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Dissertations / Theses on the topic 'Communication Absurd (Philosophy) in literature'
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1
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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Cuffari, Elena Clare. "Co-Speech Gesture in Communication and Cognition." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12145.
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xv, 256 p. : ill.<br>This dissertation stages a reciprocal critique between traditional and marginal philosophical approaches to language on the one hand and interdisciplinary studies of speech-accompanying hand gestures on the other. Gesturing with the hands while speaking is a ubiquitous, cross-cultural human practice. Yet this practice is complex, varied, conventional, nonconventional, and above all under-theorized. In light of the theoretical and empirical treatments of language and gesture that I engage in, I argue that the hand gestures that spontaneously accompany speech are a part of language; more specifically, they are enactments of linguistic meaning. They are simultaneously (acts of) cognition and communication. Human communication and cognition are what they are in part because of this practice of gesturing. This argument has profound implications for philosophy, for gesture studies, and for interdisciplinary work to come.
As further, strong proof of the pervasively embodied way that humans make meaning in language, reflection on gestural phenomena calls for a complete re-orientation in traditional analytic philosophy of language. Yet philosophical awareness of intersubjectivity and normativity as conditions of meaning achievement is well-deployed in elaborating and refining the minimal theoretical apparatus of present-day gesture studies. Triangulating between the most social, communicative philosophies of meaning and the most nuanced, reflective treatments of co-speech hand gesture, I articulate a new construal of language as embodied, world-embedded, intersubjectively normative, dynamic, multi-modal enacting of appropriative disclosure. Spontaneous co-speech gestures, while being indeed spontaneous, are nonetheless informed in various ways by conventions that they appropriate and deploy. Through this appropriation and deployment speakers enact, rather than represent, meaning, and they do so in various linguistic modalities. Seen thusly, gestures provide philosophers with a unique new perspective on the paradoxical determined-yet-free nature of all human meaning.<br>Committee in charge: Mark Johnson, Chairperson;
Ted Toadvine, Member;
Naomi Zack, Member;
Eric Pederson, Outside Member
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Foley, Laura-Jane Maria. "Lucian Freud portraits : curatorial ekphrasis in contemporary British poetic practice." Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/28205/.
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This PhD presents a new term for contemporary ekphrastic poetry: curatorial ekphrasis. The thesis is composed of two elements, a critical essay followed by a collection of poetry that informs and is informed by the former, Entitled 'Curatorial Ekphrasis in Contemporary British Poetic Practice', the critical essay challenges established critical approaches to ekphrastic poetics by revealing a curatorial practice currently being undertaken by a number of contemporary poets writing about artworks. Chapter One identifies and evaluates key critical texts about ekphrasis and its role in the relationship between word and image and highlights how theorists have failed to account for the work of ekphrastic poets with a heightened interest or background in art- Chapter Two presents and defines the term curatorial ekphrasis. The chapter discusses the emergence of the contemporary curator in the art world and discusses how the term 'curator' can be appropriated for use in a literary context The following chapters analyse the work of contemporary poets who I argue are writing curatorial ekphrasis, Chapter Three analyses Roger Hilton's Sugar (2005), a poetic sequence by Kelvin Corcoran (b.1956). Chapter Four analyses Paul Klee's Diary (1995), a long poem by Peter Hughes (b.1956). Chapter Five analyses De Chirico's Threads (2011), a verse-drama with soundscape by Carol Rumens (b.1944). The conclusion summarizes my research and also anticipates the creative work, which follows, by highlighting elements in the analysed texts that resonate with my own poetry. The conclusion also suggests areas for future research by both critical and creative practitioners. The critical essay is followed by the creative component of the PhD, a collection of curatorial ekphrasis entitled 'Lucian Freud Portraits'. The poetry collection is sectioned into five rooms, reflecting the layout of an exhibition at an art gallery, The collection includes twenty-nine poems and a poem-libretto. The collection is precede-d by a Preface, which introduces the work, and is followed by a section of notes, The appendix of the thesis includes reproductions of the artworks referred to in the poetry collection, a chronology of Lucian Freud's life, a catalogue raisonne of his entire works and an extensive bibliography of material written about the artist and his works. This information is provided in a similar manner to the wall notes, exhibition guides and catalogues which are offered to visitors of a traditional art gallery. They are not prescribed reading material, but they may prove of interest to the reader seeking further information.
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Schuh, Marsha Lee. "A vision of human solitude: Rhetoric of isolation and ephemerality in two novels by Virginia Woolf." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3130.
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Krob, Madison. "Up On Digital Hill." Miami University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=miami1627573944283589.
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Geske, Samara Fernanda Almeida Oliveira de Locio e. Silva. "O Avesso e o Direito da escritura camusiana: de L\'Êtranger aos Écrits de Jeunesse." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-25052012-101735/.
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LÉtranger e Le Mythe de Sisyphe fazem parte do que Camus nomeou de ciclo do absurdo,no qual se unem sob esse mesmo tema a escrita literária e a reflexão filosófica. O absurdo é essencialmente definido como um divórcio do homem com o mundo, mas encontramos no percurso filosófico do autor uma noção anterior a essa, as núpcias. A análise de todos os textos anteriores ao ciclo do absurdo nos mostra, porém, que núpcias e absurdo sempre fizeram parte da reflexão camusiana. Essas duas noções opostas sempre conviveram juntas, formando o que chamamos de o avesso e o direito, ideia que se reflete no título da primeira recolha de ensaios do autor. O objetivo dessa dissertação é, através de todos os escritos anteriores à narrativa, definir o avesso e o direito como um tema fundamental para a escritura de LÉtranger, onde se conjugam as núpcias e o absurdo, a literatura e a filosofia.<br>LÉtranger and Le Myth de Sisyphe make part of what Camus named as the absurd cycle, where the literary writing and the philosophical reflection are joined together under the same theme. The absurd is essentially definite as a divorce of man with the world, but we meet in the authors philosophical course a previous notion to it, the nuptials. The analysis of all former texts to the absurd cycle, show us, nevertheless, that nuptials and absurd always were part of camusian reflection. These two opposite notions always lived together, shaping what we call the wrong side and the right side, the title of the authors first reunion of essays. The purpose of this dissertation is, through the all writings written before the narrative, definite the wrong side and the right side as a fundamental theme to the scripture of LÉtranger, where the nuptials and the absurd, the literature and philosophy are joined together.
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Kavetsky, Jennifer A. "Men Behaving (not so) Badly: Interplayer Communication in World of Warcraft." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1213989105.
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Kasongo, Mbuyu Joseph. "Le paradoxe "vitalogique" comme source et horizon de la pensée philosophique en rapport à l'homme chez Albert Camus." Doctoral thesis, Universite Libre de Bruxelles, 2004. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211144.
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En commençant son étude critique sur Camus, Pierre de Boisdeffre,dans (Métamorphose de la littérature, Proust, Valéry, Cocteau, Anouilh, Camus, Sartre, Verviers, Marabout Université, 1974, p.309), fait le constat suivant:"l'Europe depuis Nietzsche, est à la recherche d'un cinquième Evangile. Qu'elle exalte les nourritures terrestres ou qu'elle communie à sa propre nausée, la littérature contemporaine n'a plus qu'une seule certitude: elle sait que Dieu est mort et s'efforce de le remplacer par l'Homme." En méditant la pensée de Camus à travers ses essais philosophiques, il semble que, même si dans un entretien sur la révolte, ce dernier déclare qu'"il n'est pas humaniste", la question du comment l'homme doit vivre avec ses semblables dans le monde et en société, est au centre de la réflexion philosophique camusienne. Car, l'époque de Camus fut celle où la vie humaine comme valeur et la dignité de l'être humain, furent soumises à une dure épreuve d'être respectées par chaque homme et en tout homme. D'où l'intérêt que l'oeuvre de Camus porte sur la question de la "vitalogie": L'homme peut-il vivre heureux sans le secours de Dieu? Oui ou non, l'homme, peut-il se tuer volontairement ou bien tuer les autres sans raison? L'homme peut-il détruire le monde qui le porte sans détruire sa propre vie? En effet, loin de voir dans la mort raisonnée et dans le suicide une valeur, Camus considère qu'ils sont plutôt un mal que les hommes doivent éviter et faire éviter les autres dans le "vivre-ensemble." C'est pour cette raison que la pensée philosophique chez Camus présente comme l'une des caractéristiques majeures, la "passion de vivre" de l'homme et pour l'homme, car la vie est, selon lui, une valeur cardinale qui doit être respectée en tout être humain dans la communauté qui voudrait être juste, paisible, libre, solidaire et unie. A cet effet, nous soutenons la thèse suivante: La pensée camusienne est une "vitalogie" paradoxale, c'est-à-dire qu'elle est debat philosophique sur la vie de l'être humain, en tant que valeur fondamentale, dans ses rapports avec Dieu, le monde et les autres. Par conséquent, une société dans laquelle les hommes sont habités par la passion de bien vivre et mieux vivre ensemble, il y a une exigence impérieuse pour eux de promouvoir et de crer les valeurs qui favorisent le respect de l'être humain et de sa vie. La vitaogie camuusienne est indissociable de la vision qu'on se fait sur l'homme ici et maintenant, en tenant compte des contradictions ou des antinomies du "oui" et du "non" de l'existence. Selon Camus, en effet, la mission principale de l'homme dans le monde est de vivre: "Oui, mais je n'aurai rien manqué de ce qui fait toute ma mission et c'est de vivre." (Carnets I.p.92). La pensée camusienne est donc une vitalogie. Mais comment l'homme doit-il vivre? Celui-ci, pense Camus, doit devenir "créateur" des valeurs de la justice, de la liberté, de la solidarité, de la paix, de l'amitié et de la fraternité entre les hommes et être courageux, pour assumer la responsabilité de sa vie et de son destin dans le monde, en évitant d'aliéner son esprit dans les illusions, dans quelque absolutisme qu'il soit ou dans un pessimisme tétanisant. Au total, l'homme doit prendre en main sa destinée, en vue de la "joie vivre", sans pour autant perdre de vue que celle-ci ne se sépare pas non plus du "désespoir de vivre." <p><br>Doctorat en philosophie et lettres, Orientation philosophie<br>info:eu-repo/semantics/nonPublished
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Benker, Genelle Nicole. "Beyond Dissociation and Appropriation: Evaluating the Politics of U.S. Psychology Via Hermeneutic Interpretation of Culturally Embedded Presentations of Yoga." Antioch University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1584465676302857.
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Stapleton, Erin Kathleen Loveday. "The intoxication of destruction : Georges Bataille's economy of expenditure and sovereignty in visual cultures." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/29881/.
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This thesis traces operations of destruction in visual cultures, describing these operations as they manifest in films and visual art practices. Beginning with Georges Bataille’s general economy of energy, as it appears in The Accursed Share, this thesis deploys the concept of the simulacrum to argue that the operations of destructions in visual cultures produce particular forms of sovereign experience. It argues that while the object of expenditure can only be unique to each site of sovereign experience, appearance of an operation of destruction that produces the possibility of that sovereign experience remains consistent. Bataille’s sovereignty cannot be specified in relation to either the individual or the universal, because, as Bataille demonstrates, sites of sovereign expenditure are temporally, materially and culturally specific, unable to be repeated without differentiation, and unable to be expressed fully after the fact. In order to argue this position, I deploy Bataille’s economics of destruction which operates within the specific realm of visual cultural theory. Orientations derived from Bataille’s work are positioned alongside the work of other theorists, and in particular, Pierre Klossowski and Gilles Deleuze, to produce a unique theoretical basis for the operation of art in culture. The thesis offers a theoretical development in the problem of representation in Bataille’s work in the form of the simulacrum after Gilles Deleuze’s Logic of Sense. Each chapter is paired with another in a conceptual inversion that locates destructions in film, screen media and visual art practices. The thesis engages with operations of destruction in architecture, human extinction, identity and communication (through the performance of the artist and community in film), the physicality of destruction in the body and in sexuality, and finally, the order of destruction in the apparent dematerialisation of the image in digital culture.
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Fugett, Damon I. "Visual metaphors and the construction of meaning: An analysis of Baz Luhrmann's “Romeo + Juliet”." Scholarly Commons, 2004. https://scholarlycommons.pacific.edu/uop_etds/2748.
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This thesis examines the rhetorical significance of visual metaphors as they occur in film. In particular, it provides a rhetorical analysis of Baz Luhrmann's film William Shakespeare's: Romeo + Juliet . The thesis analyzes how religious visual metaphors construct meaning by creating visual narratives that are just as powerful as spoken or written metaphors. The thesis relies on Gozzi's (1999) three levels of metaphors—surface, deep, and meta-metaphors—for the analysis of visual metaphors surrounding Father Lawrence and images of Christ that appear in Luhrmann's film. The analysis indicates that the visual surface metaphors of Father Lawrence depict a central character that is seedy, weak, and inactive. The visual surface metaphors of the images of Christ depict this religious figure as omnipresent yet impotent. The analysis indicates that the visual deep metaphors of Father Lawrence define this character as infirmed and culpable for the tragedy of the film. The visual deep metaphors of the images of Christ define him as infirmed and confined. Taken together, the surface and deep visual metaphors contribute to the development of a meta-metaphor in Luhrmann's film that depicts the Catholic religion as dark. Ultimately, the visual surface, deep, and meta-metaphors contained in Luhrmann's film contribute to the construction of meaning. They provide reasons for the character's inadequacies, establish narratives that are not part of the literal narrative as presented in Luhrmann's film and Shakespeare's original work, and provide a postmodern religious audience with substantial visual narrative with which they can identify.
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Geldenhuys, Vincent. "A signification in stone the lapis as metaphor for visual hybridisation in the Harry Potter films /." Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11132008-191836.
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Icleanu, Constantin C. "A CASE FOR EMPATHY: IMMIGRATION IN SPANISH CONTEMPORARY MEDIA, MUSIC, FILM, AND NOVELS." UKnowledge, 2017. http://uknowledge.uky.edu/hisp_etds/33.
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This dissertation analyzes the representations of immigrants from North Africa, Latin America, and Eastern Europe in Spain. As engaged scholarship, it seeks to better the portrayal of immigrants in the mass media through the study of literature, film, and music about immigration spanning from the year 2000 to 2016. Because misconceptions continue to propagate in the media, this dissertation works to counteract anti-immigrant, xenophobic representations as well as balance out overly positive and orientalized portrayal of immigrants with a call to recognize immigrants as human beings who deserve the same respect, dignity, and rights as any other citizen.
Chapter 1 examines and analyzes the background to immigration in Spain by covering demographics, the mass media, and political theories related to immigration. Chapter 2 analyzes Spanish music about immigration through Richard Rorty’s social theory of ‘sentimental education’ as a meaningful way to redescribe marginalized minorities as full persons worthy of rights and dignity. Chapter 3 investigates the representation of immigrants in Spanish filmic shorts and cinema. Lastly, Chapter 4 demonstrates how literary portrayals of immigrants written by undocumented immigrants can give rise to strong characters that avoid victimization and rear empathy in their readers in order to affect a social change that minimizes cruelty.
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Hartley, Gregory Philip. "Lower Sacraments: Theological Eating in the Fiction of C. S. Lewis." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4329.
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For years, critics and fans of C. S. Lewis have noted his curious attentiveness to descriptions of food and scenes of eating. Some attempts have been made to interpret Lewis's use of food, but never in a manner comprehensively unifying Lewis's culinary expressions with his own thought and beliefs. My study seeks to fill this void. The introduction demonstrates how Lewis's culinary language aggregates through elements of his life, his literary background, and his Judeo-Christian worldview. Using the grammar of his own culinary language, I examine Lewis's fiction for patterns found within his meals and analyze these patterns for theological allusions, grouping them according to major categories of systematic theology. Chapter two argues that ecclesiastical themes appear whenever Lewis's protagonists eat together. The ritualized meal progression, evangelistic discourse, and biographical menus create a unity that points to parallels between Lewis's body of protagonists and the church. Chapter three focuses on the sacrament of the Lord's Supper and charges that Lewis's meals which are eaten in the presence of the novel's Christ figure or which include bread and wine in the menu reliably align with the Anglo-Catholic doctrine of the Eucharist. Chapter four studies how sinful eating affects the spiritual states of Lewis's characters. The chapter first shows how Lewis's culinary language draws from Edenic sources, resonating with a very gastronomic Fall of Humanity, then examines how the progressively sinful eating of certain characters signifies a gradual alienation from the Divine. The fifth, and concluding, chapter argues that Lewis's portrayal of culinary desire and pleasure ultimately points to an eschatological theme. This theme culminates near the end of Lewis's novels either through individual characters expressing superlative delight in their food or through a unified congregation of protagonists eating a celebratory feast during the novel's denouement. I close the study by emphasizing how this approach to Lewis's meals offers a complete spiritual analysis of Lewis's main characters that also consistently supports Lewis's own theology.
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Monea, Alexander Paul. "Dissemination Rhizome: How to Do (Political) Things With Affect." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1354329062.
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Ben-Ezzer, Tirza. "Naming the Virtual: Digital Subjects and The End of History through Hegel and Deleuze (and a maybe few cyborgs)." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1626919557257155.
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Erken, Emily Alane. "Constructing the Russian Moral Project through the Classics: Reflections of Pushkin’s Eugene Onegin, 1833-2014." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1449191980.
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Kim, Sun Nyeo. "Tomi Ungerer ˸ l'oeil et l'oeuvre. Poétique des albums d'un raconteur double." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA089/document.
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Pour construire la paix dans le monde, Tomi Ungerer raconte ses mythes personnels et impersonnels, tel Janus. Durant son enfance, il a été choqué par la Deuxième Guerre mondiale et endoctriné par les nazis : depuis lors, il est comme un témoin de l’Histoire. Dans cette recherche, nous étudions son art provocateur et éveilleur à travers les albums qu’il a réalisés à destination des enfants. L’artiste rebelle s’arme de son « T », sa hache graphique et identitaire, afin de proposer de nouvelles fables face à une société qu’il juge absurde. Dans son racontage-montage, la poétique du « O » est à la fois une forme parfaite et cosmologique, et un rythme infini, répétitif, tourbillonnant. Cette poétique concerne la forme, le mouvement, l’observation, la voix, mais aussi la vacuité que les rythmes du « M » organisent dans de multiples métamorphoses. Il s’agit du rythme de la vie et du vivre ensemble. Son racontage-montage est mécanique, musical et thématique, il est effectué dans un style bref, avec l’humour et le rire, mais aussi profond, avec une voix juste et plurielle que le « I » des identités et de l'Histoire pluralise vocalement. Ainsi, la reprise des lettres de son prénom engagerait la poétique des albums de Tomi Ungerer, celle d’un raconteur double puisqu’ils ne sont pas réservés aux seuls enfants et constituent une œuvre majeure de la littérature<br>To spread peace in the world, Tomi Ungerer tells his personal and impersonal myths, such as Janus. During his childhood, he was traumatized by the Second World War and also brainwashed by the Nazis: he has thus witnessed History. In this research, we study his provocative and awakening art through the albums he made for children. The rebellious artist armed himself with his “T”, his graphic and identity ax, in order to oppose his new fable to a society he regards as absurd. In its telling-editing, the poetics of the “O” symbolizes a perfect and cosmological form, but also an infinite repetitive, whirling rhythm. This poetics concerns form, movement, observation, voice, but also depth, with a fair and plural voice the “I” of identities and History vocally pluralizes. Thus, the letters of his first name would reflect the poetics of the picture books of Tomi Ungerer, the double storyteller, since his picture books are not only intended for the children but also constitute a major work of literature<br>세계의 평화를 건설하기 위해, 토미 웅게러는 야누스 신처럼 개인적인 동시에 보편적인 신화를 이야기한다. 어린시절, 그는 제 2차세계대전에 충격을 받았고 나치의 정권 아래 학교 교육을 받는다. 그때부터 그는 역사의 증언자이다. 그러므로 본 연구는 그의 선동 예술과 그가 들려주는 그림책을 분석한다. 강요된 복종을 거부하는 이야기꾼 웅게러는 부조리한 사회를 반대하는 새로운 우화를 이야기 하기 위해 그래픽과 정체성을 나타내는 도끼를 상징하는 그의 이름 Tomi의 이니셜 ‘T’는 예술적 힘을 상징한다. 그는 ‘이야기 합성’ 안에서 완벽하고 우주적인 형태와 영원히 반복적이고 소용돌이같은 리듬으로 ‘O’ 시학을 이야기 한다. 이는 ‘달의 시학’이자 ‘시간의 시학’이다. 이 시학은 형태, 운동( mouvement), 관찰, 목소리, 공(vacuité) 과 동시에 끊임없이 변화(metamorphoses) 를 상징하는 ‘M’의 리듬이다. 이는 삶과 모두가 평화롭게 살기 위한 멜로디와 리듬이다. ‘이야기 합성’은 유머와 웃음의 간결한 문체의 메커니즘과 그림을 통한 음악적, 테마적 오브제들의 함축적 요소들은, 정체성( identité)과 다중적 목소리 이야기의 ‘I’로서 간결함과 다중적인 깊은 의미가 축적되어 있다. 그러므로 작가의 이름을 상징하는 알파벳 문자는 토미 웅게러의 ‘존재적 시학’을 상징하며, 그림책이 단지 어린이 전용이 아닌 문학 전반의 작품성을 구성하는 그림과 글로서의 종합적 예술장르의 가치를 가지며, 그림책 작가는 그래픽언어와 텍스트언어의 경계를 넘나드는 이중(겹)으로 표현하는 이야기꾼이다
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Stamper, Amber M. "Witnessing the Web: The Rhetoric of American E-Vangelism and Persuasion Online." UKnowledge, 2013. http://uknowledge.uky.edu/english_etds/3.
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From the distribution of religious tracts at Ellis Island and Billy Sunday’s radio messages to televised recordings of the Billy Graham Crusade and Pat Robertson’s 700 Club, American evangelicals have long made a practice of utilizing mass media to spread the Gospel. Most recently, these Christian evangelists have gone online. As a contribution to scholarship in religious rhetoric and media studies, this dissertation offers evangelistic websites as a case study into the ways persuasion is carried out on the Internet. Through an analysis of digital texts—including several evangelical home pages, a chat room, discussion forums, and a virtual church—I investigate how conversion is encouraged via web design and virtual community as well as how the Internet medium impacts the theology and rhetorical strategies of web evangelists. I argue for “persuasive architecture” and “persuasive communities”—web design on the fundamental level of interface layout and tightly-controlled restrictions on discourse and community membership—as key components of this strategy. In addition, I argue that evangelical ideology has been influenced by the web medium and that a “digital reformation” is taking place in the church, one centered on a move away from the Prosperity Gospel of televangelism to a Gospel focused on God as divine problem-solver and salvation as an uncomplicated, individualized, and instantaneously-rewarding experience, mimicking Web 2.0 users’ desire for quick, timely, and effective answers to all queries. This study simultaneously illuminates the structural and fundamental levels of design through which the web persuades as well as how—as rhetoricians from Plato’s King Thamus to Marshall McLuhan have recognized—media inevitably shapes the message and culture of its users.
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Briney, Carol E. "My Journey with Prisoners: Perceptions, Observations and Opinions." Kent State University Liberal Studies Essays / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1373151648.
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Sleasman, Brent C. "Meeting the absurd Camus and the communication ethics of the everyday /." 2007. http://etd1.library.duq.edu/theses/available/etd-08282007-111752/unrestricted/SleasmanDissertation.pdf.
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Hardin, Miriam. "Absurd America in the novels of Vonnegut, Pynchon, and Boyle /." Diss., 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3036258.
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Coetzee, Pieter van R. "La peine de mort : l'absurdite de l'absurdite : une etude strategique sur le plan existentiel dans des euvres choisies D'Albert Camus." Diss., 2019. http://hdl.handle.net/10500/26769.
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Text in French with an abstract in English<br>The loss of a life for natural causes has always been, always is and always will be something tragic for human beings, even if it was foreseen. It is all the more tragic when the loss of human life is caused by violent circumstances such as murder or an accident, as in the case of the untimely death of Albert Camus in a car accident. The worst, however, is when a miscarriage of justice in court, due to an error on the part of the judge, results in the loss of a valuable life by the death penalty. This value must be assessed in existential terms, in terms of the human being contextualized in a life worth living despite its absurdity, as described by Camus. It must be realized that this brutal death is imposed by a few words pronounced by a fallible judge, imposing the death penalty on another fallible human being, and that the sentence is then carried out by another fallible human being – all of whom are fundamentally subject to human imperfection and who regularly make mistakes in life. By emphasizing the fallibility of the human being in various ways in his literary works, Camus convincingly demonstrated that, in our already absurd existence, the death penalty is the ultimate scandal, making this punishment truly exponentially absurd – the absurdity of absurdity.
How the author demonstrated that fallibility, the eternal imperfection of human beings, is the main reason why the death penalty exceeds absurdity. Using L'Étranger as a starting point, a novel in which the death penalty is mentioned only at trial, on death row, and in the very last part of the novel, and which is strategically supported by other works by Camus, this essay explores how Camus may have used his characters to subtly illustrate the relationship between the everyday imperfections of human beings and the possible death penalty. The essential principle is that there is a precise operational link between the essence and structure of everyday conflicts and the structure of a trial. Parallels are drawn between conflict and trial, particularly with regard to the fallible human beings participating in both, in various judicial capacities, confirming Camus' conviction that the death penalty is the absurdity of absurdity.<br>Linguistics and Modern Languages<br>M.A. (French)
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Conway, Jessica. "Sympoiesis in Turbulent Times: Reading/Literacy in the Chthulucene." Thesis, 2020. https://doi.org/10.7916/d8-9ncr-xz59.
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Donna Haraway’s Chthulucene suggests a world in which humans and non-humans are inextricably entangled, a world in which global ecological devastation demands new ways of relating across disciplines and across differences, a world in which strategic coalitions across disciplines—fluid transdisciplinary coalitions—are badly needed. Haraway suggests sympoiesis, or making-with, as a move toward response-ability. In this project, I embrace the rich fabric of Narrative Inquiry in English Education and knit a diffractive, transdisciplinary reading of current debates in reading/literacy studies, composing speculative fiction as I compose my own approaches to teaching and research and figure a sympoietic pedagogy.
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Nadeau, Jean-Philippe. "La plume et le glaive : Caligula et la création littéraire chez Camus." Thèse, 2010. http://hdl.handle.net/1866/4539.
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Pour Albert Camus, la littérature était à la fois une activité essentielle à son bonheur et un objet de réflexion. Afin de saisir quelle conception de la littérature et quelle vision du rôle de l’écrivain se dégagent de son oeuvre, ce mémoire aborde dans un même mouvement ses deux principaux essais, Le Mythe de Sisyphe et L’Homme révolté, et une pièce de théâtre, Caligula. Notre premier chapitre consiste dans la recherche de ce qui, pour Camus, fait de la création artistique une activité privilégiée dans l’horizon de la pensée de l’absurde et de la révolte. Dans le deuxième chapitre, les différents commentaires émis par la critique à propos de Caligula seront examinés. La pièce, malgré l’opinion dominante, ne raconte pas l’histoire d’un empereur absurde qui se révolte contre son destin. L’importance du thème de la création littéraire dans cette pièce a également été grandement sous-estimée. Enfin, le troisième chapitre de ce mémoire présente notre propre analyse de la pièce. La confrontation de la fiction avec la théorie révèle une grande concordance entre les deux aspects de l’oeuvre de Camus. L’accord n’est cependant pas parfait, et l’étude des points de friction découverts permet d’apporter des éclaircissements sur un des points les plus obscurs des essais de Camus : l’éthique du créateur placé dans une situation où il doit choisir entre tuer et mourir.<br>For Albert Camus, literature was both an activity crucial to his happiness and a study object. In order to understand what conception of literature can be found in Camus’ writings and the responsibilities of the writer that this definition implies, this memoir studies his two main essays, The Myth of Sisyphus and The Rebel, and one play, Caligula. Our first chapter consist in a research of what makes artistic creation an exceptional activity in the light of Camus’ thoughts on absurd on revolt. In our second chapter, the critics’ various commentaries about Caligula are examined. In spite of what is still the opinion of a majority of critics, the play is not the tale of an absurd emperor who would revolt against his destiny. Also, the theme of literary creation has not been sufficiently studied in that play, in which it plays a determinant role. Finally, the third chapter of this memoir presents our own analysis of the play. The confrontation of fiction and theory reveals a great similarity between the two aspects of Camus’ writings. However, the match is never perfect, and the study of the friction points allows us to shed light on one of the most obscure part of Camus’ essays: the ethic of the creator placed in a situation where he must kill or be killed.
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Mercier, Andrea. "L’auteur authentique et son contraire chez Søren Kierkegaard." Thèse, 2018. http://hdl.handle.net/1866/20294.
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Gallagher, Gina Marie. "TIME SKIPS AND TRALFAMADORIANS: CULTURAL SCHIZOPHRENIA AND SCIENCE FICTION IN KURT VONNEGUT’S SLAUGHTERHOUSE-FIVE AND THE SIRENS OF TITAN." Thesis, 2012. http://hdl.handle.net/1805/3085.
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Indiana University-Purdue University Indianapolis (IUPUI)<br>In his novels Slaughterhouse-five and The Sirens of Titan, Kurt Vonnegut explores issues of cultural identity in technologically-advanced societies post-World War II. With the rise of globalization and rapid technological advancements that occurred postwar, humans worldwide were mitigating the effects of information overload and instability in cultural identity. The influx of cultural influences that accompany a global society draws attention to the fluidity and inevitability of cultural change. A heightened awareness of cultural influences—past and present—creates anxiety for the generation living postwar and before the dawn of the Information Age. This generation suffers from “cultural schizophrenia”: a fracturing of the psyche characterized by anxiety over unstable cultural identities and agency. With the characters of Billy Pilgrim and Winston Niles Rumfoord, Vonnegut explores the different reactions to and consequences of cultural schizophrenia. His unique writing style is an effective hybrid of science fiction conventions and the complexities of human culture and society. Ultimately, Vonnegut explores the dangers of detachment and the complicated nature of agency with novels that are both innovative and accessible.
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"Kin with Kin and Kind with Kind Confound: Pity, Justice, and Family Killing in Early Modern Dramas Depicting Islam." Thesis, 2012. http://hdl.handle.net/1911/70385.
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This dissertation examines the early modern representation of the Ottoman sultan as merciless murderer of his own family in dramas depicting Islam that are also revenge tragedies or history plays set in empires. This representation arose in part from historical events: the civil wars that erupted periodically from the reign of Sultan Murad I (1362-1389) to that of Sultan Mehmed III (1595-1603) in which the sultan killed family members who were rivals to the throne. Drawing on these events, theological and historical texts by John Foxe, Samuel Purchas, and Richard Knolles offered a distorted image of the Ottoman sultan as devoid of pity for anyone, but most importantly family, an image which seeped into early modern drama. Early modern English playwrights repeatedly staged scenes in the dramas that depict Islam in which one member of a family implores another for pity and to remain alive. However, family killing became diffuse and was not the sole province of the Ottoman sultan or other Muslim character: the Spanish, Romans, and the Scythians also kill their kin. Additionally, they kill members of their own religious, ethnic, and national groups as family killing expands to encompass a more general self destruction, self sacrifice, and self consumption. The presence of the Muslim character, Turk or Moor, serves to underscore the political and religious significance of other characters' family killing. Part of the interest of English playwrights in the Ottoman history of family killing is that England had suffered its own share of family killing or the specter of it during the Wars of the Roses, the Babington Plot against Queen Elizabeth's life, and the martyrdom of many English during the Protestant Reformation. Through an analysis of such plays as Thomas Kyd's The Spanish Tragedy , William Shakespeare's Titus Andronicus , and Christopher Marlowe's Tamburlaine I and II , among others, I argue that English playwrights represented family killing to contend with England's past of civil war, its Protestant Reformation present, and its political future. The dramas that depict Islam portray rulers who elevate empire building above kinship bonds and who feel no pity for those in their own kinship, national, or religious groups. The plays illustrate that the emotion, pity, leads a ruler to the just action of extending mercy and that the converse, lack of pity, leads a kingdom or empire to injustice and destruction. The plays ultimately declare empire building unjust because it is pitiless, creating an argument against empire for English audiences.
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Bankert-Countryman, Janice Elizabeth. "Borderland Journeys: A Layered Autoethnography." Thesis, 2014. http://hdl.handle.net/1805/4024.
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Indiana University-Purdue University Indianapolis (IUPUI)<br>The collection of pages spread before you now, this story-thesis, is a collection of stories about my journey from cult member to the place in life I am now, stories about those stories, and stories about the people who lived or read them, talked about them, and were changed by the tellings. Most importantly, the goal of this story-thesis is to illustrate how the process of story-making and -telling changes how we interpret our identities and our lifeworlds. I argue that the stories that we share change our identities, and I also argue that how we perceive our identity and the identities of others affects the stories that we share.
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Stokes, Tonja LaFaye. "Informing practice and sabotaging membership growth: an ideological rhetorical analysis of discursive materials from Kiwanis International." Thesis, 2015. http://hdl.handle.net/1805/7982.
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Indiana University-Purdue University Indianapolis (IUPUI)<br>This study utilizes an ideological rhetorical analysis, applying Marxist and
Feminist lenses, to artifacts from Kiwanis International, a prominent global service organization. These artifacts are: "The Permanent Objects of Kiwanis," guiding principles that were codified in 1924; "The Man Who Was God": a brief story about transforming from Kiwanis member to "Kiwanian," published in 1935 and 1985, respectively; and the 2012 "Join the Club" Membership Brochure.
The rhetoric of discursive materials is one of the most salient representations of group ideology. In turn, ideology, particularly when it reflects and perpetuates social hegemony, has a normalizing effect on itself. Ideology shapes identity; identity shapes strategies to set process norms that create social cohesion. Norms of social cohesion become culture; culture reinforces ideology. When these components mirror social hegemony and replicate hegemonic power, they create institutions, like service organizations; these institutions then legitimate and normalize positions of social privilege. Ultimately, ideology and social hegemony reveal themselves through organizational and member practices and organizationally-produced discursive material.
The purpose of this study is to analyze the historical, socio-political, and socio-cultural roots of Kiwanis International in order to draw logical conclusions about the organization's ideology for the purposes of understanding how that ideology contributes to, justifies, and perpetuates an unconscious, neo-colonial view of philanthropy. Kiwanis International, on an organizational (macro) level and at the club/member (micro) level, is structured around positions of racial, ethnic, socio-economic, linguistic, gender, and religious privilege, and so mimics the hegemonic power centers and dominant ideologies of society at large. In turn, the products and practices of the organization reflect these positions of privilege and inhibits the organization's ability to attract traditionally excluded, disenfranchised, or under-represented groups.
Understanding that it is a contentious and futile to simply point where power relations exist and assert themselves, this study emphasizes where "othering" occurs in hopes of mitigating relations of domination and oppression between Kiwanis members and perspective members, and of moving forward the interests of those who have not traditionally been counted among Kiwanis' members but whose presence could save the organization.