Relevant bibliographies by topics / Communication Absurd (Philosophy) in literature

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  2. Dissertations / Theses
  3. Books
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Academic literature on the topic 'Communication Absurd (Philosophy) in literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Communication Absurd (Philosophy) in literature"

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Скаковская, Людмила Николаевна. "SPECIFICS OF REALIZATION OF THE CATEGORY «THE ABSURD» IN CONTEMPORARY RUSSIAN LITERATURE." Вестник Тверского государственного университета. Серия: Филология, no. 1(68) (April 9, 2021): 74–78. http://dx.doi.org/10.26456/vtfilol/2021.1.074.

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Целью обзорной статьи является анализ специфики экспликаций феномена абсурда в современной отечественной литературе. Научная новизна обусловлена экспериментальным характером абсурдистики и сквозным значением феномена абсурда для литературы и культуры в целом и состоит в исследовательском использовании потенциала разноплановой коммуникации внутри многообразия гуманитарных наук (философия, история, психология). Полученные результаты показали целесообразность понимания функционирования абсурда в русской литературе как транзитивного феномена, трактуемого как всякий выход за пределы логики и обратный, «неслышимый», смысл высказывания. The purpose of the article is to analyze the specifics of the explication of the phenomenon of absurdity in modern Russian literature. The article’s innovative character is accounted for by the experimental nature of absurdism and the overall significance of the phenomenon of the absurd in literature and culture in general, and consists in the possibilities to use the potential of diverse communication within the multiplicity of the Humanities (philosophy, history, psychology). The results obtained showed the expediency of understanding the ways the absurd functions in Russian literature - as a transitive phenomenon, interpreted as any way out of logic, and the reverse, «inaudible» meaning of the utterance.
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Eidinow, J. S. C. "‘Purpureo bibet ore nectar’: a reconsideration." Classical Quarterly 50, no. 2 (2000): 463–71. http://dx.doi.org/10.1093/cq/50.2.463.

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‘To attempt to say anything new about Horace may seem absurd.’ To attempt to say anything new about the Roman Odes may seem still more absurd; my purpose, nevertheless, is to reconsider the lines ofCarm. 3.3 set out above, and to reinterpret an argument begun by the editor of the Delphin Horace (1691) in which the authority of Bentley is against me. My question is: what does Horace mean the reader to understand by describing Augustus as drinking nectar ‘purpureo ore’?
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Rybińska, Krystyna. "The Absurd as a Representation: Towards a Hermeneutics of the Inexplicable (The Problematic Case of Godot)." Studia Anglica Posnaniensia 51, no. 4 (2016): 67–86. http://dx.doi.org/10.1515/stap-2016-0020.

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Abstract This article attempts to re-signify the already extensively discussed conception of the absurd attributed to the aesthetic phenomenon presented by the so-called theatre of the absurd by critically reconsidering its paradigmatic work Waiting for Godot in relation to philosophical hermeneutics (Heidegger, Gadamer, Ricoeur). The fact that Beckett’s artistic method invalidates the transparency of the mirror-like relation between reality and art is known, and yet the potential theoretical consequences of such a literary revolution do not seem to have been exhausted - particularly in respect to the category of the absurd. Hence, the presented inquiry aims to view the phenomenon quite against its common conceptualizations derived from existentialist philosophy in order to indicate a possible route of exploring it from a hermeneutic perspective and thereby challenging, to some extent, Simon Critchley’s (2004: 165) famous assertion that Beckett’s oeuvre seems “uniquely resistant to philosophical interpretation”.
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Brill, Skott. "Does It Matter that Nothing We Do Will Matter in a Million Years?" Dialogue 46, no. 1 (2007): 3–25. http://dx.doi.org/10.1017/s0012217300001530.

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ABSTRACTPeople have inferred that our lives are absurd from the supposed fact that nothing we do will matter in a million years. In this article, I critically discuss this argument for absurdity. After explaining how two refutations in the literature fail to undermine the best version of the argument, I produce several considerations that together do take much of the force out of the argument. I conclude by suggesting that these considerations not only refute this argument for absurdity, but also constitute a motivation to be moral.
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Gordon, Mordechai. "Camus, Nietzsche, and the Absurd: Rebellion and Scorn versus Humor and Laughter." Philosophy and Literature 39, no. 2 (2015): 364–78. http://dx.doi.org/10.1353/phl.2015.0045.

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Lu, Deping. "Peirce’s philosophy of communication and language communication." Semiotica 2019, no. 230 (2019): 407–23. http://dx.doi.org/10.1515/sem-2017-0164.

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Abstract In the vein of Peirce’s communication philosophy, language communication inevitably suffers from its vagueness and uncertainty. Paradoxically, what enables this vagueness and uncertainty to be solved, and the condition of communication to be sufficiently met, is not language itself, but “collateral experience” communicators may weave, exchange, and share in communication. Collateral experience is forceful in penetrating the “universe,” in which communicators may be engaged, and in helping them in the wake of communication to acquire knowledge current in the community. Consequently, generality for a communicative act becomes established as the final goal of communication. Generality overcomes the vagueness and uncertainty arising from local and partial contingencies of context, and transcends beyond it. Due to communication, people become capable of finally resolving puzzlement, and of establishing their beliefs, with a guidance for their action.
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Irven, Donovan. "The chorus of philosophy: communicative praxis at the intersection of philosophy and literature." Review of Communication 19, no. 3 (2019): 195–209. http://dx.doi.org/10.1080/15358593.2019.1636288.

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West, Stephanie. "Horace, Epistles 1.2.42–3." Classical Quarterly 40, no. 1 (1990): 280. http://dx.doi.org/10.1017/s0009838800027026.

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‘One of Horace's fables remembered or invented. It is not found elsewhere’ (E. C. Wickham). Not elsewhere in classical literature, certainly. But a story illustrating precisely this absurd ignorance of the natural world is attested later, in circumstances which make it highly unlikely that it derives from Horace's brief reference, and I think we may safely assume that he did not invent the tale.
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Hollis, A. S. "Two adynata in Horace, Epode 16." Classical Quarterly 48, no. 1 (1998): 311–13. http://dx.doi.org/10.1093/cq/48.1.311.

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Horace had good reason to know these lines (quoted by Diodorus Siculus 8.21) since they come from the foundation oracle of one of his favourite places, Tarentum, delivered to the founder Phalanthus whom Horace mentions in Odes 2.6.11–12, ‘regnata petam Laconi | rura Phalantho’. It is a regular feature of such oracles that, however absurd and impossible they may seem, they will be fulfilled in a quite unexpected way.
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Gerland, Oliver, and Bruce G. Shapiro. "Divine Madness and the Absurd Paradox: Ibsen's Peer Gynt and the Philosophy of Kierke-Gaard." Theatre Journal 44, no. 4 (1992): 561. http://dx.doi.org/10.2307/3208799.

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Dissertations / Theses on the topic "Communication Absurd (Philosophy) in literature"

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Hodges, Steven. "The digital absurd." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/33950.

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I believe that the concept of the absurd, as described in philosophy and reflected in works of drama and literature, provides an unusual and helpful perspective from which to view the emerging field of digital media. In my opinion, absurd principles can help us understand the mixed feelings we may have when engaging with digital media: joy and frustration, play and despair, significance and nonsense. I intend to explore the concept of the absurd through a handful of authors and works, including the philosophy of Camus and the literature and drama of Pinter, Beckett, Roussel, and the Oulipo. I will use these works to analyze characteristics of absurdist works and then extend this analysis to characteristics and theory of digital media. I believe an absurdist analysis may bring a new vantage point to the study of digital media, from which we can see not only the advantages and liberation it offers but also the ever-present threat of nonsense it entails.
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Van, der Colff Margaretha Aletta Adams Douglas. "Douglas Adams : analysing the absurd." Pretoria : [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-08212008-183816.

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Grayson, Erik. "Towards a postmodern absurd : the fiction of Joseph Heller." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19693.

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This thesis examines the entirety of Joseph Heller's career as a novelist and explores the various existential themes uniting a seemingly diverse body of work. Considering Heller's relationship to the philosophy of Albert Camus and Jean-Paul Sartre, "Towards a Postmodern Absurd: The Fiction of Joseph Heller" suggests that the novelist promotes the same existentially authentic lifestyle of revolt originally articulated by the French existentialists. Refuting the critical assessment of Heller's fiction as formless, this thesis argues that Heller deliberately structures his fiction around the concept of dejd vu in order to buttress the author's existential concerns with the absurdity of human existence. Finally, in response to the recent debates over Joseph Heller's place in the postmodern American canon, the thesis identifies the author's use of such postmodern concepts as pastiche and paranoia as a further reinforcement of the relevance of an absurdist worldview in contemporary America.
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Rethore, Florent Philippe. "The evolution of the role of humanism in the combat against the absurd, from futility to essential: 1938-1945." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1555177391619455.

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Keegan, Diana Morna Gerrard Dickson. "A study of Camus' notion of the absurd and its mythology in "Catch-22" and "Slaughterhouse-Five"." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 139 p, 2008. http://proquest.umi.com/pqdweb?did=1460433511&sid=5&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Daunais, Isabelle. "L'absurde comme élément comique dans les contes d'Alphonse Allais." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63958.

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Cheshire, Adam W. "At the edge of being absurdity and instability in the works of Franz Kafka and Harold Pinter /." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-1/cheshirea/adamcheshire.pdf.

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Clark, Fiona R. "Suburban/absurd : subjects of anxiety in the fiction of John Cheever and Richard Ford : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English Literature /." ResearchArchive@Victoria, 2009. http://hdl.handle.net/10063/1076.

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Poulin, Marguerite. "Le discours mystificateur chez Alphonse Allais /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74299.

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Through the use of the texts published from 1893 to 1903 by Alphonse Allais, we analyse what we call the mystifying discourse, in other words the power of fiction. We show how the author succeeds to deceive the reader. We emphasize the artificial aspects of the language and the style used by Allais to make fun of his readers. This technical study of the writing of Allais allows us to compare with other kinds of works, notably the dreamlike images and the vaudeville.<br>We study therefore the tricks and the traps of the language employed by Allais with the aim of laughing at our expectations. From this point, we will demonstrate that, most of the time, a rupture between the conclusion and the beliefs of the readers exists regarding the fiction which is presented in the tales. Emphasizing the absurd in the texts, we accentuate the various literary techniques. As a result, we illustrate how the humour of Alphonse Allais turns out to be a technical work.
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Langteau, Paula T. "The absurdity of Miller's Salesman : examining Martin Esslin's concept of the absurd as presented in Arthur Miller's Death of a salesman." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/544134.

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Arthur Miller's Death of a Salesman, 1949, is traditionally viewed as a modern tragedy. Ample evidence in the text, however, suggests that Miller leans also toward the convention of the Theatre of the Absurd. Miller uses several techniques, including an absurdist handling of set, time and space, thought, action, and language to contribute to the larger absurdist "poetic image" of the death of a salesman. And the thematic interpretation of that image in terms of character and audience suggests the perpetuation of illusion, a common absurdist theme.Because Miller effectively combines the absurdist with the realistic elements of the drama, an absurdist reading of the play does not negate its readings as tragedy and social realism, but rather enhances those readings, providing an important additional perspective from which to view the play. An absurdist reading also establishes a definite tie between this important twentieth century playwright and the influential absurdist convention in theatre.<br>Department of English
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Books on the topic "Communication Absurd (Philosophy) in literature"

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Bushueva, Marii͡a Stepanovna. "Zhenitʹba" N. Gogoli͡a i absurd. "Gitis", 1998.

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Novikova, V. I︠U︡. Semantika absurda. Kubanskiĭ gos. universitet, 2005.

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Brunssen, Frank. Das Absurde in Günter Grass' Literatur der achtziger Jahre. Königshausen & Neumann, 1997.

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Mairhofer, Elisabeth. Hang und Verhängnis: Der Gegensatz der beiden Thesen in Camus' Früh- und Spätphilosophie. Verlag des Instituts für Sprachwissenschaft der Universität Innsbruck, 1990.

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Chernorit͡skai͡a, O. Poėtika absurda. [s.n.], 2001.

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Khalfani, Salem. Ähnlichkeiten des Absurden: Kafkas "Schloss" und Becketts "Warten auf Godot". Tectum, 2003.

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Lier, Peter van. Van absurdisme tot mystiek: Een metafysica vanuit Nietzsche, van Beckett tot Heidegger. DAMON, 1994.

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Pitoresc și absurd în dramaturgia lui Eugène Ionesco. Casa Cărții de Știință, 2011.

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Absurdopedii︠a︡ russkoĭ zhizni Vladimira Sorokina: Zaumʹ, grotesk i absurd. Aleteĭi︠a︡, 2012.

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Schmidhäuser, Eberhard. Vom Verbrechen zur Strafe: Albert Camus "Der Fremde", ein Weg aus der Absurdität menschlichen Daseins. C.F. Müller Juristischer Verlag, 1992.

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Book chapters on the topic "Communication Absurd (Philosophy) in literature"

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Dynel, Marta. "When Both Utterances and Appearances are Deceptive: Deception in Multimodal Film Narrative." In Perspectives in Pragmatics, Philosophy & Psychology. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-56696-8_12.

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AbstractThis article gives a comprehensive theoretical account of deception in multimodal film narrative in the light of the pragmatics of film discourse, the cognitive philosophy of film, multimodal analysis, studies of fictional narrative and – last but not least – the philosophy of lying and deception. Critically addressing the extant literature, a range or pertinent notions and issues are examined: multimodality, film narration and the status of the cinematic narrator, the pragmatics of film construction (notably, the characters’ communicative level and the one of the collective sender and the recipient), the fictional world and its truth, the recipient’s film engagement and make believing, as well as narrative unreliability. Previous accounts of deceptive films are revisited and three main types of film deception are proposed with regard to the two levels of communication on which it materialises, the characters’ level and the recipient’s level, as well as the intradiegetic and/or the extradiegetic narrator involved. This discussion is illustrated with multimodally transcribed examples of deception extracted from the American television seriesHouse.In the course of the analysis, attention is paid to how specific types of deception detailed in the philosophy of language (notably, lies, deceptive implicature, withholding information, covert ambiguity, and covert irrelevance) are deployed through multimodal means in the three types of film deception (extradiegetic deception, intradiegetic deception, and a combination of both when performed by both cinematic and intradiegetic narrators). Finally, inspired by the discussion of Hitchcock’s controversial lying flashback scene inStage Fright, as well as films relying on tacit intradiegetic, unreliable narrators (focalising characters) an attempt is made to answer the thorny question of when the extradiegetic (cinematic) narrator can perform lies (through mendacious multimodal assertions) addressed by the collective sender to the recipient, and not just only other forms of deception, as is commonly maintained.
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Trotter, David. "After Electromagnetism." In The Literature of Connection. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198850472.003.0004.

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The topic of this chapter is a quickening in the pace of change, in both technology and literature, brought about from the 1880s onwards by the harnessing of electricity’s alliance with magnetism to transform methods of telecommunication. The consequent opening up of the ‘Olympian frequency domain’ (Friedrich Kittler) fundamentally undermined the sovereignty of human consciousness. The chapter explores two uses of the metaphor of lightning in literature, philosophy, anthropology, and folklore: first, to mark the limit of unaided human perception; secondly, to indicate, by an emphasis on the return stroke, that two-way communication between earth and heaven is at least conceivable. The focus is on D. H. Lawrence’s fiction, essays, and poetry (especially the extraordinary ‘Bare Almond Trees’); and on Hope Mirrlees’s encoding of her relationship with the eminent classicist Jane Harrison into Paris (1920), a modernist long poem worthy of comparison with T. S. Eliot’s The Waste Land (1922).
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Hawa, Salam. "Language as Freedom in Sartre’s Philosophy." In The Paideia Archive: Twentieth World Congress of Philosophy. Philosophy Documentation Center, 1998. http://dx.doi.org/10.5840/wcp20-paideia199821379.

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I argue that Sartre posits language as a medium of communication that is capable of safeguarding the development of subjectivity and freedom. Language does this in a twofold manner: on the one hand, it is an action that does not phenomenally alter being, but that has the capacity of altering consciousness; on the other hand, language, more particularly written text, is a mode of communication that is delayed, hence that occurs outside the present, i.e. in a different space and a deferred time. As such, it preserves the subjectivity of both writer and reader. The argument is as follows: first, I present Sartre’s definition of freedom and subjectivity in terms of his definition of consciousness of the For-itself and In-itself in Being and Nothingness; second, I draw on examples from La Nausée to illustrate the link between language, consciousness and the expression of freedom and subjectivity; third, I refer to The Psychology of Imagination and What is Literature? to illustrate further the importance that Sartre places on writing and reading as means to establish a lasting impression of personal freedom and subjectivity in a manner that defies space and time.
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Demir, Hilmi. "The Fundamental Properties of Information-Carrying Relations." In Thinking Machines and the Philosophy of Computer Science. IGI Global, 2010. http://dx.doi.org/10.4018/978-1-61692-014-2.ch002.

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Philosophers have used information theoretic concepts and theorems for philosophical purposes since the publication of Shannon’s seminal work, “The Mathematical Theory of Communication”. The efforts of different philosophers led to the formation of Philosophy of Information as a subfield of philosophy in the late 1990s (Floridi, in press). Although a significant part of those efforts was devoted to the mathematical formalism of information and communication theory, a thorough analysis of the fundamental mathematical properties of information-carrying relations has not yet been done. The point here is that a thorough analysis of the fundamental properties of information-carrying relations will shed light on some important controversies. The overall aim of this chapter is to begin this process of elucidation. It therefore includes a detailed examination of three semantic theories of information: Dretske’s entropy-based framework, Harms’ theory of mutual information and Cohen and Meskin’s counterfactual theory. These three theories are selected because they represent all lines of reasoning available in the literature in regard to the relevance of Shannon’s mathematical theory of information for philosophical purposes. Thus, the immediate goal is to cover the entire landscape of the literature with respect to this criterion. Moreover, this chapter offers a novel analysis of the transitivity of information-carrying relations.
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Smith, Peter, and Olaf Cames. "CAMES." In Advances in Linguistics and Communication Studies. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-4666-9970-0.ch028.

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The majority of IT Projects are not successful and fail for non-technical reasons, despite the fact that numerous project management methodologies exist in the marketplace and are now in common use in organisations. As the CHAOS report from Standish Group documents, this remains an important and current issue (Dominguez, 2009; The Standish Group International Inc., 2013). The fact is that for more than 20 years the majority of IT projects have failed; largely as a result of human factors and communication issues. This leads to enormous economic issues for organisations in the public and private sector. This chapter proposes a new approach to project management which addresses the human factor and issues of communication. The proposed approach is novel and applies principles drawn from philosophy and action research to produce an approach which has the potential to radically change the way in which projects are managed. The approach is discussed in terms of practice and the academic literature and is applied to two project simulations.
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Hoffmann, Roald. "Molecular Beauty." In Roald Hoffmann on the Philosophy, Art, and Science of Chemistry. Oxford University Press, 2012. http://dx.doi.org/10.1093/oso/9780199755905.003.0027.

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My wife and I were on our way to Columbus, Ohio. After I settled on the airplane, I took out a manuscript I was working on—typical for the peripatetic obsessive chemist. Eva glanced over and asked, “What are you working on?” I said: “Oh, on this beautiful molecule.” “What is it that makes some molecules look beautiful to you?” she asked. I told her, at some length, with pictures. And her question prompted this essay. What follows is an empirical inquiry into what one subculture of scientists, chemists, call beauty. Without thinking much about it, there are molecules that an individual chemist, or the community as a whole, consider to be the objects of aesthetic admiration. Let’s explore what such molecules are, and why they are said to be beautiful. In the written discourse of scientists, in their prime and ritual form of communication, the periodical article, they’ve by and large eschewed emotional descriptors. Even ones as innocent as those indicating pleasure. So it is not easy to find overt written assertions such as “Look at this beautiful molecule X made.” One has to scan the journals for the work of the occasional courageous stylist, listen to the oral discourse of lectures, seminars, the give-and-take of a research group meeting, or look at the peripheral written record of letters of tenure evaluation, eulogies or award nominations. There, where the rhetorical setting seems to demand it, the scientist relaxes. And praises the beautiful molecule. By virtue of not being comfortable in the official literature—in the journal article, the textbook or monograph—aesthetic judgments in chemistry, largely oral, acquire the character of folk literature. To the extent that the modern-day subculture of chemists has not rationally explored the definition of beauty, these informal, subjective evaluations of aesthetic value may be inconsistent, even contradictory. They are subfield (organic chemistry, physical chemistry) dependent, much like the dialects, rituals or costumes of tribal groups. In fact the enterprise of excavating what beauty means in chemistry seems to me to have much of the nature of an anthropological investigation.
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Velikovsky, J. T. "The Holon/Parton Theory of the Unit of Culture (or the Meme, and Narreme)." In Advances in Media, Entertainment, and the Arts. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0016-2.ch009.

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A universal problem in the disciplines of communication, creativity, philosophy, biology, psychology, sociology, anthropology, archaeology, history, linguistics, information science, cultural studies, literature, media and other domains of knowledge in both the arts and sciences has been the definition of ‘culture' (see Kroeber &amp; Kluckhohn, 1952; Baldwin et al., 2006), including the specification of ‘the unit of culture', and, mechanisms of culture. This chapter proposes a theory of the unit of culture, or, the ‘meme' (Dawkins, 1976; Dennett, 1995; Blackmore, 1999), a unit which is also the narreme (Barthes, 1966), or ‘unit of story', or ‘unit of narrative'. The holon/parton theory of the unit of culture (Velikovsky, 2014) is a consilient (Wilson, 1998) synthesis of (Koestler, 1964, 1967, 1978) and Feynman (1975, 2005) and also the Evolutionary Systems Theory model of creativity (Csikszentmihalyi, 1988-2014; Simonton, 1984-2014). This theory of the unit of culture potentially has applications across all creative cultural domains and disciplines in the sciences, arts and communication media.
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Velikovsky, J. T. "The Holon/Parton Theory of the Unit of Culture (or the Meme, and Narreme)." In Technology Adoption and Social Issues. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-5201-7.ch075.

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A universal problem in the disciplines of communication, creativity, philosophy, biology, psychology, sociology, anthropology, archaeology, history, linguistics, information science, cultural studies, literature, media and other domains of knowledge in both the arts and sciences has been the definition of ‘culture' (see Kroeber &amp; Kluckhohn, 1952; Baldwin et al., 2006), including the specification of ‘the unit of culture', and, mechanisms of culture. This chapter proposes a theory of the unit of culture, or, the ‘meme' (Dawkins, 1976; Dennett, 1995; Blackmore, 1999), a unit which is also the narreme (Barthes, 1966), or ‘unit of story', or ‘unit of narrative'. The holon/parton theory of the unit of culture (Velikovsky, 2014) is a consilient (Wilson, 1998) synthesis of (Koestler, 1964, 1967, 1978) and Feynman (1975, 2005) and also the Evolutionary Systems Theory model of creativity (Csikszentmihalyi, 1988-2014; Simonton, 1984-2014). This theory of the unit of culture potentially has applications across all creative cultural domains and disciplines in the sciences, arts and communication media.
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Woodruff, Paul. "Summary of Recommendations for Change." In The Garden of Leaders. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190883645.003.0017.

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This book makes three basic recommendations. First, all degree programs should make room for a curriculum that deals with leadership—both in skills such as communication and in the understanding of the human situation. This curriculum will be especially heavy in the humanities: writing, speaking, history, literature, philosophy. Second, teaching methods in all courses should foster independence and creativity. Any course can be modified to include an element of leadership experience if students are organized in teams with rotating leadership. Third, students everywhere in higher education should be allowed time to flourish outside the classroom in existing clubs or in organizations that they start themselves. At the same time, older organizations that segregate by sex or race should be phased out as quickly as possible.
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Marietta, Morgan, and David C. Barker. "Dueling Facts in Political Science." In One Nation, Two Realities. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190677176.003.0003.

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The polarization of fact perceptions has become a manifest feature of American politics. Many prominent scholars have addressed the role of facts in politics, and the pace has accelerated. However, just as fact perceptions are disputed in American politics, the study of factual disputes is characterized by core disagreements yet to be resolved. Chapter 3 discusses some of the dominant perspectives and highlights the ways in which the authors’ approach is different and more comprehensive. It moves from classical philosophy to a review of contemporary political science and communication scholarship. It offers a broad treatment of what others have learned about the nature and origins of dueling fact perceptions, misinformation/misperceptions, rumors, conspiracy theories, and related concepts. It argues that the dynamics of dueling political fact perceptions are much broader and consequential than the current literature reveals.
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Conference papers on the topic "Communication Absurd (Philosophy) in literature"

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Jelinkova, Martina, Hana Lostakova, and Eva Pakostova. "TOOLS FOR CREATING POSITIVE REPUTATION WITH CUSTOMERS FOR CHEMICAL INDUSTRIAL ENTERPRISES." In Business and Management 2018. VGTU Technika, 2018. http://dx.doi.org/10.3846/bm.2018.47.

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The scientific literature claims that a positive reputation is based on the effective management of all elements of the so-called corporate identity, i.e. corporate philosophy, culture, design, product and communication. The aim of our qualitative research in three large chemical industrial enterprises in the Czech Republic was to identify which specific tools within their corporate identity the enterprises use and consider to be most effective for the creation of their positive reputation with customers. The result is a comprehensive overview of the tools for creating a positive reputation with customers, especially for large industrial enterprises, not only in the Czech Republic.
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Thakur, Aditya, and Rahul Rai. "User Study of Hand Gestures for Gesture Based 3D CAD Modeling." In ASME 2015 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/detc2015-46086.

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Gestures are an important medium of human communication and have been studied throughout the centuries from different viewpoints and in different domains ranging from arts, linguistics, philosophy and engineering. Recent developments in gestures based human-computer interaction (HCI) studies are noteworthy. However, commercial application of hand gestures in computer aided sketching and modeling is rarely found. The present study focuses on identifying various aspects of hand gestures that can be used as an input to a gesture based CAD software for sketching and 3D modeling tasks. First, we experimentally observed and studied hand gestures performed by users to convey CAD sketch and 3D modeling commands. Next, we performed literature study to compile a repository of gestures used by researchers in conveying various commands for gesture based human computer interaction. With the knowledge gleaned from these two steps a simplified yet representative taxonomy was created to classify hand gestures which can be used for drawing tasks in CAD. During the course of these studies we identified various attributes/requirements of a gesture based CAD software, consideration of which will help in enhancing the CAD designer experience.
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