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Dissertations / Theses on the topic 'Absurd'
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1
Liechti, Ronald. ""Ich lebe, absurd! Alle leben, absurd!" : Versuch über Thomas Bernhard /." Zürich : Zentralstelle der Studentenschaft, 1987. http://catalogue.bnf.fr/ark:/12148/cb358732156.
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Fuller, Deborah. "Ionesco's Absurd Anthropology." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd922.pdf.
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Hodges, Steven. "The digital absurd." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/33950.
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I believe that the concept of the absurd, as described in philosophy and reflected in works of drama and literature, provides an unusual and helpful perspective from which to view the emerging field of digital media. In my opinion, absurd principles can help us understand the mixed feelings we may have when engaging with digital media: joy and frustration, play and despair, significance and nonsense.
I intend to explore the concept of the absurd through a handful of authors and works, including the philosophy of Camus and the literature and drama of Pinter, Beckett, Roussel, and the Oulipo. I will use these works to analyze characteristics of absurdist works and then extend this analysis to characteristics and theory of digital media. I believe an absurdist analysis may bring a new vantage point to the study of digital media, from which we can see not only the advantages and liberation it offers but also the ever-present threat of nonsense it entails.
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Salov, Amanda. "An absurd beauty." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4982.
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Thesis (M.S.)--University of Missouri-Columbia, 2007.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 10, 2009) Includes bibliographical references.
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McDonough, Meredith. "Compassion for the absurd." Tallahassee, Florida : Florida State University, 2010. http://etd.lib.fsu.edu/theses/available/etd-04042010-225928/.
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Thesis (M.F.A.)--Florida State University, 2010.<br>Advisors: James Kimbrell and Joann Gardner, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed on July 8, 2010). Document formatted into pages; contains vii, 41 pages.
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Stine, Jon M. "Absurd and grotesque circumstances." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1115754.
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The work is a reflection of my opinions and criticism of society and the world as I see it. The absurd behavior of individuals in my environment provided the basis for my research. The seven woodcut prints that were completed, attempted to examine universal and personally significant themes.I utilized visual techniques to convey personal feelings and ideas about relationships with other people. Technical as well as conceptual abilities were drawn upon to produce a series of prints that depicted specific experiences I have had in life.<br>Department of Art
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Paul, Mumme. "The Absurd beyond Modernism." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16599.
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While the absurd is usually associated with the modern subject, it is the purpose of this project to show how it is still relevant today. The concepts of end times, ecological disaster, and post-democracy are pressing concerns of the new millennium that emphasise the futility of being and a lack of political agency. Absurdity describes a similar condition, the feeling of purposelessness that results from the observation that life has no inherent meaning. A fundamentally modern condition of religious dispossession, this feeling is predominantly frustration, since it is impossible to determine the meaning of life through reason. In these cases, crisis seems unavoidable, insurmountable, and permanent, and these attitudes can be observed in works of art since modernism. The thesis aims to define the absurd by the special examination of works closely associated with the concept, which will allow the identification of a specific literary and artistic tradition originating in the nineteenth century and continuing to the present. This is achieved through the rigorous examination of works by Søren Kierkegaard, Albert Camus, Michel Houellebecq, and Bruce Nauman. Despite the fact that works reflecting the absurd respond to distinct historical conditions, they all express frustration at the limitations of human agency, and the incomprehensibility of life.
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Park, Philip Yong-Hyun. "The absurd and the comic." Texas A&M University, 2008. http://hdl.handle.net/1969.1/85956.
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In my thesis, I propose a theory that posits a connection between our absurd
existential situation and our comic tendencies. I work within a framework of
existentialist assumptions, the most important of which being the assumption that, as
Sartre writes, "man is nothing else but that which he makes of himself." Consequently, I
focus on the process of how human beings use humor to form themselves by using it to
form their conception of reality. What I propose in my thesis is not an explanation of
humor as much as it is an existential interpretation of its source and function.
I begin with an analysis of the absurd. After considering and rejecting the
arguments against the claim that life is not absurd, I argue that the disunity that we
encounter in the world creates a need within us for stability and that one of the main
ways in which we find this stability is through the comic. I use Berger and Luckmann's
analysis of reality construction in my argument that the connections that we form with
others through comical experiences construct and maintain a system of knowledge that
satisfies what Camus calls our "nostalgia for unity," a desire that remains unfulfilled
when we attempt to encounter the absurdity of human experience alone. The conclusion
of my research is that it is through our laughing with others that we reify our expectations of reality. Our laughter at the objects that contradict our normative
understanding of reality confirms that others share the same cognitive and affective
position that we hold in a given situation, thus confirming our expectations of reality to
be valid, a confirmation that protects us against the terror of the absurd.
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Van, der Colff Margaretha Aletta Adams Douglas. "Douglas Adams : analysing the absurd." Pretoria : [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-08212008-183816.
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Janulevičius, Marius. "Absurdo poetika Juozo Erlicko "Prisimynimuose"." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060623_123217-11681.
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Absurd literature originated and was developed in the middle of the 20 th century in the West. The brightest representatives of this type of literature are Albert Camus, Eugene Ionesco, Samuel Becket and others. In their works they raised the problem of meaninglessness of human existence, loneliness of an individual and man’s inability to communicate with other people. Are these absurd literature ideas topical issues in contemporary Lithuanian literature?
The poetics of Absurd literature in Lithuanian literature practically has not been researched. One reason might have been that there has not been pure Lithuanian literature of the Absurd, except for perhaps Kostas Ostrauskas’s plays. The other reason is probably the fact that the manifestation of absurd literature is often accepted as an ironic, humorous and not very serious text component. This paper deals with a collection of poems and fiction called „Prisimynimai“ by Juozas Erlickas, National Prize Laureate. The main intention of the paper is to prove that an absurd attitude of mind is not alien to Lithuanian literature.
The main characters of J. Erlickas’s works feel inactive, pessimistic, they do not see meaning in life, try to avoid contact with the surrounding world. This makes them very similar to the classical absurd literature characters, who are also constantly troubled by boredom and a sense of aimlessness.
One of the main themes in Erlickas’s works is a theme of human alienation, which is expanded by the writer... [to full text]
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Nyman, Henri. "Översten säger att jag älskar : en översättningsteoretisk uppsats om att översätta ett absurt kärleksförhållande i en absurd miljö." Thesis, Stockholms universitet, Slaviska institutionen, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-63626.
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Ansari, Amna (Amna K. ). "Absurd machine : project on the National Mall." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/72615.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2012.<br>This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.<br>Cataloged from student-submitted PDF version of thesis.<br>Includes bibliographical references.<br>America's symbols of governance, such as the ubiquitous state capitols and state capitol malls, are classically inspired European architecture and planning of reason and nature, adopted in America by Jefferson in 18th century as symbols of democratic institutions. These symbols are in contradiction to our evolving dialogue with democracy that are subject to laws of 'proper' use and extreme security. The National Mall as a symbol of democratic values, has been reduced to a synthetic image of stability built upon a preserved image that masks the underlying issues of a compromised territory of, unstable boundaries governed by ad-hoc laws, and privatized overtones that distort the otherwise democratic message embodied by these symbols of governance. Throughout American cities these same conditions are stifling otherwise democratic public spaces. This thesis articulates the representation of the last democratic space in America, post 9-11, as a critique based proposal that challenges our current and future negotiations with power in the built environment. Recognizing the challenge of a formal intervention upon a contradictory site, the National Mall will serve as the stage for testing a democratic space that communicates the asymmetrical relationships of public's dialogue with governance in 'public' spaces. While the Mall cannot be upheld as an egalitarian field, objects however can substantiate or infuse a democratic field within. This thesis justifies a form necessary to represent such a space, investigating compromised symbols that can be appropriated and redefined to provide functions and representation of conditions the National Mall distorts. The proposal infuses within the program responses to all major impositions of public spaces as a method of exposing the unstable conditions of democratic values residing on comprised fields. The purpose is not to render an ideal democratic space, but an independently operating machinelike space that highlights the context's incongruous relationships.<br>by Amna Ansari.<br>S.M.
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Park, Ji Hyun. "An existential reading of Camus and Dostoevsky focusing on Camus's notion of the absurd and Sartrean authencity." Thesis, Texas A&M University, 2005. http://hdl.handle.net/1969.1/5015.
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Albert Camus (1913-1960) describes morally corrupted society in his later fiction, The Fall (1956), yet, seeks to find authenticity to share the suffering of others to establish communal bonds and responsibility, specifically revealed in "The Growing Stone" (1957). Camus frequently denies his alignment with existentialism; yet, in his major novels, he frequent portrays a dark side of human existence: a sense of weariness with the habitual aspects of daily life and a keen awareness of the absurd lead Camusian heroes to complete nihilism and utter despair, which shows Camus's strong affinity with existentialist ideas. Further investigation of Dostoevsky's anti-hero, the underground man, and the demigod Kirilov reveals that Dostoevsky's vision of kingdom is not so optimistic in spite of dominant thematic concern of Christian resurrection and eternal life in Dostoevsky's major works. Only moral anarchy and spiritual sterility coexist in his kingdom. I, thus, investigate Dostoevksy's unique approach to existence without God, in which he eventually declares himself to be a forerunner of existentialism. Camus does, in fact, recognize Dostoevsky as an important predecessor. In particular, Camus examins Dostoevsky's depiction of alienated characters rebelling against the world as they understand it. Thus, in Chapter I, my focus lies in a discussion of the theory of the absurd, with Camus's The Myth of Sisyphus as a valuable supplement that opens the way for an existential approach to Camus's literary production. Having identified our condition of absurdity as a dilemma requiring a response, Camus (and our study) turns to Dostoevsky's reflections on modern antiheroes. In Chapter II, keeping my attention on The Myth of Sisyphus, I explore Dostoevsky's fictional character, Kirilov, of The Demons. Along the same lines, in Chapter III, I investigate Jean-Baptiste Clamence of The Fall (1956), with respect to the underground man in Dostoevsky's Notes from Underground (1864). Dostoevsky's two pre-existential works, however, fail to provide protagonists who possess authentic selfhood. Their rebellions are ultimately failures. Thus, I analyze D'Arrast of "The Growing Stone," in Exile and Kingdom (1958), who ultimately glimpses a potential for human solidarity and freedom in the fundamental structure of the human personality and social existence. This marks Camus's fullest expression of a response to a fundamental human dilemma which Dostoevsky's fiction helped him to grasp more fully.
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Stumbrytė, Eglė. "Minios fenomenas mene.Kūrybinis darbas: „KREPŠINIO SIRGALIŲ PORTRETAI“." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120702_104846-18714.
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Kintant laikams, minios elgesio, mąstymo bruožai iš esmės lieka nepakitę. Masė vis dar pasiduoda neracionaliems sprendimams, idėjoms, yra valdoma įvairiausių emocijų. Kritiškas individo protas yra nugalimas absurdiško fanatizmo išraiškų. Šiandieninėje Lietuvos kultūroje, vienas iš ryškiausių minią užliejančios karštligės atitikmenų - tai krepšinio sirgaliai, skanduojantys patriotinius šūkius, stabais verčiantys žaidėjus. Šiuolaikiniame mene taip pat nelieka nepastebėta ši tema, analizuojamas krepšinio santykis su visuomene, jo reikšmės kaita skirtingais laikmečiais. Darbo objektas. Trijų tapybos darbų ciklas – sirgalių portretai. Gilinimasis į darbo temą padėjo pažinti šį masininį reiškinį, minios bruožus ir apskritai sąmoningiau įvertinti, koks yra asmeninis santykis su masine karštlige.<br>As times change, the behaviour of mass and way of thinking remain the same. Mass is still relying on irrational solutions, ideas and is controlled by various emotions. Absurd fanatic manifestations overcome the critical mind of an individual. Nowadays, in the Lithuanian culture, one of the most prominent display of the mass fever can be recognised in basketball fans that cheer, shout patriotic slogans and tend to turn basketball players into idols. In contemporary art this theme is not overlooked – the relation between basketball and the society is constantly being analysed, as well as the change of its meaning in different periods of time. The object of work. The cycle of three painting works – portraits of fans. The theme of the work focuses on this mass phenomenon, analyses the main features of the mass and helps to evaluate own goals more consciously.
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Gómez, Del Fierro Margarita María. "The absurd in "The country of last things"." Tesis, Universidad de Chile, 2005. http://www.repositorio.uchile.cl/handle/2250/110227.
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Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa.<br>Paul Auster is considered a postmodernist writer. His novels can be categorized under different genres, as, for example, science fiction, picaresque or detective novels. His influences are very wide and come from different sources such as fairy tales, his own unconscious and from a variety of writers, i.e. Nathaniel Hawthorne, Charles Dickens, Franz Kafka or Samuel Becket.
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Melin, Thomas. "Sista brevet till Godot : Utvandrarserien som absurd teaterpjäs." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-122294.
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Beiu, Papanastasiou Adela Nicoleta. "Absurd Romania : revisiting Tristan Tzara and Eugène Ionesco." Thesis, University of East Anglia, 2017. https://ueaeprints.uea.ac.uk/63136/.
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“Absurd Romania” revisits Romanian history and politics, and their intersection with the literary scene out of which both Tzara and Ionesco emerged, in order to better situate the diverse roots of European modernism and transnational avant-garde. I examine how their radical aesthetics developed in response to the specific political issues and cultural debates, which animated and inspired Tzara, Ionesco and their contemporaries. In the first chapter, I show that the writings of literary critic Titu Maiorescu and playwright I.L. Caragiale, two important exponents of a specifically Romanian ironic mode of cultural criticism, are highly relevant for an understanding of Tzara’s and Ionesco’s aesthetics. By revealing the points of contact between Ionesco’s cryptic forms and Caragiale’s seemingly more traditional dramaturgy, Chapter Two showcases the important aesthetic mutation at work in the theatre of the absurd. In Chapter Three, I document Tzara’s affiliation to a Romanian tradition of left-wing radicalism and engaged symbolism. The final chapter demonstrates that Ionesco’s theatre dramatizes a problematic Romanian modernity fraught with identity/cultural anxieties and political extremism. Ionesco’s aesthetics is both a continuation of the avant-garde project towards a critique of the ideology of language and a formal resolution of Romania’s identity qualms. Tzara and Ionesco’s forms, I argue, have deep roots in a Romanian tradition of social criticism which makes surprising use of irony in order to articulate conflicting visions of the nation.
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Grayson, Erik. "Towards a postmodern absurd : the fiction of Joseph Heller." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19693.
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This thesis examines the entirety of Joseph Heller's career as a novelist and explores the various existential themes uniting a seemingly diverse body of work. Considering Heller's relationship to the philosophy of Albert Camus and Jean-Paul Sartre, "Towards a Postmodern Absurd: The Fiction of Joseph Heller" suggests that the novelist promotes the same existentially authentic lifestyle of revolt originally articulated by the French existentialists. Refuting the critical assessment of Heller's fiction as formless, this thesis argues that Heller deliberately structures his fiction around the concept of dejd vu in order to buttress the author's existential concerns with the absurdity of human existence. Finally, in response to the recent debates over Joseph Heller's place in the postmodern American canon, the thesis identifies the author's use of such postmodern concepts as pastiche and paranoia as a further reinforcement of the relevance of an absurdist worldview in contemporary America.
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Ruffell, I. A. "A poetics of the absurd : reforming attic old comedy." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313106.
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Bowker, Matthew Hamilton. "Albert Camus and the political philosophy of the absurd." College Park, Md. : University of Maryland, 2008. http://hdl.handle.net/1903/8255.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2008.<br>Thesis research directed by: Dept. of Government and Politics. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Palmer, Oliver Matthew. "Scripted performances : designing performative architectures through digital and absurd machines." Thesis, University College London (University of London), 2017. http://discovery.ucl.ac.uk/10038254/.
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‘Scripting’ in architecture is usually associated with computer-based design programming. However, this narrow usage belies a rich vein of concepts intrinsic to architecture and authorship. This thesis frames scripting as a critical mode of computation, performance, and design process. It does this through seven projects that explore relationships between technology, society, and the philosophical absurd. Works include films, performances, programmes and installations produced independently and collaboratively with experts from scientific and artistic fields. This thesis asks: how might an expanded definition of ‘scripting’ act as a critical methodology for performative architectural design?; how can this methodology mediate between, and comment on, technology and society?; and what is the relationship between scripting, authorship and agency? Computational scripting has been explored in depth by a number of practitioners and theorists; performative scripting has been examined within the context of theatre and artistic practice; this study adopts an expansive definition of scripting that embraces each of these approaches whilst simultaneously proposing scripting as a critical design methodology. Furthermore, the thesis introduces the philosophical ‘absurd’ as a framework for critiquing emergent technologies and their impact on society. In chapter 1, two projects (Ant Ballet, Godot Machine) are discussed as modes of diagramming absurd theatrical scripts. The ‘framing’ of these projects provides direction for further work within the thesis. Chapter 2 introduces two dance pieces (Nybble, Scriptych) which represent scripted performances and a novel computer-scripted feedback mechanism. Both are diagrammatic modes of presenting contemporary computing mechanisms. Chapter 3 then discusses two experimental computationally-scripted absurd films exploring the practices and impact of contemporary technology companies (86400, 24fps Psycho). Chapter 3 introduces a film (Network / Intersect) created through a novel design process imposing strict rules on the creation of work. It concludes by naming this practice ‘reflexive scripted design’, proposing it as the thesis’ main original contribution to knowledge.
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Marler, James. "Slapstick Carnage: The Absurd Universe of Cormac McCarthy's Blood Meridian." ScholarWorks@UNO, 2007. http://scholarworks.uno.edu/td/519.
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The purpose of this thesis is to examine the function and effect of black comedy in Cormac McCarthy's Blood Meridian. Several different explanations for the presence of comedy in such a relentlessly violent novel have been made: that this humor is simply a realistic depiction of the folksy, dry vernacular of the time; that it reinforces the idea that the characters are so morally bankrupt that they are able to make jokes in the midst of so much destruction; or, that it serves to keep the reader's sensibilities in a state of flux between attraction and revulsion: relieving tension, then increasing it again and again, thereby defying easy structuring of how one should feel. This essay proposes that the gallows humor in the novel helps to establish an absurd universe (as delineated by Camus in The Myth of Sisyphus), and as this existential void is circumscribed, anything and everything in the novel becomes potentially farcical.
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Niedziela-Janik, Marta. "Realizm magiczny, absurd i dramat – próba interpretacji sztuk Niny Sadur." Doctoral thesis, Katowice : Uniwersytet Śląski, 2016. http://hdl.handle.net/20.500.12128/692.
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Niniejsza praca jest próbą przybliżenia oryginalnej twórczości dramaturgicznej współczesnej rosyjskiej pisarki z Nowosybirska, reżyserki i scenarzystki, miłośniczki i znawczyni teatru, znanej nie tylko w Rosji, ale w całej Europie i w wielu krajach na innych kontynentach.
Dramaturgia Niny Sadur nie jest błaha i stereotypowa, to zjawisko niezwykłe, wywołujące kontrowersje i żarliwe dyskusje w literaturze krytycznej. Twórczość Sadur charakteryzuje się wieloznaczeniowością i właśnie ta cecha jej utworów dramaturgicznych jest przyczyną najróżniejszych interpretacji. Sztuki ukazują współczesnego człowieka, jego samotność, żałosne jestestwo i desperackie poszukiwania swojego miejsca w świecie. Właśnie człowiek zawsze znajduje się w centrum zainteresowania pisarki, która swoją twórczością sygnalizuje największe – jej zdaniem – zagrożenia mogące wystąpić w jego życiu. Sadur w swoich dramatach zdecydowanie wskazuje na liczne przejawy zwycięstwa demonicznych sił, na to, że racjonalnie myślący człowiek we współczesnym świecie utracił poczucie bezpieczeństwa, pewności i stabilności. Jest to rezultatem, między innymi, zerwania więzi z przyrodą oraz z tradycją, na którą składają się dawne wierzenia, obyczaje, określony sposób myślenia i postępowania. Dlatego ratunku dla współczesnego człowieka autorka upatruje w szeroko rozumianej magii, która pomóc ma w pozbyciu się własnej „rzeczowości” i w osiągnięciu wyższego wymiaru istnienia.
Sztuki Sadur są analizowane w pracy w kontekście szeroko rozumianego realizmu magicznego. Przejawia się on w światopoglądzie, świadomości społecznej, artyzmie i poetyce utworów. Realizm magiczny zmienia sposób rozumienia pojęcia realizm, dopełnia, poszerza i pogłębia obraz zjawisk realnych w świecie przedstawionym. Najważniejszy jest realizm,
ponieważ stawia sobie za cel ukazanie świata, nie zaś jego wymyślenie. Magia, choć również istotna – uzależniona jest od realizmu. W konstrukcji wątku, bohatera i świata widoczne są ślady niesamowitości, transcendentalności i metafizyczności. Jednak wszystkie fantastyczne elementy wpisują się w codzienność jako jej bezsporne, integralne i naturalne części. Tylko wtedy osiągnięta zostaje równowaga między sferami realną i magiczną. Dlatego tak ważne jest, aby nie wydzielać elementów fantastycznych, nie wyróżniać i nie objaśniać ich odmiennego charakteru. Wszystkie sztuki Sadur rozpoczynają się w sposób realny, ale stopniowo wątek zaczyna nabierać cech tajemniczości, wypełnia się mistycznymi asocjacjami. Zawsze jednak granica pomiędzy światem znanym a nieznanym pozostaje mglista tak, aby oba mogły wzajemnie w siebie wnikać, przeplatać się ze sobą. Elementy magiczne nie deformują rzeczywistości, a stanowią jej naturalny element, dlatego Sadur nigdy nie wyjaśnia ich pochodzenia. Nadnaturalność nie dominuje w sztukach Sadur, ale równocześnie jest ich istotną częścią, bez której cały obraz świata nie mógłby istnieć.
W pierwszym rozdziale pracy analizowana jest problematyka pozornej nieobecności realizmu magicznego w wybranych sztukach Sadur. Poruszony został problem przekształcenia fikcji w rzeczywistość oraz anektowania realności przez teatr. Dzięki tym zabiegom badacz dramatu może zgłębić strukturę opisanego w utworze społeczeństwa wraz z ukrytymi w nim możliwościami oraz siłami, ale także ze wszystkimi niedoskonałości, których na co dzień się nie dostrzega. W omówionych dramatach Sadur odwołuje się do przestrzeni bliskich zarówno jej, jak i wielu innym obywatelom Rosji. Eksponuje w nich bardziej realną niż magiczną stronę rzeczywistości, jednak w każdej sztuce czyni to tak, by odbiorca mógł wyczuć, że pod ową normalnością i codziennością kryje się coś mrocznego, niezwykłego i tajemniczego. Ma mu w tym pomóc szeroko rozumiane szaleństwo, które w różnych formach ujawnia się u poszczególnych postaci. Sztuki Sadur ukazują moment przełomowy w ich życiu, kiedy np. mieszkanie w komunałce czy praca sprzątaczki stają się nie do zniesienia, kiedy chaos zaczyna pomagać, a porządek unicestwia wszelką indywidualność. Wtedy realizm ustępuje miejsca magii, a szaleństwo pomaga bohaterowi odkryć swoją przynależność do świata.
W drugiej części rozpatrywane są zasady gry Sadur cudzym tekstem i słowem. Przełom XX i XXI wieku to punkt kulminacyjny form wtórnych, dramaturdzy starają się odtworzyć dzieła klasyków, przekształcając je i dostosowując odpowiednio do nowej epoki. W tę tendencję wpisuje się także Sadur, która grając z tradycjami jednocześnie gra czytelnikiem, podpowiadając, że
wykorzystanie znanych tekstów nie zawsze służy do wyrażenia ustalonych niegdyś światopoglądów. Niewyczerpanym źródłem inspiracji dla pisarki jest Mikołaj Gogol – genialny pisarz, któremu stara się oddać hołd. Autor Martwych dusz zafascynował ją jako przedstawiciel realizmu magicznego, przy pomocy którego piętnował on rzeczywistość. Sadur w swoich remarkach ponownie odkrywa nieco zapomniane znaczenia, kreując jednocześnie nowe kody i eksplorując współczesną rzeczywistość. Dialog tradycji z nowatorstwem prowadzi do refleksji nad stanem współczesnego społeczeństwa rosyjskiego i stanowi próbę przywrócenia równowagi w realnym świecie
Sadur wnikliwie obserwuje otaczający świat dostrzegając w nim niezwykłość, cudowność. Jej sztuki poprzetykane są mistycznymi wrażeniami i odczuwaniem tajemniczości oraz wieloaspektowości świata, który pomieścić może zaskakującą ilość zła w różnej postaci. Omawiane dramaty zawierają w sobie obszerny kontekst mitologiczny i folklorystyczny, pojawiają się w nich postacie Baby Jagi, diabła, szamanki, pojawia się Matka Ziemia, a towarzyszy im motyw katastrofy. Twórczość Sadur tworzy atmosferę kataklizmu, upadku świata, akcja jej sztuk toczy się „na granicy”. Tej problematyce poświęcony został trzeci rozdział pracy. Przerażające elementy, zagadki, tajemnice łączą się tu z ludowymi wierzeniami i magią, aby dać czytelnikowi możliwość spojrzenia na codzienne życie, a także zajrzenia w głąb swoich myśli i uczuć. Absurdalność wyróżniająca dramaty Sadur pozwala nawiązać do twórczości oberiutów. Wraz z cudownością i innością stanowi element decydujący o oryginalności omawianych sztuk.
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Fiedler, Randy M. "Possibilities for Humanism in a Contemporary Setting: Camus' Absurd Humanism." Miami University Honors Theses / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1165600212.
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Richardson, Andrew. "Acting the Absurd: Physical Theatre for Text/Text for Devising." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3744.
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This paper considers two purposes for actor training—textual interpretation and devising original works—through the teaching of a class based on contemporary theatrical clown and physical theatre exercises which are then applied to Samuel Beckett’s Waiting for Godot. Devised work can be used to interpret a script, and a script can be used as a jumping-off point to devise new works. Beginning with an explanation of the teaching methods for the class, the paper then gives a background of clowns who performed in Beckett’s plays, and analyzes various productions' use of games to enliven text. Exercises from the class are used as examples of exploring the uncovering of clown personas and the application of games to both Beckett scene-work and invented theatre pieces. The students’ final performances are examined to demonstrate the effectiveness of the classwork, confirming that textual interpretation and devising are complementary instead of opposing practices.
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Ebury, Katherine. "'Absurd lights' : early twentieth century cosmology and the modernist universe." Thesis, University of York, 2012. http://etheses.whiterose.ac.uk/2790/.
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This thesis examines the impact of early twentieth century physics, particularly the sciences of astronomy and cosmology, on the work of W. B. Yeats, James Joyce and Samuel Beckett. I seek to find and make critical use of the traces of Einstein’s cosmic revolution in the aesthetic and philosophical trajectory of modernism. In the chapters that follow, I examine Yeats, Joyce and Beckett as test-cases for modernist aesthetic responses to a universe that had been newly imagined by scientists. In different ways the new cosmology offers a rich source of imaginative as well as narrative and poetic possibilities for these writers. Moreover, although I discuss their work in separate chapters, I have found many connections between their responses, particularly in terms of the new idealist philosophy that came out of popularisations of the new physics. In this sense my approach also offers new ways of talking about Yeats, Joyce and Beckett in relation to each other. The opening chapter begins with a history of relativistic science and its popularisation, then moves on to discuss the reception of relativistic science both within modernism and in the wider contemporary culture, reframing modernism in relation to scientific ideas and discourses. I explore aesthetic responses to this science by authors as different as Thomas Hardy and Ezra Pound, with a view to situating Yeats, Joyce and Beckett within this culture and highlighting their greater receptivity to such ideas. The chapter then moves to a specific consideration of the specialised fields of astronomy and cosmology, explaining the major changes wrought by the Einsteinian revolution and preparing the ground for a discussion of their effect on the works of my authors. The second chapter addresses Yeats’s complex engagement with the new physics and its cosmology, reading against naive critical portrayals of him as entirely anti-scientific. The chapter also offers an account of science in relation to a narrative of Yeats’s whole poetic career, moving from discussions of his longing for an alternative to Newtonian physics in his portrayal of the unpredictable stars in the poems of The Wind Among the Reeds to the strange cosmic, astronomical and occult shapes of A Vision and the later poetry. The third and fourth chapters discuss Joyce’s interest in astronomy and cosmology; in chapter three, I focus on the inspirational power of cosmology in relation to the development of his oeuvre from Portrait to Finnegans Wake. The fourth chapter offers an extended close-reading of a passage from II.1 of the Wake, in which the sudden appearance of the cosmic science of spectroscopy transforms the children’s game of riddles depicted in the chapter into a much more complex problem. In both these chapters, I suggest the salutary aesthetic potential of the difficulty of the new physics when juxtaposed with the difficulty of Joyce texts; the more complex, contested and puzzling universe of contemporary physics suited Joyce much better than the Newtonian science which he sometimes parodied as imperial and monological. Finally, I turn to Beckett’s late modernism in the fifth and sixth chapters. The fifth chapter addresses his novel Murphy in relation to his portrayal of cosmic connections between chaos and absurdity. Beckett’s novel seems increasingly unlike a Newtonian world, as realist frameworks are deliberately undermined by a far more relativistic and chaotic narrative technique. By ‘The Trilogy’, the subject of my sixth and final chapter, which focuses on cosmic and astronomical light in these three novels, Beckett has created a semi-relativistic cosmos in which realist narrative and Newtonian causality are, at first, in Molloy, radically compromised, and finally, in The Unnameable, proved untenable.
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Hodgkinson, David. "Manifestly absurd or unreasonable?: The reinterpretation of the ABM Treaty." Thesis, Hodgkinson, David (1996) Manifestly absurd or unreasonable?: The reinterpretation of the ABM Treaty. Masters by Research thesis, Murdoch University, 1996. https://researchrepository.murdoch.edu.au/id/eprint/51245/.
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This thesis examines the two competing interpretations of the Treaty on the Limitation of Antiballistic Missile Systems (the "ABM Treaty") and establishes which of these interpretations is the correct one. It applies the principles of treaty interpretation as provided for in the Vienna Convention on the Law of Treaties and, through that application, it shows that the correct interpretation of the ABM Treaty is the narrow one. It is established here that the only reasonable conclusion to be drawn from an analysis of the treaty as a whole, taking into account its object and purpose, the plain, ordinary meaning of its terms, the scheme of the treaty and its history, is that only a narrow reading of that treaty is tenable.
The sources of information used in this thesis include international conventions and treaties; decisions of national and international courts which have concerned such conventions and treaties; reports and publications of the United States government; and such secondary sources of information as books, monographs and journal articles. In particular, I have used records of proceedings and debates on the ABM Treaty, and reports tabled with regard to that treaty, in the United States Senate. Above all, I have had recourse to the text of the ABM Treaty itself. This thesis is my own account of my research; the work of others has been used only where appropriate in the course of the proper development of the thesis.
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Gehle, Hermione. "The absurd reality of satire in Neil LaBute's 'Fat Pig'." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1661.
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This research project examines the misreading of satire in some productions of Neil LaBute’s play, Fat Pig. This practice led project aims to investigate why such misinterpretations occur and explore the theatrical styles that emphasise the satire in the text via rehearsal processes and production.
There will be three preliminary paths undertaken in this research heading toward a new production of Fat Pig; an exploration of the responses of audiences and critics to past productions; an analysis of the background to Neil LeBute and his work; and an examination of theatrical expressions of satire, experimental theatre, contemporary theatre, and their practitioners. The overall aim of this research project is to find ways, as a director, to experiment with theatrical styles as a means to expand the play’s complex issues and ironic take on society’s narrow view of female beauty. This study will explore the following questions: what is the correlation between staging and design (the director’s influence and how an audience interprets meaning; and what forms of theatrical expression will highlight and emphasise the satire and irony present in the text? In what ways can critical reviews and feedback from previous productions indicate the understanding (or lack of understanding) of the ironic content in the script? Can situating LaBute in the context of his satiric writing style that straddles literary elements from opposing absurd and realism genres shed light on how irony can be exposed in Fat Pig?
The project’s new production aims to underscore the play’s social commentaries by combining various forms of theatrical styles, philosophies, and methodologies. I wish to extend my directorial practice by investigating strategies to emphasis and highlight what I see as the underlying focus of Fat Pig; society’s discriminating behaviour to those who sit outside mainstream ideas of physical beauty
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Menezes, Daniele Diniz de. "O estrangeiro que não estava lá." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=7516.
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Leitura da narrativa O estrangeiro, de Albert Camus, e da narrativa fílmica O homem que não estava lá, dos irmãos Ethan Coen e Joel Coen, com vistas a propor uma reflexão literária sobre o desconcerto do sujeito num mundo de solidão, indiferença e nonsense existencial. Oriundas do esmaecimento de qualquer sentimento diante da inexorabilidade da consciência da finitude, pelo comparatismo e com apoio no conceito de intertextualidade, são passadas em revista as trajetórias contingentes de Ed Crane − protagonista da obra cinematográfica − e Meursault, personagem central do romance camusiano. Luz e sombra potencializam a aterradora atmosfera de absurdo na qual se desequilibra Ed Crane, em sua existência obscura, em contraponto com a claridade reinante no percurso de Meursault. Ambos os personagens são condenados pela sociedade, de maneira insólita e definitiva, por intermédio de textos que denunciam, outrossim, a engrenagem trágica do sistema judiciário, permitindo-nos conectar os citados personagens, Plume Um certo Plume, de Henri Michaux e Joseph K. angústia errante engendrada por Franz Kafka em O processo<br>A reading of Albert Camus narrative The Stranger and of the narrative of the movie The Man Who Wasnt There, by Cohen brothers (Ethan Coen and Joel Coen), so as to propose a literary reflection on the uneasiness of the subject in a world of loneliness, indifference and existential nonsense. Arising from the fading out any feeling towards the inevitable awareness of finitude, by the comparatism and the support of the concept of "intertextuality", contingent trajectories of Ed Crane - protagonist of the movie - and Meursault, central character of the camusian novel, are reviewed. Light and shadow potentiate the fearful atmosphere of absurdity in which Ed Crane unbalances, in his obscure existence, as opposed to the light reigning in Meursault. Both characters are condemned by society in an unusual and definite way, through texts which show the tragic gear of the judiciary system, allowing us to connect the cited characters, Plume Un certain Plume, by Henri Michaux and Joseph K. "anguish errant" created by Franz Kafka in The Trial
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Al-Ghafari, Hanan. "The influence of the theatre of the absurd on Arabic drama." Thesis, University of Leeds, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364452.
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Stefanovski, Iva [Verfasser], and Schamma [Akademischer Betreuer] Schahadat. "Julije Knifer : Painter of Absurd / Iva Stefanovski ; Akademischer Betreuer: Schamma Schahadat." Tübingen : Universitätsbibliothek Tübingen, 2016. http://d-nb.info/1164038265/34.
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Wax, Shelby T. "Reclaiming the Female Suicide Narrative: Rebirth, a Plunge, and the Absurd." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/822.
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This thesis looks at female suicide in literature from the 1890s to 1970s in the novels The Awakening by Kate Chopin, Mrs. Dalloway by Virginia Woolf, and Play It As It Lays by Joan Didion. Looking at these female-penned novels in comparison the canon of Western literature, they all clearly indicate a change in the treatment of female protagonists suffering from loss. In The Awakening, suicide is represented as a rebirth. In Mrs. Dalloway, the protagonist suffers from a fragmentation of the self. In Play It As It Lays, the protagonist finds life through the Absurd.
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Artrip, Ryan Edward. "The Absurd and Film: From the Existential Moment to Metaphysical Revolt." Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/72989.
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In recent cinematic history, films have often expressed through the experiences of characters an 'existential moment' in which fundamental assumptions about life are questioned and potentially rendered meaningless. The purpose of this project is to follow two accounts of this expressed moment in the 1999 films American Beauty and Fight Club, understanding them as such through particular readings of the philosophical articulations of Albert Camus. I analyze the social climates of liberalism and consumerism that might account for these expressions of discontent and anxiety at the same time I evaluate the validity of existential thought in the contemporary social world. Ultimately, I question what kinds of political qualms absurdity might render, using film experience as a venue to understand and evaluate these questions.<br>Master of Arts
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Percival, Gary William. "Developments towards a theatre of the absurd in England, 1956-1964." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/14879.
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In 1961 Martin Esslin created the term 'Theatre of the Absurd' as a working hypothesis, a device with which to make fundamental traits present in the plays of a number of France-based dramatists accessible to discussion by tracing the features they had in common. Despite the popularity of Esslin's study, there has been no comparable discussion of England-based absurdism. An explanation for this lack of critical attention may be found in the dogged insistence amongst scholars that there are only two absurd playwrights in the English theatre before 1967. My first aim in this thesis is to redress the imbalance in critical literature, to demonstrate that there existed in England, in the late 1950s and early 1960s, an indigenous expression of absurdism far broader and significantly more complex than that which has been recognised by theatrical reviewers during the past thirty years. Having identified an indigenous absurdism, I go on to challenge the generalisations and over-simplifications surrounding the English 'absurd', which are a product of its critical marginalisation and neglect. I discuss the complexities of the evolution of the English 'absurd', and the ramifications of its development, paying due regard to the theatrical, historical and social factors which shaped its early growth. The playwrights who represent the genre are examined in tum, and attention is devoted to the details of the development of an absurd dynamic within their works. The study falls into three parts. Part I attempts to explain why the English 'absurd' had such a limited impact within its own country up until the late 1960s. It is revealed that many of the writers of the English 'absurd' were incapable of divorcing their plays from the social-orientated drama which dominated English theatre in the late 1950s. The cross-fertilization of an overtly social theatre and absurdism resulted in an expression of the genre which was modified and, to an extent, compromised by its adherence to external, political realities. The focus shifts, in the second part, to accommodate those neglected writers of the English 'absurd' who managed to avoid such compromises and who created a more abstract theatre, the aesthetic and epistemological intentions of which resemble those of the French absurd. Part III explains why, despite the relative obscurity of the English 'absurd', a fragmented absurdism managed to be absorbed into the permanent vocabulary of dramatic expression in England in the 1960s. This final section examines the works of a number of non-absurd writers who took on isolated absurd devices as part of an experiment with the parameters of drama, thereby bringing those techniques into mainstream theatre.
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Perrault, Jean-François. "Le langage du théâtre de l'absurde : suivi de Resolutions." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22445.
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This thesis in creative writing comprises two sections. The first is an essay on the theatre of the absurd. The introduction sets the genre in its historical context and briefly describes its aesthetic qualities. Four plays by reputed "absurd" playwrights are studied in the body of the essay: La cantatrice chauve (The Bald Soprano) by Eugene Ionesco, Fin de partie (Endgame) by Samuel Beckett, Le balcon (The Balcony) by Jean Genet, and Les voisins (not translated) by Claude Meunier and Louis Saia. The conclusion examines the difference between dramatic and comic plays found within the theatre of the absurd. It also touches on the legacy of the theatre of the absurd.<br>The second section of the thesis is a play in one act entitled Resolutions. It respects the principal characteristics of the theatre of the absurd which are described and analysed in the first section.
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Dungan, Drew W. "South Park and absurd culture war ideologies the art of stealthy conservatism /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
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M'Enesti, Ana-Maria. "A Painter of the Absurd: Reading Through and Beyond Eugène Ionesco's Humanism." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18754.
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The Theatre of the Absurd often has been considered the reflection of a deconstructionist gesture, a negation of the existent theatrical norms, therefore an end in itself without any prospect of possible alternatives or remedies. While this may be partially true, the entropy inherent to the absurd does not adhere to a mechanically formal posture; rather, the "purposeless wandering", in Eugène Ionesco's case, points, through humor (Ce formidable bordel), toward a longing for meaning, deeply rooted in the human being. This very longing is the crux of Ionesco's humanism. For him suffering (Le Roi se meurt), as the offshoot of the human being's finite condition and the affect that bonds the community, is intertwined with an unexplained feeling of wonderment--an opening to contemplation of the infinite. The merging of suffering and wonderment that suffuses Ionesco's textual and visual works presents the field in which his vision of a metaphysical humanism must find form. Art, in Ionesco's perspective, as the expression of being and the witness of its time (Rhinocéros), can be understood as a redemptive medium, a hope for humanism. Through the interplay of text (plays, reflections and short stories), image (drawings, gouaches and lithographs) and performance, this dissertation explores themes, imagery and structures that reflect Ionesco's paradoxical view on humanism. Thus, in light of interdisciplinary readings, I identify archetypal images recurrent in Ionesco's works and his subversive interpretation of these images as revelatory of the author-painter's inner search for meaning. This quest, which is the unifying principle throughout Ionesco's work, is revealed in themes spanning from the entropy of language (La Cantatrice chauve, Les Chaises) to the sacrificial act of substituting for the other (Maximilien Kolbe). In this ultimate act of testimony, Ionesco depicts Emmanuel Lévinas' ethics wherein the self becomes a "hostage" of the other, vulnerable at the encounter with the other. My analysis of Ionesco's humanism continues beyond his works with a reading of the historicized absurd and humanism in the works of two contemporary diasporic playwrights: Matéi Visniec and Saviana Stanescu.
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Solderitsch, Jake. "Making sense of the absurd the possibility for rationality in Kierkegaard's subjective truth /." Diss., Connect to the thesis, 2004. http://hdl.handle.net/10066/697.
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Cramer, Steven L. "The absurd state : political satire and black comedy in British drama, 1964-1974." Thesis, University of Edinburgh, 1993. http://hdl.handle.net/1842/26416.
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It has become a critical commonplace of recent years that the current period of political drama started with the upheavals of 1968. It is often stated that before that year, playwrights of the post 1956 generation generally held liberal views which were broadly critical of British society's major institutions, but stopped short of criticising such bodies as the Labour Party. My aim will be to reassess this view in the light of the black comedies of the period 1964 to 1974. These plays held in common a number of stylistic characteristics and thematic obsessions, and were particularly notable for their close reference to contemporary events and political crises. In attempting to establish a continuity through this period, I will try to reappropriate to the modern canon a number of playwrights, who have been marginalised or forgotten since the mid seventies. I also deal with several of the 'major' works of the period, with specific reference to their relevance to contemporary events at the time of their initial productions. This will necessitate a certain amount of detailed historical background. The thesis is divided into two halves, comprising three and two chapters, respectively. The first part examines the premierships of Home, Wilson and Heath in that order, with particular reference to the way in which the politics and character of each were reflected in black comic satire. The second half of the thesis considers three black comic stereotypes, each of which mirrored the leading social themes of the day. The figure of the meritocrat, the 'classless' individual who rises to prominence on the strength of his or her own abilities, a particular political creation of our period is lampooned mercilessly throughout, although in different ways, depending upon the historical circumstances. Doctors and Policemen are also characteristic figures of the period, and I consider the way in which the latter group, in particular, provided a succession of stock characters which would be moulded to address particular public scandals in the immediate wake of their occurrences.
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Darrow, Robert A. "Kierkegaard, Kafka, and the Strength of “The Absurd” in Abraham’s Sacrifice of Isaac." Wright State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=wright1133794824.
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Wilcox, Eliot J. "The Absurd in the Briar Patch: Ellison's Invisible Man and Existentialism." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2305.
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This article claims that Ralph Ellison's use and then revision of French existential themes is essential to understanding his overriding message of Invisible Man: Ellison's hope for a more polyglot American democracy that transcends the white democracy of mid twentieth century America. Specifically, I argue that Ellison, after demonstrating his ability to understand and engage in the traditional ideology of European existentialism, deviates from its individualistic conclusions demanding that the larger community, not just the solitary individual, must become ethically responsible if the classic existential tenet of authenticity is to be achieved. In order to establish this claim, I identify key passages in Invisible Man that indicate Ellison's desire to engage the existential movement. Writings from Camus and Sartre provide the foundation for comparison between Ellison's work and the French based philosophy. This background provides the groundwork to explore Ellison's deviations from the existential forms of his day. These departures have significant implications for Ellison's view of a socially productive individual, and therefore of his message in Invisible Man. In order to document the prevalence of existentialism in Ellison's literary consciousness, I then discuss its rise and decline in postwar New York. I also outline what is known about Ellison's relationship to the movement. Lastly, I conclude with a discussion of the philosophical tradition of existential philosophy and the difference between the philosophy of existence, seen in the Western canon through philosophers like Kierkegaard, and existentialism, one of its popular manifestations that peaked in the 1940s. Separating the two existential movements allows me to explore the tangential way most Ellison critics have associated him with existentialism and advocate for a more inclusive critical discussion of Ellison's relationship to existentialism.
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Leal, Cristyane Batista. "Hilda Hilst e a tradição moderna do teatro." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/9065.
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Previous issue date: 2018-03-08<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This study presents an interpretative reading of six plays by Hilda Hilst: The Company, The Rat in the Wall, The Auto of the Ship of Camiri, The Birds of Night, The New System, and The Patriarch’s Death, through theoretical assumptions of the Theater of the Absurd, especially those of Eugène Ionesco, and the Theatre of Cruelty, of Antonin Artaud. These plays have in common the distance, at different levels, which they establish in relation to the traditional forms of development and resolution of the dramatic conflicts, configuring themselves as static dramas. Considering the fact that it is an essentially lyrical theater, this study sees lyricism as a style that contributed to the constitution of Modern Arts, with an emphasis on the Symbolist theater of the end of the 19th century, bringing the Hilstian theater closer to the Theater of the Absurd of the XX century and locating its marginality in the Brazilian theater because of its distance from the Brechtian and realistic aesthetics that, at the time of its writing, was predominant in the Brazilian scene.The peripheral situation of Hilda Hilst’s theater here is presented because of the very place that theatrical culture occupies in Brazil, always at a disadvantage if compared to other arts. The singularity of her theater rests in its slippage between dramatic, lyrical and absurd categories, revealing the consciousness of incommunicability and the inability of the hero-poet to ensure human integrity in the eternal totalitarian social systems, hence their approach to the Artaudian Theater of Cruelty. Yet, imploding reality by abstract choices of character composition, action, time and space, the Hilstian dramas present themselves as a resilient and conscious response to the social collapse resulting from human deterioration.<br>Este estudo apresenta uma leitura interpretativa de seis peças de Hilda Hilst: A empresa, O rato no muro, Auto da barca de Camiri, As aves da noite, O novo sistema e A morte do patriarca, por meio de pressupostos teóricos do Teatro do Absurdo, especialmente aqueles de Ionesco, e os do Teatro da Crueldade, de Antonin Artaud. Essas peças têm em comum a distância, em diferentes níveis, que estabelecem em relação às formas tradicionais de desenvolvimento e resolução dos conflitos dramáticos, configurando-se como dramas estáticos. Considerando o fato de se tratar de um teatro essencialmente lírico, este trabalho enxerga o lirismo como um estilo que contribuiu para a constituição das artes modernas, com ênfase no teatro simbolista do final do século XIX, aproximando o teatro hilstiano do
Teatro do Absurdo do século XX e localizando sua marginalidade no teatro brasileiro, em razão de seu afastamento da estética brechtiana e realista que, na época da sua escrita, era predominante na cena brasileira. A situação periférica do teatro de Hilda Hilst é aqui apresentada como consequência do próprio lugar que a cultura do teatro ocupa no Brasil, sempre em desvantagem se comparado a outras artes. A singularidade de seu teatro repousa em seu deslizamento entre categorias dramáticas, líricas e do teatro do absurdo, revelando a consciência da incomunicabilidade e incapacidade do herói-poeta em assegurar a integridade humana nos eternos sistemas sociais totalitários, daí também sua aproximação ao Teatro da Crueldade artaudiano. Mesmo assim, implodindo a realidade por escolhas abstratas de composição de personagens, ação, tempo e espaço, os dramas hilstianos se apresentam como resposta resistente e consciente ao colapso social resultante de deteriorações humanas.
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Gavins, Joanna. "Text world theory : a critical exposition and development in relation to absurd prose fiction." Thesis, Sheffield Hallam University, 2001. http://shura.shu.ac.uk/19681/.
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This thesis presents a unified and systematic Text World Theory, tested and refined under practical application. It draws on a variety of linguistic, psychological, critical theoretical and cognitive scientific models, principally the cognitive discourse grammar originally developed by Paul Werth. The thesis delineates the critical and philosophical inheritance out of which Text World Theory evolved, in order to evaluate and engage critically with the theoretical framework in the light of recent developments in literary linguistics and cognitive poetics. This inheritance includes the fields of possible worlds semantics and narratology, artificial intelligence research and cognitive psychology. Essential modifications, revisions and crucial adjustments are made to Werth's approach in order to produce a refined model of Text World Theory. The augmented framework is tested through several practical and inter-related analyses. These centre around Absurd prose fiction, selected in order to highlight the adaptability of the new Text World Theory especially in the context of literary environments that are often judged to be challenging on a cognitive dimension. Extensive analyses of Paul Auster's The Music of Chance, Flann O'Brien's The Third Policeman, Emmanuel Carrere's The Mustache, Kurt Vonnegut's Slaughterhouse-Five, and Donald Barthelme's Snow White are undertaken over the course of the thesis. Further adaptations to the model are proposed as a result of these applications. The thesis aims primarily to be a contribution to the field of cognitive discourse study. However, incidental contributions are also made to the areas of the critical study of Absurd prose fiction, pragmatics and semantics, cognitive poetics and literary critical theory in general.
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Rezende, Irene Severina. "O fantástico no contexto sócio-cultural do século XX: José J. Veiga (Brasil) e Mia Couto (Moçambique)." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-24092009-151407/.
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O desenvolvimento deste trabalho pautou-se em obras artísticas, engajadas politicamente, pertencentes ao macrossistema de Literaturas de língua portuguesa, a saber, uma Moçambicana: Um Rio chamado Tempo, uma Casa chamada Terra, de Mia Couto, e outra brasileira, Sombras de Reis Barbudos, de J.J. Veiga. A partir desse comparativismo entre os dois contextos, chegou-se a uma idéia do que é o fantástico contemporâneo, e procurou-se aprofundar o estudo sócio-cultural ressaltado nos conteúdos das duas obras. A temática \"opressão\" permitiu estudar as relações de poder e submissão entre as personagens das duas obras. Esta temática perpassou a análise crítico-literária fundamentando, filosoficamente, a atuação das personagens, reflexos muitas vezes da situação histórica vivenciada pelos autores. Semanticamente variada e polêmica, a palavra \"opressão\" prestou-se, nesta abordagem, a uma interpretação de possibilidade de um estudo sócio-cultural do momento em que as obras foram escritas, seguindo a linha filosófica desenvolvida pelo pensador alemão Sigmund Freud, no que se refere à interpretação do duplo. A pesquisa serviu-se de teóricos como Todorov, Caillois e Bessière, para a abordagem do gênero fantástico presente nas duas obras. Pelo fato de ter-se pesquisado toda a produção literária dos dois autores, sentiu-se a necessidade de citar outras obras, o que ajudou a estabelecer um diálogo entre as narrativas selecionadas e as demais obras dos dois escritores. Ao estudar as narrativas dos autores, pensou-se que fosse necessário uma inserção na história recente dos dois países cujo levantamento vem inserido nos anexos. Por não esquecer o contexto sócio-cultural da elaboração dos dois textos, é que a pesquisa espelha as circunstâncias históricas da época da criação das mesmas, sem deixar, contudo de perceber que a literatura vai além desse simples espelhar do real, pois a obra literária, além de dialogar com o mundo em que está inserida, dialoga com tempos e espaços outros que não os da realidade. A escolha desse tema se deu também pela indagação de ordem teórica, o que justifica a escolha do corpus, apresentado para estudo.<br>The development of this work is guided into artwork, politically engaged, belonging to the macrosystem of Literatures in English, namely, a Mozambican: A River called Tempo, a house call Earth, Mia Couto, and another Brazilian, Shadows of Kings Barbuda, from J.J. Veiga. From this comparative between the two contexts, it was an idea of what is the great contemporary, and tried to deepen the socio-cultural study highlighted in the contents of the two works. The theme oppression permitted to study the relationships of power and submission between the characters of the two works. This thematic been present throughout the literary-critical analysis reasons, philosophically, the actions of the characters, often reflected the historical situation experienced by the authors. Semantically varied and controversy, the word oppression is provided in this approach, the possibility of an interpretation of a study of socio-cultural moment in which the works were written, following the philosophical line developed by the German thinker Sigmund Freud, in refers to the interpretation of the double. The research was theoretical served as Todorov, Caillois and Bessière to the approach of gender in this fantastic two works. Because of having to be searched throughout the literature of the two authors, felt the need to quote other works, which helped to establish a dialogue between the narratives and other selected works of the two writers. By studying the narratives of the authors, it was thought it was a necessary insertion in the recent history of two countries whose survey is inserted in the annexes. Why not forget the socio-cultural context of the preparation of the two texts, is that the survey reflects the historical circumstances at the time of their creation, while, however, understand that the literature that goes beyond simple mirror of reality, because the literary work In addition to dialogue with the world around them, and argue with times and places other than the reality. The choice of this theme is also gave the theoretical question of order, hence the choice of the body, submitted for study
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Bueno, Giselle Madureira. "Humor e alegria em Tutaméia: terceiras estórias de Guimarães Rosa." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-21082012-120753/.
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Esta tese visa a esmiudar, a partir de uma abordagem marcadamente intratextual, a questão do humor e da alegria em Tutaméia: terceiras estórias de Guimarães Rosa. No primeiro capítulo, apresentam-se considerações mais teóricas e gerais sobre o tema, que aparece, em Rosa, matizado pelas sombras da angústia, da dormência, do trágico; ambos, alegria e humor, espontam de uma hermenêutica inteiramente varada pela consciência do absurdo. No segundo capítulo, discute-se a relação entranhada da própria forma lacunar da obra com esse espírito intransparente, ao mesmo tempo melancólico e venturoso, que a constitui. No último capítulo, interpreta-se o prefácio Aletria e hermenêutica, esquadrinhando os artifícios de composição de parte de suas anedotas, e trazendo à luz a fabulação paradoxal, chistosa e sublime do texto.<br>This thesis aims to go through, from a markedly intratextual approach, the matter of humour and joy in Tutaméia: third stories by Guimarães Rosa. In the first chapter, rather theoretical and general considerations are presented on the theme that appears, in Rosa, tinted by the shadows of anguish, of dormancy, of the tragic; both, joy and humour altogether, emerging from a hermeneutic which is entirely transpassed by the awareness of the absurd. In the second chapter, is discussed the deeply rooted relationship of the lacunal form itself of this Rosas work with the opaque spirit that constitutes it, melancholic and blissful at the same time. In the last chapter, the preface Aletria and hermeneutics is interpreted, scrutinizing the composition artifices of part of its anecdotes, and bringing some light to the texts paradoxical fabulation, witty and sublime.
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Kunesova, Mariana. "L'absurde dans le théâtre français Dada et présurréaliste." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30010/document.
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L’objectif de cet essai est d’interroger l’absurde en tant que catégorie esthétique dans le théâtre Dada et pré-surréaliste français, entre 1916 et 1923, et ce dans trois textes : La Première aventure céleste de Monsieur Antipyrine, de Tristan Tzara (1916), S’il vous plaît, d’André Breton et Philippe Soupault (écrit en 1919) et Les Mystères de l’amour, de Roger Vitrac (écrit en 1923).L’absurde en tant que catégorie de théâtre a été notamment interrogé à la moitié du siècle dernier par le critique de théâtre britannique Martin Esslin, auteur de la conception d’un « théâtre de l’absurde », mise en place afin de caractériser et d’expliquer l’oeuvre des avant-gardes contemporaines. Cette contribution jouit à la fois d’une grande popularité et a été l’objet de vives critiques, qui la qualifient d’imprécise sinon vague. À ce titre, la présente thèse, afin de définir l’absurde, ne reprend pas les propositions de M. Esslin, mais s’efforce de procéder de manière indépendante. Dans la conclusion, elle effectue une comparaison avec la conception de cet auteur.La première section de cette thèse définit l’absurde en tant qu’une catégorie esthétique et de théâtre ; puis, elle s’intéresse à l’évolution de l’absurde esthétique (formulé comme tel ou intuitif) dans l’histoire du théâtre, notamment en France dans la période postclassique. La deuxième section étudie l’absurde dans le corpus concerné en examinant les structures narratives ainsi que discursives<br>The aim of this doctoral dissertation is to analyze the absurd as an aesthetic category in French Dada and pre-surrealist theatre between 1916 and 1923, dealing with three texts : La Première aventure céleste de Monsieur Antipyrine by Tristan Tzara (1916), S’il vous plaît, by André Breton et Philippe Soupault (written in 1919) and Les Mystères de l’amour by Roger Vitrac (written in 1923).The absurd as a theatre and drama category was examined especially at the half of the last century by the British drama critic Martin Esslin, author of the conception of the ‘theatre of the absurd’, created in order to caracterize and explain the avant-garde theatre of the 1950´s. This contribution has reached both popularity and deep critics, being considered as poignant as well as imprecise and vague. Thus, this dissertation does not use M. Esslin´s propositions as its starting point, bur attempts to define the category of the absurd in drama and theatre independently. In the conclusion, it proceeds to a comparison with M. Esslin´s contribution.The first chapter of the thesis defines the absurd as an aesthetic and theatre category. Then, it observes the evolution of the aesthetic absurd (named as such or intuitive) in theatre history, before all in France of the post-classical period. The second part analyzes the absurd elements in my corpus, as regards narrative and also discursive structures
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Brigham, Stephen. "Limitations of reason and liberation of absurdity reason and absurdity as means of personal and social change: case study: psychotherapy /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060320.161119/index.html.
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Bourrely, Arielle. "Faut-il tromper l'ennui ? L'ennui : du divertissement à la pathologie." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30059/document.
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Ce travail consiste à comprendre le phénomène de l'ennui. L'ennui sera perçu comme un élément indissociable de la condition humaine. L'homme est un être qui s'ennuie, parce qu'il est doté d'une conscience, et que cette conscience l'inscrit dans un rapport particulier au temps. Mais nous constatons, en Occident, et à partir de l'époque moderne, que l'homme s'attache par toutes ses activités à fuir l'ennui. Tromper l'ennui c'est tromper sa condition, c'est, en tant qu'homme, se tromper soi-même. Toute la question est de comprendre comment cela est possible. Partant du divertissement comme moyen général de tromper l'ennui, nous irons jusqu'à la possibilité de ne pas tromper l'ennui, ce faisant nous serons amenés à étudier un aspect de la pathologie humaine à travers l'affection mélancolique. L'ennui doit être trompé, et cela pose une difficulté : comment un être conscient peut-il se tromper lui-même ? Mais l'ennui qui ne serait pas trompé mènerait l'homme vers un état pathologique. Pourquoi l'homme doit-il alors tromper l'ennui ? Notre travail se scinde en trois parties. Il s'agira d'abord de comprendre pourquoi l'homme trompe l'ennui. Il s'agira ensuite de comprendre comment il peut s'y prendre pour cela. Enfin nous envisagerons des possibilités pour ne pas tromper l'ennui. Notre étude s'attache à comprendre l'enjeu d'un ennui fondamental, et à travers lui, la condition humaine avec ses contradictions et ses questions<br>The aim of that work is to understand the boredom phenomenon. The boredom is here understood as an indivisible aspect of the human condition. A human being is a person who get bored because he has a conscience, and that conscience place himself in a particular relation with the time. But we see that from the modern age in the occident that human being strives through all its activities to escape boredom. Cheating boredom is cheating his condition, it is, as a human being, to cheat to yourself. The question is to understand how this is possible. Starting from the entertainment as a general way to run rings around boredom, we will get to the possibility of not cheating boredom, in doing so we will go through a facet of the human pathology through the melancholic affliction. Boredom shall be cheated and here comes a complication : how a conscious human being can cheat himself? But boredom that would not be overcame would leads man to a pathological condition. Why then shall human being run rings around boredom? Our work is divided into three chapters. First part will consider the reason why human being cheat boredom. The next step is to understand how he can do so. Finally we will consider opportunities for not cheating boredom. Our study aims to understand the concern of a fundamental boredom, and through hit the human condition with its contradictions and questions
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Poovey, Christopher 1993. "Music as a Woven Narrative to an Absurd Tale in Act One of The Metamorphosis." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157611/.
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Act one of The Metamorphosis is based on the novella by Franza Kafka of the same title. In the writing of the act, George Benjamin's Into the Little Hill and Oliver Knussen's Where the Wild Things Are provide a model of using musical material as a storytelling device. Benjamin emphasizes the parallel nature of Crimp's text through the manipulation of similar music between the acts. Knussen uses form and color to emphasize Max's childlike energy and his desire to return home. In act one of The Metamorphosis these approaches are combined to enhance Kafka's absurd narrative through a rapid collage of texture and form that is influenced by both events and characters in the opera.
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Epling, Leslie Rose. "Costume Designing for Theatre of the Absurd - Come and Go, Footfalls, and The Dumb Waiter." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/honors/6.
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In October of 2010, ETSU staged three one-act plays in the Theatre of the Absurd genre--Come and Go and Footfalls by Samuel Beckett and The Dumb Waiter by Harold Pinter. This thesis gives a brief overview of Theatre of the Absurd and how Beckett and Pinter helped to shape and define the genre. It also gives an analysis of these three plays from the perspective of the costume designer.