Relevant bibliographies by topics / Absurdité (The word)

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Academic literature on the topic 'Absurdité (The word)'

Author: Grafiati
Published: 26 July 2024

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Journal articles on the topic "Absurdité (The word)"

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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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Tyrrell, S. "An absurdity in today's world." Computer 33, no. 3 (March 2000): 9. http://dx.doi.org/10.1109/mc.2000.825684.

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Das, Rimasree. "A comparative study Beckett’s Waiting for Godot and Ionesco’s Rhinoceros." International Journal of English Literature and Social Sciences 8, no. 3 (2023): 360–65. http://dx.doi.org/10.22161/ijels.83.57.

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The definition of ludicrous according to Eugene Ionesco is "that which is devoid of purpose. Man is lost when he is cut off from his transcendental, philosophical, and theological origins; all of his activities become ludicrous, meaningless, and pointless. Every time Ionesco defines the term ridiculous by referring to the same concept of the absurd, his representation of the absurd infers a paradox. The term "absurd" doesn't have a clear definition. Therefore, despite all attempts to provide meaning, the absurdity of the ludicrous exists in the situation of meaninglessness. The word "absurd" defies easy interpretation in Camus and Ionesco's statements. Ultimately, it is impossible to definitively define the word "absurd". How therefore may the concept of the Theatre of the Absurd be defined? The term's creator and leading theorist, Martin Esslin, claims that "the Theatre of the Absurd is a part of the "anti-literary" movement, which has found expression in abstract painting with its rejection of "literary" elements in pictures or in France's "new novel" with its reliance on the description of the objects and rejection of empathy and anthropomorphism." Esslin, like Camus and Ionesco, doesn't give the concept of the ridiculous a specific meaning. Instead, he is able to draw attention to the connection between European literature and abstract art from the 1940s and 1950s. A literary text either imparts or asks for the process of concretization anytime it interacts with the reader, therefore there may be an "abstract" painting but not a "abstract" piece of literature, one could say. "Absurdity" of the literary text appears to be the equivalent of "abstractness" in art in Beckett's "Waiting for Godot" and Ionesco's "Rhinoceros" due to the ways in which both concepts contest the established structures by undervaluing ideas or disobeying the rules of artistic and literary production in art and literature. However, these two works touch on the subject of resistance in the process of enacting it. As a result, a counter-performance occurs in Beckett's text, inviting the reader to interpret it in a different way. Or, the text of Ionesco shows a character against the enigmatically alluring, jouissance-like harmony of the rhinoceroses. Resistance ends up being the only defining trait of "Literature of the Absurd". Additionally, the absurdity of these poems is a result of resistance. Resistances represent both the idea of absurdity and the texts of the Theatre of the Absurd. As a conclusion, we might state that the concepts "absurd" and "absurdity" defy accurate definition and clear interpretation. Certain referents and signifieds cannot under any circumstances be associated with these words. Second, the absurdity of the texts is created by resistances that either the narration or the literary text's structure exhibits in the works that Martin Esslin refers to as texts of the Theatre of the Absurd. Exploration of the word "resistance" is necessary here.
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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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Febriyanti, Rina Husnaini, Zuriyati Zuriyati, and Saifurrohman Saifurrohman. "ABSURDITY IN THE NOVEL PERBURUAN BY PRAMOEDYA ANANTA TOER: EXISTENTIALISM STUDY." Hortatori : Jurnal Pendidikan Bahasa dan Sastra Indonesia 4, no. 1 (July 16, 2020): 40–47. http://dx.doi.org/10.30998/jh.v4i1.316.

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Abstract: The research aims to find absurdity aspects in the main character of the novel Perburuan that was written by Pramoedya Ananta Toer. The method used was qualitative descriptive. The approach was existentialism. The research technique was done by collecting data from words, phrases, clauses, and sentences that afterwards were categorized and analysed based on absurdity aspects. By the data analysed, it was interpreted with existentialism approach. The findings of the research study displayed the absurdity aspects as follows desperation, unbelief, unafraid of anything, cynicism, soul emptiness, pseudo hope, freedom, sentimentalism, and deadness. Keywords: Absurdity; Novel of Perburuan; Existentialism.
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Werdiningsih, Endang. "Absurditas dalam Karya Sastra." Likhitaprajna Jurnal ilmiah 23, no. 2 (February 7, 2022): 168–75. http://dx.doi.org/10.37303/likhitaprajna.v23i2.204.

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Absurdity comes from the word absurd which means impossible, unreasonable, ridiculous, laughing. Absurdity is defined as the impossibility of circumstances. Absurd is a condition that describes an emptiness. It then develops into a void of self in one's life. This emptiness is usually one of the characteristics of life which are played in stories that are classified as absurd. Absurd can also be said as things that deviate from harmony, unclear and illogical. Absurd events as things that no matter how strange and crazy for a straight mind but they exist in everyday life.
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Fahmi, Ari Khairurrijal. "ABSURDITAS ALBERT CAMUS DALAM NOVEL TERJEMAHAN KARYA ZURIYATI MENCARI PEREMPUAN YANG HILANG." Hortatori : Jurnal Pendidikan Bahasa dan Sastra Indonesia 3, no. 2 (January 22, 2020): 81–90. http://dx.doi.org/10.30998/jh.v3i2.219.

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Abstract: The aim of this study is to describe depthly about an Albert Camus Absurdity in a translation novel by Prof Zuriyati "Mencari Perempuan yang Hilang". The focus of this research is an expressions and words in the novel which have elements of life uncertainty, feelings of turmoil, and death in Albert Camus's concept. This study uses the Content Analysis method with expressions in the form of sentences as data derived from the novel book " Mencari Perempuan yang Hilang " as a data source. The researcher noted several patterns of expressions found in the novel in the form of uncertainty in life, fluctuations in feelings, to feelings of desire to commit suicide which are manifestations of albert camus's absurdity in real life. Key Words: (Absurdity; Albert Camus; Novel; Mencari Perempuan yang hilang).
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MILLER, ED L. "AT THE CENTRE OF KIERKEGAARD: AN OBJECTIVE ABSURDITY." Religious Studies 33, no. 4 (December 1997): 433–41. http://dx.doi.org/10.1017/s0034412597004071.

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No one doubts that Kierkegaard's Concluding Unscientific Postscript is one of the most important, one of the most artistically contrived, and certainly one of the wittiest works in the history of philosophy. Further, the Postscript has often been accorded a kind of centrality in the Kierkegaardian corpus. Kierkegaard himself seems to have assigned it some such role. He informs the reader in the ‘First and Last Declaration’ that he originally intended the Postscript to be his last word before retiring from his authorship (hence part of the significance of the word ‘concluding’). In The Point of View for My Work as an Author he himself calls it both ‘the turning-point’ (repeatedly) and ‘the middle point’ in the sense that ‘this work concerns itself with and sets “the Problem”, which is the problem of the whole authorship: how to become a Christian’. Aside from the way in which Kierkegaard may have conceived the Postscript as being central or pivotal to his whole enterprise, certainly scholars have sometimes treated the Postscript as, at least in some ways, his magnum opus and summum verbum – as I would also. But our concern here is not with the centrality of the Postscript but with the centrality within the Postscript. Most everyone would, I think, acknowledge that a central section of the Postscript may be identified, though I would go farther and claim that within this a central, pivotal, solitary statement may be identified.
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Li, Shuheng. "The Multilayered Meaning of Camus’ Absurdity as Seen in Caligula and the Stranger." Journal of Education, Humanities and Social Sciences 24 (December 29, 2023): 90–94. http://dx.doi.org/10.54097/22wa7361.

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Albert Camus’s literary works and philosophical ideas have had a profound impact on the world. After the two world wars, Europe, tormented by the catastrophe of war, was in a climate of resentful reflection, exploration of the future and skepticism about old values. When the old order is shaken and called into question, man’s everyday life becomes a concrete manifestation of absurdity. The world is absurd, is the subjective feeling of many characters in Camus’ books. The term “absurdity”, a key term in Camus’s life, evolved and developed throughout his work. In this paper, it examines two of Camus’s books, The Stranger and Caligula, to analyze the “Absurd Man” in Camus’s work, then introduces The Myth of Sisyphus to explore how Camus confronts the absurdity in his work, in other words, what he advocates as “revolt”. By exploring how Camus deepens and broadens revolt, the paper offers a better understanding of the uplifting power of words in Camus’ literature work.
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Sathotho, Surya Farid. "ABSURDITY IN PUTU WIJAYA’S SHORT PLAY." TONIL: Jurnal Kajian Sastra, Teater dan Sinema 18, no. 2 (September 13, 2021): 76–82. http://dx.doi.org/10.24821/tnl.v18i2.4458.

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Short play known as Drama Pendek (Drapen) is the latest form of Putu Wijaya's work. The play only ranges from two to twelve pages. From the number of pages, it is assumed that the drapen performance will only last five to ten minutes. Although only a short duration, Putu Wijaya is consistent with the aesthetic concept of terror. This concept, if traced further, is a derivative of the concept of the theater of the absurd. To see the possibility of performing the drapen, an analysis of the structure and texture of randomly selected drapes will be carried out. The analysis is carried out with a theoretical approach that sees the terror in the structure and texture in a drafted text. It is hoped that the results will show whether the short play meets the rules of dramaturgy to be performed on stage Key words: Short play, Theater of the Absurd, Putu Wijaya
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Dissertations / Theses on the topic "Absurdité (The word)"

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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.

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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.

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Andersson, Ken. "I ett ombonat rum." Thesis, Södertörns högskola, Lärarutbildningen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32564.

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I hope this scientific essay can shed som light over how guilt kan appear at a school, primarily for those working as fritidslärare. Fritidslärare come often in close contact with special needs children.In the story I shall recount a case where I have taken the roll of carer and helping an extroverted pupil through his schoolday. He spends most of his time outside the classrum and is mostly with a special needs teacher. Generally his day is filled with rewards and punishment; methods that I find myself uncomfortable with. On one of these schooldays I find myself giving up on him. I see myself ignoring him, taking out my cell phone while he watches a film on the computer. In this situation I feel guilt. Do I have a bad moral standard or am I just acting in accordance with the situation? The question of how I deal with this guilt and what shape the guilt takes are two of the questions I pose to myself. I have made use of the Algerian author and philosopher Albert Camus and his theory of the absurd and the lack of freedom in our lives and how the absurd always stands in the way of total freedom. If we are aware of its existence then we can live with it and minimize its effect upon us. I will also refer to his novel The Fall (2007) in which the protagonist has long managed to avoid guilt and judgement. He comes to feel discomfort after an incident that he identifies as feelings of guilt. The guilt can be both collective and individual. In my text I shall concentrate on individual guilt. I, as an individual teacher, have my version of the truth whilst those around me have another. What does this imply? I also treat the mechanisms of control within the school that manifest themselves through reward and punishment.
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Czudek, Lucja. "Polský a český nonsens v literatuře pro děti." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-434586.

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The diploma thesis describes Polish and Czech nonsense in children's literature. The main goal is to define nonsense literature, its development from a historical and formative point of view, considering contemporary events. The first part of the thesis focuses on the theoretical definition of the term nonsense and its historical aspect, especially on the two key representatives of English nonsense Edward Lear and Lewis Carroll. The next part deals with the development of Polish nonsense in children's literature. Two main authors, Julian Tuwim and Jan Brzechwa, who are considered as the creators of the new poetic school, took part in the formation of nonsense in Poland. Absurd humour and the world of children readers became the main inspirations for their work. This poetics was followed by other representatives of the Polish nonsense, including Ludwik Jerzy Kern, Wanda Chotomska and others. The work also focuses on the development of Czech nonsense for children, its main personalities and major works, which are based on nonsense, absurdity and word play. The diploma describes nonsense work for children of Josef Kainar, Jiří Kolář, Miloš Macourek, Pavel Šrut and other writers of literature. The last part of the thesis deals with specific nonsense literature for children of Polish and Czech authors....
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Inglot, Joanna. "Witkacy's absurdist vision of the world." 1991. http://catalog.hathitrust.org/api/volumes/oclc/24441647.html.

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Books on the topic "Absurdité (The word)"

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Zlotnikova, Tat'yana. Interdisciplinary discourse of culture (philosophical-psychological and socio-cultural methodology). ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1002008.

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The textbook actualizes interdisciplinary discourse as a principle of studying cultural experience in its versatility (creative personality and features of its activity; the existence of artistic culture in the society of different epochs, including in the modern world; Russia-specific problems of artistic influences: absurdity, totalitarianism). The material is presented on the basis of philosophical, psychological and social methodology, based on art criticism ideas. The author's concept of the publication is based on a non — trivial choice of analyzed cultural phenomena corresponding to the triad "man- chronotope — culture". The publication can be used to deepen the theoretical positions studied in accordance with the new state educational standard for social and humanitarian specialties in compulsory and elective courses. It is intended for students of universities and pedagogical universities, universities of culture and art: cultural scientists, historians, sociologists, philologists, art historians, graduate students in the Humanities and teachers.
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Breit, Rainer. Absurdity of Work. Blurb, Incorporated, 2021.

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Dykie, Patrick. Simple Observations: A Humorous Look at the Absurdity of the World around Us. iUniverse, 2018.

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"the Greatest Place on Earth" : Personal Note: A Work of Absurdity? Depth Charge, 2021.

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Levy, Benjamin R. Fluxus and the Absurd (1961–62). Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199381999.003.0005.

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After John Cage’s 1958 Darmstadt lectures, many European composers developed an interest in absurdity and artistic provocation. Although Ligeti’s fascination with Cage and his association with the Fluxus group was brief, the impact it had on his composition was palpable and lasting. A set of conceptual works, The Future of Music, Trois Bagatelles, and Poème symphonique for one hundred metronomes, fall clearly into the Fluxus model, even as the last has taken on a second life as a serious work. This spirit, however, can also be seen in the self-satire of Fragment and the drama and irony of Volumina, Aventures, and Nouvelles Aventures. The sketches for Aventures not only show the composer channeling this humor into a major work but also prove to be a fascinating repository of ideas that Ligeti would reuse in the years to come.
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Gloag, Oliver. Albert Camus: A Very Short Introduction. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198792970.001.0001.

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Albert Camus is one of the best known philosophers of the twentieth century, as well as a widely read novelist. Active in the first half of the twentieth century, his views contributed to the rise of absurdism philosophy, and his works have inspired numerous movies and are frequently referenced in contemporary politics. Albert Camus: A Very Short Introduction explores the life and work of a man full of contradictions, who occupied an ambiguous position in troubled and conflicted times. Following a broad chronological framework, it explores the major philosophical and literary works of Camus and analyses how the reception and popularity of these works are connected with contemporary political, social, and cultural issues.
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Cannon Harris, Susan. Epilogue: What the Irish Left – Sean O’casey, Samuel Beckett and Lorraine Hansberry’s the Sign in Sidney Brustein’s Window. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424462.003.0007.

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The epilogue considers the impact of Irish playwrights on an American left that had been decimated by anti-Communist persecution. Just prior to the 1956 New York premiere of Samuel Beckett’s absurdist Waiting for Godot, O’Casey made his Broadway comeback with the expressionist Lockout play Red Roses For Me. The lesbian African-American playwright Lorraine Hansberry, whose work engages with both O’Casey and Beckett, suspends the antirealist effects of these two different Irish premieres within her 1964 play The Sign in Sidney Brustein’s Window, which chronicles the crises faced by a group of New York progressives in the aftermath of McCarthyism. Hansberry separates O’Casey and Beckett’s most promising techniques from their masculinist foundations, re-deploying them in order to help Sidney Brustein – and, by extension, the white left – resolve the impasse in which they have been trapped, by abandoning a definition of struggle based on a self-defeating attachment to a heroic masculinity which was never attainable.
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de Rond, Mark. Doctors at War. Cornell University Press, 2017. http://dx.doi.org/10.7591/cornell/9781501705489.001.0001.

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This book is a candid account of a trauma surgical team based, for a tour of duty, at a field hospital in Helmand, Afghanistan. It tells of the highs and lows of surgical life in hard-hitting detail, bringing to life a morally ambiguous world in which good people face impossible choices and in which routines designed to normalize experience have the unintended effect of highlighting war's absurdity. With stories that are at once comical and tragic, the book captures the surreal experience of being a doctor at war. It lifts the cover on a world rarely ever seen, let alone written about, and provides a poignant counterpoint to the archetypical, adrenaline-packed, macho tale of what it is like to go to war. Here the crude and visceral coexist with the tender and affectionate. The book tells of well-meaning soldiers at hospital reception, there to deliver a pair of legs in the belief that these can be reattached to their comrade, now in mid-surgery; of midsummer Christmas parties and pancake breakfasts and late-night sauna sessions; of interpersonal rivalries and banter; of caring too little or too much; of tenderness and compassion fatigue; of hell and redemption; of heroism and of playing God. This is one of the first books ever to bring to life the experience of the doctors and surgical teams tasked with mending what war destroys.
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Gosetti-Ferencei, Jennifer Anna. On Being and Becoming. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190913656.001.0001.

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On Being and Becoming offers a new approach to existentialist philosophy and literature, as responding to competing demands for universal truth and the defense of the irreducible singularity of the individual. On Being and Becoming traces the heterogeneity of existentialist thinking beyond the popular wartime philosophers of the Parisian Left Bank, demonstrating their critical dependence on sources from the nineteenth century and their complements in modernist works across the European continent and beyond. While quintessentially modern, existentialism inherits ideas of the past and anticipates challenges of the present. Despite its individualism, existentialist attention to the human self is related to conceptions of world, others, the earth, and the more encompassing concept of being. The predominance of ideas of authenticity, individuality, and self-determination makes any existentialist manifesto self-contradictory, while existentialist thinkers above all wanted to make their philosophy relevant to concrete human existence as it is lived. Prevailing models of existential authenticity life tend to overlook the rich diversity of its prospects, which, as this volume shows, involve not only anxiety, absurdity, awareness of death and of the loss of religious reassurances, but also hope, the striving for happiness, and a sense of the transcendent—all of these grounded our human capacity to create meaning. In spite of the diversity of existentialism, all of its thinkers recognize the self as becoming, and recognize the courage and creativity human individuality demands. On Being and Becoming elaborates pragmatic and philosophical relevance of existentialism for being human in the contemporary world.
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Yamamoto, Yuuto. A. H. A. / Level Green Three : Against Human Absurdity: A Mental Activity Book and GUIDE to Help Unite and Save This World and... Help People Realize and Remember They Have Super Powers! Independently Published, 2020.

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Book chapters on the topic "Absurdité (The word)"

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Chevez, Agustin. "On Wilderness, Carnivals, and Foolishness." In The Pilgrim’s Guide to the Workplace, 117–22. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-4759-9_33.

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AbstractLet’s start our pilgrimage by following one of the most significant signposts of all: the workplace should promote absurdity. Signpost 2 came out of the idea that our capability to be absurd gives us a competitive edge over logic-based algorithms in the future of work. Because of this, absurdity should be nurtured at the places where we work (Signpost 3).
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Tubali, Shai. "Absurdist Cinema, Television, and Adaptations around the World." In The Routledge Companion to Absurdist Literature, 484–94. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003422730-55.

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Carter, Bryan W. "Seeking Definition in the Absurdity of a Post-Racial World." In Afrofuturism and Digital Humanities, 74–80. New York: Routledge, 2022. http://dx.doi.org/10.4324/9780429469114-6.

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Netz, Reviel. "Reduction of Absurdity: Notes on the Editorial Transformations of Greek Diagrams." In Shaping the Sciences of the Ancient and Medieval World, 361–406. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-49617-2_9.

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Christof-Fuechsle, Martin. "Indianness, Absurdism, Existentialism, and the Work of Imagination: Vinod Kumar Shukla’s Naukar kī kamīz." In Imagining Indianness, 131–45. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-41015-9_8.

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Borenstein, Eliot. "Subjectivity and Its Discontents." In Marvel Comics in the 1970s, 201–45. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501767821.003.0007.

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This chapter takes a look at how Steve Gerber implements absurdity in his work. It emphasizes that Gerber did not run from absurdity; absurdity was the point. Absurdity is the default position of Gerber's world, sometimes almost joyous, sometimes suicidal. His characters oscillate between embracing the absurdity of their various plights and withdrawing or dissociating. The chapter states that Gerber's approach to the daft premises of the Marvel Universe is far more accepting and catholic than that of many serious comics writers to follow him, because absurdity is neither a negative in and of itself nor an antipode to the “real” world.
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"Nine. Absurdist Satire." In Word as Bond in English Literature from the Middle Ages to the Restoration. Philadelphia: University of Pennsylvania Press, 1989. http://dx.doi.org/10.9783/9781512801255-011.

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"CHAPTER THREE The Crisis of Absurdity." In Changing Stories in the Chinese World, 94–148. Stanford University Press, 1997. http://dx.doi.org/10.1515/9781503616875-005.

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Stevenson, Randall. "Absurdism, Postmodernism, Individualism." In The Last of England?, 346–66. Oxford University PressOxford, 2004. http://dx.doi.org/10.1093/oso/9780198184232.003.0013.

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Abstract ‘You’re alone in the world, remember. No one can tell you what to do about it’. The remark is made by the central character in John Mortimer’s popular success, A Voyage Round my Father (Greenwich, 1970). Earlier, Mortimer’s father is described in terms of a ‘great capacity for rage—but never at the Universe’ (I). Much of the drama assessed in Chapters 9–11 shared a ‘capacity for rage’, but directed against the immediate problems of life in contemporary society.
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Rouse, Anderson. "A Camus for the Common Folk." In Rediscovering Frank Yerby, 163–82. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827821.003.0009.

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After World War II, Black writers and thinkers, from Richard Wright to bell hooks, influenced by French existentialists like Albert Camus and Jean-Paul Satre, adapted existentialism as a way to explain and respond to the African American experience. In his novels, Frank Yerby displays a sophisticated awareness of philosophical ideas, especially absurdism, and theological questions, despite his insistence that his novels could not be “reduce[ed] to a morality play” (Hill, “Interview,” 212). Yerby, in addition to using fiction to debunk historical myth, develops arguments about religion—that religion is invented “nonsense,” and, therefore, not worth killing or dying for, that God, if he exists, is cruel, careless, or distant, and that morality need not hew to an a priori standard. Yerby, then, responded to religious belief and voiced a philosophical response to human suffering (though, not particularly African American suffering) that was shaped by absurdist thought.
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Conference papers on the topic "Absurdité (The word)"

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Магомадова, Алиса Иналовна. "SUBJECT AND OBJECTIVES OF THE LEXICOLOGY OF THE RUSSIAN LANGUAGE." In Высокие технологии и инновации в науке: сборник избранных статей Международной научной конференции (Санкт-Петербург, Июль 2020). Crossref, 2020. http://dx.doi.org/10.37539/vt186.2020.96.18.011.

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Выступая в языке в качестве его основной значимой единицы, слово предстает перед нами всегда как определенное структурное целое. В лексикологии слова изучаются для познания самих слов, словарного состава языка как такового. Для лексикологии в слове вздор будет важным, что это слово синонимично в определенной степени словам нелепость, чепуха, бессмыслица, бред, чушь, ахинея и т. д., в стилистическом отношении является разговорно-фамильярным, по происхождению исконно русским. Acting in the language as its main significant unit, the word always appears before us as a definite structural whole. In lexicology, words are studied to learn the words themselves, the vocabulary of the language as such. For lexicology in the word nonsense it will be important that this word is synonymous to a certain extent with the words absurdity, nonsense, nonsense, nonsense, nonsense, nonsense, etc. Russian.
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Masitoh, Siti, Athifah Chairunnisah, and Faizul Munir. "Violence, Science, and World Hegemony in Semilyar Ikan Memakan Anjing-anjing by Absurditas Malka." In 3rd International Conference on Language, Literature, Culture, and Education (ICOLLITE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200325.071.

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Pilar, Martin. "PAVEL SRUT AND HIS MR NOVAK AS A SAMPLE OF CENTRAL EUROPEAN CHARACTER." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.21.

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Pavel Srut (1940-2018) was a representative of a young generation of poets in the golden 1960s. After the invasion of the Warsaw Pact troops (1968), he stayed in Czechoslovakia but could only publish in samizdat and exile. During the period of strict neo-Stalinist censorship (1969-1989), Srut continued to write, more for himself and for a vaguely anticipated future readership. He followed the tradition of the Central European absurdity, which we know from the work of Franz Kafka. One of the highlights of Srut�s poetic work is considered to be his last published collection, Paper Shoes (2001). The character of Mr N. is called Mr Novak for a while. Even his resemblance to Newton and Noah is mentioned. Sometimes he is a kind of Mr Nobody (or Mr No Name), a strange being without a surname or identity who manages to survive the absurdity of Central European history by existing but, at the same time, living in a way that is not worth mentioning. Translations of Pavel Srut�s poems appeared individually in several European journals. A selection of his late poetry was published in the US in 2009 (including the collection Paper Shoes). It seems to be an example of regionally and historically grounded Central European poetry that has a chance of reaching a broad global audience.
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s28.06.

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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s10.06.

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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Dimitrakopoulou, Georgia. "WILLIAM BLAKE AND JACOB BOEHME. AN INTRIGUING APPROACH TO CHRISTIANITY." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.20.

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In this paper, William Blake�s religious system, the relationship between Natural Religion (Deism) and Art will be discussed. Blake rejected Natural Religion because Deism, which he considered Atheism and the tree of mystery, that is the dichotomy of good and evil, is false religion. �Natural religion�s impossible absurdity� urged him to allege The Marriage of Heaven and Hell. Catholicism and Orthodoxy, which proclaim that nature is God�s creation, follow Urizen�s cruel practices. Deism, Druidism is responsible for human slavery, war, and spiritual backwardness. Blake�s Protestant Jesus, that is imagination incarnated is spirituality and productivity. This does not mean that Catholicism and Orthodoxy are consisted by false religious beliefs. The basic idea of the differentiation between religions is not the division of the spirit in good and evil but the ground on which this division is based. Although �Man must and will have some Religion,� religion is a �web� and a �direful wheel.� Jesus is not a religion, in the sense that religion is a system of justice which is based on single standards that regulate human ethics and conduct. Understanding Jesus is a process of self - knowing. Man should not strive to express himself through religion but through his creative imagination and the humanitarian values of annihilation of the selfhood, universal brotherhood, and mutual forgiveness of sins. In a false religious system these values are ignored and forgotten. In order to form these ideas Blake received various influences from Boehme�s assertions, for example about the single root of the God of the holy world, and the God of the dark world. Also, God is the Fire and Jesus is the Light; Boehme saw the incarnation of Jesus not as a sacrificial offering to redeem humans from sins but as an offering of love to all humanity. In addition, Blake�s ideas about Virgin Mary are significant to compare and contrast to Boehme�s. The latter�s Marian views helped Blake to construct his own view on divine birth and Jesus�s human side.
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Битехтина, Л. Д. "SPIRITUAL AND RELIGIOUS CONCORDANCE – «TO BE DISCIPLINED FROM ABOVE»." In Антология российской психотерапии и психологии. Crossref, 2023. http://dx.doi.org/10.54775/ppl.2023.32.86.001.

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Совладание, русское слово, но слышится как нерусское и зачаровывающее. Хотелось бы от него отгородиться, а оно не отпускает, отойти нельзя – путь преграждает. Как интересно, что слово действует без его понимания, имеет влияние, своеобычность, тайну и энергию. А также привлекательную динамическую силу и выразительность, фигуру и образ, что невольно начинаешь задумываться и искать этому явлению расшифровку из причиняемой тебе неудобности, нелепости, преграды, в конце концов. При этом возникает напряженное ощущение тревоги, исходящее от духовной преграды, которую ты даже не видишь, а только предчувствуешь – сейчас что-то будет не так и даже какая- то крайность. Эта крайность или предел, его не обойти и не отойти, и тогда возникает мысль перепрыгнуть, тем самым изменить ситуацию. Надо решиться осуществить «прыжок» в неведомое, что есть риск всегда. Или не осуществить и оно тебя тогда накроет, как туман, темнота, шторм, страх, ужас. Так вот духовное совладание – это прыжок в неведомое, по М. Хайдеггеру прыжок в бытие, которое объективно выражается в копинг – выбор стратегии преодоления в этих обстоятельствах. Удивительно то, что слово копинг воспринимается как родной, как, само собой разумеется. Копать верно, думаем. Так что мы о нем знаем?[3] Coping, the Russian word, but heard as non-Russian and enchanting. I would like to isolate myself from it, but it does not let go, it is impossible to move away – it blocks the path. How interesting that a word acts without understanding it, has influence, habituality, mystery and energy. And also an attractive dynamic force and expressiveness, figure and image that you involuntarily begin to think and look for this phenomenon to decipher from the inconvenience, absurdity, obstacles caused to you, in the end. This extreme or limit, it cannot be bypassed and not moved away, and then the idea arises to jump over, thereby change the situation. We must decide to make a «jump» into the unknown, which is always a risk. Or not to carry you out and then it will cover you like fog, darkness, storm, fear, horror. At the same time, there is a tense feeling of anxiety emanating from a spiritual obstacle that you do not even see, but only anticipate – now something will be wrong and even some kind of extreme. So spiritual coping is a jump into an unknown, according to M. Haidegger, a jump into being, which is objectively expressed in copying - the choice of a overcoming strategy in these circumstances. The amazing thing is that the word copying is perceived as native, as, it goes without saying. Digging right, we think. So what do we know about him? [3]
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