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Journal articles on the topic 'Absurdist'
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Gunjan, Kumari. "Absurdism Unveiled: The Intersection of the Absurd and Modern Realities." International Journal of English Literature and Social Sciences 9, no. 2 (2024): 180–88. http://dx.doi.org/10.22161/ijels.92.26.
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This study delves into the intersection of Theatre of Absurd and modern realities, aiming to uncover the enduring relevance and applicability of absurdist concepts in understanding contemporary socio-cultural landscapes. Drawing from a qualitative framework, the research examines the philosophical underpinnings of Absurdism and its manifestations in major key playwrights’ works. Primary data comprises selected Absurdist plays, analyzed through thematic lenses, while secondary sources enrich contextual understanding. The study navigates the complexities of modern existence, characterized by rapid technological advancements, socio-political shifts, and existential uncertainties. It explores how Absurdism offers unique insights into contemporary challenges, fostering a dialogue that illuminates the complexities of the human condition amidst the absurdities of the modern world. Moreover, the study addresses the gap in existing research by focusing on the contemporary relevance of Absurdist Theatre, particularly in the context of 21st-century challenges. By bridging the gap between historical analysis and present-day realities, this research aims to provide a comprehensive understanding of how Absurdist philosophy continues to inform contemporary discourse and artistic expression. Through careful analyses and cultural contextualization, this research aims to unravel the intricate relationship between Theatre of Absurd and modern realities, contributing to a refined understanding of the human experience in the 21st century.
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Bakhshizadeh Gashti, Yousef. "Existentialist Echoes in Harold Pinter’s Early Poetry." International Journal of Applied Linguistics and English Literature 7, no. 4 (July 1, 2018): 50. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.4p.55.
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This paper has attempted to investigate the absurdist voices in Harold Pinter’s selected poems written from 1951to1953. These poems belonging to his early phase of writing as the poet deals with the major obsessions of post-Modern man depicting his anxiety of identity aggravated by his existential condition. Pinter’s early poetry characterizes him as an absurdist poet and expresses his world view through distinctive images and tones. The selected poems appear to be a blending of his absurdist insights with his poetic art. His early poems predominantly portray existential anxiety, absurdity and pessimism. The study seeks to reflect on Pinter as a practitioner of the ‘Literature of the Absurd’ who tries to depict how different people act and react when they confront different aspects of absurdity and existential dilemma.
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Kacha, Sabrina. "Escaping Absurdity: The Incarnation of Magical Realism in Rawi Hage’s Carnival (2012)." Theory and Practice in Language Studies 13, no. 6 (June 1, 2023): 1548–55. http://dx.doi.org/10.17507/tpls.1306.24.
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This paper examines the various representations of magical realism in Rawi Hage’s Carnival (2012). It investigates the portrayal of the fictionalized imaginative situations in the novel. Further, it discusses Fly as an exilic individual who attempts to escape his chaotic and disordered society. Through his flying carpet, Fly overcomes his hardship and produces a new space for his own in order to realize what he desires. Besides, among the serious problems that face the exilic individual is the absurdist existential life in exile. Thereby, this research article explores how Fly uses a magical realist element to escape the absurdity of his existence in the diaspora. Hence, Albert Camus’ writings on absurdism and the absurdity of human existence are paramount in analyzing this character.
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Rahim, Sifatur. "Absurd (anti)Heroes’ Journey toward Happiness: A Psychoanalytic Comparison between Arthur Fleck and Meursault." Spectrum 17 (November 30, 2023): 101–13. http://dx.doi.org/10.3329/spectrum.v17i1.69005.
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In his philosophical writing, The Myth of Sisyphus (1979), Albert Camus ponders the futility of the search for unity and absolute in this seemingly indifferent universe, and surmises that true happiness comes from accepting the meaninglessness of human existence. This particular school of thought is known as absurdism, and the narratives that fall under this discipline are referred to as absurdist texts. Camus not only expounds on the scopes of absurdism but also puts them into practice through his fiction. One such seminal absurdist novel by Camus is The Outsider (1987). In the novel, the writer delineates how the protagonist, Meursault, finds contentment by accepting his fate. A similar state of happiness is attained by Arthur Fleck, the protagonist of the film Joker (2019), when he accepts and assumes his proper place in society. From the onset, Fleck and Meursault may appear quite different from each other. However, upon closer inspection, the subtle similarities in their characteristics are perceptible, which bind them to a common threat of absurdity. It is undeniable that both Fleck and Meursault have committed homicide. Nonetheless, there is a greater force behind their acts than free will, and that is their unconscious drive. This paper explores the workings of the unconscious and its manifestation in Fleck and Meursault’s actions while explicitly commenting on the relationships with their respective mothers. This comparative study also highlights how both of them discover true happiness once they finally learn to accept their fate and reality. Spectrum, Volume 17, June 2022: 101-113
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Ponomareva, Anastasiia. "Absurdity as an inconsistently conducted reduction." Философия и культура, no. 8 (August 2023): 67–76. http://dx.doi.org/10.7256/2454-0757.2023.8.43769.
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The subject of the study is the connection between the absurd and phenomenology.The texts of representatives of the absurdist trend in literature and philosophy (Camus, Kafka, Musil), as well as the works of academic philosophers of the phenomenological direction (Husserl, Sartre, Merleau-Ponty, Fink) are considered. The commonality of phenomenological interpretations of reality for some texts of the absurdist genre is proved. As a hypothesis, the existence of an epistemological dimension of meaning in the works of the absurd is put forward, interpreted by the author as a reception of the views of phenomenologists, problematized in the inconsistent reduction of phenomena. The methodological basis was the general scientific methods of analysis and synthesis, as well as the critical analysis of the text. The scientific novelty lies in the attempt to present phenomenology as a precursor of absurdism, connected with it through the sphere of axiology. The main contribution of the author is the actualization of the epistemological layer of such a multifaceted phenomenon as the absurd, namely, the elaboration of the hypothesis that in many works of absurdists, the metamorphoses of the characters' consciousness are in fact an inconsistent reduction consisting in explicit metamorphoses of the Ego, as well as violating subject-object relations but not actually bracketing the idea of the world. Many literary contemporaries of Husserl devote their thoughts to the problems of phenomenology to one degree or another, which makes the connection between absurd literature and the key theses of early phenomenology logical.
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Abd-Rabbo, Muna M., Ghadir B. Zalloum, and Dima M. Al-Wahsh. "The Futility of Language as a Means of Communication in Edward Albee’s Who’s Afraid of Virginia Woolf?, Fam and Yam, and The Sandbox." Journal of Language Teaching and Research 15, no. 2 (March 1, 2024): 626–33. http://dx.doi.org/10.17507/jltr.1502.31.
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The three plays Who’s Afraid of Virginia Woolf? (1962) The Sandbox (1959) and Fam and Yam (1959) all display the absurdist tendencies to dispel the traditional view of language as the rational means of communication amongst mankind. In absurdist drama the world is portrayed as one that is meaningless and incomprehensible to the human mind. Language, which is confined to faulty human perception and subjectivity, is inefficient in the face of an unfathomable universe. A gap persists between the meanings in language and the world it purports to describe. In addition, the lack of fit between what language permits man to say and what he actually wants to say leads to a breakdown in communication and ultimately to the alienation of the individual. In absurdist works this chaotic sphere of existence is reflected in the dispensing of traditional elements in drama as well as in the illogical usage of language by the characters. Thus, absurdist drama acts as a counter-discourse to the previously dominant, essentialist discourse of realist drama. In this article a brief overview of the absurdist depiction of language’s insufficiency in communication is presented to serve as a backdrop for the analysis of certain segments in Albee’s aforementioned plays in order to assess the extent to which Albee’s plays demonstrate the absurdist’s notion of language’s deficiencies. Thus, the sections chosen for discussion are those that showcase language’s apparent shortcomings in generating human contact.
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O'Brien, George. "The Absurdist." Irish Review (1986-), no. 13 (1992): 87. http://dx.doi.org/10.2307/29735682.
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Baydin, V. V. "A refugee to God. Aleksandr Vvedensky’s spiritual parables." Voprosy literatury, no. 5 (November 29, 2021): 42–71. http://dx.doi.org/10.31425/0042-8795-2021-5-42-71.
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The perception of A. Vvedensky’s work is prone to controversy: he is considered a precursor to absurdist literature; at the same time, his close friend, the poet Y. Druskin, insisted that Vvedensky was religious, and believed his absurdity, instead of representing a lack of meaning, points to a different kind of meaning. The article suggests an approach to the hermeneutic reading of the poet’s private symbolic language that helps to revise certain traditional assessments. The author argues that Vvedensky’s mature oeuvre consists of religious and philosophical allegories written in a most extremely absurdist form. At the core of the poet’s brilliant art of the cryptic portrayal of his innermost beliefs is the aesthetics of the absurd. Hence the alogical nature of his poetic dialogues and plays, semantic inversions and contaminations, paradoxes, allusions, aposiopeses, extended metaphors, etc. Subjected to ‘sweeping incomprehension’ are stereotypes of thinking and everyday language practices – from substandard vernacular and colloquialisms to philosophical discourse. Vvedensky’s ‘star of absurdity’ is seen as a symbol of revelation.
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Muraveva, Alla V. "On the question of the perception of the absurd in modern literary practice (on the example of the piece of Ivan Vyrypaev's «Dreams»)." Vestnik of Kostroma State University 27, no. 1 (March 31, 2021): 200–204. http://dx.doi.org/10.34216/1998-0817-2021-27-1-200-204.
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The article is devoted to the parallel consideration of two questions: the text, on the one hand, deals with a set of absurdist techniques and methods stated in the text of Ivan Vyrypaev “Dreams”, and with another – attempt projection composite-content structure plays in the history of the formation and development of the absurd in Russian literary practice of the 20th century. In the course of the study, it was found that the entire set of tools that absurdise the space of the play can be divided into three parts: 1) corresponding to the absurdist-avant-garde techniques of the early 20th century, 2) illustrating the existential dramatic locus, 3) demonstrating the functioning of the phenomenon of the absurd in Russian postmodern drama. Built on the principles of displacement and substitution, the play “Dreams” series illustrates the change of the principle of construction of the text: from semi-abstract components that target the metaphorisation of space in text and in direct violation of formal logic, the play by introducing social commentary comes to the staging of existential issues, and through it, mainly through the absurdist element that goes to a typical post-modern principles of organisation of the text. The main conclusion of this research is the thesis about the characterisation of “Dreams” as a metaphor play that reflects the dynamics of the development of the absurd in the 20th century.
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Nawaz, Arshad, Muhammad Ijaz, and Khalid Mehmood Anjum. "Postmodern Absurdist Critique of Julian Barnes’s The Only Story." Global Language Review VI, no. II (June 30, 2021): 94–100. http://dx.doi.org/10.31703/glr.2021(vi-ii).11.
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This research paper endeavors to examine the postmodern absurdism as a literary sub genre in postmodern fiction. It delves deep into the concept of absurdism by concentrating upon the characteristics that distinguish it as a postmodern sub genre. Through the analysis of the postmodern novel, The Only Story (2018), this research paper illustrates how the characteristics of absurdism haven impact upon a postmodern society characterized by boredom, meaninglessness, futility, and confusion. It also highlights how different characters, events, and places have been portrayed in the novel to depict the absurdity of human existence. The theoretical paradigm of the research is based upon Thomas Nagel’s Essay “The Absurd” which is about postmodern space of absurdism and was presented in the American Philosophical Association Eastern Division. The study limelight's how the absurd occurrences and bizarre characters found in the researcher's primary text depict the complexity of the postmodern absurd world in both literal and metaphoric dimensions.
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Koroliova, Valeria, and Iryna Popova. "Destruction of Communicative Pragmatics in Contemporary Absurdist Dramaturgic Texts." PSYCHOLINGUISTICS 27, no. 2 (April 12, 2020): 195–212. http://dx.doi.org/10.31470/2309-1797-2020-27-2-195-212.
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The aim of the article is characteristics of mechanisms of pragmatics distraction in communication of active participants of modern Ukrainian plays with features of the theatre of the absurdity. Structural and contextual mechanisms of dialogic speech depragmatization are singled out on factual material. In a dramatic dialogue absurdity is explained as a purposeful instruction to convey the thought about illogicalness and chaotic nature of reality, the aimlessness of a human being. The main methods of the study are descriptive, context-interpreting and presuppositional.
Study results. One of absurdity occurrence mechanisms is depragmatization – purposeful non-normative usage of language pragmatic resources. We identify structural and contextual violations within depragmatization. Structural violations are characteristic for an absurdist drama in which characters’ cues do not have illocutionary and thematic coherence. Another type of structural violations is conscious violations of formal structure of linguistic units. Role exchange, during which an active participant takes over someone else’s communicative role, is an example of contextual depragmatization. Within contextual violations we also identify the group of cognitive violations which is based on non-observance of causally consecutive and logical connections. Anomalies based on an arbitrary choice of language stylistic means, which are uncoordinated with general principles of stylistic formalization of the text, are considered the contextual variety of depragmatization.
Conclusions. Structural and contextual communicative violations are used by playwrights to activate the sense of the situational absurdity depicted in a work. Active participants of drama of the absurdity communicate without communicative purpose and taking into account situational needs, which results in actualization of pragmatic potential of used linguistic units, falsification of meaningful speech.
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Rasheed, Nausheen, Mamona Yasmin Khan, and Shaheen Rasheed. "Philosophical Exploration of Absurdism and Existentialism: A Comparative Study of Kafka's Work The Metamorphosis and The Trial." Global Social Sciences Review VI, no. II (June 30, 2021): 94–100. http://dx.doi.org/10.31703/gssr.2021(vi-ii).10.
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The philosophical stance about the existence of being and the meaning of life has been a widely discussed subject among philosophers and critics. Existentialism says that a man can construct his own meaning of life by making judicious use of his awareness, free wills and personal responsibilities, but absurdism believes that there is no meaning of life out there. The focus of this study is to explore the absurdist and existential aspects in Kafka's fiction The Metamorphosis (1915) and The Trial (1925). This is qualitative comparative research, and the data which have been collected for this purpose is through purposive sampling techniques. In this study, Camus' theory of absurdism and theory of existentialism has been adopted as a theoretical framework. The study explores in what ways the traces of absurdism and existentialism are present in Kafka's fiction The Metamorphosis and The Trial. The findings show that characteristics of absurdism and existentialism are found in both the works of Kafka and are comparable with each other. For future recommendations, a comparative stylistic analysis of these selected novels can be carried out.
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Feshchenko, Vladimir V. "Understanding and misunderstanding absurdist text." Sibirskiy filologicheskiy zhurnal, no. 4 (December 1, 2009): 102–9. http://dx.doi.org/10.17223/18137083/29/14.
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Silva, Antunes Ferreira. "HISTORY AS AN ABSURDIST COMEDY." PÓLEMOS – Revista de Estudantes de Filosofia da Universidade de Brasília 11, no. 23 (December 19, 2022): 219–32. http://dx.doi.org/10.26512/pl.v11i23.44541.
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A possibilidade de se admitir uma determinação histórica dos atos humanos que se desenvolva no decurso da história, expondo uma finalidade natural de evolução humana é o principal problema a ser abordado neste texto. Em contraposição ao pensamento historicista da época, impulsionado pelo idealismo alemão otimista de sua época (Kant e Hegel), serão aqui explanadas as teses de Arthur Schopenhauer (1788-1860), nos dois tomos de O mundo como vontade e como representação (1819/1859). Tais obras, assim como alguns comentadores foram tratados por meio de leitura analítica, no intuito de entender objetivamente os conceitos nelas trabalhados. Segundo Schopenhauer, a história não passa de uma possibilidade de autoconsciência da humanidade e não possui as capacidades nem de desvelar o em-si do mundo nem de modificar a moralidade humana. Este texto pretende, pois, expor o anti-historicismo a partir dos quatro fundamentos inerentes ao seu organismo filosófico e já presentes na estrutura básica de sua obra prima: epistemologia, ontologia, ética e estética. Portanto, apesar de a história possuir algum valor, ela não é capaz de encontrar um fio condutor que a leve a um pretenso progresso da humanidade. A única atitude possível diante dos acontecimentos da história universal é a resignação diante do absurdo e a completa falta de sentido da vida. Nela se encena apenas uma comédia do absurdo.
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Zhilichev, P. E. "Absurdist Drama and Its Academical Reception in Russian and Western Literary Criticism." Bulletin of Kemerovo State University 24, no. 5 (November 7, 2022): 626–34. http://dx.doi.org/10.21603/2078-8975-2022-24-5-626-634.
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This paper attempts to identify and systematize the main approaches to the theater of absurd and absurdist drama in Western and Russian literary studies. The term theater of the absurd was originally introduced by Martin Esslin. This concept has become a common denominator and refers to the dramatic work of such famous authors as Samuel Beckett, Eugène Ionesco, Harold Pinter, Arthur Adamov, and Jean Genet. Martin Esslin and his followers brought in several important features into the absurdist drama, i.e., alogism, disjointed communication, wordplay (Patrice Pavis), etc. They attempted to conceptualize the theater of the absurd as a part of a broader typological unit, e.g., Michael Bennett’s theater of parabola. Russian scholars and critics have developed a range of important concepts as well. They see absurd as a violation of basic rules of communication (Olga Revzina, Isaac Revzin). The Union of Real Art (Mikhail Yampolskiy, Dmitry Tokarev) focuses on the principle of serialized eventfulness. Others concentrate on the meta-descriptive nature of absurd (Evgenyi Kluev) and develop the concept of absurdity as a picture of the world (Olga Burenina-Petrova). Both in Western and Russian studies, the conceptualization of the theater of the absurd follows two opposite poles: absurd can be interpreted as either a linguistic phenomenon (deconstruction of communication), or as a certain way of human existence. During the 1980–2000s, post-structuralist philosophy played a major role in the re-thinking of the absurd, while the interaction of philosophical and literary approaches determined the principles of historical aesthetics. As suggested by contemporary researchers, the discourse of the absurdist drama has the following features: deconstruction of cultural codes; actualization of the archaic basis of theater; parodying literal and theatrical conventions; problematization of the semiotic linkage (sign and its referent); depiction of mosaic consciousness and unstable cosmos.
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Couder, Olivier. "Problem solved? Absurdist humour and incongruity-resolution." Journal of Literary Semantics 48, no. 1 (April 26, 2019): 1–21. http://dx.doi.org/10.1515/jls-2019-2005.
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Abstract This article explores the role absurdist humour fulfils in the narrative structure of novels as well as its impact on the process of literary interpretation. Tracing the historical and philosophical roots of absurdist humour, the article emphasises the importance of the concept of incongruity. It then critically evaluates current and influential cognitive and linguistic theories of humour, specifically incongruity-resolution theories and their purported suitability for literary analysis. Drawing on schema-theory, the article examines a passage from Douglas Adams’s The Restaurant at the End of the Universe (1980; henceforth The Restaurant) and illustrates why literary humour cannot be analysed in the same manner as short, often specifically designed, joke texts as is common practice in most humour research. Subsequently, the traditional classification of absurdist humour as a type of humour where resolution cannot be achieved is also challenged as the analysis reveals how absurdist humour is part and parcel of the narrative structure of The Restaurant and how the incongruity is resolved at the moment of literary interpretation.
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Andreeva, E. Yu. "The New Theatre of the New Artists Group and the Russian Avant-Garde." Art & Culture Studies, no. 3 (August 2022): 86–139. http://dx.doi.org/10.51678/2226-0072-2022-3-86-139.
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The multimedia practice of the Russian Avant-Garde, in which theatrical art is inseparable from literary, visual and musical art, found its continuation half a century later in the work of the New Artists group, founded by Timur Novikov in 1982 in Leningrad. This article is the first study of the so-called New Theatre of the New Artists, which is associated with the following happenings or performances: The Ballet of the Three Inseparables, Anna Karenina, The Idiot, and their predecessor, the literary-noise action The Medical Concert. The article discusses three elements of the avant-garde theatrical tradition that resonate with the New Theatre: Nikolai Evreinov’s comprehensive concept of the “theatre for oneself”, the musical-spatial theatrical experiments of Mikhail Matyushin and his followers, and the absurdist theatre of Daniil Kharms and OBERIU. The second and third, despite being so dissimilar to each other, share the borderline, where zaum (alogism) and absurdism converge. This very convergence creates a dynamic semantic tension that marks the ideas of both D. Kharms and T. Novikov: the tension between an uplifting absurdity, striving for the inexpressible, timeless and universal, and, conversely, a lowering, destructive absurdity. It is obvious that the distinction between the two types of absurdism is a fundamental problem of ontology not only of the Russian Avant-Garde. The New Theatre can be considered as a seismic activity that lasted for about three years at the borderline area of the avant-garde art that worked its way from Symbolism through Expressionism to Dadaism and Surrealism. On this borderline, creativity manifests itself as an impersonal or other-than-personal process that establishes a connection of a person with the rhythms of the world or, on the contrary, illustrates disintegration, deconstruction and the reassembly of society. The New Theatre that established in the Leningrad underground was not an imitation of the avant-garde practices but their rebirth, which proves that this form of creativity is organic for the culture of St. Petersburg.
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Jahan, Rownak, and Nihal Farhan Kabir. "Use of Leitmotifs in Samuel Beckett’s Waiting for Godot." International Journal of Linguistics, Literature and Translation 5, no. 4 (March 31, 2022): 26–31. http://dx.doi.org/10.32996/ijllt.2022.5.4.4.
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Samuel Beckett’s Waiting for Godot features leitmotifs as devices to induce the repetitiveness that is usually inherent in absurdist plays. Previous research, which included analysis of leitmotifs in a literary text, viewed leitmotifs as formalistic elements and such research seldom delved into their conceptual implications in regard to the text. This paper aims to provide insight into this opening by analyzing the leitmotifs used in Waiting for Godot. The purpose is to find out how these leitmotifs are used to convey and underscore some of the key concepts or ideas of the play. The theoretical lens is provided by the philosophy of absurdism, and some conceptual understandings of hope/hopelessness and colour/colourlessness aid in this regard as well. Findings from the discourse analysis of the text’s leitmotifs have been viewed in light of such theoretical and conceptual understandings to reach an assessment of how the leitmotifs assist in the play’s conveying of these ideas. This paper’s analysis of the leitmotifs of Waiting for Godot shows that - these leitmotifs highlight the text’s prominent and cyclical states of waiting and going as well as emphasize the exhibited futile natures of fate and sleep, and by such association, they enhance the portrayal of, in addition to bringing elevated focus on, the play’s depiction of the absurdity, hopelessness and colourlessness pervasive in the world of the ‘absurd’.
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Subedi, Tika Data. "Absurdism in Atirikta Yatra by K. S. Yatri and The American Dream by Edward Albee." JMC Research Journal 7, no. 1 (December 2, 2018): 27–34. http://dx.doi.org/10.3126/jmcrj.v7i1.34357.
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The purpose of this work is to study Edward Albee and K. S. Yatri’s approach regarding the status of respective societies of America and Nepal with absurd drama following their agenda. K. S. Yatri and Edward Albee seemed to be influenced by the absurdist mode of drama which concerns much about the modern existence of social human beings. Albee follows absurdist traces in the dramatization of uncertainty, alienation and the question of freedom in The American Dream. His characters do not have fixed identities, and they suffer from their individual problems. The notion of the characters and their activities too are uncertain. In the same way, the ambiguity of existence, whether the characters really are or not, is a problem for the characters in Atirikta Yatra. The characters are based on illusions, and the line between the reality and fantasy is missing. Alienation of the human being from the self and the other is existential theme that K. S. Yatri deals with in Atirikta Yatra. Alienation in the play is caused by the lack of communication, and as a result, the isolated self is entrapped in Yatri’s characters due to their own condition. Freedom becomes a confusing question in his works as it makes the characters anxious while choosing one option among various others on their own, and it renders the characters responsible for their free choices. Though, two texts belong to divergent space however both show how absurdism has affected individuals and society everywhere at present.
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Jamal, Nynu V. "A Postmodern Allegory: Absurdity in Harold Pinter’s The Birthday Party." Shanlax International Journal of English 9, no. 1 (December 1, 2020): 16–17. http://dx.doi.org/10.34293/english.v9i1.3516.
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The Birthday Party is an absurdist play written by the British playwright, screenwriter, director and actor Harold Pinter. He is one of the most celebrated dramatists of the Theatre of the Absurd. The objective of the paper is to examine how Pinter’s play The Birthday Party incorporates the elements of an absurdist play. The paper also tries to explain how the fragility of language to communicate is being portrayed through the play.
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Mercier, Faye. "The Rubberbandits’ Guide to Satire: Absurdism and Social Commentary in a Cross-Media Environment." Estudios Irlandeses, no. 16 (March 17, 2021): 79–94. http://dx.doi.org/10.24162/ei2021-9984.
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This paper argues that through an engagement with cross-media hybridity, Irish comedy duo The Rubberbandits have established a dynamic cross-media forum that aims to restore the Irish public’s capacity for critical social and political engagement. Central to this process is The Rubberbandits’ ability to use their absurdist satire as a foundational tool that can serve as the basis of this cultural forum, while also facilitating the negotiation of social and political issues across a variety of media. Given that this cultural forum exists across different media, platforms, and formats, this paper sets out to analyse the various ways in which the duo have adapted their satirical style to suit the demands of these different media forms, and what implications this process of adaption has had on their work. Beginning with an analysis of the social and critical functions of satirical comedy more broadly, this paper will then focus on the specific brand of satirical social commentary employed by The Rubberbandits, paying particular attention to the role of absurdity in their critical engagement with prominent issues facing Irish society. As this paper will demonstrate, by embracing the hybridity of the cross-media environment, all the while maintaining their absurdist satirical style, The Rubberbandits have established a dynamic and carnivalesque cross-media forum that aims to restore the Irish public’s capacity for critical social and political engagement.
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Moore, Jack B. "Absurdist with a Pistol: Review Article." English Studies 81, no. 3 (June 2000): 267–72. http://dx.doi.org/10.1076/0013-838x(200005)81:3;1-m;ft267.
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Cao, Yiheng. "A Literature Review on the Study of Eugene Ionescos Rhinoceros." Communications in Humanities Research 14, no. 1 (November 20, 2023): 136–41. http://dx.doi.org/10.54254/2753-7064/14/20230430.
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Eugene Ionesco, recognized as one of the originators of absurdist theatre and known as the king of absurdist theatre, is the author of The Chair, The Bald Songstress, The King is Dying and other works. Rhinoceros is one of Ionescos rare works with political overtones, his most distinctive masterpiece, and a classic of absurdist theater. Taking the original text of Rhinoceros as the starting point, this paper selects relevant core publications in recent years and utilizes the literature research method and logical analysis method to study the significance and value of Rhinoceros, the imagery of rhinoceros, the study of Rhinoceros and similar works, and the study of the social acceptance of Rhinoceros since the 1990s. Since then, domestic scholars have summarized the research results of Ionesco and pointed out the shortcomings of the current research, with a view to laying a foundation and providing a direction for the further study of this work.
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Derek Illing, Sean. "Camus and Nietzsche on politics in an age of absurdity." European Journal of Political Theory 16, no. 1 (July 24, 2016): 24–40. http://dx.doi.org/10.1177/1474885114562977.
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This article examines the significance of Friedrich Nietzsche to Albert Camus’ concepts of absurdity and revolt. It rests on three related claims. First, that Nietzsche’s critique of metaphysics (foundationalism) is the point of departure for Camus’ absurdist inquiries. Second, that Camus’ philosophy of revolt is informed in crucial ways by Nietzsche’s views on the sources of moral and intellectual authority in the modern world. Finally, that Camusian revolt is an attempt to deal with the political crisis of foundationalism in a way that preserves Nietzsche’s anti-essentialism while also avoiding the excesses of absolutist politics. Ultimately, I suggest that the origins and implications of Camus’ project cannot be grasped apart from an account of its engagement with Nietzsche.
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FENG, YING, ROBERT L. GOLDSTONE, and VLADIMIR MENKOV. "A GRAPH MATCHING ALGORITHM AND ITS APPLICATION TO CONCEPTUAL SYSTEM TRANSLATION." International Journal on Artificial Intelligence Tools 14, no. 01n02 (February 2005): 77–99. http://dx.doi.org/10.1142/s0218213005002004.
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ABSURDIST II, an extension to ABSURDIST, is an algorithm using attributed graph matching to find translations between conceptual systems. It uses information about the internal structure of systems by itself, or in combination with external information about concept similarities across systems. It supports systems with multiple types of weighted or unweighted, directed or undirected relations between concepts. The algorithm exploits graph sparsity to improve computational efficiency. We present the results of experiments with a number of conceptual systems, including artificially constructed random graphs with introduced distortions.
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Massaad, Dr Madoline. "The Intersection of Reality and Fiction in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead: A Study of Absurdity and Metadrama." International Journal of English Literature and Social Sciences 9, no. 3 (2024): 251–56. http://dx.doi.org/10.22161/ijels.93.31.
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The article titled "The Intersection of Reality and Fiction in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead: A Study of Absurdity and Metadrama" explores how Tom Stoppard's play transforms the minor characters from Shakespeare's Hamlet into central figures within an absurdist framework. This study examines the play’s themes of human identity, confusion, and helplessness, common in the Theatre of the Absurd, using postmodernist metadramatic techniques. By employing metadrama, Stoppard highlights the blurred lines between reality and fiction, as seen in the characters' struggles to understand their existence within the play. The paper delves into the philosophical implications of absurdity, drawing on the ideas of Albert Camus and other theorists to illustrate how Rosencrantz and Guildenstern Are Dead reflects the chaotic and purposeless nature of human life. Through various metadramatic devices like the play within a play, role-playing, and the breakdown of conventional narrative structures, Stoppard's work is analyzed as a profound commentary on the human condition and the search for meaning in an incomprehensible world.
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Dietrich, Eric. "An ABSURDIST model vindicates a venerable theory." Trends in Cognitive Sciences 7, no. 2 (February 2003): 57–59. http://dx.doi.org/10.1016/s1364-6613(02)00042-6.
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Fox, Jacob. "Absurd relations." Human Affairs 29, no. 4 (October 25, 2019): 387–94. http://dx.doi.org/10.1515/humaff-2019-0033.
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Abstract Absurdist accounts of life’s meaning posit that life is absurd because our pretensions regarding its meaning conflict with the actual or perceived reality of the situation. Relationary accounts posit that contingent things gain their meaning only from their relationship to other meaningful things. I take a detailed look at the two types of account, and, proceeding under the assumption that they are correct, combine them to see what the implications of such a combination might be. I conclude that another way of looking at the absurdity of life is to see it as a conflict between our dual beliefs that there exist intrinsically meaningful contingent things, and that contingent things may only gain their meaning extrinsically through their relationships to other meaningful things. In this way, I provide another lens through which feelings of life’s absurdity may be interpreted and analysed: as the conflict between the simultaneous beliefs in both intrinsically and relationally meaningful contingent things. Looking through this lens gives us an entirely different framework for analysing life’s absurdity than that which Nagel described in 1971, providing opportunity for more potential avenues of analysis and discussion.
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Couder, Olivier. "Towards a cognitive stylistics of the absurd: Joanna Gavins’ Reading the Absurd (2013)." Language and Literature: International Journal of Stylistics 25, no. 1 (February 2016): 72–81. http://dx.doi.org/10.1177/0963947015597118.
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Joanna Gavins’ recently published Reading the Absurd (2013) represents a new step in the research into the literary absurd as it introduces cognitive stylistics as an instrument to clarify its workings. This review article focuses on some of the innovative additions offered by Gavins’ book, specifically, the importance it attributes to the reader and his or her response to absurdist literature. In the wake of earlier studies of the absurd, the article identifies incongruity as a key feature of the absurd. Positing that a cognitive approach to incongruity is much needed in this context, the article then considers how cognitive literary theory can add to our knowledge and understanding of absurdist literature.
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Abid, Shazia. "The Element of Time in Waiting for Godot by Samuel Beckett." Journal of World Englishes and Educational Practices 3, no. 4 (April 25, 2021): 16–22. http://dx.doi.org/10.32996/jweep.2021.3.4.3.
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Samuel Beckett’s Waiting for Godot (1952) is one of the most puzzling plays of the modern era. It is a play where nothing happens twice. Hence, the purpose of this research paper to explore the element of time in Beckett’s masterpiece Waiting for Godot (tragicomedy). The play is part of the ‘Theatre of Absurd’ and being an absurdist playwright, Beckett tends to explore the internal states of individual’s mind. It also explores the absurdity of modern man that how they are dwelling in a twilight state and unaware of their surroundings. This work is based on the belief that the universe is irrational, meaningless and the search for order brings the individuals into conflict with the universe. The study investigates existentialist’s point of views. In the play ‘Time’ represents very much dominating force as well as a tormenting tool to its characters.
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Chemperek, Dariusz. "The Republic of the Absurd – Babińska Republic (2nd half of the 16th century – 1677)." Tekstualia 2, no. 73 (August 31, 2023): 7–22. http://dx.doi.org/10.5604/01.3001.0053.8594.
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The absurd as a category of applied poetics is rare in the literature of Old Europe, including OldPolish literature, and writers who used impossibilia dedicated their works mainly to the plebeianaudience. Against this background, the narratives included in the so-called records of the BabińskaRepublic – a noble association with satirical purposes, functioning from around the mid-16thcentury to 1677 – represent a notable exception. Babińska tales, created by and for the nobility,are characterized by the use of absurdist elements that serve a comic effect.In anecdotes by the members of the Babińska Republic, absurdity characterizes almost all spheresof the life of the coat-of-arms nobility, from state institutions (e.g. jurisdiction, the military) tothe private sphere, customs and entertainment (mainly hunting and feasts). However, the comicovertones of many jokes would be impossible to understand now, because they require a thoroughknowledge of contexts – biographical, religious, historical or moral – pertaining to the thennobility. Therefore, it is a mistake to equate the absurdity present in belles-lettres, about plebeiansand addressed to them, with the absurdity of the Babińska narratives. Impossibilia, adynats,and hyperboles to be found in them refer to the life of the nobility and serve ludic purposes ratherthan exemplify serious social satire.
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Ms. Nabamita Das, Ms Nabamita Das. "Time and Memory in Pinter’s absurdist play Betrayal." IOSR Journal of Humanities and Social Science 11, no. 5 (2013): 27–30. http://dx.doi.org/10.9790/0837-1152730.
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Kliman, Bernice W. "An Absurdist "All's Well" at American Shakespeare Repertory." Shakespeare Quarterly 38, no. 2 (1987): 240. http://dx.doi.org/10.2307/2870569.
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Suleiman, Elia. "The Occupation (and Life) Through an Absurdist Lens." Journal of Palestine Studies 32, no. 2 (January 1, 2003): 63–73. http://dx.doi.org/10.1525/jps.2003.32.2.63.
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Elia Suleiman, born in Nazareth in 1960, is the first Palestinian filmmaker to be selected for the "official competition" of the Cannes International Film Festival: his Divine Intervention: A Chronicle of Love and Pain was not only one of the twenty-one films out of 939 entries chosen for the fifty-fifth festival in May 2002, it also won the Jury Prize and the Interna tional Critics Prize. Suleiman had already come to the attention of the 2001 Cannes Festival, where his short Cyber Palestine was shown at the "Directors' Fortnight." Though without formal training, Suleiman has been winning prizes since his first film, a short entitled Introduction to the End of an Argument, won the award for best experimental documentary-USA in 1991. This was followed by his 1992 short Homage by Assassination, which won a Rockefeller Prize. By the time he made his first full-length movie, Chronicle of a Disappearance (which won the prize for the best first-feature at the 1996 Venice International Film Festival), his style was already well developed: a progression of sketches——witty, surreal, ironic, often devastating——and a virtual absence of narrative; in the case of Chronicle, a main character (a filmmaker called E.S., played by Suleiman himself) appears in a number of the episodes, most of which shed harsh light on life in Nazareth, but his presence seems more accidental than part of a storyline. Film critic Stanley Kaufman of the New Republic called Chronicle of a Disappearance "a film of the absurd. If Ionesco had been a Palestinian and a filmmaker, he might have made it." While his recent film, Divine Intervention, is still very much an assemblage of vignettes, it does nonetheless have a semblance of narrative: a "central character" (again, a filmmaker named E.S., again played by Suleiman) shuttles between his hometown of Nazareth, where his father, beset by business woes, has a heart attack and lies dying; his apartment in East Jerusalem, where he is working on a screenplay; and a checkpoint between East Jerusalem and Ramallah, where he holds tender but wordless meetings in a parked car with his lover, a Ramallah woman hemmed in by borders and closures. In one of the checkpoint scenes that combines the visual beauty, whimsy, humor, and satire characteristic of the film, the hero inflates a large red balloon bearing the smiling visage of Yasir Arafat and releases it, creating havoc among the soldiers. Taking advantage of the ensuing confusion, the hero and his lover manage to speed through the checkpoint, while the camera follows the balloon as it soars over the landscape toward Jerusalem, floating over the rooftops of the Old City and past the Church of the Holy Sepulcher to a light on the Dome of the Rock. When Divine Intervention won the Jury Prize at Cannes, the New York Times (27 May 2002) called it "a Keatonesque exploration of the large and small absurdities of Palestinian life under occupation." And indeed, despite the humor, moments of tenderness, and laugh-out-loud sight gags, the film presents an all-too-realistic picture, pitiless and meticulous, of the devastating impact of occupation on Palestinian society both in Israel and in the occupied territories. Suleiman is witty and light, but dead serious; allergic to preaching, propaganda , and clichéé, but highly political. The underlying grimness of the film is relieved not only by the humor but by resort to fantasy: the hero, cruising a long a highway, casually tosses an apricot pit out of his car window and a tank blows up; a stunningly beautiful woman (the hero's lover) strides through a checkpoint, mesmerizing the soldiers with her fierce beauty, and a military watchtower collapses. The most elaborate such sequence is the spectacular "Ninja scene," a violently beautiful and stylized choreography wherein the same woman is imagined as a guerrilla fighter who dispatches (seemingly bloodlessly) a whole phalanx of Israeli sharpshooters who have been firing at her effigy in a shooting range. The meaning of the images, whose connectedness one to the next is not always immediately apparent, can leave the spectator temporarily puzzled; the New York Times of 7 October 2002 called them "cinematic riddles and visual puns, delivered in elegant deadpan." The cumulative impact, however, is clear, and the images themselves linger long after the film ends. New York Times critic A. O. Scott, while noting the film's "appearance of randomness," adds that there is "an oblique, elegant sense of structure here" and that "the interlocking series of setups, punch lines and non sequiturs add up to something touching, provocative, and wonderfully strange." Divine Intervention currently is being shown throughout Europe and will be opening in the Middle East and Israel in January 2003. Shown at the New York Film Festival in October 2002, it will open commercially in the United States in January. Suleiman, in Paris for the opening of his film, was interviewed by Linda Butler, associate editor of JPS, on 26 September 2002.
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Lima, Robert. "Valle‐Inclán, Spanish precursor of the absurdist mode." Contemporary Theatre Review 7, no. 2 (January 1998): 31–45. http://dx.doi.org/10.1080/10486809808568452.
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Nichiporov, Ilia. "Absurdist Picture of Modernity in Dmitry Danilovʼs Plays." Stephanos Peer reviewed multilanguage scientific journal 57, no. 1 (January 31, 2023): 120–27. http://dx.doi.org/10.24249/2309-9917-2023-57-1-120-127.
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The article is addressed to today’s literary material – Dmitry Danilov’s plays of 2017–2020, where a three-dimensional artistic picture of modernity is created through absurdist stage situations, speech and collisions of actors. The ways of dramaturgical embodiment of topical social issues are considered, the image of the mental features of the hero-contemporary is discussed.
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Voitenko, L. I., and M. O. Kniazian. "TRADITIONS OF THE FRENCH THEATER OF ABSURD IN VICTOR SOLODCHUK’S PLAY “WHERE WE WERE EIGHT YEARS”." Writings in Romance-Germanic Philology, no. 1(50) (October 13, 2023): 29–42. http://dx.doi.org/10.18524/2307-4604.2023.1(50).285548.
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The article analyzes Solodchuk’s play «Where We Were Eight Years,» which was included in the electronic version of Anthology-24, published this year. The play is analyzed from the perspective of the French theater of the absurd, through the identification of common features in the play and in the plays written by S. Beckett and Ionesco, namely: a similar worldview, which is influenced by specific historical events, loss of the meaning of life, life without purpose and faith. The kaleidoscopic form of narrative organization, the absurdity and paradox of events, and the grotesque characters whose dialogues are reduced to a limited monologue, they do not understand each other. The form and style of the antidrama are subordinated to the effect of the evidence itself — the grotesque, the farce, brought to the point of excess, which reveals the monotony and meaninglessness of life. The desire to comprehend the universals of existence, the recurring patterns in human life are introduced into the text through the genre of parable, myth, symbol, and metaphor. The word loses its logical and grammatical connections, becomes grotesque, which leads to the loss of its meaning. The absurdist principle is also realized at the level of the figurative system of Solodchuk’s play, where the character appears as a multi-voiced entity. In the texts of the representatives of the theater of the absurd, attention is focused on material objects that replace the Other, so the role of things, objects, scenery increases, and to some extent they replace the object of communication for the characters. In Solodchuk’s play, the object is the Backpack, which is empowered with extraordinary abilities to take away aggression from the outside world. The open ending overcomes, even denies, the technique of ’exhaustiveness’ of dialogue in absurdist texts and appeals to the conceptual creation of the future.
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Cocu, Iulia Veronica. "ABSURDIST BLACK HUMOUR IN EDWARD ALBEE’S WHO’S AFRAID OF VIRGINIA WOOLF?" International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 2, no. 2 (2018): 17–26. http://dx.doi.org/10.26520/mcdsare.2018.2.17-26.
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Ciobanu, Estella. "Give Us This Day Our Daily Absurd, As We Also Have Given It to Our Absurd-mongers! One Look at the Absurd in Romanian Culture." East-West Cultural Passage 19, no. 1 (June 1, 2019): 39–63. http://dx.doi.org/10.2478/ewcp-2019-0004.
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Abstract An unpublished piece of prose in the style of Romanian writer Urmuz has rekindled my interest in absurdist writings and/or absurd cases which, in Romanian culture, are associated with the likes of Urmuz, Caragiale or Ionesco. I will ponder here, with the aid of the aforementioned authors and also by comparing their work with Lewis Carroll’s, the absurdist spirit of certain Romanian literary and dramatic pieces, or only of certain scenes therein, to propose a typology of the absurd as distinct from satire (the latter often a companion piece to the former). Mine is an investigation that crisscrosses texts, cultures and ages more than it offers an in-depth analysis by recourse to concepts and theories; asks questions more than it offers answers; plays more than it does sober research; and laughs – lest it should weep.
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Khatri, Tilak Bahadur. "Erroneous Portrayal of Black National Question in Ralph Ellison’s Invisible Man." Patan Pragya 12, no. 01 (December 31, 2023): 136–49. http://dx.doi.org/10.3126/pragya.v12i01.61644.
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This article examines the several contradictory aspects of American society that the unnamed black protagonist of Ralph Ellison's novel Invisible Man encounters and that cause him to descend into absurdity. The study has relevance to identify and deal with the different contradictory aspects of American society. The article addresses on the research problems concerning to the protagonist's sufferings and his inability to identify the causes of his sufferings. The study deals with the research problems by applying the research approach (methodology) of historical materialism. In a class-based society, the protagonist, who is of black nationality, is a member of the working class. He is suppressed not only by white people but even by wealthy black people. He receives assistance not only from black people but also from lower-class white people. But he lacks the ability to identify friends from enemies. He wants to free himself and the entire black nationality from all forms of oppression, injustice, and inequality because he is a member of the black race. As a result, he joins the Brotherhood (the communist party), but he quickly leaves because he does not understand its tenets. He declines to join the Black Nationalist party and is unable to identify any alternative organizations that could help end the persecution of black people on a national level. Finally, he loses all hope, starts to perceive disorder around, and makes the decision to leave society. However, while living apart from society, he still sees ways to benefit it, which is an absurdist notion itself. The study reveals that the protagonist's queer theory of absurdism, which he develops at the novel's conclusion, does nothing to further the cause of repressed Afro-Americans; rather, it only serves to fuel their frustration and pessimism.
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Nwachukwu, Chukwuka Ogbu, and Urama Evelyn Nwachukwu. "Gender, the Nigerian Civil War and Hard Choices: Nihilism or Absurdism (?) in Isidore Okpewho’s The Last Duty." CLEaR 4, no. 2 (September 1, 2017): 7–13. http://dx.doi.org/10.1515/clear-2017-0007.
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Abstract This paper entitled “Gender, the Nigerian Civil War and Hard Choices: Nihilism or Absurdism(?) in Isidore Okpewho’s The Last Duty” evinces an evaluative excursion into the author’s delineation of gender in war and its concomitants regarding actions, inactions, and the mindset of the actors and the acted-upon (victims) of the fratricidal Nigerian conflict within a designated theatre. We demonstrated that the quantum impact of the war engages some near-totally nihilistic imperatives of the war. Nevertheless, we surmised, at the final count, that the war results in high-wire tension rather than erode the indices for hope regarding the war victims and victimizers alike; and by dangerous extension, the Nigerian nation. Although we conceded the presence of dystopia which is life-threatening and socially destabilizing, our calculation in the final analysis, is that the tensions generated against both genders in the war are essentially absurdist, not nihilist. In this vein of analysis, we concluded that Okpewho’s delineation retains deliberately enough rays for reconstructive, rehabilitative, regenerative and cohesive engagements that will pave the way for societal survival and continuity.
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Alzouabi, Lina. "Samuel Beckett’s Waiting for Godot: The Dual Motif." European Journal of Language and Culture Studies 1, no. 6 (November 18, 2022): 24–30. http://dx.doi.org/10.24018/ejlang.2022.1.6.44.
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Following two world wars, the human essence was affected by pessimism and a loss of faith. As a result, new existentialist literature was produced, resulting in a new wave of absurdist fiction plays. The theatre of the absurd was first termed by Martin Esslin, whereas the term ‘absurd’ was first used by Albert Camus in his classic essay ‘The Myth of Sisyphus’. Samuel Beckett’s “Waiting for Godot,” a tragic comedy, (1952) is among the most mysterious dramas of the twentieth century that represents the philosophy of absurdism. By adopting the philosophy of theatre of the absurd in analyzing “Waiting for Godot,” this study focuses on Beckett’s employing the dual motif in the plot of the play and its implications, represented in chances that play a significant role rather than logic in the characters’ lives. As a result, the study concludes that Beckett’s use of such a technique underlines the equal opportunities in the world of the play, where chances have their effects on humans; Godot might or might not come, and the characters might leave or not: illustrating the unpredictability of the real world.
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Romero-Reche, Alejandro. "Avant-garde humour as ideological supplement." European Journal of Humour Research 10, no. 3 (October 11, 2022): 39–53. http://dx.doi.org/10.7592/ejhr.2022.10.3.663.
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In 1939, when the Spanish civil war had recently ended, avant-garde humorists Miguel Mihura and Tono published an absurdist propaganda ‘novel’, María de la Hoz [María of the Sickle], about the republican zone during the conflict. Unlike other Francoist propaganda pieces of the time, it did not focus on the violence or the alleged moral degeneracy of the ‘reds’ but rather on what its authors perceived as the absurdity of egalitarianism and the progressive ideals. The novel, while not contradicting the emerging official ideology, conspicuously overlooked some of its key tenets, particularly those related to nationalism, Catholicism and Franco’s leadership. This article contextualises María de la Hoz in the development process of Spanish avant-garde humour and in Francoist propaganda fiction during and immediately after the civil war in order to analyse the ideological stance it represented and, potentially, reinforced. As a political piece, the book seems to convey the position of an affluent middle class who did not enthusiastically believe in Francoism but preferred it to the republican alternative, caricatured as a communist regime by nationalist propaganda.
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Ciocoi-Pop, Miruna, and Emilian Tîrban. "Absurdity in Ernest Hemingway’s The Sun Also Rises." East-West Cultural Passage 19, no. 2 (December 1, 2019): 159–74. http://dx.doi.org/10.2478/ewcp-2019-0017.
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Abstract The purpose of this essay is to capture and convey, through the use of different works of philosophy that encapsulate thoughts on the same idea, the motif of the absurdity of life in Ernest Hemingway’s first novel The Sun Also Rises. The concept of the absurd will be, first and foremost, examined through absurdist criticism of the novel, using the philosophical thought of Albert Camus, Soren Kierkegaard, Friedrich Nietzsche and other philosophers who captured the essence of the absurd in their philosophy, all in order to represent this concept in Hemingway’s novel and to show how it truly manifests itself upon some of the most important characters’ psychology and their actions, portrayed throughout the three parts of the book. Mention will be made of the concept of “Lost generation” as it is the cornerstone to understanding, firstly, the characters’ background and current psychological status and the effects that the war had on an entire generation, leading them to an unwilling search for meaning in what this essay strives to present as a meaningless life.
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Shafi, Uzma. "Postmodernist Literary Movement: A Comprehensive Study of Technique in Vonnegut’s Novels." International Journal of English Literature and Social Sciences 2, no. 4 (2017): 203–12. http://dx.doi.org/10.22161/ijels.2.4.24.
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Kurt Vonnegut is an integral part of the postmodernist literary movement and a master of satire, gallows humor, and science fiction. The uniqueness of Vonnegut's works is that in addition to having excellent themes, the novels are also technically accomplished and colorful. Vonnegut refuses to confine himself to a single form of fiction, which is something that is certainly clear from a review of his books. In reality, modal diversity is demonstrated in each of his works. Vonnegut, a man of profound vision, tries to experiment with brilliant techniques in his novels, including science fiction, comic science fiction, black humor, dark humor, morbid humor, gallows humor, meta-fiction, satire, political satire, postmodernism, dark comedy, war novels, absurdist fiction, modes of absurdity, and semi-autobiographical writing. In his works, he deftly weaves these strategies around his theme. He draws attention to the numerous social defects, the atrocities of war, and the sorrows of modern man. He imagines a society free of societal ills, where people are not enslaved by technology. This essay aims to analyze the literary devices used by Vonnegut in his works.
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Milman, Yoseph. "Absurdist Estrangement and the Subversion of Narrativity in "La Plage"." Modern Language Review 89, no. 1 (January 1994): 50. http://dx.doi.org/10.2307/3733152.
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Sanders, Craig. "Readers invited to join as guests at absurdist anniversary celebration." Antipodes 32, no. 1-2 (2018): 322–24. http://dx.doi.org/10.1353/apo.2018.0042.
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Sanders. "Readers invited to join as guests at absurdist anniversary celebration." Antipodes 32, no. 1-2 (2018): 322. http://dx.doi.org/10.13110/antipodes.32.1-2.0322.
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Dufresne, Todd. "After Beyond Comes The Future : Freud's Absurdist Theatre of Reason." ESC: English Studies in Canada 32, no. 1 (2007): 27–43. http://dx.doi.org/10.1353/esc.2007.0067.
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McKee, Al. "Buster's Hat." Film Quarterly 57, no. 4 (2004): 31–34. http://dx.doi.org/10.1525/fq.2004.57.4.31.
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Abstract The collaboration of Samuel Beckett and Buster Keaton on the 1964 short Film is one of those match-ups that sound rich with promise. But their marriage proved brief and problematic. This article examines how creative cross-purposes turned Beckett's only movie and one of Keaton's last into an absurdist comedy of talents misapplied.