a face» only by changing his status and abandoning street art in favor of easel painting. The works of Jean-Michel Basquiat and Richard Hambleton are considered as examples.
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Zhilichev, P. E. "Absurdist Drama and Its Academical Reception in Russian and Western Literary Criticism." Bulletin of Kemerovo State University 24, no. 5 (2022): 626–34. http://dx.doi.org/10.21603/2078-8975-2022-24-5-626-634.
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This paper attempts to identify and systematize the main approaches to the theater of absurd and absurdist drama in Western and Russian literary studies. The term theater of the absurd was originally introduced by Martin Esslin. This concept has become a common denominator and refers to the dramatic work of such famous authors as Samuel Beckett, Eugène Ionesco, Harold Pinter, Arthur Adamov, and Jean Genet. Martin Esslin and his followers brought in several important features into the absurdist drama, i.e., alogism, disjointed communication, wordplay (Patrice Pavis), etc. They attempted to conceptualize the theater of the absurd as a part of a broader typological unit, e.g., Michael Bennett’s theater of parabola. Russian scholars and critics have developed a range of important concepts as well. They see absurd as a violation of basic rules of communication (Olga Revzina, Isaac Revzin). The Union of Real Art (Mikhail Yampolskiy, Dmitry Tokarev) focuses on the principle of serialized eventfulness. Others concentrate on the meta-descriptive nature of absurd (Evgenyi Kluev) and develop the concept of absurdity as a picture of the world (Olga Burenina-Petrova). Both in Western and Russian studies, the conceptualization of the theater of the absurd follows two opposite poles: absurd can be interpreted as either a linguistic phenomenon (deconstruction of communication), or as a certain way of human existence. During the 1980–2000s, post-structuralist philosophy played a major role in the re-thinking of the absurd, while the interaction of philosophical and literary approaches determined the principles of historical aesthetics. As suggested by contemporary researchers, the discourse of the absurdist drama has the following features: deconstruction of cultural codes; actualization of the archaic basis of theater; parodying literal and theatrical conventions; problematization of the semiotic linkage (sign and its referent); depiction of mosaic consciousness and unstable cosmos.
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كريم, زيد, and حسن الخفاجي. "The impact of Nietzsche's philosophy on the aesthetics of the literary text." Kufa Journal of Arts 1, no. 20 (2014): 295–324. http://dx.doi.org/10.36317/kaj/2014/v1.i20.6368.
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I've been playing mental turnaround for the world of modernity leading role in the structure of the concept and the nature of the work, whether art Cecchelaa theatrically or text morally, in the starting thinking philosophically liberal looking for a new, and address all the challenges and weaves values modernist compatible and ideological era, through the march - modernity, what Postmodernism, down to the modern post-modernity, suggesting understood the philosophical shift mental and search in entity core values, and clear impact of the philosopher (Friedrich Nietzsche) in the heart of these values, as well as the philosophy of contemporary art in all schools and trends that were realistic or classic modern or romantic and also Albornasah and expressive and absurd and others, the search in the aesthetics of the literary text and properties held by the literary text contemporary in all trends, because this text is able to influence the public, and raise their emotions, the goal is to achieve a fun and thrill in its drafting, so calls in search of Aesthetics literary text that was poetry or prose or novel or short story, frame aesthetic which results in the context of literary schools of contemporary and which did not seek field to mention all of these schools, and we went in our search to the most famous, in the direction of a pattern literary particular objective or subjective, what matters framework year for this text, and thereunder of different components, such as words and structures, images and symbols and nods and others that are psychological artist and his sense of growing force in clarifying this concept, embodied in the symbol of human excellence philosophy lute eternal has considered philosopher (Nietzsche) important art is that human Next Through this genius (Superman), which made him in most schools and contemporary trends, for example, their flags .
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Ponomareva, Anastasiia. "Absurdist Fiction in the Focus of Philosophy: Máirtín Ó Cadhain and his Novel "The Dirty Dust"." Философская мысль, no. 12 (December 2022): 42–49. http://dx.doi.org/10.25136/2409-8728.2022.12.38927.
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The subject of the study is the phenomenon of the absurd in Irish fiction and its relation to philosophical discourse. Absurdist fiction is proposed to be analyzed from the point of view of the philosophical meanings embedded in it. Most often, this is the interpretation of the absurd as a concept meaning a person's discord with the world. The novel by the Irish writer Ó Cadhain is considered as representing the absurdity of the human existence. In the analysis of the novel, the methods of modern cultural knowledge were used: the description of various sociocultural trends and phenomena, their theoretical generalization. The purpose of the work is to clarify the meaning of the absurd for the constitution of human existence. The article explores the connection of the realities present in the novel with the philosophy of traditionalism. The absurd is investigated as an indicator of the "silencing" of meaning. The factors that bring together the views of modernists who wrote about the absurd and the traditionalist doctrine are: fixation of the destruction of the habitual way of life, self-integrity, perversion or disappearance of the hierarchical social order, substitution of values, a direct indication of the "end of time" (eschatology). Changes in speech almost always act as an indicator of the heroes losing their own identity. With the help of this indicator, as a rule, loss of connection with Another, global alienation and dehumanization of a human being are recorded. Thus, the importance of the category of the absurd for fundamental philosophical ontology is proved.
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Shand, John. "How to live?" Philosophy 82, no. 2 (2007): 347–48. http://dx.doi.org/10.1017/s003181910732007x.
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This paper is not about truth but about consistency. Pointing to inconsistency would be a dry worthless exercise were there not people who are inconsistent in the specific way described and for whom such inconsistency matters. There are those who tell us that life has no value and is pointless, that it is ‘absurd’, and yet that it matters how we live our lives; in particular that we ought to square up to the truth that life has no value and is pointless. Philosophy and art, especially in the nineteenth and twentieth centuries, have often seen this view in the ascendant when they get onto the issue of ‘the meaning of life’.
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De Castro Cândido, Sara, Nàvia Regina Ribeiro da Costa, and Ruzileide Epifânio Nogueira. "The Absurd Man in camusiana philosophy and poetry drummondiana: language as a source of (trans)formation." Fragmentos de Cultura 27, no. 3 (2017): 361. http://dx.doi.org/10.18224/frag.v27i3.5039.
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This article seeks to an approach between the poetry of Carlos Drummond de Andrade, in Feeling of the world (1940), and the philosophy of Albert Camus, in The Myth of Sisyphus - the work of art as adventure of a spiritual destiny (2012), for, to think through by the language praticed by Drummond in two poems – Poem of necessity and Holding hands –, the be in the world and the passing of the man's condition of the being ontic to the be ontological, using also Durand (2012) and another theorists. Making use, as methodology, by the bibliographical research, and theory express of poetic text, concepts and analysis based on the phenomenological critique. Still in an interdisciplinary approach, to reflect the subject and its constitution as speech, will use theories of French line of discourse analysis (DA) and the line Anglo-Saxon (ADC), whose leading exponents are respectively, Michel Pêcheux and Norman Fairclough, relying on the concept of dialectical materialism.
 
 
 O Homem Absurdo na filosofia camusiana e na poesia drummondiana: a linguagem como fonte da (trans)formação
 
 Este artigo busca aproximações entre a poesia de Carlos Drummond de Andrade, em Sentimento do Mundo (1940), e a filosofia de Albert Camus, em O mito de Sísifo – a obra de arte como aventura de um destino espiritual (2012), para, por meio da linguagem praticada por Drummond em dois poemas – Poema da necessidade e Mãos dadas –, pensar o estar no mundo e a passagem do homem da condição de ser ôntico para ser ontológico, valendo-se, também, de Durand (2012) e de outros teóricos. Utiliza, como metodologia, a pesquisa bibliográfica e expressa teorias do texto poético, conceitos e análises com base na crítica fenomenológica. Ainda, numa atitude interdisciplinar, para refletir sobre o sujeito e sua constituição como discurso, baseia-se nas teorias da Análise de Discurso de linha francesa (AD) e de linha anglo-saxã (ADC), cujos principais expoentes são, respectivamente, Michel Pêcheux e Norman Fairclough, apoiando-se na concepção do materialismo dialético.
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Hussein, Marwa Sami, Ansam Riyadh Abdullah, and Alaa Hameed Jasim. "Man’s Continuous Search for Salvation in Beckett’s plays: From Arrival in Waiting For Godot to Departure in Endgame." Journal of Tikrit University for Humanities 28, no. 3, 1 (2021): 42–66. http://dx.doi.org/10.25130/jtuh.28.3.1.2021.22.
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Following an existential point of view, the absurd theatre depicts ideas that seem to have illogical explanation. As a case in point, Samuel Beckett is the most eminent of the absurdist playwrights, in a sense that he deals with the dullness of routine, the futility of human action, and humans' inability to communicate. Beckett who has experienced so much of life became a man with a prophetic vision, and the creator of new concepts of modern theatre. His journey continues after writing Waiting for Godot to write Endgame. Both plays share the same view that man is living in a world without a clue and placing in a universe with no purpose.
 This study provides a framework of Beckett’s two absurd plays Waiting for Godot and Endgame elucidated under the umbrella of both existentialism and absurd theatre. It is divided into two sections and a conclusion. Section one deals with the genre of these two plays and the philosophy of existentialism which has its effect on the writings of the modern age. Also, it explains the main features of the absurd theatre and how the modern tragi-comedy is used synonymously with absurd theatre. Section two deals with the game of waiting in Waiting for Godot, and the final stage of life in Endgame, and how Endgame is depicted as the third act of Wating for Godot. It also shows the idea of seeking salvation which dominates the two plays but in different ways. The last part of this study is the conclusion which sums up the findings of the study.
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Gerland, Oliver, and Bruce G. Shapiro. "Divine Madness and the Absurd Paradox: Ibsen's Peer Gynt and the Philosophy of Kierke-Gaard." Theatre Journal 44, no. 4 (1992): 561. http://dx.doi.org/10.2307/3208799.
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McGrew, Lydia. "Of Generic Gods and Generic Men: The Limits of Armchair Philosophy of Religion." Journal of Analytic Theology 6 (July 19, 2018): 183–203. http://dx.doi.org/10.12978/jat.2018-6.112400120222a.
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Thomas Crisp has attempted to revive something akin to Alvin Plantinga’s Principle of Dwindling Probabilities to argue that the historical case for the resurrection of Jesus does not make the posterior probability of the resurrection very high. I argue that Crisp’s argument fails because he is attempting to evaluate a concrete argument in an a priori manner. I show that the same moves he uses would be absurd in other contexts, as applied both to our acquaintance with human beings and to evidence for divine intervention. Crisp’s attempt to relate the evidence for a specific act of God such as the resurrection to generic theism, thereby creating skepticism about the power of the evidence, is symptomatic of a larger problem in the philosophy of religion which I dub “separationism” and which has characterized the work of both advocates of classical apologetics and philosophers of science.
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Zlotnikova, Tatiana S. "Philosophy and the Drama of Life: A Theater Experience of Understanding F.M. Dostoevsky." Observatory of Culture 18, no. 3 (2021): 228–39. http://dx.doi.org/10.25281/2072-3156-2021-18-3-228-239.
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The article aims at a multidimensional discussion of the little-explored topic of the dramatic content of the philosophical problems in the works of F.M. Dostoevsky (1821—1881). There is proved that it was this feature of creativity that made the writer, with his philosophy of life and sharp, dramatically effective plot and psychological collisions, the most desirable and very productive author for the Russian theater art.Polyphony, dialogism, combined with the features of the tragic genre, are the basis for numerous theatrical embodiments of novels and novellas by F.M. Dostoevsky. The intensity of the action in his works gave rise to the expressions “novel-drama” or “drama in a novel”, “novel-tragedy”, and in theatrical practice it created the ground for the transformation of moral and philosophical problems into active stage action.The article reveals the context of F.M. Dostoevsky’s works — the time and conditions for the emergence of novels and novellas, the problem field that united and separated him from the works of his predecessors and contemporaries, which is done on the basis of a brief description of several aspects of the philosophical-aesthetic and socio-moral systems. In this context, according to our concept, a special place is occupied by the idea that life in Russia is absurd and ridiculous, and the reflection of the absurd is the most important artistic paradigm.The article proves that the analyzed philosophy of F.M. Dostoevsky’s life received polar genre embodiments in the theater. Thus, the dramatic and melodramatic beginning was characteristic of the performances that had in their center the so-called little man. The article presents an understanding of the most remarkable performances of the second half of the 20th and the beginning of the 21st century: “The Idiot” by G. Tovstonogov, with a new trend of searching for a “positively beautiful” person, which had a significant impact on many theatrical experiences in Russia; “The Petersburg Dreams” by Yu. Zavadsky, as a unique experience for Soviet art of creating a tragic work in full accordance with the aesthetic characteristics of this genre; “And I Will Go, and I Will Go” by V. Fokin, as the last emotional outburst of the young generation of Soviet creators who thought in the moral and psychological parameters of F.M. Dostoevsky’s characters; “The Karamazovs” by K. Bogomolov — a postmodern experience of an absurdist reading of the multifaceted text of the classic.In the works of the writer and their theatrical embodiment, the article notes the signs of a carnival worldview, a combination of grotesque and subtle psychologism in the stage versions of F.M. Dostoevsky (in particular, when working with ironic and satirical texts, “Uncle’s Dream” and especially “The Village of Stepanchikovo”, where sympathy and negative connotations are integrated into a single artistic space). The article correlates the writer’s works existential interpretations by theatrical creators of the 20th and early 21st centuries with socially significant problems, life choices, and dramatic conflicts that characterize Dostoevsky’s philosophy.
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Radford, Colin. "Utilitarianism and the Noble Art." Philosophy 63, no. 243 (1988): 63–81. http://dx.doi.org/10.1017/s0031819100043138.
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Utilitarianism tells us that actions are morally right and good if and to the extent that they add to human happiness or diminish human unhappiness. And—or, perhaps, therefore—it also tells us that the best action a person can perform is that which of all the possible actions open to him is the one which makes the greatest positive difference to human happiness. Moreover, as everyone will also remember, utilitarianism further tries to tell us, perhaps intending it as a corollary of that first, main claim, that the motive for an action has nothing to do with its moral rightness or goodness. (This, of course, is just a philosopher's excessive and incorrect way of making the platitudinous point that one may do the wrong thing for the right reason and the right thing for the wrong reason.) But even if, as utilitarians, we accepted the dubious corollary, it would not follow, as many have thought, that utilitarians have no moral interest in motives. For unless, absurdly, a utilitarian believed either that there was never more than a fortuitous connection between on the one hand what we intended to do and on the other what we did and the consequences of what we did, or that, if there were such connections, we could not know of them, he must believe, as a moralist, that the best motive a person can have for performing an action is likely to be the desire to produce the happiest result. Indeed, utilitarians ought to be morally committed, it would seem, to trying to find out as much as they can about the consequences of our actions, e.g. what connections exist, if any, between how we raise children and what sort of adults they grow up to be.
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Fiedosieiev, Nikita. "Manifesto of Surrealism: Common and Opposite in the Established Genre." Ethnic History of European Nations, no. 71 (2023): 78–84. http://dx.doi.org/10.17721/2518-1270.2023.71.11.
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The purpose of this publication is to systematize and generalize information about the Manifesto of Surrealism in the context of finding various factors of influence on the specified modernist direction of culture and art. Leaders of surrealism and researchers of this trend emphasized that it is not only about the methods of creating works and the form of their living, but also about the picture of the world and the type of mentality. In «The First Manifesto of Surrealism» (1924), rational thinking is rejected in favor of dreams, the aimless play of imagination and mental automatism uncontrolled by consciousness. «The Second Manifesto of Surrealism» (1929) proclaims the need to overcome the absurd distinction of supposed opposites (beautiful and ugly, true and false, etc.) to which civilizations and societies that care about the perpetuation of violence are so devoted. The early «sacred texts» of Surrealism caused a chain reaction that spread throughout the Western world within a decade and a half. When Surrealism was born, it was more than just an artistic movement. Surrealism is poetry, painting, and worldview, social and political movement. Surrealism arose in difficult conditions, at the turn of the 19th and 20th centuries, when the spiritual crisis of European civilization was evident. One of the most important founders of surrealism is A. Breton, a French writer and poet. Surrealists were looking for a base, a foundation on which they could build the temple of their worldview. One of these foundations is the philosophy of the French thinker A. Bergson, who claimed that the mind is unable to grasp the true nature of phenomena, but only intuition is able to look at a thing and see its true being. According to A. Bergson, reality is perceived not through logical forms, but through the forms of pure «individual vision». When an artist learns the world through «inner contemplation», his art inevitably departs from logically objective reality. The act of creation thus acquires an irrational, mystical character. A dualism of intuition and intellect appears which is inherent in logical thinking.
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Qurban, Masuda Aalim Jalan. "Renewing Art Education Philosophy in Light of Twenty-First Century Skills." Asian Social Science 15, no. 3 (2019): 107. http://dx.doi.org/10.5539/ass.v15n3p107.
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The problem of renewing the philosophy of teaching art education in the light of 21st century skills. Art education at the global level is facing many and many challenges as a result of the tremendous changes in the way knowledge and information are exchanged, in which technology plays a large role because of the necessity of its existence at various scientific levels. These challenges required a comprehensive review of the educational system and philosophy in general And in particular technical education, which in turn lead to the development of advanced courses and innovative work to prepare a learner is able to absorb better, in addition to it makes the educational process an interesting process for the learner and by integrating those courses study With 21st century skills and information technology, which in turn improves the outcomes of the learning process and the quality of education.
 Research problem: The researcher found through the study of international and international research of the 21st century skills and information technology to be applied in the curricula of different fields, because it is important for the students as it earns and trains them on life and work skills to bring out a person who is more capable of dealing smartly in life and linking them to the curriculum. As well as their application to the labor market.
 Therefore, the problem of this research lies in the following question: To what extent is it possible to implement a program based on the integration of information technology and art education curricula in the light of 21st century skills to bring out a learner capable of keeping pace with the labor market?
 Research goals: The research aims to: 
 - Prepare a student capable of keeping pace with the labor market through the application of the skills of the 21st century by international standards in the curricula of art education.
 - to highlight the skills of the twenty-first century of high value that contribute to the output of a learner capable of achieving professional success in the labor market.
 Research importance: 
 - keep up with information technology through integration with the curriculum of art education
 - Use the skills of the twenty-first century in teaching the curriculum of art education
 - Stimulate educational institutions to apply the skills of the twenty-first century and mechanisms to achieve the vision of the Kingdom 2030 in the field of education.
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Altorf, Marije. ""Initium ut esset, creatus est homo": Iris Murdoch on Authority and Creativity." Text Matters, no. 1 (November 23, 2011): 92–105. http://dx.doi.org/10.2478/v10231-011-0007-6.
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In 1970 the British novelist and philosopher Iris Murdoch published both her thirteenth novel, A Fairly Honourable Defeat, and her best known work of philosophy, The Sovereignty of Good. Given the proximity of these publication dates, it does not surprise that there are many points of comparison between these two works. The novel features, for instance, a character writing a work of moral philosophy not unlike Murdoch's own The Sovereignty of Good, while another character exemplifies her moral philosophy in his life.
 This article proposes a reading of the novel as a critical commentary on the philosophical work, focusing on the tension between creation and authority. While Murdoch considers humans to be first and foremost creative, she is at the same time wary of the misleading nature of any act of creation. For Murdoch, any creator and any creation—a beautiful picture as well as a watertight theory—may transmit a certain authority, and that authority may get in the way of acknowledging reality. It thus hinders the moral life, which for Murdoch should be thought of as a life of attention—to reality and ultimately to the Good—rather than a series of wilful creations and actions.
 A Fairly Honourable Defeat queries the possibility and danger of creation, through different characters as well as through images of cleanliness and messiness. Thus, the character whose book of moral philosophy is challenged and who is found wanting when putting his ideas to practice, likes ‘to get things clear’ (176). Another character, whose interferences create the novel's drama, has a self-confessed ‘passion for cleanliness and order’ (426). The saint of the story, in contrast, does not interfere unless by necessity, and resides in one of the filthiest kitchens in the history of literature. Yet, none of the main characters exemplifies a solution to the tension between creation and authority found in Murdoch's philosophy. An indication of a solution is found in a minor character, and in his creations of outrageous bunches of flowers, unusual meals, and absurd interiors. Yet, its location in a subplot suggests that this solution is not in any way final. It is concluded that any final solution should not be expected, not in the least because of the pervasive nature of the tension between creation and authority, which goes well beyond Murdoch's own authorship.
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McIntyre, Andrew. "Weizenbaum’s nightmare: The decay of language in AI-generated communication." Journal of Pervasive Media 8, no. 1 (2023): 11–27. http://dx.doi.org/10.1386/jpm_00002_1.
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Half a century on from the ELIZA program, with the rapid and widespread emergence of generative artificial intelligence (AI) programs, we are now on the cusp of realizing Joseph Weizenbaum’s nightmare: an absurd world that is not only populated by machines that can convincingly simulate human communication in its various forms (e.g. writing, visual art, performance and music) but in which these machines are readily accepted as authentic replacements. Drawing on the existentialist language philosophy of Vilém Flusser, this article argues that to defer cultural communication to generative AI programs is to step outside the ‘great conversation’ of human culture and to be condemned to an unutterable nothingness. To demonstrate this, I analyse several illustrative examples including Google’s Language Model for Dialogue Applications (LaMDA) language model, the text-based roleplaying game AI Dungeon (Latitude 2019), and the art installation UUmwelt (Huyghe 2018). I argue that generative AI programs only appear to ‘speak’ in a language we understand while continuing to ‘think’ in the formal language of mathematics and that their communications are merely transliterations of numbers. As such, these programs are not bound by the same moral and syntactical rules that we observe and abide by in cultural communication, and in using generative AI programs, we may very well bypass these rules to express raw intention. Though mechanized in the form of technical images, such a mode of expression would be akin to the nonsensical cries of animals in that it fulfils a fundamental desire but reveals nothing of a consciousness within. By deferring the labour of communication to an AI program, the human retreats inward and disappears from culture as they ‘speak’ in one language but ‘think’ in another. Thus, the nightmarish future that Weizenbaum envisioned is one filled with illusions of artistic expression, projected by both machines and humans, and yet there is no evidence of humanity in such a culture.
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Peels, Rik. "Responsible Belief, Influence, and Control: Response to Stephen White." Journal of Philosophical Research 44 (2019): 53–62. http://dx.doi.org/10.5840/jpr201944148.
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I reply to Stephen White’s criticisms of my Influence View. First, I reply to his worry that my Appraisal Account of responsibility cannot make sense of doxastic responsibility. Then, I discuss in detail his stolen painting case and argue that the Influence View can make sense of it. Next, I discuss various other cases that are meant to show that acting in accordance with one’s beliefs does not render one blameless. I argue that in these cases, even though the subjects act in accordance with their own beliefs, there is plenty of reason to think that at some previous point in time they violated certain intellectual obligations that led to them to hold those beliefs. Even on a radically subjective account of responsibility, then, we can perfectly well hold these people responsible for their beliefs. I go on to defend the idea that reasons-responsiveness will not do for doxastic responsibility: we need influence on our beliefs as well. Thus, doxastic compatibilism or rationalism is untenable. Subsequently, I defend my earlier claim that there is a crucial difference between beliefs and actions in that actions are often subject to the will, whereas beliefs are not. Finally, I respond to White’s worry that if one has a subjective epistemic obligation just because one believes that certain actions are epistemically bad, some people will have a wide range of absurd epistemic obligations, such as the obligation to listen to Infowars.
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Stanovcic, Vojislav. "Contribution of historical and literary works to the understanding of political phenomena." Zbornik Matice srpske za drustvene nauke, no. 118-119 (2005): 93–124. http://dx.doi.org/10.2298/zmsdn0519093s.
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The paper presents a series of arguments which indicate that significant historiographic works describing and analyzing bygone political phenomena as well the literary works which picturesquely depict political situations and human destinies - with their specific approaches and methods - contribute to the better insight and understanding of the phenomena in the political life which philosophy and social sciences express by notions. Social and political life have their bright and dark sides. It is less arguable that political sciences - in the study of phenomena included in their topic -find great help in history, if it is - as Leopold von Ranke advised - oriented only to "show what really happened". Historical studies, specially the ones of the socalled great historians, present to us the images of the situation in a certain period or event with all significant details and contribute to the understanding of that phenomenon, helping to clarify its essence. Thus for example, Appian's Roman Civil Wars or Tacitus' descriptions in The Annals of the suffering of the innocent victims in the power struggle during civil wars and during the ferocious persecution of Christians -innocent, but accused of all possible crimes. What astonishes the reader is the grea similarity between the phenomena, processes, actions happening two millennia ago and in the 20th century. Philosopher and political thinkers (like Aristotle), but also some historians (like Thucydides) offer explanations why some patterns repeat and why they would "keep repeating". In Khalil Inalcik's work, we find detailed descriptions of brutal mutual killings among the sons of the majority of the Turkish sultans in the power struggle after their fathers' death. Generalizing on the basis of the material provided by history, we reach an entire string of general notions in political and social sciences. Great thinkers and writers, from the oldest Eastern and the greatest antique philosophers till the ones from the 20th century, used found inspiration and drew ideas and incentives or material from the sources with which they supplemented their theoretical categories, notions and explanations, including the images of political life. These sources are represented in the great literary works. Contradictory opinions about the character and significance of ail and literature are found in Plato's and Aristotle's writings. Aristotle, who analyzed this problem, presented arguments why literary insights - precisely because of the character of insights they offer - deserve to stand in the same pedestal with philosophy. He used the expression he himself introduced to mark one aspect of the effect of art and literature - and that is catharsis. Psychology facilitates our insights into the motives and consequences of the participants' behavior social psychology being particularly important, but also ethics. The means used to convey a certain truth is less important, its essence is more important. Several Greek philosophers (Parmenides, Empedocles, Xenophon) even the Roman ones (for example, Lucretius Cains) wrote their philosophical treatises in verse. Kant's famous words Sapere aude! with which he asks people to have courage to use their own mind and thus become enlightened originate from the Roman poet Horace, and Michel de Montaigne also used them. Plato and Aristotle referred not only to the available sources about preceding philosophical ideas and political systems, including the first Greek historians, but also to the tragedians, primarily Aeschylus, Sophocles and Euripides, to the comedy writers (like Aristophanes), to the lyricists (Solon, Simonides, Archilochus). When Aristotle expounds one of the key categories of his political theory about man as a political animal (zoon politikon), he refers to Homer to confirm what he himself believes. Anica Savic-Rebac quotes Strabo's formulations about poetry as "the first philosophy", as well as about Homer's work as "poetic philosophy" and as a source of every kind of wisdom, even every kind of knowledge. With his ideas and images he presented in his literary works, Dostoyevsky influenced several philosophers (Nietzsche, Camus and others) and scientists (Freud, Adler and others). "The philosophy of existence" and its ethical orientation were presented not only in the philosophical, but also in the literary works (Kierkegaard, Sartre, Camus). The so called philosophy of the absurd and "the literature of the absurd" mutually merge and supplement. Not even the best 20th century theoretical treatise about the nature of power - like those by Charles Merriam, Bertrand Russell, Bertrand de Jouvenel or Harold Lass well can depict what man gets to know through the tragedies of Marlowe Shakespeare, Goethe, in which main participants are driven and urged by the yearning to achieve absolute power. "The Great Inquisitor", "The Iron Heel" "Dark at Noon", but also the personalities like Raskolnikov or Verhovensky from the novel The Possessed help us to understand many things. "Gulag" became a political notion because of the title of the novel Gulag. Literature-antiutopia pointed to the dangers of the closed mind and of the technological society before scientific studies had done that.
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Rahmani, Ulva Heryanti, and Siti Hanifa. "Absurdity in Madurese and English Drama: A Comparative Study." ISLLAC : Journal of Intensive Studies on Language, Literature, Art, and Culture 6, no. 1 (2022): 128. http://dx.doi.org/10.17977/um006v6i12022p128-139.
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Comedies of different countries have their own absurdities. Absurdity is something that human often experience for searching the meaning of life. Therefore, a comparative study of literature is used in this study to compare absurdities in the comedy originating from Madura and England. The objective of this study is to find out how the absurdities are shown in the Madurese and English comedy. Then, the method of this study is qualitative method. The sources of the data of this study are Juragan Hadroh and Gara-Gara Tukang Cukur EDAN!! by Sukur CS that were performed in 2021 and are compared to George Bernard Shaw’s Too True To Be Good that was performed in 1949. This study uses theory of absurdity that can be called “the philosophy of the absurd” by Albert Camus. The data of this study are in the form of characters utterance, narrator narrations, and gestures. This study found that both of Madurese and English comedies are existed as the form of searching for the meaning of life. Absurdities that are shown by Madurese and English comedies start from the names of characters, utterances and acts of the characters.
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Sharma, HarGovind, and Asha Sharma. "A Rebel with a Cause: Tennessee Williams the Playwright: A Perspective." IRA International Journal of Education and Multidisciplinary Studies (ISSN 2455-2526) 7, no. 1 (2017): 1. http://dx.doi.org/10.21013/jems.v7.n1.p1.
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<div><p><em>Albert Camus, a French philosopher, thinker and writer, along with Jean Paul Sartre gave a philosophical base to French existentialism. Though he would publically disavow any ideological association to this movement which gripped post-war Europe, it was his writings, nevertheless, which would shape much of the future direction that this movement would take. In his book The Rebel, An Essay on Man in RevoltCamus gave a philosophical construct to the existential conundrum which fueled and sustained this movement. In this seminal work he defines rebellion as the quintessential human response to a seemingly absurd existence. According to him it is an act of simultaneous denial and acceptance: we negate the forces which strike at the root of our existence and, in the same breath celebrate the validity of our existence in our day today living. This is what helps us retain our faith in our own humanity while pitted against the depredations of a subversive social, moral and cosmological order. Though separated by vast intercontinental distances, cultural differences andvarying tastes and sensibilities, there is a remarkable degree of convergence of thought between Camus, the French thinker and Tennessee Williams, the American playwright. Camus’ rallying call to his ‘rebel’ finds resonance in the redoubtable fight of Williams’ protagonists in play after play wherein these ‘sensitive non-conformists’ would continue to wage a relentless battle against the inequities of the world despite their foreknowledge that they are doomed to fail. At the heart of their common philosophy, is the need to assert the fact of our existence without succumbing to the forces of negation even when the quotidian reality of life would seem to preclude any hope.</em></p></div>
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Atamanchuk, V. P. "TRADITIONS OF I. KARPENKO-KARYI IN M. KULISH’ DRAMA: LITERARY ASPECT." Literary Studies, no. 60 (2021): 11–20. http://dx.doi.org/10.17721/2520-6346.60.11-20.
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One of the brightest playwrights of the twentieth century, M. Kulish has synthesized significant artistic achievements of his outstanding predecessors. The Ukrainian playwright has organically combined the achievements of many artistic trends (realism, symbolism, expressionism, “theatre of the absurd”), creating an original, aesthetically and artistically perfect, stylistic system. In dramatic works by M. Kulish, the intersection of diverse semantic and artistic planes, as well as the interaction of different discourses with the involvement of the achievements of world art and philosophy, is combined with a strong reliance on the traditions of national drama. The traditions of I. Karpenko-Karyi in the drama by M. Kulish can be traced in various aspects. First of all, as the top achievements that became the basis for further development, deepening and the transformation of ideological and artistic achievements of Ukrainian drama of the early twentieth century. The vector of development, which was formed by I. Karpenko-Karyi, determined the initial positions for the realization of the first dramatic attempts of M. Kulish and some aesthetic parameters of the dramatic techniques, artistic achievements of his outstanding predecessor in accordance with the conceptual tasks that faced him as a creator of modern drama under the new historic conditions. At the same time, the traditions of the Ukrainian Coryphées theatre, modified to the circumstances and challenges of the twentieth century can be traced in the literary works by M. Kulish on different levels: stylistic (that is manifested in the use of realism aesthetics, with its topmost embodiment in plays by I. Karpenko-Karyi; expressionism aesthetics, with its basics of development in the literary works of the XIX century playwrights); genre (which is realized in the appeal to the genres of classical drama – comedy, tragicomedy, melodrama – with its further rethinking of the these main genres attributes in accordance with the modernist worldview); plot (which is displayed in the use of similar in some parameters plot frameworks), etc.
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Closel, Régis Augustus Bars. "Utopia and the Enclosing of Dramatic Landscapes." Renaissance and Reformation 41, no. 3 (2018): 67–92. http://dx.doi.org/10.33137/rr.v41i3.31542.
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This article focuses on the enclosing of the land as depicted in More’s Utopia (1516); the anonymous domestic tragedy, Arden of Faversham (1589); and the Carolinian play, A Jovial Crew (1641), by Richard Brome. It discusses how the relationship between the multiple resulting changes in the environmental, social, and economic landscape gave rise to important points for action and social debate in early modern English fiction, in which the customary pre-Reformation past is as irreconcilable as a fictional utopian world. This article argues that the emerging profitability of the newly and increasingly enclosed topography as imagined in Utopia appears in Thomas Nashe’s The Unfortunate Traveller, and its initial consequences are disclosed in the anonymous Arden, only to spread through generations of social displacement in Richard Brome’s Jovial Crew, by which time an absurd realignment of the relationship between beggary and ideal worlds is taking place in drama.
 Cet article se penche sur le phénomène d’enclôture des terres tel que Thomas More le décrit dans l’Utopie, dans la tragédie anonyme intitulée Arden of Faversham (1589) et dans la pièce carolinienne A Jovial Crew (1641) de Richard Brome. On montre d’abord comment les différentes conséquences environnementales, sociales et économiques ont donné lieu à des mouvements et des débats sociaux au sein de la fiction anglaise moderne, où la l’histoire convenue du passé précédant la Réforme paraît tout aussi éloignée que la fiction d’un monde utopique. On avance que les possibilités de profit qu’offre la nouvelle topographie de terres de plus en plus clôturées, ainsi que l’imaginait l’Utopie, sont évoquées dans la pièce The Unfortunate Traveller de Thomas Nashe, que les conséquences de ces changements apparaissent dans la pièce Arden, et que les déplacement sociaux qui y ont fait suite pour des générations se retrouvent plus tard dans la pièce de Richard Brome ; à cette période, le théâtre procède à un absurde réalignement du lien entre les mondes idéaux et la mendicité.
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Park, Seungbae. "On the relationship between speech acts and psychological states." Pragmatics and Cognition 22, no. 3 (2014): 340–51. http://dx.doi.org/10.1075/pc.22.3.04par.
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This paper defends a theory of speech act that I call concurrentism. It receives support from a psychological study and goes well with evolutionary theory. It sheds light on what the hearer believes when he hears an indicative sentence, what the speaker believes when he says an indicative sentence, what the speaker does after he says an indicative sentence contrary to what he believes, why Moore’s paradox occurs, why it is puzzling to say some variants of Moorean sentences, and why it is not absurd to say other variants of Moorean sentences. It will become clear that other things being equal, we believe that other people speak as they believe, and we speak in accordance with what we believe. It will also become clear that after we speak contrary to what we believe, we keep to ourselves the discrepancy between what we speak and what we believe, ceteris paribus.
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Tyron, T. S., and D. Ajit. "Postmodernism and its emotional impact: The American T.V. Show, ‘Family Guy, as a Politically Incorrect Document." CARDIOMETRY, no. 23 (August 20, 2022): 226–35. http://dx.doi.org/10.18137/cardiometry.2022.23.226235.
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Postmodernism is a movement that grew out of modernism. Movements in art, literature, and cinema focused on a particular stance. The visual artists who created entertainment focused on expressing the creator herself/himself beginning from German expressionism to modernism, surrealism, cubism, etc. These art movements played an important part in what an artist (literature, art, and visual) portrayed to his or her audience. As perspectives played an important part, an understanding of what the artist needed to portray was critical. Modernism dealt with this portrayal, which came about due to the changes taking place in society. In terms of the industry, where the overall product dealt with features like individualism, experimentation and absurdity, modernism dealt with a need to overthrow past notions of what painting, literature, and the visual arts needed to be. “After World War II, the focus moved from Europe to the United States, and abstract expressionism (led by Jackson Pollock) continued the movement’s momentum, followed by movements such as geometric abstractions, minimalism, process art, pop art, and pop music.” Postmodernism helped do away with these shortcomings. An understanding of postmodernism is explored in this paper. The main point which sets it apart is concepts like pastiche, intersexuality, and spectacle. Concerning pop culture, an understanding of referencing is a constant trait used by postmodern art. Postmodern television and the central part of this study applied to the popular animated American TV show, ‘family guy’ is a postmodern show in its truest form, while attempting to use certain aspects of postmodernism tropes to help emphasize that visual art can be considered a historical document while doing an in-depth analysis of the visual text of ‘family guy by itself, several other research papers were used to help further put in stone that ‘family guy’ is a true representation of postmodern television. It is divided into two phases of data collection: context analysis, which involves a qualitative study. The second being in-depth interviews (also qualitative) which in itself helps give a subjective view of participants between the ages of 20 and 28. These comprise students who are familiar with the show and the concepts of the show. All of them, both frequent viewers of the show and those also politically informed of world politics, helped further emphasize the concept of the paper, which was the idea of how a television show in all its absurd narrative and pastiche functions as a historical document. The purpose of this study, along with the results for this research, is to help bring about the comprehension of how postmodern shows are influenced by other past events, figures of history, etc.; this understanding can explain how a television show like ‘family guy could be considered a historical document – by its narrative, by the cultural references connected to these said events, and also with the help of paintings, which the makers of the show use to design the episode of the show, and which reflect and refer to the actual historical figures. Historiography is being proven to be biased in more ways than one, which leads us to an understanding of a different narrative depending on one’s own opinions of history and historical documents as we know it.
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Kuznetsova, Nataliya I. "From “Paradigm” to “Disciplinary Matrix”: A Fatal Step." Epistemology & Philosophy of Science 59, no. 4 (2022): 73–91. http://dx.doi.org/10.5840/eps202259459.
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The citation index of Thomas Kuhn’s work may strike any imagination. “The Structure of Scientific Revolutions” (first edition 1962) is undoubtedly a twentieth-century record-breaker in the field of philosophy of science in terms of such a scientometric parameter. But such fame has been bitter in many ways and placed a heavy burden on the author. For several decades he has been the target of the harshest and most severe criticism. Often the concept of “normal science” and the “scientific revolution” as a “Gestalt switch” was declared ridiculous and absurd. The paper analyses three lines of criticism of Kuhn’s concept: the first came from practicing scientists, the second from specialists in the philosophy of science (primarily proponents of “critical rationalism”), and the third from the field of social epistemology. Reproaches about the political bias of Kuhn’s concept were taken to extremes, since his views were widely popular. In our opinion, Kuhn should be called a victim of spontaneous hypercriticism. This circumstance did not allow him to improve the original model of scientific revolutions. In this respect, replacing the concept of “paradigm” with the concept of “disciplinary matrix” was a step backwards, not forwards. However, it is impossible to deny that in the field of the historiography of science, he acted as a real reformer. With the courage of Don Quixote, he defended the rights of historical reconstruction, the preservation of the historical past of science, which should not be completely assimilated within the framework of the modern system of knowledge. His motto was – “penetrate the minds of other people who lived in the past.” He boldly argued that in the process of historical development, science changes not only ideas about the object of knowledge (representations of the object), but also the reference of its ideas and concepts. Such a formulation of the question has not yet been fully reflected in modern epistemological concepts.
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Kim, Sooyong, and Byungwoong Kwon. "A Analysis on the Role of AI Recommendation System in Social Media through Actor-Network Theory." Korean Society of Culture and Convergence 44, no. 9 (2022): 117–29. http://dx.doi.org/10.33645/cnc.2022.9.44.9.117.
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The purpose of this paper is to analyze and discuss the role of Facebook's AI recommendation system through actor network theory (ANT). To this end, literature related to actor network theory, social media, and Facebook's AI recommendation system was reviewed to examine the characteristics and structure. In addition, the literature that studied the communication effect of social media and the social effect of AI recommendation system was examined. As a result of the study, the opaque 'AI recommendation system' was playing the role of a programmer and switcher for network power. The result leads to a situation in which users using social media are hindered by autonomous choices and actions within the network. In addition, this absurd situation was used to pursue the special interests of platform operators at the peak of network power. Therefore, users who are human actors of the network need a process of recognizing and improving the problems of the system and their natural rights through the process of opening and examining the AI recommendation system closed inside the network for fair network configuration.
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Jaksic, Predrag. "The feeling of the absurd as an aesthetic experience." Theoria, Beograd 65, no. 3 (2022): 133–40. http://dx.doi.org/10.2298/theo2203133j.
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In this paper, we deal with the feeling of the absurd as an aesthetic experience in art. We define the phenomenon of absurd and we explore the relationship of artist and recipient to this phenomenon. We single out two ways of projection of the absurd into works of art: one is the artistic projection of the absurd through the artistically valuable works, be they literary, artistic, musical, the other is a projection of the absurd through absurd works, which, except general relativization of artistic principles, can?t even be called artistic. First of all, we deal with the works of Samuel Beckett, Franz Kafka, Charles Baudelaire and Marcel Duchamp. In the context of the question of the absurd we also emphasize the issues of morality, mind, consciousness and conscience. We refer to the views of philosophers and theorists arts such as Charles Taylor, Seraphim Rose, Jovan Hristic, Jean-Pierre Sarazak.
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Greenfield, N. M. "UNPACKING WALTER BENJAMIN’S SOCIOLOGY OF VIOLENCE AND WAR." National Technical University of Ukraine Journal. Political science. Sociology. Law, no. 2(58) (August 7, 2023): 6–15. http://dx.doi.org/10.20535/2308-5053.2023.2(58).285589.
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Conflict, violence and, ultimately, war are central to Walter Benjamin’s sociology of language. Using biblical language, his earlies work shows that after the fall of man, language becomes a vessel to be filled by the usurper, a tool, he uses that bends others to his will, as Satan does in Paradise Lost. Benjamin’s study of German Trauspiels, mourning plays similar to Hamlet and Richard III, leads him to posit that the law and constitutional structures in the Baroque period are of single importance in understanding the role of conflict and violence. In “Towards a Critique of Violence,” Benjamin makes two key arguments. The first is that a workers’ general strike” is a legitimate form of violence and that the state’s response, often military, is not. The second is that the Commandment “Thou Shalt Not Kill” is misunderstood because it does not contain a penalty and, secondly, it cannot be a blanket injunction; Jewish law, he notes, allowed for self-defence. His best-known works, “The Work of Art in the Age of Mechanical Reproduction” and “Theses on the Philosophy of History,” are written after his turn to Marxism associated with the Frankfurt School. In the first, in addition to showing how mechanical reproduction destroys the “aura” of art, he is concerned with how Fascist art, such a Leni Riefenstahl’s films glorifying Hitler. These performances are designed to “absorb” or overawe viewers, making them quiescent, silent participants in the power play that leads to conflict and, ultimately war. Using quasi-religious language, the Theses deconstruct “historicism,” showing how Rankian history sides with the victors, the Great Men and Women of History at the expense of the ruled. He argues that each generation can redeem the past by “brushing history against the grain” and using discontinuities to show the violence and conflict that historicists seek to hide.
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Christensen, Kent, Andi Pitcher Davis, Kristine Haglund, and Rita Wright. "The Absurd in Art and Mormonism." Dialogue: A Journal of Mormon Thought 52, no. 3 (2019): 181–88. http://dx.doi.org/10.5406/dialjmormthou.52.3.0181.
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Herland, Michel. "Three French Socialist Economists: Leroux, Proudhon, Walras." Journal of the History of Economic Thought 18, no. 1 (1996): 133–53. http://dx.doi.org/10.1017/s1053837200002996.
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Are Pierre Leroux, Pierre-Joseph Proudhon and Leon Walras economists? Certainly, but to a different extent. This alphabetical order, which is also that of chronology, seems to be in inverse order of merit—at least in the opinion of Joseph A. Schumpeter, who praised Walras as “the greatest of all economists…as far as pure theory is concerned” (1954, p. 827), but who briefly described Proudhon as someone who defended “results that are no doubt absurd” (ibid., p. 457). Leroux's name does not even appear in Schumpeter's 1954 book, nor in any other history of economic thought. Although the judgment pronounced by a historian on one or another of our three authors may be contested, there seems no reason to call into question the hierarchy implicitly established by Schumpeter. In a certain way the succession: Leroux, Proudhon, Walras, represents and summarizes the development of political economy, beginning with the embryonic stage (which would be represented by Leroux), passing through the disorders of adolescence (Proudhon), and finally arriving at the stage of scientific maturity (Walras).
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Von Ramin, Lucas. "Demokratie und Verschwörungstheorien." Zeitschrift für Praktische Philosophie 9, no. 2 (2023): 199–226. http://dx.doi.org/10.22613/zfpp/9.2.8.
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Gegenwärtig wird das Wiedererstarken von Verschwörungstheorien explizit als Gefahr für die westlichen Demokratien begriffen. Einerseits, weil Verschwörungstheoretiker*innen die heutige Demokratie als manipuliert betrachten. Für sie wird Demokratie nur vorgespielt, die eigentlichen Entscheidungen werden an anderer Stelle getroffen. Andererseits, weil die Verbreitung genau jenes Glaubens ein Kernelement von Demokratien verunmöglicht: den fairen Streit um das beste Argument. Dabei stehen Verschwörungstheorien der Idee von Demokratie nicht diametral gegenüber, sondern bedienen sich dieser bisweilen als Inspirationsquelle, beispielsweise wenn das Volk sich gegen die Machenschaften einer korrupten Elite wehren soll. Der Beitrag untersucht deshalb, welche Verbindungen zwischen Verschwörungstheorien und Demokratie bestehen. Gibt es eine undurchdringbare Beziehung zwischen beiden Bereichen, die den Umgang mit ihnen zu einem fortdauernden normativen Problem werden lässt? Jener Beziehung wird auf zwei Wegen nachgegangen. Der eine Weg kann als Postfaktizitätsstrang bezeichnet werden. Die These lautet, dass wissenschaftliche Erkenntnisse, die grob als Poststrukturalismus zusammengefasst werden, ein grundsätzliches Misstrauen gegenüber etablierten epistemischen und politischen Strukturen transportieren. Diese eigentlich demokratische Öffnung ist dann als Einfallstor für absurde Theorien aller Art zu verstehen. Anhand der Theorien radikaler Demokratie wird diskutiert, weshalb gerade die epistemischen Grundlagen der Demokratie Verschwörungstheorien einen berechtigen Platz im demokratischen Diskurs einräumen sollen und wie sie sich wiederum von dem Diskurs abgrenzen lassen. Der Ideologiestrang dagegen betont nicht eine Auflösung von Gewissheit und damit eine relativistische Grundhaltung, sondern die Rückkehr zu ideologisch aufgeladenen Weltbildern, beispielsweise in völkischen Semantiken. Verschwörungstheorien, so lässt es sich in den Analysen Kritischer Theorie nachlesen, kreieren durch Komplexitätsreduzierung ein Verständnis der Welt, in dem sich entgegen aller globaler Vernetzung wirkliche demokratische Selbstbestimmung zurückerobern lässt. Als Elitenkritik antworten sie so auf Entfremdungsprozesse moderner Gesellschaften. Beide Stränge ergeben eine eigentümliche Gemengelage. Während einerseits der Aufstieg von Verschwörungstheorien auf Komplexitätssteigerung und dem damit verbundenen Zusammenbruch traditioneller und epistemischer Autorität zurückgeführt wird, werden Verschwörungstheorien andererseits als bloße Form der Komplexitätsreduktion verstanden. Folgend gilt zu zeigen, wie sich beide Stränge zueinander verhalten, um einerseits die erneute Popularität von Verschwörungstheorien zu verstehen und anderseits der Gefahr einer Instrumentalisierung demokratischer Semantiken etwas entgegenzuhalten.
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Westphal, Jonathan, and Christopher Cherry. "Is Life Absurd?" Philosophy 65, no. 252 (1990): 199–203. http://dx.doi.org/10.1017/s0031819100064470.
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Nagel, Thomas. "The Absurd." Philosophy. Journal of the Higher School of Economics IV, no. 4 (2020): 275–94. http://dx.doi.org/10.17323/2587-8719-2020-4-275-294.
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Gorelik, Gennady. "Could Galileo Discover the Law of Universal Gravitation in 1611, Was There Newton’s Apple and What Is “Modern Physics”?." Epistemology & Philosophy of Science 60, no. 1 (2023): 182–203. http://dx.doi.org/10.5840/eps202360115.
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The central problem of the article is the paradox in the history of Newton’s mechanics: prominent researchers of the genesis of the Principia did not believe Newton’s words about the origin of the idea of universal gravity. They did not believe that he could have come up with this idea as early as 1666, considering circular orbits, and believed that Newton invented the story of the falling apple. The article proposes a “subjunctive” scenario leading to the law of universal gravity and feasible at the level of Galileo’s knowledge and skills in 1611. The basis for such a scenario is the description of a thought experiment in Newton’s manuscript “The System of the World”, preceding the creation of Principia. The proposed reconstruction helps to consider and clarify the concept of “modern physics”, the birth of which was the main event of the Scientific Revolution of the XVI–XVII centuries. The traditional understanding reduces the essence of modern physics to a reliance on experience and on the language of mathematics. Such a definition, however, is not sufficient. The geometry of Euclid and the physics of Archimedes were mathematically perfect, and their axioms were based on objective experience. Despite the importance of the tools of mathematics and experiment, the key innovation of modern physics has become the belief in the hidden fundamental laws of the Universe and in the right of the researcher to invent invisible, “illogical”, “absurd” concepts and postulates, experimentally verifiable only together with the theory based on them. This postulate of fundamental cognitive optimism combines bold ingenuity with a humble need for empirical verification.
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Demina, Olga V. "Linguistic and Stylistic Means of Satire Construction in the Animated Series." RUDN Journal of Language Studies, Semiotics and Semantics 12, no. 4 (2021): 1124–46. http://dx.doi.org/10.22363/2313-2299-2021-12-4-1124-1146.
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The study is devoted to the description of linguistic and stylistic means of satire construction in modern American animated series. The article deals with a detailed analysis of the linguistic and stylistic means that actualize the satiric and ironic meanings for a satire creation based on the examples of American series. Cartoonists often resort to satire as a unique genre of art to express direct or indirect criticism of the structure of modern society. Modern satirical cartoons contain vivid elements of parody and caricature. An obligatory consequence of satirical creativity is exposure and laughter. The methods of socio-political satire of modern animated serials are enhanced by the interplay of irony and sarcasm, hyperbole and grotesque, allegory and allusion, paraphrase and play on words. American animated series mirror modern reality, they reflect numerous facts of daily life and current environment touching their most critical sides: economics, politics, education, religion, ethnic issues, international ties and relations, interpersonal dealings. Socio-political satire is peculiar in that it does not spare not only the ruling branch of power, but also an ordinary, ordinary, gray person. In this dullness and ignorance of his, the average man in the street is ready to blindly obey the most ridiculous and absurd orders. Of course, an animated series cannot solve acute social or political problems facing society. But the fact that these questions are raised means that the problems are urgent. The purpose of such satire is to reflect on mistakes and not repeat them in the future. For example, South Park, Rick and Morty, Family Guy, F is for Family parody the modern family, social order, exaggerate social issues to the extreme. The relevance of this study is due to several reasons: first, the abundance of cartoon products on the modern film industry market. Secondly, the role that cartoons and serials play in the life of a modern person and in the culture of postmodernity. It is common knowledge that over the past few years, the TV series and animated series industry has changed a lot: streaming services (Netflix, Hulu and Amazon) appear, new formats are released, and more and more cartoon characters are voiced by famous actors. Thirdly, it is confirmed by the idea of the existence of the phenomenon of the "Big Serial Bang", expressed by Doctor of Philosophy, Professor of the Higher School of Economics V.A. Kurenniy. The fact that modern TV series are a cultural product that accurately reflects the spirit of the times remains an indisputable fact. Such a visual narrative fits perfectly into the framework of modern society.
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ÇİL, Hande, Mustafa Hikmet AYDINGÜLER, and Burak BOYRAZ. "Yves Klein: An Actual Review of His Anthropometries & Monochromes Abstract." İnsan ve Toplum Bilimleri Araştırmaları Dergisi 12, no. 3 (2023): 2258–78. http://dx.doi.org/10.15869/itobiad.1294099.
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The European-based population growth, which has manifested itself since the 16th century, first initiates a wave of migration from the countryside to the city. It then creates a ready workforce. Production centers, which benefited from the ready workforce for the first time, return to steam energy as time progresses. This situation becomes widespread rapidly and paves the way for the industrial revolution. It is now the machine that is concerned. It is hoped that in the future, mechanization and the technologies that provide it will be transferred to everyday life and facilitate human life. However, only a century later, between 1914 and 1945, two major wars appear in the continental geography. There is a devastating effect on Western societies that leaves difficult traces to be erased behind, which is encountered by the occasion of these wars. Despite this, intellectual thought and criticism from the mid-20th century experience the brightest period after the Enlightenment. If we look at the criticism of art, they are ready objects discussed. References from the First World War years, texts based on contemporary philosophy and statements expressed loudly lead to a review of traditional attitudes. New perspectives are constantly derived. These perspectives, which center the forms of expression that contain traces from the inner worlds, absorb the stage, that is, performance. The artist is now a person who has awareness of the social agenda and can think interdisciplinary. His first concern when acting is originality. During the production stages, it tests both the audience's and their own limits. New Realism (Neorealism) is a movement that is referred to by names that adopt this situation and has a wide place in the history of art. Many artistic initiatives included in the article, are associated with this movement in its short life; Yves Klein, which fits performance and artwork (1928 - 1962). It is anthropometries and monochromes, which are repeated with a method specific to today's art criticism and evaluated from a close-time perspective.
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Williams, I. J. H. "Scepticism and The Absurd." Philosophical Investigations 9, no. 4 (1986): 308–14. http://dx.doi.org/10.1111/j.1467-9205.1986.tb00430.x.
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Douglas, Anne Elizabeth. "Giving Absurdity Form: The Place of Contemporary Art in the Environmental Crisis." Arts 10, no. 4 (2021): 81. http://dx.doi.org/10.3390/arts10040081.
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Absurdity in art creates bizarre juxtapositions that expose, and question conflicted, even dangerous, aspects of life which have become normalized. Absurd art appears in troubled times, subverting moments of extreme contradiction in which it appears impossible to think differently. For example, Dada (1917–1923) used nonsense to reflect the nonsensical brutality of WW1. The power to unsettle in this form of art rests in disrupting the world of the viewer and positioning them as interlocutors in a new framing. Absurdity in art reveals the absurdity that is inherent in life and its institutions, breaking the illusion of control. It can help us to comprehend the ‘incomprehensible’ in other species and spheres of life. In the challenge of anthropogenic climate change, how might the absurd capture the strangeness of current times in which a gap is widening between the earth we live ‘in’ and the earth we live ‘from’? This article explores qualities of the absurd in art as a possible way in which to grasp and reimagine ourselves beyond the anthropocentric, focusing on the work of the artists John Newling (b. 1952, UK) and Helen Mayer (1927–2018, US) and Newton Harrison (b. 1932, US), known as ‘The Harrisons’.
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Plant, Bob, and Katarzyna Kręglewska. "Absurdity, Incongruity and Laughter. Philosophy." Tekstualia 4, no. 59 (2019): 73–94. http://dx.doi.org/10.5604/01.3001.0013.6437.
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In The Myth of Sisyphus, Camus advocates scornful defi ance in the face of our absurd, meaningless existence. Although Nagel agrees that human life possesses an absurd dimension, he objects to Camus’ existentialist „dramatics”. For Nagel, absurdity arises from the irreducible tension between our subjective and objective perspectives on life. The article offers a critical reconstruction of Camus’ and Nagel’s positions, and elaborates Nagel’s critique of Camus in order to argue that humour is an appropriate response to absurdity.
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Fox, Jacob. "Absurd relations." Human Affairs 29, no. 4 (2019): 387–94. http://dx.doi.org/10.1515/humaff-2019-0033.
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Abstract Absurdist accounts of life’s meaning posit that life is absurd because our pretensions regarding its meaning conflict with the actual or perceived reality of the situation. Relationary accounts posit that contingent things gain their meaning only from their relationship to other meaningful things. I take a detailed look at the two types of account, and, proceeding under the assumption that they are correct, combine them to see what the implications of such a combination might be. I conclude that another way of looking at the absurdity of life is to see it as a conflict between our dual beliefs that there exist intrinsically meaningful contingent things, and that contingent things may only gain their meaning extrinsically through their relationships to other meaningful things. In this way, I provide another lens through which feelings of life’s absurdity may be interpreted and analysed: as the conflict between the simultaneous beliefs in both intrinsically and relationally meaningful contingent things. Looking through this lens gives us an entirely different framework for analysing life’s absurdity than that which Nagel described in 1971, providing opportunity for more potential avenues of analysis and discussion.
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O’Brien, Denis. "Why is Socrates’ ‘Absurd Question’ Absurd? (Plato, Symposium 199 C 6-D 7)." International Journal of the Platonic Tradition 4, no. 1 (2010): 4–26. http://dx.doi.org/10.1163/187254710x489121.
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Das, Rimasree. "A comparative study Beckett’s Waiting for Godot and Ionesco’s Rhinoceros." International Journal of English Literature and Social Sciences 8, no. 3 (2023): 360–65. http://dx.doi.org/10.22161/ijels.83.57.
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The definition of ludicrous according to Eugene Ionesco is "that which is devoid of purpose. Man is lost when he is cut off from his transcendental, philosophical, and theological origins; all of his activities become ludicrous, meaningless, and pointless. Every time Ionesco defines the term ridiculous by referring to the same concept of the absurd, his representation of the absurd infers a paradox. The term "absurd" doesn't have a clear definition. Therefore, despite all attempts to provide meaning, the absurdity of the ludicrous exists in the situation of meaninglessness. The word "absurd" defies easy interpretation in Camus and Ionesco's statements. Ultimately, it is impossible to definitively define the word "absurd". How therefore may the concept of the Theatre of the Absurd be defined? The term's creator and leading theorist, Martin Esslin, claims that "the Theatre of the Absurd is a part of the "anti-literary" movement, which has found expression in abstract painting with its rejection of "literary" elements in pictures or in France's "new novel" with its reliance on the description of the objects and rejection of empathy and anthropomorphism." Esslin, like Camus and Ionesco, doesn't give the concept of the ridiculous a specific meaning. Instead, he is able to draw attention to the connection between European literature and abstract art from the 1940s and 1950s. A literary text either imparts or asks for the process of concretization anytime it interacts with the reader, therefore there may be an "abstract" painting but not a "abstract" piece of literature, one could say. "Absurdity" of the literary text appears to be the equivalent of "abstractness" in art in Beckett's "Waiting for Godot" and Ionesco's "Rhinoceros" due to the ways in which both concepts contest the established structures by undervaluing ideas or disobeying the rules of artistic and literary production in art and literature. However, these two works touch on the subject of resistance in the process of enacting it. As a result, a counter-performance occurs in Beckett's text, inviting the reader to interpret it in a different way. Or, the text of Ionesco shows a character against the enigmatically alluring, jouissance-like harmony of the rhinoceroses. Resistance ends up being the only defining trait of "Literature of the Absurd". Additionally, the absurdity of these poems is a result of resistance. Resistances represent both the idea of absurdity and the texts of the Theatre of the Absurd. As a conclusion, we might state that the concepts "absurd" and "absurdity" defy accurate definition and clear interpretation. Certain referents and signifieds cannot under any circumstances be associated with these words. Second, the absurdity of the texts is created by resistances that either the narration or the literary text's structure exhibits in the works that Martin Esslin refers to as texts of the Theatre of the Absurd. Exploration of the word "resistance" is necessary here.
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BABELYUK, Oksana, Olena KOLIASA, and Valeriia SMAGLII. "Language Means of Revealing Postmodern Ludic Absurd in English Literary Text." WISDOM 20, no. 4 (2021): 166–79. http://dx.doi.org/10.24234/wisdom.v20i4.531.
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The fiction politics of contemporaneity reflects diversified patterns of language forms and their func- tions. This has brought to life experimental (postmodernist) writing the key principles of intertextuality, fragmentation, destruction, play. Postmodernist aesthetics caused a blurring of traditional genre canons that led to contamination of syncretic genre compounds through a grotesque transformation of traditional genre models and created an „estrangement? effect. The phenomenon of ludic absurd is viewed in three as- pects: 1) linguo-philosophical; 2) cognitive; 3) poetic. The present study focuses on the analysis of ludic absurd; the role of graphic, phonetic, morphemic, word-forming, syntactical, semantic mechanisms, based on the intentional deviation of language norm, play on words; cognitive mechanisms, generated by ad-hoc way of thinking. The conducted linguopoetic analysis of American postmodern short stories suggests that ludic absurd as a stylistic device of postmodern poetics manifests itself at all language levels (lexical, syn- tactic, semasiological, and textual) and is realized via the semantic asymmetry of lexical units, using illog- ical, but grammatically correct syntactic constructions, syntactic mismatch of sentences and whole text fragments. Prospects for further studies consist in clarifying the pragmatic role of ludic absurd in the postmodern literary text; expanding the taxonomy of lexico-semantic, stylistic, and syntactic and paragraphemic means of ludic absurd.
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Schulz, Vladimir L., and Tatiana M. Lyubimova. "Post-structuralism." Epistemology & Philosophy of Science 60, no. 2 (2023): 151–67. http://dx.doi.org/10.5840/eps202360230.
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The article draws a conceptual distinction the (French) structuralism of the 50’s–60’s and the post-structuralism of the 70’s, which are discussed as overlapping in their intellectual paths; their mutual dynamics is defined as a reaction of the intelligence to the pressure of depersonalized unified schemes within the logic of structuralism against free improvisation and loose interpretation instead of total explanations in the post-structuralism interpretation. The article establishes a conceptual identity of the paradoxical nature between post-structuralism (and deconstructionism, which is homogeneous and identical thereto in a number of aspects), on the one hand, and constructionism with its specific process of language dismantling – social/ideological languages, social group dialects, on the other hand, which naturally leads the authors to the analysis of the paradoxicality principles, defined by post-structuralism (five principles of paradoxicality of Gilles Deleuze – paradox of regress, paradox of sterile reiteration, paradox of neutrality, paradox of absurd, paradox of Levi-Strauss); poststructuralists’ paralogisms are examined through paradoxical denotation; the late Roland Barthes’ phenomenon of paradoxicality, becoming a plot-forming principle of narration, is analyzed. Poststructuralism is conceptualized in the article as the first decisive step of post-modernism; the affinity of post-structuralist and postmodernist commitment to parody, game and irony is stated; the theory of language games in post-modern interpretation is explored; one of those games – a game of carnival – is explored within the diachronic retrospective; the affinity of parody and carnival tradition of post-structuralism and post-modernism to the romantic irony of the XIXth century and its inconsistency with the popular culture of laugh is established. The genesis of poststructuralism and post-modernism is connected with the ideological restart of the Western society before the “very end” of the Resistance ideas and the disappointment of the left European intellectuals in the “great legends” and illusions of Marxism. The blurred concepts of relativism are connected with the mutual disproportion of different layers of historical experience.
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Kulyapin, Alexander I. "Sleep of Reason: Existential Motifs in Vasily Shukshin’s Story “Thoughts”." Imagologiya i komparativistika, no. 17 (2022): 316–27. http://dx.doi.org/10.17223/24099554/17/15.
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Shukshin’s characters tend to reflect on problems that cannot be called otherwise than philosophical. For example, in the film There Is Such a Lad, the characters indulge in arguments about death, love, and the meaning of life more than once. So, already in Shukshin’s early works, two poles - love and death - that determine the themes of his characters’ philosophical reflections were identified. Despite the abundance of thanatological motifs and symbols in the film, the director rejects the philosophy of pessimism. The final phrase of the film is permeated with a life-affirming pathos: “So, we will live!” Later, Shukshin became less optimistic. The feeling of the total loss of meaning, characteristic of the heroes of Shukshin’s stories of the late 1960s -early 1970s, turned out to be akin to an existentialist experience of the absurdity of being. Night memories and reflections of Matvey Ryazantsev, the protagonist of the story “Thoughts”, provoke the accordion of the enamored Kolka Malashkin. The completely non-melodic sounds of Kolka’s accordion are functionally akin to the alarming hum of the alarm bell with the invariably accompanying screams. Kolka Malashkin not only violates public order, he also breaks the unconsciously automatic order of existence of his fellow villagers. The radical change in the outlook of Matvey Ryazantsev, who has followed social rituals all his life, begins with surprise, with the discovery of the strange in the usual. Matvey Ryazantsev’s nocturnal thoughts about love and death are close to the philosophy of Nietzsche and Camus, and also organically correlate with the concept of Shklovsky. The most important semantic core of the story “Thoughts” is the motif of haymaking. Three scenes of haymaking simulate three types of attitude to life. It is senseless to hope to continue to exist in the memory of descendants. Human life is like a fleeting footprint on the grass. A purely utilitarian approach to absolutely everything is absurd. Matvey Ryazantsev appears in the story as a modern Sisyphus with his meaningless work. And only the “wild delight” of the memorable night, when the thirteen-year-old Motka reaches the Nietzschean “Dionysian ideal”, is able to justify the absurdity and tragedy of human existence. Without waiting for Kolka’s accordion on one of the nights, Matvey falls into despondency, returns to a boring routine. If in the film There Is Such a Lad death is reincarnated into love, in the story “Thoughts” everything is the other way around, love turns into death. For Kolka, marriage, in his own words, is not the beginning of a new life, but a stop, the end of the road. The final “terrifying silence” is the silence of death. The author declares no conflicts of interests.
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Stove, David. "The Subjection of John Stuart Mill." Philosophy 68, no. 263 (1993): 5–13. http://dx.doi.org/10.1017/s0031819100040006.
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‘There is no opinion so absurd but that some philosopher has held it.’ Cicero wrote this around 44 B.C., and even then he was only repeating a saying already current. The reputation of philosophers for holding absurd opinions is therefore very old. Equally undeniably, it is also a well-founded reputation.
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Gabhart, Mitchell. "Mitigated Scepticism and the Absurd." Philosophical Investigations 17, no. 1 (1994): 67–83. http://dx.doi.org/10.1111/j.1467-9205.1994.tb00101.x.
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