Um die anderen Arten von Veröffentlichungen zu diesem Thema anzuzeigen, folgen Sie diesem Link: Absurdité.
Zeitschriftenartikel zum Thema „Absurdité“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit Top-50 Zeitschriftenartikel für die Forschung zum Thema "Absurdité" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Sehen Sie die Zeitschriftenartikel für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.
1
Duprey, Elie. „Légitimité et absurdité dans l'œuvre d'André Schwarz-Bart“. Les Temps Modernes 668, Nr. 2 (2012): 202. http://dx.doi.org/10.3917/ltm.668.0202.
Der volle Inhalt der Quelle
2
Würtz, Siegfried. „Stupidité, vulgarité et absurdité de la production dessinée de David Lynch“. Ligeia N° 165-168, Nr. 2 (2018): 89. http://dx.doi.org/10.3917/lige.165.0089.
Der volle Inhalt der Quelle
3
Kacha, Sabrina. „Escaping Absurdity: The Incarnation of Magical Realism in Rawi Hage’s Carnival (2012)“. Theory and Practice in Language Studies 13, Nr. 6 (01.06.2023): 1548–55. http://dx.doi.org/10.17507/tpls.1306.24.
Der volle Inhalt der QuelleAnnotation:
This paper examines the various representations of magical realism in Rawi Hage’s Carnival (2012). It investigates the portrayal of the fictionalized imaginative situations in the novel. Further, it discusses Fly as an exilic individual who attempts to escape his chaotic and disordered society. Through his flying carpet, Fly overcomes his hardship and produces a new space for his own in order to realize what he desires. Besides, among the serious problems that face the exilic individual is the absurdist existential life in exile. Thereby, this research article explores how Fly uses a magical realist element to escape the absurdity of his existence in the diaspora. Hence, Albert Camus’ writings on absurdism and the absurdity of human existence are paramount in analyzing this character.
4
Laurin, Nicole. „La question de Dieu dans la sociologie“. Thème 6, Nr. 2 (25.10.2007): 25–32. http://dx.doi.org/10.7202/024960ar.
Der volle Inhalt der QuelleAnnotation:
RÉSUMÉ Dieu est désormais absent de la sociologie. Il a quitté d'abord la théorie sociologique générale et par la suite, il s'est retiré de la sociologie religieuse. De surcroît, en tant qu'élément de l'idéologie et source de mobilisation intellectuelle et politique, il est tombé en désuétude. Au moment où la théologie chrétienne cherche son inspiration du côté des sciences et, particulièrement, des sciences humaines, la sociologie n'a donc plus rien à lui offrir. À part le fait social, dépouillé de ses oripeaux, ramené à sa misère et son absurdité. Le fait social dans sa pesanteur.
5
Abdalla, Shabaz, Rebwar Zainalddin Mohammed und Hedayat Muhamad Ahmad. „The Absurdity of Existence: Analyzing Human Relationships in Sartre's No Exit“. SUAR BETANG 19, Nr. 2 (04.12.2024): 141–54. https://doi.org/10.26499/surbet.v19i2.19379.
Der volle Inhalt der QuelleAnnotation:
This article explores the philosophical concepts of existentialism and absurdism, focusing on the works of Jean-Paul Sartre and Albert Camus. It begins by examining Sartre's notion of "for-itself" and "in-itself," highlighting the inherent discomfort and isolation of human existence, which resonates with Martin Heidegger's idea of "Dasein." The study delves into the fundamental aims of absurdism, which seeks to reconcile the contradictions between human will and a hostile environment. By analyzing Sartre's play No Exit, the article illustrates how absurdist theatre employs non-linear narratives to evoke feelings of disorientation and absurdity, ultimately reflecting on the quest for meaning in a seemingly meaningless world. The study also critiques the absence of Grice's Cooperative Principle, particularly the Maxim of Quantity, in the dialogues of No Exit, emphasizing the complexities of communication in existential contexts. The findings underscore the interplay between existential themes and absurdist techniques, offering insights into the human condition and the perpetual struggle for purpose amidst existential despair. This article is relevant for readers interested in philosophy, theatre, and the exploration of human existence.
6
Guyot, Jean-Philippe, und Christian Simon. „L’examen de fin de formation : une absurdité ou devons-nous former des tricheurs ?“ Revue Médicale Suisse 13, Nr. 577 (2017): 1675–76. http://dx.doi.org/10.53738/revmed.2017.13.577.1675.
Der volle Inhalt der Quelle
7
Mazour-Matusevich, Yelena. „Le bal des voleurs de Jean Anouilh“. Analyses 36, Nr. 1 (09.03.2005): 95–106. http://dx.doi.org/10.7202/010638ar.
Der volle Inhalt der QuelleAnnotation:
Résumé Bien que Jean Anouilh soit l’un des héritiers les plus fidèles de la tradition théâtrale du XVIIe siècle, l’idée de divertissement subit chez lui une métamorphose essentielle qui révèle sa philosophie générale. La notion d’oubli, qui aide les gens à supporter la vie en masquant son absurdité finale, devient centrale dans cette philosophie. En conséquence, le théâtre et le rêve ont la même origine : la nécessité psychologique de s’oublier et d’oublier. En analysant ces deux formes de la même activité humaine que Freud nomma Tagtraum, Yelena Mazour-Matusevich cherche à formuler la conception du théâtre d’un des auteurs les plus énigmatiques du XXe siècle.
8
Diouf, Benjamin. „Stratifications sociales en Afrique ancienne: performances et stagnations“. Heródoto: Revista do Grupo de Estudos e Pesquisas sobre a Antiguidade Clássica e suas Conexões Afro-asiáticas 4, Nr. 1 (12.12.2019): 247–63. http://dx.doi.org/10.34024/herodoto.2019.v4.10121.
Der volle Inhalt der QuelleAnnotation:
Les sociétés africaines ont eu des organisations qui ont évolué et se sont maintenues en dépit du temps qui nous sépare de l’Antiquité. Parmi celles-ci, nous avons les castes qui sont, pour certains, une absurdité qu’il faut abandonner sans chercher à les comprendre. Pourtant, celles-ci peuvent nous éclairer sur le fonctionnement de notre société et son évolution. Les castes sont une stratification sociale établie sur la base des activités professionnelles, des métiers. C’est en Egypte ancienne qu’elles vont se professionnaliser et s’hériter. Au fil du temps, la religion et la loi vont intervenir dans le système des castes pour y introduire l’endogamie, la hiérarchie et le mépris tels que nous l’observons, aujourd’hui, chez certaines ethnies africaines.
9
Dias, Mayoro. „Étude historique de l’evolution de la maxime hippocratique en grec dans le Traite D’hippocrate Épidemies I. 5 A laa maxime latine dans la tradition latine attestee par Lactance dans son Epitome des institutions divines, Chapitre 60“. Heródoto: Revista do Grupo de Estudos e Pesquisas sobre a Antiguidade Clássica e suas Conexões Afro-asiáticas 4, Nr. 1 (12.12.2019): 284–304. http://dx.doi.org/10.34024/herodoto.2019.v4.10127.
Der volle Inhalt der QuelleAnnotation:
Les sociétés africaines ont eu des organisations qui ont évolué et se sont maintenues en dépit du temps qui nous sépare de l’Antiquité. Parmi celles-ci, nous avons les castes qui sont, pour certains, une absurdité qu’ilfaut abandonner sans chercher à les comprendre. Pourtant, celles-ci peuvent nous éclairer sur le fonctionnement de notre société et son évolution. Les castes sont une stratification sociale établie sur la base des activités professionnelles, des métiers. C’est en Egypte ancienne qu’elles vont se professionnaliser et s’hériter. Au fil du temps, la religion et la loi vont intervenir dans le système des castes pour y introduire l’endogamie, la hiérarchie et le mépris tels que nous l’observons, aujourd’hui, chez certaines ethnies africaines.
10
Pratama, Anugrah Gio. „ABSURDITAS PEMIKIRAN DAN PERILAKU TOKOH UTAMA DALAM DRAMA BANGUN PAGI BAHAGIA KARYA ANDY SRI WAHYUDI (THE ABSURDITY OF THE THOUGHTS AND BEHAVIORS OF THE MAIN CHARACTERS IN DRAMA BANGUN PAGI BAHAGIA BY ANDY SRI WAHYUDI)“. JURNAL BAHASA, SASTRA, DAN PEMBELAJARANNYA 13, Nr. 2 (12.10.2023): 376. http://dx.doi.org/10.20527/jbsp.v13i2.16548.
Der volle Inhalt der QuelleAnnotation:
AbstractThe Absurdity of the Thoughts and Behaviors of the Main Characters in Drama Bangun Pagi Bahagia by Andy Sri Wahyudi. The purpose of this research is to explain the form of the absurdity of thought and behavior of the main character that appears in Andy Sri Wahyudi's drama Bangun Pagi Bahagia and the factors that influence it. This study uses a qualitative approach and belongs to the type of absurdity study. Literature review techniques were used to collect data and qualitative content analysis was used in this research data analysis technique. The results of the study show that the drama Bangun Pagi Bahagia contains elements of absurdity of thought as well as absurdity of behavior. Among the absurd forms of the main character's thoughts on Bangun Pagi Bahagia, namely the view that death is a form of a good ideal. Among the forms of absurdity in the behavior of the main character Bangun Pagi Bahagia is talking to statues to get help. Factors that influence the absurdity of the main character's thoughts and behavior can be formulated in three ways, namely the problem of life, freedom, and feelings.Keywords: absurdity, thoughts, behaviors, main characters, dramaAbstrakAbsurditas Pemikiran dan Perilaku Tokoh Utama dalam Drama Bangun Pagi Bahagia Karya Andy Sri Wahyudi. Tujuan penelitian ini untuk menjelaskan bentuk absurditas pemikiran dan perilaku tokoh utama yang muncul dalam drama Bangun Pagi Bahagia karya Andy Sri Wahyudi serta faktor-faktor yang memengaruhinya. Penelitian ini menggunakan pendekatan kualitatif dan tergolong dalam jenis kajian absurditas. Teknik studi pustaka dipakai dalam mengumpulkan data dan analisis isi kualitatif dipakai dalam teknik analisis data penelitian ini. Hasil penelitian menunjukkan drama Bangun Pagi Bahagia mengandung unsur absurditas pemikiran juga absurditas perilaku. Di antara bentuk absurditas pemikiran tokoh utama Bangun Pagi Bahagia, yaitu pandangan bahwa kematian adalah sebentuk cita-cita yang baik. Di antara bentuk absurditas perilaku tokoh utama Bangun Pagi Bahagia, yakni berbicara kepada patung agar mendapatkan pertolongan. Faktor yang memengaruhi absurditas pemikiran dan perilaku tokoh utama dapat dirumuskan ke dalam tiga hal, yakni masalah hidup, kebebasan, dan perasaan.Kata-kata kunci: absurditas, pemikiran, perilaku, tokoh utama, drama
11
Rais, Rais. „ABSURDITAS DALAM NASKAH DRAMA JALAN LURUS KARANGAN WISRAN HADI DAN IMPLIKASINYA DALAM PEMBELAJARAN SASTRA DI SMA“. AKSIS: Jurnal Pendidikan Bahasa dan Sastra Indonesia 1, Nr. 1 (30.06.2017): 44–62. http://dx.doi.org/10.21009/10.21009/aksis.010103.
Der volle Inhalt der QuelleAnnotation:
This research aims to find out the absurdity in Jalan Lurus drama script by Wisran Hadi. This study uses qualitative descriptive method. The absurdity theory used in this study is based on Albert Camus's opinion on the themes of absurdity. The result of this research shows Jalan Lurus by Wisran Hadi is a form of absurd drama. The absurdity is the meaning of life, alienation, suicide, hope, and rebellion. The theme of life is most often presented in this drama. Meanwhile, the theme of suicide and rebellion in this drama became the least talked theme. Implications in literary learning in high school, teachers can use this drama as an alternative teaching material. However, it needs to be accomodated to the student's development. In learning, the discussion includes unconventional literary works, absurd drama types, absurd drama characteristic, and absurdity aspects.
Keywords: absurdity, drama, Jalan Lurus, Albert Camus, literature learning
Abstrak
Penelitian ini bertujuan untuk mengetahui absurditas dalam naskah drama Jalan Lurus karangan Wisran Hadi. Penelitian ini menggunakan metode deskriptif kualitatif. Teori absurditas yang digunakan dalam penelitian ini berdasarkan pendapat Albert Camus tentang tema-tema dalam absurditas. Hasil penelitian ini menunjukkan drama Jalan Lurus karangan Wisran Hadi merupakan bentuk drama absurd. Absurditas tersebut ialah makna hidup, keterasingan, bunuh diri, harapan, dan pemberontakan. Tema makna hidup paling sering disampaikan dalam naskah drama Jalan Lurus. Sementara itu, tema bunuh diri dan pemberontakan dalam naskah drama Jalan Lurus menjadi tema yang paling sedikit disampaikan. Implikasinya dalam pembelajaran sastra di SMA, guru dapat menggunakan drama ini sebagai alternatif bahan ajar. Namun, hal tersebut perlu disesuaikan dengan perkembangan siswa. Dalam pembelajaran, pembahasan meliputi karya sastra inkonvensional, jenis drama absurd, ciri-ciri drama absurd, dan aspek absurditas.
Kata kunci: absurditas, drama, Jalan Lurus, Albert Camus, pembelajaran sastra
12
Desriyanto, A., Rima Devi und Zurmailis Zurmailis. „Absurditas Eksistensi Tokoh Barman dalam Novel Khotbah di Atas Bukit Karya Kuntowijoyo“. Stilistika: Jurnal Pendidikan Bahasa dan Sastra 16, Nr. 1 (31.01.2023): 51. http://dx.doi.org/10.30651/st.v16i1.14828.
Der volle Inhalt der QuelleAnnotation:
Absurditas Eksistensi Tokoh Barman dalam Novel Khotbah di Atas Bukit Karya Kuntowijoyo Barman Character Existensialism Absurdity in Khotbah di Atas Bukit Written By Kuntowijoyo ABSTRAKPenelitian ini bertujuan mengungkapkan bentuk absurditas eksistensi tokoh Barman pada novel Khotbah di Atas Bukit karya Kuntowijoyo. Objek formal penelitian ini adalah bagaimana bentuk perspektif absurditas eksistensialisme Albert Camus yang terdapat pada tokoh utama yaitu Barman. Metode yang digunakan adalah metode naratologi Gerard Genette. Hasil penelitian ini mengungkapkan absurditas yang dimanfaatkan oleh tokoh Barman sebagai cara untuk menunjukkan bentuk eksistensi terhadap dirinya. Temuan penelitian adalah bentuk pemberontakan yang dihasilkan tokoh Barman terbagi atas dua jenis, yaitu pemberontakan secara fisik dan pemberontakan secara filosofi. Pemberontakan secara fisik mempengaruhi tindakan absurditas yang diperlihatkan oleh Barman sedangkan pemberontakan secara filosofi mempengaruhi tindakan perasaan dan cara berpikir tokoh Barman. Barman mengakhiri kehidupannya di dunia, tetapi tidak dengan ideologi yang sudah ditanamkan dan dikenang oleh para pengikutnya.Kata Kunci: Absurditas, Albert Camus, Eksistensialisme, Naratologi ABSTRACTThis study aims to reveal the form of the absurdity of Barman's existence in the novel Khotbah di Atas Bukit by Kuntowijoyo. The formal object of this research is how the perspective of the existentialist absurdity of Albert Camus is found in the main character, namely Barman. The method used is Gerard Genette's narratology method. The results of this study reveal the absurdity used by the character Barman as a way to show a form of existence towards himself. The research finding is that the form of rebellion produced by Barman's character is divided into two types, namely physical rebellion and philosophical rebellion. Rebellion physically affects the acts of absurdity shown by Barman while rebellion philosophically affects the actions of feelings and ways of thinking of Barman's character. Barman ended his life in the world, but not with the ideology that had been implanted and remembered by his followers.Keyword: Absurdity, Albert Camus, Existentialism, Narratology
13
Alves, Ana M. „Portraits caricaturaux du gouvernement de Vichy sous la verve démesurée de Céline“. Quêtes littéraires, Nr. 10 (30.12.2020): 197–206. http://dx.doi.org/10.31743/ql.11543.
Der volle Inhalt der QuelleAnnotation:
Dans ses trois romans, communément désignés comme trilogie allemande, Céline évoque le récit de son périlleux exode en Allemagne, de 1944 à 1945, puis au Danemark de 1945 à 1951. Notre propos n’est pas de reprendre tout ce périple, mais de nous attarder sur son séjour à Sigmaringen où presque toutes les figures marquantes de la Collaboration sont dépeintes et caricaturées par Céline sur un ton de mépris qui lui est exclusif et marque sa singularité exceptionnelle. Nous en retiendrons quelques exemples pour montrer comment l’écrivain amplifie les traits de ses personnages, pour donner plus de vigueur à ses descriptions. Céline brosse leurs portraits, en accentuant leurs caractères ou bien en leur prêtant, parfois, des attitudes ridicules. Par des détails hilariants, burlesques, comiques, Céline parvient à caricaturer certaines personnalités du gouvernement de Vichy dans une atmosphère où se mêlent absurdité, chaos, décadence.
14
Rahim, Sifatur. „Absurd (anti)Heroes’ Journey toward Happiness: A Psychoanalytic Comparison between Arthur Fleck and Meursault“. Spectrum 17 (30.11.2023): 101–13. http://dx.doi.org/10.3329/spectrum.v17i1.69005.
Der volle Inhalt der QuelleAnnotation:
In his philosophical writing, The Myth of Sisyphus (1979), Albert Camus ponders the futility of the search for unity and absolute in this seemingly indifferent universe, and surmises that true happiness comes from accepting the meaninglessness of human existence. This particular school of thought is known as absurdism, and the narratives that fall under this discipline are referred to as absurdist texts. Camus not only expounds on the scopes of absurdism but also puts them into practice through his fiction. One such seminal absurdist novel by Camus is The Outsider (1987). In the novel, the writer delineates how the protagonist, Meursault, finds contentment by accepting his fate. A similar state of happiness is attained by Arthur Fleck, the protagonist of the film Joker (2019), when he accepts and assumes his proper place in society. From the onset, Fleck and Meursault may appear quite different from each other. However, upon closer inspection, the subtle similarities in their characteristics are perceptible, which bind them to a common threat of absurdity. It is undeniable that both Fleck and Meursault have committed homicide. Nonetheless, there is a greater force behind their acts than free will, and that is their unconscious drive. This paper explores the workings of the unconscious and its manifestation in Fleck and Meursault’s actions while explicitly commenting on the relationships with their respective mothers. This comparative study also highlights how both of them discover true happiness once they finally learn to accept their fate and reality. Spectrum, Volume 17, June 2022: 101-113
15
Charron, Ghyslain. „Freud devait-il choisir entre les deux conceptions du symbole que lui attribue Lévi-Strauss?“ Dialogue 29, Nr. 3 (1990): 375–86. http://dx.doi.org/10.1017/s0012217300013135.
Der volle Inhalt der QuelleAnnotation:
Si un auditeur saisit la lettre d'un récit et s'il se trouve devant une énigme ou une absurdité, il peut persister à attribuer du sens à ce discours et supposer que pour appréhender ce sens il lui faut recourir à un code autre que celui apparemment employé. Ainsi un rêve dont le contenu manifeste paraît insensé pourra prendre un sens si celui qui l'entend prête une valeur symbolique déterminée à tel ou tel élément de ce contenu et traduit ce symbolisé dans le discours ordinaire. Toute la question est de savoir comment l'interprète va s'y prendre pour déchiffrer correctement le texte énigmatique. Qui pratique l'interprétation devra pour justifier son travail développer une théorie du symbole et de la symbolisation. Lévi-Strauss reproche précisément à Freud d'avoir oscillé entre une conception réaliste et une conception relativiste du symbole et de n'avoir pas su choisir entre les deux.
16
Ivy, Marilyn. „De fâcheux incidents. Énigmes criminelles du quotidien dans le Japon d'après-guerre“. Anthropologie et Sociétés 22, Nr. 3 (10.09.2003): 85–105. http://dx.doi.org/10.7202/015560ar.
Der volle Inhalt der QuelleAnnotation:
Résumé De fâcheux incidents. Énigmes criminelles du quotidien dans le Japon d'après-guerre Cet article analyse les incidents Glico-Morinaga du milieu des années 1980 et leur relation avec les notions bourgeoises d'ordre social et de criminalité dans le Japon d'après-guerre. Lors des événements, un groupe s'appelant « l'Homme mystère aux 21 visages » harcela sans répit des entreprises d'alimentation, les médias et la police. Ces incidents démontrent que les conventions narratives du roman policier moderniste (établies par l'auteur Edogawa Rampo) ont profondément pénétré la conscience quotidienne des consommateurs japonais. Ces conventions ont contribué à brouiller la frontière entre fiction et réalité dans les représentations des crimes par les médias - notamment lors des incidents GM que l'on appela « le premier crime du 21e siècle » au Japon. La façon dont le groupe des 21 visages a manipulé le lexique moderniste - crime et détection, vérité et fausseté, théâtre guérilla et absurdité situationniste - illustre éloquemment la « stabilité » de cette société souvent présentée comme l'incarnation d'un régime postindustriel stable sans criminalité.
17
Bakhshizadeh Gashti, Yousef. „Existentialist Echoes in Harold Pinter’s Early Poetry“. International Journal of Applied Linguistics and English Literature 7, Nr. 4 (01.07.2018): 50. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.4p.55.
Der volle Inhalt der QuelleAnnotation:
This paper has attempted to investigate the absurdist voices in Harold Pinter’s selected poems written from 1951to1953. These poems belonging to his early phase of writing as the poet deals with the major obsessions of post-Modern man depicting his anxiety of identity aggravated by his existential condition. Pinter’s early poetry characterizes him as an absurdist poet and expresses his world view through distinctive images and tones. The selected poems appear to be a blending of his absurdist insights with his poetic art. His early poems predominantly portray existential anxiety, absurdity and pessimism. The study seeks to reflect on Pinter as a practitioner of the ‘Literature of the Absurd’ who tries to depict how different people act and react when they confront different aspects of absurdity and existential dilemma.
18
Pour, Fatemeh Karim, und Modgan Abshavi. „Investigating the Concept of Absurdity in A Doll’s House by Henrik Ibsen: A Critical Study“. International Journal of Linguistics, Literature and Translation 4, Nr. 10 (29.10.2021): 46–52. http://dx.doi.org/10.32996/ijllt.2021.4.10.7.
Der volle Inhalt der QuelleAnnotation:
This study aimed at investigating the concept of absurdity in A Doll’s House by Henrik Ibsen. Henrik Ibsen’s play A Doll’s House is the primary source in the present study. The data that is applied in this paper belongs to library studies and research since the focus is on or literary works and materials. The results showed that miscommunication is one of the themes of absurdity, which was identified in the present play. There is a master-slave relationship, one of the themes of absurdism, between Nora and Helmer, which can be traced in the play. Materialism is also portrayed in the play as one of the themes of absurdism. The relationships between characters are based on profit. Telling lies, which can be a sign of absurdism, is shown in the play.
19
Yusriansyah, Eka. „Absurditas Naskah Drama “Pelajaran” karya Eugene Ionesco“. Jurnal Sastra Indonesia 8, Nr. 2 (28.08.2019): 94–102. http://dx.doi.org/10.15294/jsi.v8i2.33715.
Der volle Inhalt der QuelleAnnotation:
Penelitian ini bertujuan untuk menelusuri wacana absurditas yang terlukis dalam naskah drama “Pelajaran” karya Eugene Ionesco. “Pelajaran” tergolong naskah absurd yang berarti berada di luar konvensi drama pada umumnya, tidak beralur, bertemakan nihilisme dan kesenduan metafisik, serta disesaki dialog yang hanya berupa celotehan tidak nyambung. Kepekaan intelektual dan penghayatan eksistensi kehidupan menjadi syarat kompetensi interpretasi. Penelitian ini adalah penelitian deskriptif kualitatif yang memanfaatkan metode hermeneutika dengan mengadopsi pembacaan heuristik dan hermenuitik. Teori semiotika Riffaterre dan teori drama absurd digunakan untuk mengungkapkan tanda-tanda sebagai pembangun absurditas di luar logika. Hasil penelitian menunjukkan bahwa “Pelajaran” menyuguhkan absurditas kehidupan metafisik, kesia-siaan, pemberontakan, dan kematian yang dikemas melalui absurditas alur, penokohan, dan dialog irrasional. This research aims to investigate absurdity in “Pelajaran” drama script written by Eugene Ionesco. “Pelajaran” belongs to the kind of absurd drama script since it breaks structure convention of common drama script. It is such unconventional kind of drama script which has no plot, unclear characterization, nihilism topics such metaphysical things, being isolate, rebellion, and death, also has irrational dialogue which only tells about unimportant things. This research belongs to descriptive qualitative research which used hermeneutic methods contained of two reading methods such heuristic and hermeneutic. The theory of semiotic Riffaterre applied in analyzing the symbols constructed in the text which combined with the theory of drama absurd suggested by Martin Esslin used to find out the absurdity in the text. The result of the research shows that “Pelajaran” presents the absurdity of life such metaphysics, disconsolate, rebellion, and death. Those all things presented through absurdity of plot, characterization, and irrational dialogue.
20
Espitallier, Jean-Michel. „Politique du poétique“. Études françaises 44, Nr. 1 (11.06.2008): 111–17. http://dx.doi.org/10.7202/018166ar.
Der volle Inhalt der QuelleAnnotation:
Résume Le choix, pour Jean-Michel Espitallier, poète et écrivain, d’écrire de la poésie (comme genre « insoumis ») représente en soi une position politique, un réel engagement. Contre toute forme d’embrigadement, sceptique à l’égard des oeuvres explicitement et programmatiquement politiques, Espitallier ne voit d’engagement possible que dans les formes, la rhétorique, l’exigence stylistique, puisqu’au fond, c’est la langue, toujours, qui comme objet politique, constitue la Cité et les représentations qu’elle se fait du monde et d’elle-même. Mais il se plaît également à rappeler, après tant d’autres, dont Nietzsche, que le rire, la farce, le comique, la frivolité peuvent être des outils d’exploration des tragédies du monde et des moyens de s’y opposer, de jouer contre, renvoyant dos à dos l’esprit de sérieux des faux prophètes et les risques de récupérations qui pèsent sur des oeuvres engagées par calculs, modes, paresses intellectuelles. Une position dandy, en quelque sorte, où le goût prononcé du canular, de la logique poussée à son absurdité, du grotesque, de la légèreté amusée tentent de désamorcer et de démasquer l’inhumanité contemporaine.
21
Andreeva, E. Yu. „The New Theatre of the New Artists Group and the Russian Avant-Garde“. Art & Culture Studies, Nr. 3 (August 2022): 86–139. http://dx.doi.org/10.51678/2226-0072-2022-3-86-139.
Der volle Inhalt der QuelleAnnotation:
The multimedia practice of the Russian Avant-Garde, in which theatrical art is inseparable from literary, visual and musical art, found its continuation half a century later in the work of the New Artists group, founded by Timur Novikov in 1982 in Leningrad. This article is the first study of the so-called New Theatre of the New Artists, which is associated with the following happenings or performances: The Ballet of the Three Inseparables, Anna Karenina, The Idiot, and their predecessor, the literary-noise action The Medical Concert. The article discusses three elements of the avant-garde theatrical tradition that resonate with the New Theatre: Nikolai Evreinov’s comprehensive concept of the “theatre for oneself”, the musical-spatial theatrical experiments of Mikhail Matyushin and his followers, and the absurdist theatre of Daniil Kharms and OBERIU. The second and third, despite being so dissimilar to each other, share the borderline, where zaum (alogism) and absurdism converge. This very convergence creates a dynamic semantic tension that marks the ideas of both D. Kharms and T. Novikov: the tension between an uplifting absurdity, striving for the inexpressible, timeless and universal, and, conversely, a lowering, destructive absurdity. It is obvious that the distinction between the two types of absurdism is a fundamental problem of ontology not only of the Russian Avant-Garde. The New Theatre can be considered as a seismic activity that lasted for about three years at the borderline area of the avant-garde art that worked its way from Symbolism through Expressionism to Dadaism and Surrealism. On this borderline, creativity manifests itself as an impersonal or other-than-personal process that establishes a connection of a person with the rhythms of the world or, on the contrary, illustrates disintegration, deconstruction and the reassembly of society. The New Theatre that established in the Leningrad underground was not an imitation of the avant-garde practices but their rebirth, which proves that this form of creativity is organic for the culture of St. Petersburg.
22
Muhammad Fauzi Ramadhan, Airlangga Putera und Miftahul Jannah. „The Absurdity of The Law In The Enforcement of Criminal Acts Fisheries (Illegal Fishing) in Indonesia“. Jurisprudentie : Jurusan Ilmu Hukum Fakultas Syariah dan Hukum 11, Nr. 2 (19.12.2024): 169–80. https://doi.org/10.24252/jurisprudentie.v11i2.52477.
Der volle Inhalt der QuelleAnnotation:
This research explores legal absurdities in Indonesian law enforcement for illegal fishing, focusing on the forms of absurdity and their impact. The author uses normative legal research to determine that the current legal absurdity in Indonesian law enforcement is due to the ratification of Law no. 11 of 2020 concerning Job Creation in the Maritime and Fisheries Sector, which disharmonizes norms with previous fisheries laws and regulations. This legal absurdity is evident in the unclear phrase "small fishermen," which creates confusion for law enforcement officials and causes unrest in small fishing communities regarding ship administration. The author suggests that the government should prioritize public interests over certain parties' interests in legislation and explore moral values in environmental management, particularly in the maritime sector, to prevent legal absurdities in law enforcement for illegal fishing crimes in Indonesia. Keywords: Legal Absurdit; Law Enforcement; Illegal Fishing
23
Ponomareva, Anastasiia. „Absurdity as an inconsistently conducted reduction“. Философия и культура, Nr. 8 (August 2023): 67–76. http://dx.doi.org/10.7256/2454-0757.2023.8.43769.
Der volle Inhalt der QuelleAnnotation:
The subject of the study is the connection between the absurd and phenomenology.The texts of representatives of the absurdist trend in literature and philosophy (Camus, Kafka, Musil), as well as the works of academic philosophers of the phenomenological direction (Husserl, Sartre, Merleau-Ponty, Fink) are considered. The commonality of phenomenological interpretations of reality for some texts of the absurdist genre is proved. As a hypothesis, the existence of an epistemological dimension of meaning in the works of the absurd is put forward, interpreted by the author as a reception of the views of phenomenologists, problematized in the inconsistent reduction of phenomena. The methodological basis was the general scientific methods of analysis and synthesis, as well as the critical analysis of the text. The scientific novelty lies in the attempt to present phenomenology as a precursor of absurdism, connected with it through the sphere of axiology. The main contribution of the author is the actualization of the epistemological layer of such a multifaceted phenomenon as the absurd, namely, the elaboration of the hypothesis that in many works of absurdists, the metamorphoses of the characters' consciousness are in fact an inconsistent reduction consisting in explicit metamorphoses of the Ego, as well as violating subject-object relations but not actually bracketing the idea of the world. Many literary contemporaries of Husserl devote their thoughts to the problems of phenomenology to one degree or another, which makes the connection between absurd literature and the key theses of early phenomenology logical.
24
Baydin, V. V. „A refugee to God. Aleksandr Vvedensky’s spiritual parables“. Voprosy literatury, Nr. 5 (29.11.2021): 42–71. http://dx.doi.org/10.31425/0042-8795-2021-5-42-71.
Der volle Inhalt der QuelleAnnotation:
The perception of A. Vvedensky’s work is prone to controversy: he is considered a precursor to absurdist literature; at the same time, his close friend, the poet Y. Druskin, insisted that Vvedensky was religious, and believed his absurdity, instead of representing a lack of meaning, points to a different kind of meaning. The article suggests an approach to the hermeneutic reading of the poet’s private symbolic language that helps to revise certain traditional assessments. The author argues that Vvedensky’s mature oeuvre consists of religious and philosophical allegories written in a most extremely absurdist form. At the core of the poet’s brilliant art of the cryptic portrayal of his innermost beliefs is the aesthetics of the absurd. Hence the alogical nature of his poetic dialogues and plays, semantic inversions and contaminations, paradoxes, allusions, aposiopeses, extended metaphors, etc. Subjected to ‘sweeping incomprehension’ are stereotypes of thinking and everyday language practices – from substandard vernacular and colloquialisms to philosophical discourse. Vvedensky’s ‘star of absurdity’ is seen as a symbol of revelation.
25
Jost, François. „Du renoncement à la couleur à une esthétique et à une éthique du noir et blanc : Averty dans ses oeuvres“. Cinémas 26, Nr. 2-3 (05.04.2017): 99–127. http://dx.doi.org/10.7202/1039368ar.
Der volle Inhalt der QuelleAnnotation:
Lorsqu’il arrive à la télévision, Averty est saisi par un sentiment de grisaille : alors même qu’elles sont tournées dans des décors en couleurs, les émissions sont filmées en noir et blanc. S’insurgeant contre ce qu’il considère comme une absurdité, il va fonder son esthétique sur le contraste de ces deux couleurs. Les bases en sont jetées parUbu roi, qui s’appuie sur « De l’inutilité du théâtre au théâtre », de Jarry, et sur une conception de l’image qui mêle à la « perspective signifiante » du Moyen Âge l’art du papier découpé de Braque. En résulte une conception de la télévision qui tourne le dos au cinéma en prenant à la lettre les prescriptions de l’auteur d’Ubu. Mais le noir et blanc n’est pas qu’une position esthétique. Averty va en faire une « affaire de morale ». Le 24 décembre 1964, il offre aux téléspectateurs l’adaptation desVerts pâturages, où les rôles traditionnels sont inversés : Dieu est noir, de même que Jésus et le premier homme, né en Afrique. Cette émission paraît scandaleuse à certains, non seulement parce qu’elle va à l’encontre de la vulgate, mais aussi parce que sa réalisation, basée sur un usage systématique des trucages électroniques, remet en cause le style des émissions de variétés de la décennie précédente tout en fondant un art vidéo.
26
Gunjan, Kumari. „Absurdism Unveiled: The Intersection of the Absurd and Modern Realities“. International Journal of English Literature and Social Sciences 9, Nr. 2 (2024): 180–88. http://dx.doi.org/10.22161/ijels.92.26.
Der volle Inhalt der QuelleAnnotation:
This study delves into the intersection of Theatre of Absurd and modern realities, aiming to uncover the enduring relevance and applicability of absurdist concepts in understanding contemporary socio-cultural landscapes. Drawing from a qualitative framework, the research examines the philosophical underpinnings of Absurdism and its manifestations in major key playwrights’ works. Primary data comprises selected Absurdist plays, analyzed through thematic lenses, while secondary sources enrich contextual understanding. The study navigates the complexities of modern existence, characterized by rapid technological advancements, socio-political shifts, and existential uncertainties. It explores how Absurdism offers unique insights into contemporary challenges, fostering a dialogue that illuminates the complexities of the human condition amidst the absurdities of the modern world. Moreover, the study addresses the gap in existing research by focusing on the contemporary relevance of Absurdist Theatre, particularly in the context of 21st-century challenges. By bridging the gap between historical analysis and present-day realities, this research aims to provide a comprehensive understanding of how Absurdist philosophy continues to inform contemporary discourse and artistic expression. Through careful analyses and cultural contextualization, this research aims to unravel the intricate relationship between Theatre of Absurd and modern realities, contributing to a refined understanding of the human experience in the 21st century.
27
Turi, Giovanni. „Dimensionnement mécanique des canalisations enterrées. Discussion sur quelques formules de CEN/TR 1295-3, partie B“. La Houille Blanche, Nr. 5-6 (Dezember 2019): 103–13. http://dx.doi.org/10.1051/lhb/2019033.
Der volle Inhalt der QuelleAnnotation:
Le présent article discute de quelques formules reportées dans la partie B de la norme CEN/TR 1295-3, concernant le calcul de la résistance mécanique des canalisations enterrées sous diverses conditions de charge, selon le modèle de Gerbault. Les expressions du moment, de l'effort normal, de la déformation et de la contrainte sont examinées, et pour elles, quelques adaptations sont proposées, visant à corriger certaines incohérences contenues dans la norme. En ce qui concerne le moment de flexion dû à la pression horizontale, il ressort de la formule CEN/TR 1295-3 qu'il est constant le long du périmètre du tuyau. Ceci constitue une absurdité physique. En résolvant la structure (en utilisant les formules d'un arc semi-circulaire fixe), un facteur de correction est défini pour être introduit dans le CEN/TR 1295-3 afin que le phénomène physique puisse être correctement représenté. Par conséquent, pour la déformation en flexion, qui dépend du moment fléchissant, la même correction s'impose. Pour la pression verticale, les expressions de la norme relatives aux efforts normaux en clé et à l'appui ne sont pas cohérentes avec le modèle de base. À travers l'équilibre du moment de toutes les actions par rapport à la clé, les formules cohérentes sont obtenues. Enfin, l'article met l'accent sur diverses incohérences concernant les canalisations sous pression, en particulier dans la définition des pressions dans différents paragraphes de la norme.
28
Nawaz, Arshad, Muhammad Ijaz und Khalid Mehmood Anjum. „Postmodern Absurdist Critique of Julian Barnes’s The Only Story“. Global Language Review VI, Nr. II (30.06.2021): 94–100. http://dx.doi.org/10.31703/glr.2021(vi-ii).11.
Der volle Inhalt der QuelleAnnotation:
This research paper endeavors to examine the postmodern absurdism as a literary sub genre in postmodern fiction. It delves deep into the concept of absurdism by concentrating upon the characteristics that distinguish it as a postmodern sub genre. Through the analysis of the postmodern novel, The Only Story (2018), this research paper illustrates how the characteristics of absurdism haven impact upon a postmodern society characterized by boredom, meaninglessness, futility, and confusion. It also highlights how different characters, events, and places have been portrayed in the novel to depict the absurdity of human existence. The theoretical paradigm of the research is based upon Thomas Nagel’s Essay “The Absurd” which is about postmodern space of absurdism and was presented in the American Philosophical Association Eastern Division. The study limelight's how the absurd occurrences and bizarre characters found in the researcher's primary text depict the complexity of the postmodern absurd world in both literal and metaphoric dimensions.
29
Jahan, Rownak, und Nihal Farhan Kabir. „Use of Leitmotifs in Samuel Beckett’s Waiting for Godot“. International Journal of Linguistics, Literature and Translation 5, Nr. 4 (31.03.2022): 26–31. http://dx.doi.org/10.32996/ijllt.2022.5.4.4.
Der volle Inhalt der QuelleAnnotation:
Samuel Beckett’s Waiting for Godot features leitmotifs as devices to induce the repetitiveness that is usually inherent in absurdist plays. Previous research, which included analysis of leitmotifs in a literary text, viewed leitmotifs as formalistic elements and such research seldom delved into their conceptual implications in regard to the text. This paper aims to provide insight into this opening by analyzing the leitmotifs used in Waiting for Godot. The purpose is to find out how these leitmotifs are used to convey and underscore some of the key concepts or ideas of the play. The theoretical lens is provided by the philosophy of absurdism, and some conceptual understandings of hope/hopelessness and colour/colourlessness aid in this regard as well. Findings from the discourse analysis of the text’s leitmotifs have been viewed in light of such theoretical and conceptual understandings to reach an assessment of how the leitmotifs assist in the play’s conveying of these ideas. This paper’s analysis of the leitmotifs of Waiting for Godot shows that - these leitmotifs highlight the text’s prominent and cyclical states of waiting and going as well as emphasize the exhibited futile natures of fate and sleep, and by such association, they enhance the portrayal of, in addition to bringing elevated focus on, the play’s depiction of the absurdity, hopelessness and colourlessness pervasive in the world of the ‘absurd’.
30
Hannah, Neng, und Yudistira Ananda Setiadi. „KONSEP JIHAD ABU BAKAR BAASYIR DALAM PERSFEKTF FILSAFAT ABSURDISME ALBERT CAMUS“. JURNAL AL-AQIDAH 14, Nr. 1 (30.06.2022): 25–43. http://dx.doi.org/10.15548/ja.v14i1.4018.
Der volle Inhalt der QuelleAnnotation:
Islam is a religion salvation. But now there are some assumption that Islam is a religion that teaches violence. The purpose of this study is to dissect one of the concepts of jihad that was coined by Abu Bakar Baasyir throught the philosophical approach of absurdism. This research was conducted using qualitative methods through literature study. The result of this study indicate that the concept of jihad Abu Bakar Baasyir is a formof absurdity and the call for jihad and jihad itself is another form of absurdity. This study recommends that the concept of jihad Abu Bakar Baasyir is also studied through other philosophical or theological approaches that are more in line with the discusson.
31
Vogel, Shane. „Waiting for Godot and the Racial Theater of the Absurd“. PMLA/Publications of the Modern Language Association of America 137, Nr. 1 (Januar 2022): 19–35. http://dx.doi.org/10.1632/s0030812921000766.
Der volle Inhalt der QuelleAnnotation:
AbstractThis essay argues that the 1957 Black-cast revival of Samuel Beckett's Waiting for Godot stages an Africana absurd sensibility that precedes and supersedes European philosophies of absurdism. While the Continental absurd developed as a repudiation of Western reason and aspired to a universalizing assessment of the human condition, the Africana absurd is situated in the historical formation of racial slavery and colonialism. More specifically, the Africana absurd is a response to the formal meaninglessness and incoherencies of Western racial logic. Locating it within the existential and historical situation of Black theater in the Jim Crow era and attending to theatrical elements such as casting, stage props, and choreography, this essay shows how the production recasts Beckett's absurdism, metatheatricality, and antihumanism to present, rather than represent, the felt absurdity of racial modernity.
32
Fox, Jacob. „Absurd relations“. Human Affairs 29, Nr. 4 (25.10.2019): 387–94. http://dx.doi.org/10.1515/humaff-2019-0033.
Der volle Inhalt der QuelleAnnotation:
Abstract Absurdist accounts of life’s meaning posit that life is absurd because our pretensions regarding its meaning conflict with the actual or perceived reality of the situation. Relationary accounts posit that contingent things gain their meaning only from their relationship to other meaningful things. I take a detailed look at the two types of account, and, proceeding under the assumption that they are correct, combine them to see what the implications of such a combination might be. I conclude that another way of looking at the absurdity of life is to see it as a conflict between our dual beliefs that there exist intrinsically meaningful contingent things, and that contingent things may only gain their meaning extrinsically through their relationships to other meaningful things. In this way, I provide another lens through which feelings of life’s absurdity may be interpreted and analysed: as the conflict between the simultaneous beliefs in both intrinsically and relationally meaningful contingent things. Looking through this lens gives us an entirely different framework for analysing life’s absurdity than that which Nagel described in 1971, providing opportunity for more potential avenues of analysis and discussion.
33
Koroliova, Valeria, und Iryna Popova. „Destruction of Communicative Pragmatics in Contemporary Absurdist Dramaturgic Texts“. PSYCHOLINGUISTICS 27, Nr. 2 (12.04.2020): 195–212. http://dx.doi.org/10.31470/2309-1797-2020-27-2-195-212.
Der volle Inhalt der QuelleAnnotation:
The aim of the article is characteristics of mechanisms of pragmatics distraction in communication of active participants of modern Ukrainian plays with features of the theatre of the absurdity. Structural and contextual mechanisms of dialogic speech depragmatization are singled out on factual material. In a dramatic dialogue absurdity is explained as a purposeful instruction to convey the thought about illogicalness and chaotic nature of reality, the aimlessness of a human being. The main methods of the study are descriptive, context-interpreting and presuppositional.
Study results. One of absurdity occurrence mechanisms is depragmatization – purposeful non-normative usage of language pragmatic resources. We identify structural and contextual violations within depragmatization. Structural violations are characteristic for an absurdist drama in which characters’ cues do not have illocutionary and thematic coherence. Another type of structural violations is conscious violations of formal structure of linguistic units. Role exchange, during which an active participant takes over someone else’s communicative role, is an example of contextual depragmatization. Within contextual violations we also identify the group of cognitive violations which is based on non-observance of causally consecutive and logical connections. Anomalies based on an arbitrary choice of language stylistic means, which are uncoordinated with general principles of stylistic formalization of the text, are considered the contextual variety of depragmatization.
Conclusions. Structural and contextual communicative violations are used by playwrights to activate the sense of the situational absurdity depicted in a work. Active participants of drama of the absurdity communicate without communicative purpose and taking into account situational needs, which results in actualization of pragmatic potential of used linguistic units, falsification of meaningful speech.
34
Rasheed, Nausheen, Mamona Yasmin Khan und 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, Nr. II (30.06.2021): 94–100. http://dx.doi.org/10.31703/gssr.2021(vi-ii).10.
Der volle Inhalt der QuelleAnnotation:
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.
35
Chemperek, Dariusz. „The Republic of the Absurd – Babińska Republic (2nd half of the 16th century – 1677)“. Tekstualia 2, Nr. 73 (31.08.2023): 7–22. http://dx.doi.org/10.5604/01.3001.0053.8594.
Der volle Inhalt der QuelleAnnotation:
The absurd as a category of applied poetics is rare in the literature of Old Europe, including OldPolish literature, and writers who used impossibilia dedicated their works mainly to the plebeianaudience. Against this background, the narratives included in the so-called records of the BabińskaRepublic – a noble association with satirical purposes, functioning from around the mid-16thcentury to 1677 – represent a notable exception. Babińska tales, created by and for the nobility,are characterized by the use of absurdist elements that serve a comic effect.In anecdotes by the members of the Babińska Republic, absurdity characterizes almost all spheresof the life of the coat-of-arms nobility, from state institutions (e.g. jurisdiction, the military) tothe private sphere, customs and entertainment (mainly hunting and feasts). However, the comicovertones of many jokes would be impossible to understand now, because they require a thoroughknowledge of contexts – biographical, religious, historical or moral – pertaining to the thennobility. Therefore, it is a mistake to equate the absurdity present in belles-lettres, about plebeiansand addressed to them, with the absurdity of the Babińska narratives. Impossibilia, adynats,and hyperboles to be found in them refer to the life of the nobility and serve ludic purposes ratherthan exemplify serious social satire.
36
Massaad, Dr Madoline. „The Intersection of Reality and Fiction in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead: A Study of Absurdity and Metadrama“. International Journal of English Literature and Social Sciences 9, Nr. 3 (2024): 251–56. http://dx.doi.org/10.22161/ijels.93.31.
Der volle Inhalt der QuelleAnnotation:
The article titled "The Intersection of Reality and Fiction in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead: A Study of Absurdity and Metadrama" explores how Tom Stoppard's play transforms the minor characters from Shakespeare's Hamlet into central figures within an absurdist framework. This study examines the play’s themes of human identity, confusion, and helplessness, common in the Theatre of the Absurd, using postmodernist metadramatic techniques. By employing metadrama, Stoppard highlights the blurred lines between reality and fiction, as seen in the characters' struggles to understand their existence within the play. The paper delves into the philosophical implications of absurdity, drawing on the ideas of Albert Camus and other theorists to illustrate how Rosencrantz and Guildenstern Are Dead reflects the chaotic and purposeless nature of human life. Through various metadramatic devices like the play within a play, role-playing, and the breakdown of conventional narrative structures, Stoppard's work is analyzed as a profound commentary on the human condition and the search for meaning in an incomprehensible world.
37
ZOLOTKOV, GRIGORY A. „S. CAVELL ON PHILOSOPHICAL SENSE OF S. BECKETT’S «ENDGAME»“. Bulletin of Chelyabinsk State University 495, Nr. 1 (27.02.2025): 127–32. https://doi.org/10.47475/1994-2796-2025-495-1-127-132.
Der volle Inhalt der QuelleAnnotation:
The article addresses the philosophical content of S. Beckett’s play «Endgame». The distinct artistic technique of the play is absurdity, which presupposes the possibility of preserving not only philosophical meanings but also any meanings in general. According to the most common interpretation, Beckett use absurdity to reveal the vices of modernity. Thus, the convincingness of the «Endgame’s» dialogues does not provide by their content, but by the absence of it. The existential emptiness of the characters create compassion in audience. The American philosopher S. Cavell, however, criticize this interpretation. In his view, reading «Endgame» as a diagnosis of a psychopathology of modernity is misguiding. Cavell shows that despite the unverifiability of the God, friendship, and love Beckett’s heroes cannot forgo them, and the play is aimed to show man’s inability to accept either extreme. Cavell’s reading shows that Beckett’s «Endgame» is an essential philosophical statement about the claims of human reason. It allowing for a new reading of the absurdism of Irish writer and dramatist.
38
Sadiq, Sarah Musa. „Samuel Beckett's Waiting for Godot and the Absurd Theatre“. European Journal of Theoretical and Applied Sciences 2, Nr. 5 (01.09.2024): 218–24. http://dx.doi.org/10.59324/ejtas.2024.2(5).22.
Der volle Inhalt der QuelleAnnotation:
The research consists of three sections and conclusion. Section one deals with the idea of absurdity in the modern world has attracted many writers to thereby portray the bitter reality of a society being dominated by the discourse of modernism Section two focuses on Samuel Beckett's life and his works. In addition, Beckett places his characters in a dreamlike setting in his two-act tragicomedy Waiting for Godot (1948). The play has been criticized by a number of people; in 1953, Jacques Audiberin called it "a perfect work which deserves a triumph". Studies in Section Three Anticipating Godot as an Absurd Drama: The paper concludes with a list of references and a conclusion.. This study examines the meaning-seeking process, existentialist themes, and the human condition in Samuel Beckett's Waiting for Godot within the context of absurd theater. The play's repetitive dialogue and austere setting make it an ideal illustration of the absurdist belief that life is meaningless. The research looks at how the characters, Vladimir and Estragon, interact to show how their waiting for the illusive Godot symbolizes the pointlessness of life and the fight against hopelessness. The ridiculous routines and mutual dependence of the characters highlight the alienation and loneliness that come with living in the contemporary world. By situating Waiting for Godot in the context of Absurd Theatre, this research emphasizes Beckett's innovative use of language and structure, which challenges traditional narrative forms and invites audiences to confront the complexities of existence. Ultimately, the study reveals how Beckett's work serves as a poignant commentary on the human experience, encapsulating the essence of Absurdism through its exploration of time, identity, and hope.
39
Khatri, Tilak Bahadur. „Erroneous Portrayal of Black National Question in Ralph Ellison’s Invisible Man“. Patan Pragya 12, Nr. 01 (31.12.2023): 136–49. http://dx.doi.org/10.3126/pragya.v12i01.61644.
Der volle Inhalt der QuelleAnnotation:
This article examines the several contradictory aspects of American society that the unnamed black protagonist of Ralph Ellison's novel Invisible Man encounters and that cause him to descend into absurdity. The study has relevance to identify and deal with the different contradictory aspects of American society. The article addresses on the research problems concerning to the protagonist's sufferings and his inability to identify the causes of his sufferings. The study deals with the research problems by applying the research approach (methodology) of historical materialism. In a class-based society, the protagonist, who is of black nationality, is a member of the working class. He is suppressed not only by white people but even by wealthy black people. He receives assistance not only from black people but also from lower-class white people. But he lacks the ability to identify friends from enemies. He wants to free himself and the entire black nationality from all forms of oppression, injustice, and inequality because he is a member of the black race. As a result, he joins the Brotherhood (the communist party), but he quickly leaves because he does not understand its tenets. He declines to join the Black Nationalist party and is unable to identify any alternative organizations that could help end the persecution of black people on a national level. Finally, he loses all hope, starts to perceive disorder around, and makes the decision to leave society. However, while living apart from society, he still sees ways to benefit it, which is an absurdist notion itself. The study reveals that the protagonist's queer theory of absurdism, which he develops at the novel's conclusion, does nothing to further the cause of repressed Afro-Americans; rather, it only serves to fuel their frustration and pessimism.
40
Read, Simon. „Brautigan's Sombrero Fallout: A Cathartic Case for Absurdism in Pedagogical Learning“. Writing in Practice 08 (29.01.2022): 140–47. https://doi.org/10.62959/wip-08-2022-13.
Der volle Inhalt der QuelleAnnotation:
This essay examines the use of absurdist techniques as cathartic process in pedagogical environments, primarily contextualized by Richard Brautigan’s novel, Sombrero Fallout (1976). The essay will analyse Brautigan’s writing style with focus on juxtaposition, Dadaist concerns, and stream of consciousness effects on literary freedom. Dadaism, as a sub-category of absurdism, employs various literary techniques, such as the cut-up method, stream of consciousness, and syllabic malleability and I present these techniques as viable for modern-day pedagogic use. It will analyse how utilization of these techniques can benefit Creative Writing students, with particular focus on autobiographical events as inspiration for creative output. The essay discusses authorial history to suggest absurdist writing techniques can function as a method for students, acting as a conduit to cathartic introspection in practice and in reasoning complex thoughts and feelings.
41
Koliasa, O. V. „Phonographic and graphostylistic mechanisms of creating linguistic absurdity in postmodern fiction“. MESSENGER of Kyiv National Linguistic University. Series Philology 27, Nr. 1 (15.08.2024): 118–25. http://dx.doi.org/10.32589/2311-0821.1.2024.309631.
Der volle Inhalt der QuelleAnnotation:
This article explores the phonographic and graphostylistic mechanisms employed by postmodern authors to create linguistic absurdity in fiction, using phonetic and graphic variants. The analysis focuses on violations of phonetic and graphic norms that deviate from traditional literary conventions. At the phonographic level, the mechanisms for creating linguistic absurdity include sound imitation, alliteration, assonance, phonetic language play, and phonetic occasionalisms. These techniques result in unusual combinations of phonemes that contrast with accepted, stereotypical sound patterns. This generates acacophony of strange sounds that violates the euphony of language, thereby creating an “estrangement effect”. Specific examples are provided to demonstrate how postmodern fiction utilizes absurd sound imitations, such as nonsensical words mimicking animal noises or physiological functions. Alliteration and assonance are used to reproduce unpleasant sounds typically avoided in traditional texts as those violating aesthetic norms. Phoneticoccasionalisms open up diverse palettes of new, unregistered sound combinations for the reader. The graphostylistic mechanisms examined involve violating graphic norms through techniques, such as excessive variation of fonts, capitalization, and non-punctuated text organization. Textual visualization that disrupts typical graphic conventions is achieved through extra spacing between words/lines, unconventional paragraph divisions, inserted curly lines, and embedded text fragments in different styles. There is also an excessive accumulation of non-verbal graphics, such as drawings, diagrams, formulas, and symbols from other semiotic systems. Orthographic deformations, including reduplication, hyphenation, and author-created graphons (new graphic units) also contribute to the absurdist effect. Detailed examples illustrate how the accumulation of these phonographic and graphostylistic deviations generates graphic chaos that impairs readability. However, the article argues this is an intentional strategy by postmodern writers to create an absurdist literary experience that rejects conventions and engages the reader in exploring multiple possible interpretations of the fragmented, unconventional text.
42
Derek Illing, Sean. „Camus and Nietzsche on politics in an age of absurdity“. European Journal of Political Theory 16, Nr. 1 (24.07.2016): 24–40. http://dx.doi.org/10.1177/1474885114562977.
Der volle Inhalt der QuelleAnnotation:
This article examines the significance of Friedrich Nietzsche to Albert Camus’ concepts of absurdity and revolt. It rests on three related claims. First, that Nietzsche’s critique of metaphysics (foundationalism) is the point of departure for Camus’ absurdist inquiries. Second, that Camus’ philosophy of revolt is informed in crucial ways by Nietzsche’s views on the sources of moral and intellectual authority in the modern world. Finally, that Camusian revolt is an attempt to deal with the political crisis of foundationalism in a way that preserves Nietzsche’s anti-essentialism while also avoiding the excesses of absolutist politics. Ultimately, I suggest that the origins and implications of Camus’ project cannot be grasped apart from an account of its engagement with Nietzsche.
43
Muraveva, Alla V. „On the question of the perception of the absurd in modern literary practice (on the example of the piece of Ivan Vyrypaev's «Dreams»)“. Vestnik of Kostroma State University 27, Nr. 1 (31.03.2021): 200–204. http://dx.doi.org/10.34216/1998-0817-2021-27-1-200-204.
Der volle Inhalt der QuelleAnnotation:
The article is devoted to the parallel consideration of two questions: the text, on the one hand, deals with a set of absurdist techniques and methods stated in the text of Ivan Vyrypaev “Dreams”, and with another – attempt projection composite-content structure plays in the history of the formation and development of the absurd in Russian literary practice of the 20th century. In the course of the study, it was found that the entire set of tools that absurdise the space of the play can be divided into three parts: 1) corresponding to the absurdist-avant-garde techniques of the early 20th century, 2) illustrating the existential dramatic locus, 3) demonstrating the functioning of the phenomenon of the absurd in Russian postmodern drama. Built on the principles of displacement and substitution, the play “Dreams” series illustrates the change of the principle of construction of the text: from semi-abstract components that target the metaphorisation of space in text and in direct violation of formal logic, the play by introducing social commentary comes to the staging of existential issues, and through it, mainly through the absurdist element that goes to a typical post-modern principles of organisation of the text. The main conclusion of this research is the thesis about the characterisation of “Dreams” as a metaphor play that reflects the dynamics of the development of the absurd in the 20th century.
44
Abid, Shazia. „The Element of Time in Waiting for Godot by Samuel Beckett“. Journal of World Englishes and Educational Practices 3, Nr. 4 (25.04.2021): 16–22. http://dx.doi.org/10.32996/jweep.2021.3.4.3.
Der volle Inhalt der QuelleAnnotation:
Samuel Beckett’s Waiting for Godot (1952) is one of the most puzzling plays of the modern era. It is a play where nothing happens twice. Hence, the purpose of this research paper to explore the element of time in Beckett’s masterpiece Waiting for Godot (tragicomedy). The play is part of the ‘Theatre of Absurd’ and being an absurdist playwright, Beckett tends to explore the internal states of individual’s mind. It also explores the absurdity of modern man that how they are dwelling in a twilight state and unaware of their surroundings. This work is based on the belief that the universe is irrational, meaningless and the search for order brings the individuals into conflict with the universe. The study investigates existentialist’s point of views. In the play ‘Time’ represents very much dominating force as well as a tormenting tool to its characters.
45
Mercier, Faye. „The Rubberbandits’ Guide to Satire: Absurdism and Social Commentary in a Cross-Media Environment“. Estudios Irlandeses, Nr. 16 (17.03.2021): 79–94. http://dx.doi.org/10.24162/ei2021-9984.
Der volle Inhalt der QuelleAnnotation:
This paper argues that through an engagement with cross-media hybridity, Irish comedy duo The Rubberbandits have established a dynamic cross-media forum that aims to restore the Irish public’s capacity for critical social and political engagement. Central to this process is The Rubberbandits’ ability to use their absurdist satire as a foundational tool that can serve as the basis of this cultural forum, while also facilitating the negotiation of social and political issues across a variety of media. Given that this cultural forum exists across different media, platforms, and formats, this paper sets out to analyse the various ways in which the duo have adapted their satirical style to suit the demands of these different media forms, and what implications this process of adaption has had on their work. Beginning with an analysis of the social and critical functions of satirical comedy more broadly, this paper will then focus on the specific brand of satirical social commentary employed by The Rubberbandits, paying particular attention to the role of absurdity in their critical engagement with prominent issues facing Irish society. As this paper will demonstrate, by embracing the hybridity of the cross-media environment, all the while maintaining their absurdist satirical style, The Rubberbandits have established a dynamic and carnivalesque cross-media forum that aims to restore the Irish public’s capacity for critical social and political engagement.
46
Neville-Neil, George V. „Patent absurdity“. Communications of the ACM 64, Nr. 12 (Dezember 2021): 39. http://dx.doi.org/10.1145/3491297.
Der volle Inhalt der Quelle
47
Druick, Zoë. „Dialogic Absurdity“. Television & New Media 10, Nr. 3 (22.04.2009): 294–308. http://dx.doi.org/10.1177/1527476409332057.
Der volle Inhalt der Quelle
48
Mintoff, Joe. „TRANSCENDING ABSURDITY“. Ratio 21, Nr. 1 (24.01.2008): 64–84. http://dx.doi.org/10.1111/j.1467-9329.2007.00385.x.
Der volle Inhalt der Quelle
49
Kopka, Keith. „Unapologetic Absurdity“. American Book Review 41, Nr. 6 (2020): 21–22. http://dx.doi.org/10.1353/abr.2020.0101.
Der volle Inhalt der Quelle
50
Frank, S. J. „Patent absurdity“. IEEE Spectrum 39, Nr. 8 (August 2002): 48–49. http://dx.doi.org/10.1109/mspec.2002.1021953.
Der volle Inhalt der Quelle