To see the other types of publications on this topic, follow the link: Absurdism.
Dissertations / Theses on the topic 'Absurdism'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Absurdism.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full text
2
Smith, Jared L. "From One to All: The Evolution of Camus's Absurdism." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1586797469986232.
Full text
3
Muhammad, M. M. "Aeschylus, Sophocles and Samuel Beckett : some origins of an absurdism." Thesis, University of Essex, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332505.
Full text
4
Hageland, Dustin Aaron. "Full Circle: The Development Process of Small Box with a Revolver." OpenSIUC, 2021. https://opensiuc.lib.siu.edu/theses/2848.
Full textAbstract:
This thesis examines the process of bringing Small Box with a Revolver from pre-writing to production at Southern Illinois University in March 2021, and my own growth in that process. I drew inspiration from the general societal behavior during the pandemic and other crises of 2020, as well as absurdist plays like Ionesco’s Rhinoceros and Beckett’s Waiting for Godot. The play was written to my stylistic preference of writing dark comedies about social issues.Chapter One examines where I began and how I developed the plot, characters and stylistic choices. Chapter Two examines the writing process, including initial peer and faculty feedback to the script. Chapter Three looks at the unique pre-production process in trying to bring Small Box with a Revolver to the stage, virtually. Chapter Four details the production itself, what I learned, and what further work I would like to do on the script. Chapter Five details my evaluation of my process throughout the MFA program as a playwright and professional, as well as my final considerations. Also included, is the production script.
5
Scebbi, Alyssa E. "The Chromatic Fall." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1430230127.
Full text
6
Cardozo, Elloit. "‘That rug really tied the room together’: Knitting Dudeism and Camusian Philosophy into a Larger Tapestry." Thesis, University of Mumbai, 2017. http://hdl.handle.net/10919/94575.
Full textAbstract:
Even though parallels between the philosophy of Albert Camus and The Big Lebowski have been drawn repeatedly, a sustained enquiry into several possible dimensions of the matter is yet to have been conducted.This dissertation makes an attempt to conduct the aforementioned enquiry in some detail. In doing this, the study will try to analytically compare Camusian philosophy and Dudeism and bring out the similarities between them. This does not imply that there are no differences between the two; but the focus of this study is the similarities and not the differences. Dudeism, for the purpose of this study, will not be restricted to The Dude and the literature written on The Dude and Dudeism. It will also be expanded to accommodate certain other parts of the larger discourse of Ethan and Joel Coen’s filmography as well as a few other parts of The Big Lebowski itself. It is crucial, however, to “draw a line in the sand” (Walter, The Big Lebowski) at the very outset. In embarking on a comparative analysis between Camusian philosophy and Dudeism, this study does not intend to propose that one of them is influenced by the other and “what-have-you” ("The Editorial Preface" 12). Instead, it simply attempts to point out some of the discursive elements that they share with each other as well as with several of the sub-discourses they comprise of. The analysis in the dissertation that follows is split into three major chapters:
1. ‘Well, I’ll tell you what I’m blathering about’: An analytical frame of reference.
2. ‘You can’t be worried about that shit, life goes on, man’: Life, Death and Absurdity in Camus and Dudeism.
3. ‘Somebody this square community won’t give a shit about’: Camus’ Absurd Man and Dudeism
The first chapter, “‘Well, I’ll tell you what I’m blathering about’: An analytical frame of reference”, provides an analytical framework for the discussions that follow in the rest of the dissertation. It is further divided into three sections. The first section lays out a basic understanding of a few fundamental ideas of Dudeism for the readers. The second section discusses a few important aspects of the philosophy of Albert Camus. The third section briefly establishes the connections between Dudeism and the philosophy of Camus which are examined in greater detail later in the study. The second chapter, “‘You can’t be worried about that shit, life goes on, man’: Life, Death and Absurdity in Camus and Dudeism” looks at Camus’ takes on Life, Death and Absurdity
while also pointing out the parallels they seem to strike with Dudeism. The chapter is further divided into four sections. The first section examines strands of Camusian thought, especially the Absurd in the other films of Ethan and Joel Coen before establishing a connection to The Big Lebowski. The second section explores the attitudes towards Death in Camusian
philosophy and Dudeism. The third section compares the ideologies of Life in the works of Camus and Dudeism. The fourth and final section explores parallels between Camus’ novel The Stranger and The Stranger: the cowboy narrator of The Big Lebowski.
The third chapter picks up on the Camusian trope of the Absurd Man and its relation to Happiness in both: the works of Camus as well as the discourses of Dudeism. It comprises of three sections. The first section explores the notion of Alienation in Camusian philosophy and Dudeism and looks at how it eventually leads to the trope of the Absurd Man in Camus. The second section explores Camus’ creation of the Absurd Man through the Cycle of the Absurd and looks at how it fits into Dudeism. The third and final section delves into a comparison of the Absurd Man’s quest for Happiness in Camus and Dudeism.M.A. Honours with Research in English
7
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.
Full text
8
Collins, Rachel. "HAPPY DAYS: A MODERN WOMAN’S APPROACH TO ABSURDISM THROUGH FEMINIST THEATER THEORY." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1338311141.
Full text
9
Booth, Alison C. "The divine dark : absurdism and mysticism in the work of Luigi Pirandello and Eugène Ionesco." Thesis, University of Bristol, 1988. http://hdl.handle.net/1983/51ca1aaf-5a2d-4a97-b765-dcf5485ee19a.
Full text
10
Mountian, Daniela. "Mitologia poética de Daniil Kharms." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-08032017-142720/.
Full textAbstract:
A pesquisa tem como objetivo analisar e relacionar as escritas de si do poeta e escritor russo Daniil Kharms (1905-1942): seus apontamentos em cadernetas, sua prosa quasebiográfica, como a novela A velha (1939), suas cartas e seus autorretratos, sobretudo na década de 1930, momento em que essas artes de si mesmo passam a interagir de forma mais pronunciada, quando o criador e sua obra se misturam de maneira muito peculiar. Como o estudo das cadernetas do escritor define ponto medular da pesquisa e este material ainda não foi publicado no Brasil, também será apresentada a tradução de parte de seus cadernos de anotações e do pequeno diário, que abarcam os anos de 1924 a 1940. Além disso, pelo próprio recorte do trabalho, foi delineada uma biografia cuidadosa do autor, um dos fundadores da Oberiu, o último grande grupo do vanguardismo russo, assim como foram definidos alguns diálogos (Krutchónykh, Khlébnikov, Bergson, Malévitch e tchinari) que marcaram o desenvolvimento artístico e filosófico de Daniil Kharms, um dos mais peculiares e talentosos artistas russos de vanguarda, hoje assemelhado a escritores como Franz Kafka, Eugène Ionesco e Samuel Beckett.The objetive of this thesis is to analyse the self-writing of the Russian poet and writer Daniil Kharms (1905-1942): his notes in notepads, his almost-biographical prose, such as the novel Old Woman (1939), his letters and self-portraits, especially in the 1930s, a time when these arts about oneself start to interact in a more emphatic way, when the writer and his work mix up in a very particular way. As the study on his notepads defines the central element of this research and this material has not been previously published in Brazil, it will be also presented a translation of a part of his notepads and little diary, from 1924 to 1940. Furthermore, by the perspective taken in this study, a detailed biography of the author was conducted. Kharms was one of the founders of Oberiu, the last avant-garde Russian group. Hence, the study also debates the importance of the art and philosophy of Krutchónykh, Khlébnikov, Bergson, Malévitch e tchinari to the work of Kharms, who became one of the most singular and talented contemporary Russian authors, compared to Franz Kafka, Eugène Ionesco e Samuel Beckett.
11
Gutberlet, Terrance. "Chaos Management." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2325.
Full text
12
Gregemar, Erik. "Det sublima och det absurda : en kritisk närläsning och analys av begreppens kontaktytor utifrån Lyotard och Camus." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-34350.
Full textAbstract:
I denna uppsats har kontaktytorna mellan det sublima och det absurda undersökts utifrån hur Lyotard och Camus definierar respektive begrepp. Uppsatsen har utgått från en forskningssituation där få jämförelser mellan dessa begrepp – som i sig kan te sig undflyende och vaga – verkar finnas. Syftet med undersökningen har således varit att låta nya perspektiv på de båda begreppen träda fram genom deras relation till varandra. Utifrån jämförelsen mellan det sublima och det absurda kan det konstateras att det tycks finnas klara kontaktytor mellan begreppen. Dessa kontaktytor har yttrat sig genom att begreppen delar likheter i följande avseenden: (1) de är båda negativa begrepp, (2) de innefattar liknande kritik mot rationalism, (3) båda begreppen innefattar moment av en för subjektet inledande känsla av hämmande som övergår i en stärkande känsla, (4) de påvisar distansen mellan subjektet och världen, (5) båda innefattar liknande anspråk på konsten som ett slags materialiserad form av deras egen innebörd. Utöver dessa direkta kopplingar uppmärksammades att det Camus kort beskriver som ”känslan av det absurda” kan ses som analogt med det sublima, vilket skulle kunna innebära att den absurda insikten, såsom Camus beskriver den är direkt kopplad till en sublim känsla. Alla dessa aspekter hänger förvisso samman, men det intressanta är att Lyotard och Camus skriver om dem på liknande vis i sina respektive texter. Relationen mellan begreppen kan således uttydas inte endast i generella, utan i specifika likheter.
13
Mittermaier, Sten. "The Intolerableness of All Earthly Effort : of Futility and Ahab as the Absurd Hero in Melville's Moby Dick." Thesis, Stockholm University, Department of English, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-8324.
Full textAbstract:
In 1942, Algerian writer Albert Camus published a philosophical essay called The Myth of Sisyphus along with a fictional counterpart, The Stranger, wherein he presumed the human condition to be an absurd one. This, Camus claimed, was the result of the absence of a god, and consequently of any meaning beyond life itself. Without a god, without an entity greater than man, man has no higher purpose than himself and he himself is inevitably transient. As such, man, so long as he lives, is cursed with the inability to create or partake in anything lasting. The absurd is life without a tomorrow, a life of futility. As one of the main precursors of this view of life and of the human experience, Camus mentioned Herman Melville and Captain Ahab’s chase for the white whale - Moby Dick.
Now, as will be indicated in the following, the most common critical position holds that the white whale of Moby-Dick, Melville’s magnum opus, is to be interpreted as a symbol of God, and thus Ahab’s chase is tragic by virtue of its impossibility for success. As such, the tragedy is entailed by the futility vis-à-vis its impermanence. However, the ambiguity of Moby-Dick allows for the possibility of several alternative interpretations as to the role of the whale: for instance that of the devil, evil incarnate or merely a "dumb brute". As such, Ahab’s quest might as well be the pursuit of a creature which understands nothing of vengeance, thus rendering his objective equally, if not more fruitless, than the pursuit of a god.
14
Hodges, Steven. "The digital absurd." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/33950.
Full textAbstract:
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.
15
Covington, Ruth Ellen. "The Subjection of Authority and Death Through Humor: Carnivalesque, Incongruity, and Absurdism in Cormac McCarthy's Blood Meridian and No Country for Old Men." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4106.
Full textAbstract:
Cormac McCarthy's representation of the comic theories of the carnivalesque, incongruity, and absurdism by the antagonists of Blood Meridian and No Country for Old Men demonstrates the unique and ostensible power of humor over (or at least, its awareness of and reconciliation to the absurdity of) death; it also emphasizes the supreme power and influence of humor as a means for destroying other institutions and philosophies which claim knowledge or authority but fail to sustain individuals in times of crisis. This makes humor a formidable factor in determining and justifying the outcome of human interactions and in defining the strengths and limitations of McCarthy's antagonists.
16
Björkman, Ida. "ENSAMHET OCH DISTANS : Episk teater och Kristina Lugns drama ”Tant Blomma”." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-130238.
Full textAbstract:
Uppsatsen har haft för avsikt att ge ett bidrag till forskningen om nutida svensk dramatik genom attapplicera Bertholt Brechts teaterteori kring den episka teatern och distanseringsbegreppet på dramat”Tant Blomma” av Kristina Lugn. Många av de sätt och stilmedel som Brecht kallade fördistanseringar finns att upptäcka i denna text. Bland annat använder sig Lugn av sång, dans, ettmånga gånger lyriskt och orealistiskt språk, metafiktion och citat på ett sätt som fjärmar publikenfrån illusionen om att det är verkligt liv som gestaltas på scenen. Dessutom finns det drag ireplikerna som måste sägas vara distanserande, bland annat genom att rollen kommenterar sig självi tredje person.Min slutsats är då att min analys av ”Tant Blomma” visar att det finns många stildrag somskulle kunna verka distanserande, och det finns stöd för ett episkt spelsätt i replikerna. Jag trordessutom att distanseringarna skulle kunna bli fler och förtydligas ytterligare i en uppsättning avpjäsen. Men i analysen diskuteras också frågan huruvida pjäsen är episk eller absurdistisk. Dettamåste man själv tolka när man sätter upp dramat. För att kunna kallas episk, bör regissören somsätter upp ”Tant Blomma” göra ett medvetet val att vilja ge publiken en möjlighet att se vårtkonstiga samhälle utifrån och därefter tänka till om det är så vi vill ha det. Denna läsning är fulltmöjlig enligt min analys.
17
Jansdotter, Annika. "Denna dödliga ensamhet : Existentiell utsatthet i Kristina Lugns poesi och dramatik." Thesis, Högskolan Dalarna, Litteraturvetenskap, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:du-497.
Full textAbstract:
Syftet med denna uppsats är att undersöka hur den existentiella utsattheten gestaltas i Kristina Lugns diktsamlingar om jag inte och Bekantskap önskas med äldre bildad herre. Lugns dramer Idlaflickorna och Nattorienterarna undersöks också kortfattat i ljuset av lyriken. I avsnittet före analysdelen ges en kort förklaring till den tradition som fört fram ironin hos svenska kvinnliga lyriker, vilket bland annat innefattar fransk existentialism och absurdism. De teman som framstått tydligast i om jag inte är moderskapet, ensamheten, döden och förhållandet mellan män och kvinnor. Analysen tar bland annat upp influenserna från Sonja Åkesson, barns utsatta situation och ensamma kvinnor i folkhemmets bakgård. Dessa vardagliga teman är även representativa för Bekantskap önskas, även om både intensitet och fokus skiftar. Här finns bitande ironi, ensamma, desperata mammor, men inte samma nattsvarta ton som i debutsamlingen. Döden är konkret och ständigt närvarande i båda samlingarna. Den jämförande analysen av Idlaflickorna och Nattorienterarna betonar uttryckssättet i dramatiken jämfört mot lyriken. Det poetiska språket är typiskt för Lugns dramatik. Influenserna från Samuel Beckett och absurdismen är också påtagliga. Slutligen konstateras att den existentiella utsattheten inte är lika tydlig i dramatiken - på ytan. Under ytan är det symboliska och fragmenterade språket minst lika existentiellt.
18
Ballard, Lauren. "Albert Camus: A Conscientious Witness." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/458.
Full textAbstract:
This essay examines The Myth of Sisyphus (1942), The Plague (1947), and The Rebel (1951). I have chosen these three works in an effort to triangulate Camus' intellectual development, his persistent interest in literature, and the historical background against which these take place. Sisyphus and The Rebel are Camus' two major philosophical essays. The former belongs to Camus' "First Cycle" of writing, in which he focused on the concept of "the Absurd"; the latter belongs to Camus' "Second Cycle", in which he focused on the theme of "revolt." Camus wrote The Myth of Sisyphus during the Nazi occupation of Paris, an event which he witnessed and experienced and which also served as the inspiration for his novel The Plague. Though the two books are connected by this event, thematically The Plague belongs to Camus' Second Cycle. For this reason, it serves as an illuminating work, demonstrating the importance of fiction to Camus' intellectual process and his particular way of thinking. From Sisyphus to The Rebel, Camus' argument for fiction comes down to the opportunity it offers to describe life rather than explain it. In his opinion, the best novelists exhibit the very philosophy that should generally govern human behavior. These novelists limit themselves to what they can be sure of – namely, their personal experiences; they patiently explore what it is like to live on this earth – how human beings deal with each other, manage their environments, and cope with the often tremendous complexities of life. Not co-incidentally, Camus' fiction took special interest in death of all kinds – from murder to sickness to suicide – in order to remind his readers that life is finite. According to Camus, writing fiction is a way to keep the reader conscious of the human condition, because good fiction plainly exhibits life as it is and death as our common fate. By reflecting on good literature, readers may form their own life ethic.
19
Weeks, Elizabeth K. "Dotted Lines." Miami University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=miami1531909104613623.
Full text
20
Reiger, Bryon E. "The Killing Noise of the Out of Style." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2355.
Full text
21
Emma, Bengtsson. ""Sprickor i tillvaron" : En fenomenologisk studie av det absurda i Jonas Karlssons "Fakturan" och "Högläsning 2" utifrån Albert Camus absurdism i Myten om Sisyfos och Främlingen." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-29343.
Full textAbstract:
The absurd is a widespread term to describe literature today and in this essay I am interested in what parts of a literary text that can be defined as absurd. With help from the French-Algerian writer Albert Camus definition of the absurd in The Myth of Sisyphus (1942) and the absurd parts in his novel The Stranger (1942) I will examine the absurd in two of the Swedish writer Jonas Karlsson’s short stories. It is a phenomenological study of the short stories "Fakturan" and "Högläsning 2" that can be found in Spelreglerna (2011). The phenomenological reading consists people’s experiences and what is happening in their consciousness before, during and after experiencing it. Camus description of the absurd is the foundation for my analysis of Karlsson. Karlsson’s short stories have interesting similarities with Camus description of the absurd, which is fascinating because of their different backgrounds. My aim with the essay is to analyze the absurd in Karlsson’s short stories, both through parallels to Camus and without.
22
Andersson, Joline. "Meningslöshet och repetition i Cirkusdirektören och Ballerinan : En undersökning i den absurda teaterns stilistik." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-14687.
Full text
23
Johansson, Emma. "”Kvinnan föder grensle över en grav” : En studie av det groteska i Samuel Becketts I väntan på Godot." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-31541.
Full textAbstract:
This essay examines the grotesque in Samuel Becketts wellknown play Waiting for Godot. The play is primarily seen as an icon of absurdism, and it is such not appropriate to examine the play as if it belongs to the litterary genre of grotesque. The primary purpose of absurdism is to reveal the pointless- and emptiness of existence. In order to illustrate these points absurdism will often make use of the common characteristics of the grotesque. With this in mind I present, within this essay, an eximination of whether Samuel Becket makes use of these characteristics to assist his portayal of emptiness in Waiting for Godot. A prior understanding of absurdism is required and i have as such primarly used Martin Esslins famous studies. The studies of the grotesque are mainly represented by two theorists. Michail Bachtin's theory is based around the medieval carnival culture, whose archetype was the duality of the body expressed through the pregnant death. Bachtin seeks to highlight the grotesques close connection with laughter as a relief and covers it's use during the middle ages and the renneissance. Wolfgang Kayser studies the term as it is used during the romanticism and modernism. Kayser describes the grotesque as "cold" and alienating. He describes the word as an ”estranged world”. The analysis relies mostly on Bachtin's theories and examines the play from the viewpoint of the picture of the grotesque body, sense of time, the logic of the upside down world and the connection to the carnivals culture of laughter but also examines if Kayser's theories of the ”estranged world” are compatible. Finally, I reach the conclusion that even though Bachtins theory treats the grotesque in a time long before Beckett's, a reading of Waiting for Godot from the perspective of the carnival culture is interesting. The laughter and the open, grotesque body, plays as expected a large role in the handling of the emptiness, the cyclic sense of time is found in the play and never ceases to repeat, the upside down world's logic and it's abolition of hierarchies is significant and the world in the play seems alien to itself.
24
Powers, Patrick D. "Belief in the Unbelievable: Yakov Druskin and Chinari Metaphysics." Oberlin College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1619455383434057.
Full text
25
Millspaugh, Tuong Anh. "The Absurdity of Honor." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/718.
Full textAbstract:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucfB.F.A
Bachelors
Arts and Sciences
Art
26
Eisenbiegler, Grace. "Intersubjectivity and Coping with Absurdity." Thesis, Boston College, 2018. http://hdl.handle.net/2345/bc-ir:108013.
Full textAbstract:
Thesis advisor: Jeffrey BloechlPer Jean-Paul Sartre and Albert Camus, existentialism is the profound truth that the world lacks inherent meaning and thus, we are radically free to choose, to live life as we please. While these assertions are both true and liberating and the theoretical level, these axioms leave individuals disoriented. They never answer the question: how does one live within an absurd world? Thus, these authors never give us a way of coping with the harsh repercussions of absurdity. To answer this question, this project turns to intersubjectivity and the work of Emmanuel Levinas. Levinas’s theory of the other demonstrates that we are not merely beings in a vacuum; the world is conditioned by the interpersonal. Relating to the Other allows us to see that we are not alone in our suffering, for the Other and the individual mutually witness one another. Such connections provide a means of coping with absurdity, allowing us both solidarity and insight into the truly absurd nature of the world. Thus, the application of Levinas’s intersubjectivity to existentialism serves to save Camus’s notion of absurdity from its more nihilistic tendencies, allowing us to accept and apprehend absurdity without falling into despair or ignorance
Thesis (BA) — Boston College, 2018
Submitted to: Boston College. College of Arts and Sciences
Discipline: Departmental Honors
Discipline: Philosophy
27
Campbell, Sam Nicole. "Blend it Like Beckett: Samuel Beckett and Experimental Contemporary Creative Writing." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3769.
Full textAbstract:
Samuel Beckett penned novels, short stories, poetry, stage plays, radio plays, and scripts—and he did each in a way that blended genre, challenged the norms of creative writing, and surprised audiences around the globe. His experimental approach to creative writing included the use of absurdism, genre-hybridization, and ergodicism, which led to Beckett fundamentally changing the approach to creative writing. His aesthetics have trickled down through the years and can be seen in contemporary works, including Aimee Bender’s short story collection The Girl in the Flammable Skirt and Mark Z. Danielewski’s novel House of Leaves[1]. By examining these works in comparison to Beckett, this project hopes to illuminate the effects of Beckett’s experimentation in form and genre on contemporary creative writing.
[1] The word ‘house’ appears in blue to honor Danielewski’s decision to have the word printed in that color each time it appears in his novel.
28
Jurgens, Francois. "Absurdity in the Early 21 Century." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/3676.
Full textAbstract:
This essay argues against contemporary theorists who claim that the concept of Absurdity that flourished in Western Europe in the 1940s is now of purely historical interest. It is argued instead that while it is important to locate the concept of Absurdity in an appropriate historical context, people living in the early twenty-first century are, in fact, living within an historical period that makes the experience, and thus the concept, of Absurdity relevant again. While Absurdity in the 1940s involved a loss of certainty due to the role the Second World War played in undermining secular and religious beliefs, Absurdity in the twenty-first century involves a loss of certainty due to intense exposure to alternative points of view. This loss of certainty means that when one's typical point of view is brought into relief by an atypical perspective, one struggles to reaffirm one's typical perspective. This robust clash of perspectives strikes at the heart of the way in which we understand the world and ourselves, forming part of the experience that has come to be known as Absurdity. If the analysis of Absurdity that is offered in this essay is correct, then Absurdity is best understood as a personal epistemological condition, rather than a universal metaphysical condition that affects all people simply in virtue of their being human.
29
Smith, Sofie. "Läsarens interaktion med texten : en studie av hur läsarens uppfattning av texten påverkar meningsskapandet i absurdistisk dramatik." Thesis, Södertörns högskola, Institutionen för genus, kultur och historia, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-16455.
Full textAbstract:
This essay examines how the meaning of an absurd play may be affected by how the reader understands the text. To address this problem I have turned to Wolfgang Isers theory of reception. Primarily I have taken on that the creation of meaning comes about when the reader fills in blanks in the text. I have also used Martin Esslins work on the theater of the absurd. I have mainly studied his research on Harold Pinter. Based on these two theories I have suggested a interpretation model that focuses on the interaction between reader and text. The interpretation model contains how the reader analyses blanks through observing the wandering view alternatively understanding the implied reader. The interpretation model also discusses how the reader can fill in blanks by using the relationship between character and environment, the final junction, turning points and uncertainties. I tested this interpretation model on Harold Pinters play A kind of Alaska. In my ideation of the play I realized it was about the loneliness of ageing and changing. I used these results to evaluate the usefulness of the interpretation model.Denna uppsats undersöker hur läsarens uppfattning av en absurdistisk pjäs påverkar dess betydelse. För att angripa det här problemet har jag dels vänt mig till Wolfgang Isers receptions teori. Jag har främst tagit fasta på hur meningskapande sker när läsaren fyller i luckor i texten. Jag har även vänt mig till Martin Esslins forskning om den absurdistiska teatern. Där har jag främst studerat hans undersökning av Harold Pinters dramatik. Utifrån dess två teoretiska ingångar la jag fram ett förslag till en tolkningsmodell som utgår från läsarens interaktion med texten. Tolkningsmodellen innehåller bland annat hur man kan analysera luckor utifrån läsarens rörliga perspektiv alternativt utifrån en underförstådd läsare. Tolkningsmodellen tar också upp hur läsaren kan fylla i luckor genom att använda sig av karaktärens relation till rummet, knutpunkter, vändpunkter och osäkerheter. Jag har testat tolkningsmodellen på Harold Pinters pjäs A kind of Alaska. I min ideation av pjäsen kom jag fram till att den handlade om ensamheten i åldrande och förändring. Jag använde resultatet av analysen för att utvärdera tolkningsmodellens användbarhet.
30
Kroger, Brandon. "Code-based Form: Reductio ad Absurdum." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1626455470380451.
Full text
31
Anderson, Andrew Woodruff. "The Violence of Identity Construction in French and Francophone Absurdist Theater." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316112837.
Full text
32
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.
Full text
33
Mericle, Robyn Rene. "Mirrors of absurdity the positive unconscious of knowledge /." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0010464.
Full text
34
Brown, Brittany S. "Sleepwalk, Dance, Repeat." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/philosophy_hontheses/9.
Full textAbstract:
Sleepwalk, Dance, Repeat is a one-act play with existentialist themes such as absurdity, death, and authenticity. Existentialism deals with subjective human experience in a meaningless, incomprehensible world. We are condemned to label everything around us, but the world is such that we can never be satisfied with our labels because they do not capture individuality. Everyone, to some degree, feels the need to understand what's going on, but we are always missing some piece of the puzzle. Thus, absurdity is the normal state of affairs for us. It is the result of our trying to comprehend the incomprehensible. The protagonist, Rose, is an existentialist hero in that she gradually accepts the inability to comprehend. My goal in writing this play was to breathe new life into existentialist ideas and introduce them to others in a way that sparks significant introspection.
35
Noury, Richard. "Projet Iris : Inclusion, exclusion, expansion, essaimage, dissémination et absurdité." Master's thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/26249.
Full textAbstract:
Ce court essai décrit une recherche créative, touchant la notion d’inclusion/exclusion mise en corrélation avec l’aphorisme Le monde est absurde. Une recherche que j’ai entreprise dans le cadre de ma pratique interdisciplinaire en arts visuels. Par ce fait même, je me questionne sur l’origine et le sens de la vie, sur la raison de notre existence et sur nos comportements sociaux. Le document est divisé en quatre chapitres. Le premier définit la notion d’inclusion/exclusion juxtaposée au spencérisme et à la sélection naturelle de Darwin. Le deuxième chapitre montre de quelle façon je fais agir la notion d’inclusion/exclusion à l’intérieur du projet Iris et de ses différents aspects : la métaphysique, la narrativité, le sujet et l’architecture. Le troisième chapitre illustre la manière dont le projet Iris se développe par le truchement des vecteurs d’expansion tels que l’implicite et la ligne de pensée rhizomatique suggérée par Gilles Deleuze et Félix Guattari. Finalement, le dernier chapitre décrit l’évolution et les multiples transformations physiques du projet Iris à partir d’un quelconque début jusqu’à aujourd’hui, et du possible à venir. C’est-à-dire, les directions qu’Iris pourrait emprunter dans son déploiement et sa transformation.
36
Lattanzi, Matthew. "Elegies for Domestic Tranquility." Youngstown State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1411475519.
Full text
37
Matos, Lorena Bezerra de Souza. "Experiencing absurdity of organizational life: a dive in a kafkaesque universe." reponame:Repositório Institucional do FGV, 2018. http://hdl.handle.net/10438/20690.
Full textAbstract:
Submitted by Lorena Matos (lorenabmatos@gmail.com) on 2018-03-23T22:00:46Z
No. of bitstreams: 1
Tese_Lorena Matos_EAESP.pdf: 2453987 bytes, checksum: a5e901a808bbd3e36f425bf1bcbf8de8 (MD5)Approved for entry into archive by Debora Nunes Ferreira (debora.nunes@fgv.br) on 2018-03-26T18:02:44Z (GMT) No. of bitstreams: 1 Tese_Lorena Matos_EAESP.pdf: 2453987 bytes, checksum: a5e901a808bbd3e36f425bf1bcbf8de8 (MD5)
Approved for entry into archive by Suzane Guimarães (suzane.guimaraes@fgv.br) on 2018-03-27T12:30:41Z (GMT) No. of bitstreams: 1 Tese_Lorena Matos_EAESP.pdf: 2453987 bytes, checksum: a5e901a808bbd3e36f425bf1bcbf8de8 (MD5)
Made available in DSpace on 2018-03-27T12:30:41Z (GMT). No. of bitstreams: 1 Tese_Lorena Matos_EAESP.pdf: 2453987 bytes, checksum: a5e901a808bbd3e36f425bf1bcbf8de8 (MD5) Previous issue date: 2018-02-28
Dysfunctional bureaucracy is a major challenge for developing countries like Brazil today. There are innumerable problems, among which the lack of effectiveness, inefficiency, and absurd contexts that lead to stress, suffering and burn-out are highlighted. Although such organizations have received attention from the area of Administration and Organizational Studies, the studies related to coping with absurd contexts are very incipient. More rare are the empirical studies that analyse the daily life of people who face such situations. In order to address such gaps, this research is based on an empirical study carried out in a 15-month period (October 2015 to December 2016) of data collection through 50 interviews, conversations and daily observation of managers of research, development and innovation (R&D&I) projects in the largest company in the electric sector in Brazil. Secondary data and documents were also collected. The goal of this research is to develop theory about the absurd in bureaucratic organizations. This research contributes to the development of academic knowledge in two aspects: first, from the theoretical point of view, when dealing with absurdity in a bureaucratic organizational context, a subject not much discussed; second, from a practical point of view, to deepen the knowledge about the daily life of managers, and to bring elements that allow to rethink several of the daily challenges of these managers. Data was analyzed through an iterative thematic analysis. Through this I identified that the organizational context is complex and involves: (1) Bureaucracy; (2) Multiples cultures; (3) Leadership changes and the lack of sensegiver; (4) R&D&I colliding with organizational routine; (5) Personality in the processes; (6) Informality and non-registration of activities; (7) Politics. The data theory presents that the absurd is understood from the notions of: (a) Environment of contradictions; (b) Fear and guilt; and (c) Loneliness. The consequences of the absurd experience in the context studied involve: (i) Emotional work; (ii). Turnover; (iii) Non-implementation of projects; (iv) Metamorphosis of the sense of innovation; (v) Loss of sense of innovation; and (vi) Inaction. In answering the proposed research question, the contributions of this thesis are: (i) the elaboration of a working definition for absurdity; (ii) contribution to the practice of innovation management in the Brazilian electric sector, based on the reflection of its innovation dynamics. The theory generated is under construction and reflects the interpretation of a particular researcher. The effort of this research is expected to stimulate researchers in the continuity of research into the absurd in bureaucratic organizations.
Burocracias disfuncionais são um grande desafio para países em desenvolvimento como o Brasil hoje. Existem inúmeros problemas, entre os quais se destacam a falta de eficácia, a ineficiência e os contextos absurdos que levam ao estresse, ao sofrimento e ao burn-out. Embora essas organizações tenham recebido atenção da área de Administração e Estudos Organizacionais, os estudos relacionados a lidar com contextos absurdos são muito incipientes. Mais raros ainda são os estudos empíricos que analisam a vida diária das pessoas que enfrentam tais situações. Para abordar essas lacunas, esta pesquisa se baseia em um estudo empírico realizado em um período de 15 meses (outubro de 2015 a dezembro de 2016) de coleta de dados através de 50 entrevistas, conversas e observação diária de gerentes de projetos de pesquisa, desenvolvimento e inovação (P&D&I) na maior empresa do setor elétrico no Brasil. Os dados e documentos secundários também foram coletados. O objetivo desta pesquisa é desenvolver a teoria sobre o absurdo em organizações burocráticas. Esta pesquisa contribui para o desenvolvimento do conhecimento acadêmico em dois aspectos: primeiro, do ponto de vista teórico, ao lidar com o absurdo em um contexto organizacional burocrático, assunto não muito discutido; segundo, do ponto de vista prático, ao aprofundar o conhecimento sobre a vida cotidiana dos gerentes e trazer elementos que permitam repensar vários dos desafios diários desses gerentes. Os dados foram analisados através de uma análise temática iterativa. Através disto, identifiquei que o contexto organizacional é complexo e envolve: (1) Burocracia; (2) Culturas múltiplas; (3) Mudanças de liderança e falta de sensegiver; (4) P&D&I colidindo com rotina organizacional; (5) Personalidade nos processos; (6) Informalidade e não registro de atividades; (7) Política. A teoria dos dados apresenta que o absurdo é compreendido a partir das noções de: (a) Ambiente de contradições; (b) Medo e culpa; e (c) Solidão. As consequências da experiência do absurdo no contexto estudado envolvem: (i) Trabalho emocional; (ii). Turnover; (iii) Não-implementação dos projetos; (iv) Metamorfose do sentido de inovação; (v) Perda do sentido de inovação; e (vi) Inação. Ao responder a questão de pesquisa proposta, as contribuições desta tese são: (i) elaboração de uma definição para absurdo; (ii) contribuição para a prática da gestão da inovação no setor elétrico brasileiro, com base no reflexo de sua dinâmica de inovação. A teoria gerada nos dados está em construção e reflete a interpretação de uma pesquisadora em particular. Espera-se que o esforço dessa pesquisa estimule pesquisadores na continuidade da investigação acerca do absurdo em organizações burocráticas.
38
Silva, J?nior Rom?o In?cio da. "Murilo Rubi?o: enlaces er?ticos, fant?sticos e absurdos." Universidade Federal do Rio Grande do Norte, 2006. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16124.
Full textAbstract:
Made available in DSpace on 2014-12-17T15:06:39Z (GMT). No. of bitstreams: 1
RomaoISJ.pdf: 1136533 bytes, checksum: 3630b79e4523766bd684886353ecbb9e (MD5)
Previous issue date: 2006-10-31The present research intends to propose a reading in a new dimension of the fantastic (weird) literature and, especially, of its Brazilian more representative author, Murilo Rubi?o. At the beginning with concepts and associations with the erotic, starting from the myth of Eros and Psique and developing relations with Georges Bataille's theory on the theme. Afterwards, other associations are made, now with relation to the own fantastic literature. With the essence of this literature, examples of the traditional close to the contemporary. A last, association is made with the absurd literature. The contemporary man as being object and its configuration represented in the field of the dreams and its possibilities. At the end of the work, a "post scriptum" suggests a more imersive reading of tales in the entire that appeared broken into fragments along the research
A presente disserta??o tem o intuito de propor uma leitura redimensionada da literatura fant?stica e, em especial, de seu maior representante brasileiro, o autor mineiro Murilo Rubi?o. De in?cio com conceitos e associa??es quanto ao erotismo, partindo do mito de Eros e Psiqu? e desenvolvendo rela??es com a teoria de Georges Bataille sobre o tema. Em seguida outras associa??es s?o feitas, com rela??o ? pr?pria literatura fant?stica. A busca do reencontro com a ess?ncia deste g?nero apresenta-se junto a exemplos do tradicional e do contempor?neo. Uma ?ltima associa??o ? feita com o g?nero absurdo. O homem contempor?neo como ser objeto e sua configura??o representada no campo on?rico das possibilidades. Ao final do trabalho, um post scriptum sugere uma leitura mais imersiva de contos na ?ntegra que surgiram fragmentados ao longo da disserta??o
39
Rankin, Paul Gerald. "The absurdity of the translator? : translating disruptive discourse in three Spanish plays." Thesis, Queen's University Belfast, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437538.
Full text
40
Kim, Seri. "Les images absurdes : approche sémiologique d'un certain type de dessins humoristiques." Paris 1, 2008. http://www.theses.fr/2009PA010507.
Full textAbstract:
II est ici question d'exporter du domaine littéraire Ie mot et l'idée d'absurde ; ceci afin d'introduire ces derniers dans Ie domaine des images visuelles. Plus précisément, notre travail consiste a passer de l'étude des illustrations de textes absurdes (ou reputés tels) aux images absurdes en elles-mêmes. Compte tenu de la différence entre l'absurde et les notions qui en sont proches (incongru, fantastique etc. ), nous cherchons à établir un classement pouvant rendre compte du fonctionnement des images humoristiques. L' établissement de trois versus sémantiques permet de mener à bien une première catégorisation : comique / tragique, sens / non-sens et possible / impossible. Les images absurdes (aussi ambivalentes qu'ambiguës) trahissent-elles ainsi divers degrés de tension entre les termes des versus retenus. Chemin faisant, se dégage une nouvelle voie a explorer, en la matière, celIe du dissensus communis.
41
Abramjan, Andran. "Právě teď je now!" Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-371638.
Full textAbstract:
The thesis deals with the use of absurdity in documentary cinema and its role in our understanding of the world. It defines the absurdity as an illusion of nonsense (or sense) which arises from removing various phenomena from their usual contexts and putting them together while forming a new, unusual context. These new contexts may not be entirely random and often have a specific function in a number of artistic works. By dissolving the illusion of the non/sense we can acquire a deeper insight into certain matters. But even if the illusion remains, the absurdity itself stimulates our imagination by questioning our patterns of perceiving the world. The author discusses various cases of absurdity that arise from ideologies, inventions, encounters of remote paradigms or contradictory information in the human mind and their use in documentary films, including his own works.
42
Leeper, Jill M. "Preacher for the age of absurdity : morality in the novels of Kurt Vonnegut." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/482743.
Full textAbstract:
The purpose of this study was to examine the moral imagination of Kurt Vonnegut and attempt to determine its philosophical basis. This topic was previously only mentioned briefly in the course of other studies, and no one had ever attempted to examine the scope of Vonnegut’s moral vision. This moral vision was examined within the categories of government, technology, violence, economics, and religion. It was concluded that Vonnegut’s vision is based upon the philosophy of humanism: Man is sacred and must be preserved. To this end, Vonnegut advocates a more democratic and selfless form of government, the deemphasis of technology, a more moral scientific responsibility, global pacifism, a socialist economic system, a new religion based on humanism which emphasizes love for all people, and, finally, a return to large extended families. Although Vonnegut acknowledges that this moral vision is unlikely to be instituted on a large enough scale to really change anything due to complexity of an absurd, mechanized, and dehumanized society, he believes it is the moral responsibility of every individual to attempt it. He concludes that the future of mankind depends upon a return to humanistic values.
43
Johansson, Josefin. "Holding States Responsible for National Corporates’ Extraterritorial Human Rights Violations: Possibility or Absurdity?" Thesis, Uppsala universitet, Teologiska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-384811.
Full textAbstract:
Almost four decades have passed since the European Court of Human Rights introduced the concept of positive obligations. Positive obligations mean that the member states must take affirmative action in order to secure the rights and freedoms provided for by the European Convention on Human Rights. Since then, the scope of positive obligations has extended tremendously, and today all substantive rights generally contain positive obligations. The reason behind the development is to maintain the full effectiveness of human rights enforcement within the European context, and it has been enabled, inter alia, through dynamic interpretation and because the European Convention on Human Rights is considered a living instrument. The fact that European companies operating transnationally, i.e. in a non-European context, sometimes through its commercial activities violates human rights has given rise to discussion in legal doctrine on whether the scope of positive obligations should be further extended so that the member states to the European Convention on Human Rights will incur state responsibility for national corporates’ extraterritorial human rights violations. Thus, the purpose of the thesis is to examine whether the European Court of Human Rights can and should proceed with such expansion. An expansion creates methodological and technical problems as it challenges the traditional notion of jurisdiction, however, it is not impossible. Whatever the European Court of Human Rights will decide to do, the thesis will provide arguments both for why home state responsibility for national corporates’ extraterritorial activities that violates human rights can and should be imposed, as well for why it is beyond its (the European Court of Human Rights) competence.
44
Underkuffler, Wilson H. "Hume on the Doctrine of Infinite Divisibility: A Matter of Clarity and Absurdity." Scholar Commons, 2018. http://scholarcommons.usf.edu/etd/7235.
Full textAbstract:
I provide an interpretation of Hume’s argument in Treatise 1.2 Of the Ideas of Space and Time that finite extensions are only finitely divisible (hereafter Hume’s Finite Divisibility Argument). My most general claim is that Hume intends his Finite Divisibility Argument to be a demonstration in the Early Modern sense as involving the comparison and linking of ideas based upon their intrinsic contents. It is a demonstration of relations among ideas, meant to reveal the meaningfulness or absurdity of a given supposition, and to distinguish possible states of affairs from impossible ones. It is not an argument ending in an inference to an actual matter of fact. Taking the demonstrative nature of his Finite Divisibility Argument fully into account radically alters the way we understand it.
Supported by Hume’s own account of demonstration, and reinforced by relevant Early Modern texts, I follow to its logical consequences, the simple premise that the Finite Divisibility Argument is intended to be a demonstration. Clear, abstract ideas in Early Modern demonstrations represent possible objects. By contrast, suppositions that are demonstrated to be contradictory have no clear ideas annexed to them and therefore cannot represent possible objects—their ‘objects,’ instead, are “impossible and contradictory.” Employing his Conceivability Principle, Hume argues that there is a clear idea of a finite extension containing a finite number of parts and therefore, finitely divisible extensions are possible. In contrast, the supposition of an infinitely divisible finite extension is “absurd” and “contradictory” and stands for no clear idea. Consequently, Hume deems this supposition “impossible and contradictory,” that is, without meaning and therefore, descriptive of no possible object. This interpretation allays concerns found in the recent literature and helps us better understand what drives Hume’s otherwise perplexing argument in the often neglected or belittled T 1.2.
45
Shimada, Kaoru. "Absurdité, théâtralité, fictionnalité: essai sur le texte de théâtre : l'écriture théâtrale d'Albert Camus." Paris 4, 2005. http://www.theses.fr/2005PA040006.
Full textAbstract:
Comment lire le théâtre d'Albert Camus, comme il le souhaitait, sous l'angle purement esthétique : sans le réduire à la démonstration de la thèse exposée dans ses essais philosophiques ? Dans le contexte actuel de l'esthétique et de la poétique, la question est inséparable d'une autre : qu'est-ce que la théâtralité du théâtre et de son texte ? L'examen du cas de Camus révèle des traits spécifiques au texte théâtral qui semblent converger vers la fictionnalité de ce dernier. Toutefois, la théâtralité n'est pas synonyme de fictionnalité bien que les deux notions soient étroitement liées à l'absurdité : celle-ci, qui se trouve dans le principe fondamental de la communication, sert à la reconnaissance de l'une ou de l'autre. Et dans le cas du théâtre de Camus qui exemplifie l'absurdité plus qu'il ne la représente, l'expérience esthétique du lecteur-spectateur consiste avant tout à saisir la signification de cette distance entre l'intention artistique et l'œuvre qui la réaliseHow can we read the theatre works of Albert Camus, as he wished them to be read, from a purely aesthetic angle, without reducing them to the demonstration of the thesis expressed in his philosophical essays? In the current context of aesthetics and poetics, this question is inseparable from another question: what is the theatricality of theatre and theatrical text? The case of Camus reveals some specific features of the theatrical text that appear to point towards its fictionality. However, theatricality is not synonymous with fictionality, although these notions are both closely connected with absurdity. Absurdity, which is to be found in the fundamental principle of communication, allows us to recognize both theatricality and fictionality. In the case of Camus's theatre, which exemplifies more than it represents absurdity, the aesthetic experience of the reader-spectator consists above all in grasping the full meaning of the distance that separates the artistic intention and the works that realize it
46
Duke, Wendy S. "Experiencing Ionesco’s Nightmare World: The Preparation and Production of Man with Bags." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1289585453.
Full text
47
Zileli, Bilge Nihal. "Absurdity Of The Human Condition In The Novels By Albert Camus And Samuel Beckett." Phd thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606750/index.pdf.
Full textAbstract:
This study carries out both a technical and a thematic analysis of the novels by Albert
Camus, L’
Etranger, La Peste, and La Chute, and Samuel Beckett, Molloy, Malone Dies, and The Unnamable. In the technical analysis of the novels, the study explores the differences in characterization and narrative technique. It argues that the differences in these two issues mainly emerge from the difference in the two authors&
#8217
views of art. In the thematic analysis, on the other hand, the study focuses on the recurring themes in the two authors&
#8217
novels. It argues that Camus and Beckett explore similar themes in their novels because both writers belong to the absurd tradition. In other words, although their notions of art are different, their views of the human condition are quite similar, which is reflected in the common themes they explore in their novels.
48
Thompson, Robyn, and n/a. "'Stepping out' with Gargantua learning new research practices in the educational theatre of absurdity." University of Canberra. Education, 2003. http://erl.canberra.edu.au./public/adt-AUC20050726.094032.
Full textAbstract:
Access to new forms, conduct and practices of educational research remain elusive
providing researchers stay within the narrow theoretical constructs�the static, single
vista of conventional research models.
This dissertation presents the findings of an experimental study that aims to extend the
discourse of educational research through a 'performative ethnographic analysis' by
using a single-site case study approach. The case study is an analytical parody based on
multiple discourse relevant to a 'new' and different approach to educational research so
that a more comprehensive and complex process of reading and writing text becomes
possible. Throughout this process, a generative methodology and interpretative base are
anticipated to provide a metaphoric focus for a critical dialogue.
The discourse informing the theoretical and interpretative base of the study include
philosophy, science, visual arts, literary theory, critical postructuralist theory and theatre performance. The data are presented as a series of performance narratives in the form of
socio-drama, interspersed with critical reflection that enables the researcher, the
research participant and reader to become part of a triadic construct.
The findings from this study have major implications for informing contemporary
educational research, as they demonstrate that by approaching research in 'new' and
different ways, the researcher and the educational community have access to insights
that are unavailable within the constraints of conventional models of research.
49
Halay, Alannah Marie. "Recognising absurdity through compositional practice : comparing an Avant-Garde style with being avant garde." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/16880/.
Full textAbstract:
‘avant garde’ and ‘Avant Garde’: one term denotes artistic progression, the other describes a fixed concept. These terms are easily and often confused, and this contributes to blurring the boundaries between being progressive and adhering to a style. Unknowingly adhering to the Avant-Garde style, under the false guise of being ‘new’, perpetuates a Sisyphean nature in Avant-Garde practice today. Such practice has become inward-looking, separated from the majority of society, and therefore fails to be the ‘advance post’ it proclaims. In Camus’s terms, this is absurd. Rather than proving and accepting this absurdity, I explore the unfolding of such absurdity through compositional practice, and attempt to avoid it. This involves recognising the absurdity (and maintaining an awareness of it) as well as examining and comparing the mechanics behind the formation of the Avant-Garde style with being avant garde by way of an introspective examination of my compositional process. This practice-led method is supported by theoretical, musicological, and analytical research into existing practice. My research is supplemented by the following topics: Meno’s paradox; Heidegger’s hermeneutic framework as a development of Meno’s paradox; Adorno’s notion of naïveté; détournement as a means of recognising absurdity through practice. Examining my own compositional process, in relation to existing practice, allows me to propose that the Avant-Garde style is based on two interacting hermeneutic frameworks between ‘unfamiliarity’ and ‘familiarity’, and creative ‘freedom’ and ‘restriction’. If one is to overcome these frameworks and be genuinely avant garde, subversion of technique cannot be an end in itself but should support the truth content of a musical work; this is because a musical work is defined by its context more than its constituent musical characteristics. Subversion must happen in relation to the context of a composition, not the composition itself. Adherence to an Avant-Garde context, perpetuated by the expectations of practitioners with a knowledge of that context, prevents compositional practice from moving beyond that context and being genuinely avant garde. All one can do now is recognise this absurdity. This is not a solution, but should pave the way for future developments in this area. For now, ‘there is no longer any art that has remained inviolable.’
50
Gomes, Graziella Steigleder. "Discurso humor?stico-preconceituoso como cr?tica social? : o caso da Senhora dos Absurdos." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2017. http://tede2.pucrs.br/tede2/handle/tede/7866.
Full textAbstract:
Submitted by PPG Letras (letraspg@pucrs.br) on 2018-02-22T12:55:05Z
No. of bitstreams: 1
DISSERTA??O_Graziella.pdf: 3225430 bytes, checksum: 2dddb2cb19affaa83f3cf1b4b53c66e0 (MD5)Approved for entry into archive by Caroline Xavier (caroline.xavier@pucrs.br) on 2018-02-26T19:12:10Z (GMT) No. of bitstreams: 1 DISSERTA??O_Graziella.pdf: 3225430 bytes, checksum: 2dddb2cb19affaa83f3cf1b4b53c66e0 (MD5)
Made available in DSpace on 2018-02-26T19:15:07Z (GMT). No. of bitstreams: 1 DISSERTA??O_Graziella.pdf: 3225430 bytes, checksum: 2dddb2cb19affaa83f3cf1b4b53c66e0 (MD5) Previous issue date: 2017-12-19
Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES
The object of our scrutiny is one humorous-prejudiced sketch broadcast by the television channel Multishow, which can, alternatively, also be viewed via internet and all digital means at our disposal, such as smart phone apps, tablets, etc. We chose as the theme of our research the television show called 220 Volts, which aired 5 seasons, from 2011 to 2016. More specifically, we will work with one sketch (season 2, episode 9) by the character entitled Senhora dos Absurdos (Lady of Absurd, in a free translation). We can see in this character's speech all sorts of prejudice. She speaks against indians, black people, the obese, illiterates, elders and homosexuals, among other minorities. We will focus our attention particularly on the prejudice against women, men, indians and black people. Considering the relation between humor and prejudice found in Senhora dos Absurdos, our research question, therefore, is: how the discourse of a sketch which is considered humorous-prejudiced can create meaning relations towards a possible social critic? Our objective is to observe how discourses as found in the sketch which consists our corpus, besides aiming to be comical, can be used to legitimate social exclusion, even though they seek to promote a potential social critic. As an analytical bias, we will make use of the theory postulated by the Bakhtin Circle, especially with regard to the notions of dialogism, utterance, sociocultural voices, ideological sign, and genres of discourse. The Bakhtnian theory, along with notions coming from connected areas (such as humor, prejudice, intolerance and stereotypes) will provide us with the basis to answer the question above. The present research is in consonance with the methodological propositions presented by Voloch?nov in Marxism and Philosophy of Language ([1929] 2017, p. 220), observing the inevitable relation among utterance, genres of discourse and the discursive communication spheres, as to perceive the complex dialogical construction of meanings in the humorous-prejudiced discourse. As a result, we hope that, with our study, we can contribute to the understanding of humor and prejudice as a social critic, evidencing the various clashes of sociocultural voices that are engendered in the particular discourse chosen as the object of this research.
Consiste em objeto de nosso escrut?nio um esquete humor?stico-preconceituoso veiculado pelo canal de televis?o Multishow, mas que, de forma alternativa, tamb?m pode ser assistido via internet e outros meios digitais que se encontram ? disposi??o do telespectador (aplicativo de celular, tablete etc.). Elegemos para reflex?o nesta pesquisa um esquete do programa televisivo chamado 220 Volts, que foi ao ar em 5 temporadas, de 2011 a 2016. Mais especificamente, trabalharemos com um esquete da personagem intitulada Senhora dos Absurdos (temporada 2, epis?dio 9). Percebe-se na fala dessa personagem preconceito contra, dentre outros, ?ndios, negros, obesos, analfabetos, idosos e homossexuais. Considerando a rela??o entre humor e preconceito em a Senhora dos Absurdos, procuramos desenvolver a seguinte quest?o norteadora: como o discurso de um esquete considerado humor?sticopreconceituoso pode criar rela??es de sentido voltadas para uma poss?vel cr?tica social? Assim, temos como objetivo tratar do preconceito voltado contra a mulher, o homem, o ?ndio e o negro, buscando observar como discursos como o encontrado no esquete em quest?o, al?m de procurarem promover o humor, podem servir como legitima??o para a exclus?o, ainda que busquem apresentar uma poss?vel cr?tica social. Quanto ao referencial te?rico, esta pesquisa respalda-se nos estudos do C?rculo de Bakhtin, principalmente no que tange a no??es como dialogismo, enunciado, vozes socioculturais, signo ideol?gico e g?neros do discurso. Esse aporte te?rico, junto a no??es de ?reas conexas que tratam de humor, preconceito, intoler?ncia e estere?tipos, fornecem embasamento para o desenvolvimento da pesquisa. No que se refere ? metodologia, a presente reflex?o segue as orienta??es de Voloch?nov ([1929] 2017, p. 220), quanto ? observa??o da indissoci?vel rela??o entre enunciado, g?nero do discurso e esfera de comunica??o discursiva, de modo a observar a complexa constru??o dial?gica de sentidos no discurso humor?stico-preconceituoso. Com os resultados da pesquisa, esperamos contribuir para a compreens?o do humor que tematiza o preconceito com vistas ? cr?tica social, tendo em vista os diversos embates de vozes socioculturais que se engendram no discurso focalizado.