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

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Published: 26 July 2024
Last updated: 27 July 2024

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

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

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The definition of ludicrous according to Eugene Ionesco is "that which is devoid of purpose. Man is lost when he is cut off from his transcendental, philosophical, and theological origins; all of his activities become ludicrous, meaningless, and pointless. Every time Ionesco defines the term ridiculous by referring to the same concept of the absurd, his representation of the absurd infers a paradox. The term "absurd" doesn't have a clear definition. Therefore, despite all attempts to provide meaning, the absurdity of the ludicrous exists in the situation of meaninglessness. The word "absurd" defies easy interpretation in Camus and Ionesco's statements. Ultimately, it is impossible to definitively define the word "absurd". How therefore may the concept of the Theatre of the Absurd be defined? The term's creator and leading theorist, Martin Esslin, claims that "the Theatre of the Absurd is a part of the "anti-literary" movement, which has found expression in abstract painting with its rejection of "literary" elements in pictures or in France's "new novel" with its reliance on the description of the objects and rejection of empathy and anthropomorphism." Esslin, like Camus and Ionesco, doesn't give the concept of the ridiculous a specific meaning. Instead, he is able to draw attention to the connection between European literature and abstract art from the 1940s and 1950s. A literary text either imparts or asks for the process of concretization anytime it interacts with the reader, therefore there may be an "abstract" painting but not a "abstract" piece of literature, one could say. "Absurdity" of the literary text appears to be the equivalent of "abstractness" in art in Beckett's "Waiting for Godot" and Ionesco's "Rhinoceros" due to the ways in which both concepts contest the established structures by undervaluing ideas or disobeying the rules of artistic and literary production in art and literature. However, these two works touch on the subject of resistance in the process of enacting it. As a result, a counter-performance occurs in Beckett's text, inviting the reader to interpret it in a different way. Or, the text of Ionesco shows a character against the enigmatically alluring, jouissance-like harmony of the rhinoceroses. Resistance ends up being the only defining trait of "Literature of the Absurd". Additionally, the absurdity of these poems is a result of resistance. Resistances represent both the idea of absurdity and the texts of the Theatre of the Absurd. As a conclusion, we might state that the concepts "absurd" and "absurdity" defy accurate definition and clear interpretation. Certain referents and signifieds cannot under any circumstances be associated with these words. Second, the absurdity of the texts is created by resistances that either the narration or the literary text's structure exhibits in the works that Martin Esslin refers to as texts of the Theatre of the Absurd. Exploration of the word "resistance" is necessary here.
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De Vos, Wouter Le R. "Regspraak: When will the notorious case of Hollington v F Hewthorn & Co Ltd 1943 KB 587 (CA) be laid to rest in South Africa?" Tydskrif vir die Suid-Afrikaanse Reg 2023, no. 3 (2023): 533–47. http://dx.doi.org/10.47348/tsar/2023/i3a9.

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Die onlangse uitspraak in Maqubela v The Master het onteenseglik aangetoon dat die veel gekritiseerde Engelse saak van Hollington v F Hewthorn and Co Ltd steeds as bindende gesag deur Suid-Afrikaanse howe beskou word. Die onderhawige bydrae fokus eerstens op die Maqubela-saak, met verwysing na die relevante feite, die kernvraag vir die hof se beslissing en die hof, by monde van waarnemende regter Moorcroft, se redenasie. Die derde respondent, mev Maqubela, en die oorledene, mnr Maqubela, was binne gemeenskap van goedere getroud. Die oorledene was ’n prokureur en ten tye van sy afsterwe het hy as regter in die Wes-Kaapse afdeling van die hooggeregshof waargeneem. Voor sy dood het die oorledene ’n versekeringspolis op sy eie lewe uitgeneem en sy boedel as begunstigde aangewys. Die oorledene het intestaat gesterf, wat aanleiding gegee het tot ’n dispuut tussen onder andere die derde respondent, die meester en twee kinders van die oorledene (die applikante). Twee kernvrae het voor die hof gedien. Eerstens, het die opbrengs van die lewenspolis binne die gemeenskaplike boedel of ’n afsonderlike boedel van die oorledene geval? Die vraag val buite bestek van hierdie bespreking. Daar word volstaan om te meld dat die hof bevind het dat die opbrengs binne die oorledene se afsonderlike boedel geval het. Tweedens moes die hof beslis of die derde respondent onwaardig was om van die oorledene se boedel te erf omrede sy skuldig bevind was aan vervalsing van die oorledene se beweerde testament en bedrog deur aan die meester voor te hou dat die testament eg was. In die konteks het die vraag ontstaan of die derde respondent se genoemde skuldigbevinding toelaatbare getuienis in die siviele hof was om te bewys dat sy inderdaad skuldig was aan die misdrywe en dus op grond van openbare beleid onwaardig was om van die oorledene te erf. Indien die vraag negatief beantwoord sou word, sou sy in beginsel geregtig gewees het om ’n kindsdeel uit die oorledene se boedel te erf. (Die gemeenskaplike boedel was insolvent.) Die vraag het geverg dat die hof ’n bevinding betreffende die regsposisie maak en dit op die feite toepas. Kortliks kom dit op die volgende neer. Uit hoofde van artikel 42 van die Wet op Bewysleer in Siviele Sake 25 van 1965 geld die Engelse gemene bewysreg (“common law”), soos op 30 Mei 1961, in Suid-Afrika, vir sover plaaslike wetgewing en ander regsreëls nie ’n situasie reguleer nie. Dit beteken dat die Engelse beslissing in die Hollington-saak, beslis in 1943, as bindende gesag in Suid-Afrika geld. Die ratio van die Hollington-saak hou in dat ’n skuldigbevinding in ’n strafsaak nie toelaatbare getuienis is in ’n daaropvolgende siviele saak, gebaseer op wesenlik dieselfde feite, om te bewys dat die beskuldigde (nou meestal eiser) inderdaad die misdryf gepleeg het nie. Waarnemende regter Moorcroft het homself gebonde geag aan die Hollington-saak en bevind dat die derde respondent se skuldigbevinding aan vervalsing en bedrog, in verband met die oorledene se beweerde testament, nie toelaatbare getuienis in die siviele verrigtinge was om te bewys dat sy inderdaad skuldig was aan die misdrywe en dus onwaardig was om van die oorledene te erf nie. Die vonnisbespreking gee vervolgens ’n regsvergelykende oorsig van die regsposisies in Engeland, Australië en Nieu-Seeland. In Engeland is die reël in die Hollington-saak by wyse van wetgewing afgeskaf. In Australië het ál die state, met uitsondering van Wes-Australië, ook die reël in die Hollington-saak by wyse van wetgewing herroep. Getuienis betreffende ’n skuldigbevinding in ’n strafsaak is dus toelaatbaar verklaar in daaropvolgende siviele verrigtinge gebaseer op wesenlik dieselfde feite. Daar is egter nie eenvormigheid betreffende die gewig wat aan so ’n skuldigbevinding geheg moet word nie. Is dit bloot toelaatbaar en vir die hof om toepaslike gewig daaraan te heg? Of, skep dit prima facie bewys wat bloot ’n weerleggingslas plaas op die party wat die korrektheid van die skuldigbevinding betwis? Of, skep dit prima facie bewys wat ’n volle bewyslas op die genoemde party plaas om die teendeel op ’n oorwig van waarskynlikheid te bewys (die huidige posisie in Engeland). In beide Wes-Australie en Nieu-Seeland is die Hollington-reël by wyse van regspraak afgeskaf. In die verband fokus die bespreking op die Wes-Australiese saak van Mickelberg and Mickelberg v Director of Perth Mint (1986 WAR 365) en die Nieu-Seelandse beslissing in Jorgensen v News Media (Auckland) Ltd (1969 NZLR 961). Die bespreking sluit af met ’n kritiese evaluering van die huidige Suid-Afrikaanse posisie. Die kernkritiek is dat die Hollington-reël onrealisties en irrasioneel is deurdat dit ’n skuldigbevinding, wat gebaseer is op bewys bo redelike twyfel, as irrelevant en ontoelaatbaar brandmerk in ’n daaropvolgende siviele saak, waar die bewysmaatstaf bloot ’n oorwig van waarskynlikheid is. Daar word ook na voorbeelde in die regspraak verwys om die absurde resultate te beklemtoon waartoe die reël kan lei. Ten slotte word aan die hand gedoen dat die tyd ryp is vir Suid-Afrika om die voorbeeld van die ander genoemde jurisdiksies te volg en die reël af te skaf. Die mees gepaste metode sou wetgewing wees aangesien dit meer geskik is as regspraak om presiese inhoud aan die nuwe regsposisie te gee. Maar, aangesien ingryping deur die wetgewer onwaarskynlik is, word die hoop uitgespreek dat ’n hoër hof, wat in die toekoms geroepe sou wees om oorweging aan die Hollington-reël te gee, bereid sou wees om die hof se inherente grondwetlike mag om die gemenereg te ontwikkel, uit te oefen en die Hollington-nalatenskap finaal ter ruste te lê.
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3

BABELYUK, Oksana, Olena KOLIASA, and Valeriia SMAGLII. "Language Means of Revealing Postmodern Ludic Absurd in English Literary Text." WISDOM 20, no. 4 (December 24, 2021): 166–79. http://dx.doi.org/10.24234/wisdom.v20i4.531.

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The fiction politics of contemporaneity reflects diversified patterns of language forms and their func- tions. This has brought to life experimental (postmodernist) writing the key principles of intertextuality, fragmentation, destruction, play. Postmodernist aesthetics caused a blurring of traditional genre canons that led to contamination of syncretic genre compounds through a grotesque transformation of traditional genre models and created an „estrangement? effect. The phenomenon of ludic absurd is viewed in three as- pects: 1) linguo-philosophical; 2) cognitive; 3) poetic. The present study focuses on the analysis of ludic absurd; the role of graphic, phonetic, morphemic, word-forming, syntactical, semantic mechanisms, based on the intentional deviation of language norm, play on words; cognitive mechanisms, generated by ad-hoc way of thinking. The conducted linguopoetic analysis of American postmodern short stories suggests that ludic absurd as a stylistic device of postmodern poetics manifests itself at all language levels (lexical, syn- tactic, semasiological, and textual) and is realized via the semantic asymmetry of lexical units, using illog- ical, but grammatically correct syntactic constructions, syntactic mismatch of sentences and whole text fragments. Prospects for further studies consist in clarifying the pragmatic role of ludic absurd in the postmodern literary text; expanding the taxonomy of lexico-semantic, stylistic, and syntactic and paragraphemic means of ludic absurd.
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Vollans, Caroline. "The ‘v’ word." Nursery World 2022, no. 1 (January 2, 2022): 34–35. http://dx.doi.org/10.12968/nuwa.2022.1.34.

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Houziaux, Alain. "L’absurde et la grâce." Études théologiques et religieuses 75, no. 1 (2000): 25–37. http://dx.doi.org/10.3406/ether.2000.3579.

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Faith, as generally accepted, gives meaning to life and to the world. Alain Houziaux challenges this understanding. He claims that not only are life and the world absurd even to believers, but also that the recognition of this absurdity is the necessary corollary of confessing «justification by grace alone». Given this recognition, he then proceeds to show that we presume and induce the truth of a transcendant word pronounced over life and the world. He concludes that faith in this transcendant word is by no means absurd, though it is rooted in the absurd.
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Werdiningsih, Endang. "Absurditas dalam Karya Sastra." Likhitaprajna Jurnal ilmiah 23, no. 2 (February 7, 2022): 168–75. http://dx.doi.org/10.37303/likhitaprajna.v23i2.204.

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Absurdity comes from the word absurd which means impossible, unreasonable, ridiculous, laughing. Absurdity is defined as the impossibility of circumstances. Absurd is a condition that describes an emptiness. It then develops into a void of self in one's life. This emptiness is usually one of the characteristics of life which are played in stories that are classified as absurd. Absurd can also be said as things that deviate from harmony, unclear and illogical. Absurd events as things that no matter how strange and crazy for a straight mind but they exist in everyday life.
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Dzhur, Elena Vladimirovna. "Lexicographic representation of the lexeme ‘абсурд’ (absurd)." Philology. Issues of Theory and Practice 17, no. 4 (April 27, 2024): 1338–42. http://dx.doi.org/10.30853/phil20240194.

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The aim of the research is to provide a lexicographic representation of the word ‘абсурд’ (absurd), compiled on the basis of data from various linguistic dictionaries. To compile a lexicographic portrait of this word in accordance with the theory of Yu. D. Apresyan, it was necessary to consider it from various sides: etymological, word-formation, grammatical, syntactic, stylistic, phraseological, pragmatic. This became the subject of the research and determined the structure of the work. The paper clarifies the lexical meaning of this word and gives its complex characteristics in various aspects. The scientific novelty lies in a comprehensive linguistic description of the lexical unit under study, which allows us to identify the history of its appearance in the language in the middle of the 19th century, trace its development up to the present day, show its collocability and speech functioning. As a result of the research, it was revealed that the lexical meaning of the lexeme ‘абсурд’ has practically not changed since its appearance in the Russian language, however, it has received quite significant clarifications, which is manifested in its collocability and systemic connections.
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Sboev, Aleksandr N. "CHINESE LANGUAGE "LATINIZATION". (ОN THE BASIS OF CHINESE INTERNET COMMUNICATION)." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 7 (2020): 64–83. http://dx.doi.org/10.28995/2686-7249-2020-7-64-83.

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The process of latinization of the Chinese language goes back to 1958, when Pinyin alphabet was created. The usage of Pinyin alphabet for a long time was limited only to the sphere of education, where the alphabet acted as an “extra tool” for studying the hieroglyphic script. Nowadays the usage of Pinyin alphabet has become wider: Chinese words in dictionaries are listed in alphabetical order; the alphabet is used for typing hieroglyphs in word processors; words written in latin letters are widely used in Chinese Internet communication, etc. While some of such “literal” words currently used in Chinese Internet communication are borrowings from other languages (mostly from English), this article is focused on wholly Chinese words that are written only in Pinyin alphabet without tone diacritics. Is it possible that writing in Pinyin alphabet will replace the traditional hieroglyphic writing? Today it seems absurd, but time will show.
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Paylor, A. J. "“Hello World!” Gwenpool: Marvel’s Camusian absurd hero." Journal of Graphic Novels and Comics 11, no. 3 (January 4, 2019): 259–70. http://dx.doi.org/10.1080/21504857.2018.1556174.

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Linghong, Yu. "Chinese loanwords in the novel Blue Lard by Vladimir Sorokin." Izvestiya of Saratov University. Philology. Journalism 23, no. 1 (February 21, 2023): 86–90. http://dx.doi.org/10.18500/1817-7115-2023-23-1-86-90.

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The article discusses the Chinese loanwords that appear in the novel Blue Lard by Vladimir Sorokin. The novel contains an allegory of the Russian language of the future. Most of the neologisms created by Sorokin in Blue Lard come from foreign words, including an abundance of Chinese loanwords. The author of the article analyzes the Chinese loanwords from the point of view of phonetics and semantics, points out the mistakes in pronunciation in the novel, when Sorokin uses Chinese words or expressions. The analysis also focuses on the aesthetics of the word “Mei guo”, which by pronunciation in Chinese refers to the United States, and the word “Hei long jiang”– as one of the provinces in China, or the Amur River, flowing through the territory of three countries. Sorokin purposely changes their interpretation at the end of the novel to “beautiful country” and “Black Dragon River” in order to create the normal atmosphere of a dystopian society devoid of geopolitical boundaries. Sorokin introduces the word “dan huang”, which in the novel refers to the pro-China Russians and resembles the Chinese slangs “banana-man” and “egg-man” from the position of transcultural distribution. Moreover, in the course of the research, the author provides a comparison of Chinese loanwords with other foreign-language words used in the novel. By using Chinese loanwords as swear words, Sorokin literally commits linguistic violence. The final conclusion is that Chinese loanwords can be seen as a product of the overlap of cultures, which appear in the Russian-language fiction text. In addition, the Chinese loanwords with other Chinese elements give the novel a mystical oriental flavor and an absurd tone.
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Dissertations / Theses on the topic "Absurde (The word)"

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Stine, Jon M. "Absurd and grotesque circumstances." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1115754.

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The work is a reflection of my opinions and criticism of society and the world as I see it. The absurd behavior of individuals in my environment provided the basis for my research. The seven woodcut prints that were completed, attempted to examine universal and personally significant themes.I utilized visual techniques to convey personal feelings and ideas about relationships with other people. Technical as well as conceptual abilities were drawn upon to produce a series of prints that depicted specific experiences I have had in life.
Department of Art
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Yao, Jie. "La réception de l'oeuvre d'Albert Camus en Chine." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30021.

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Cette thèse a pour objet de retracer l’histoire de la réception de l’œuvre d’Albert Camus en Chine et de mettre au jour l’influence qu’elle a pu exercer sur les écrivains chinois. Le processus de la réception de l’œuvre de Camus en Chine étant inséparable du processus de l’évolution politique et culturelle chinoise, il est examiné sous l’angle de la sociologie, de l’histoire politique, de la littérature comparée, et de la traductologie. L’étude met ainsi en lumière les circonstances historiques, sociales, culturelles, politiques des différentes périodes au cours desquelles l’œuvre de Camus a été reçue, traduite, publiée, et critiquée en Chine
This thesis aims at retracing the history of the reception of the work of Albert Camus in China and exposing the influence it has on Chinese writers. The process of the reception of Camus' work in China is inseparable from the process of Chinese political and cultural evolution and is examined from the angle of sociology, political history, comparative literature, and Translatology. The study highlights the historical, social, cultural and political circumstances of the different periods during which Camus's work has been received, translated, published and criticized in China
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Gavins, Joanna. "Text world theory : a critical exposition and development in relation to absurd prose fiction." Thesis, Sheffield Hallam University, 2001. http://shura.shu.ac.uk/19681/.

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This thesis presents a unified and systematic Text World Theory, tested and refined under practical application. It draws on a variety of linguistic, psychological, critical theoretical and cognitive scientific models, principally the cognitive discourse grammar originally developed by Paul Werth. The thesis delineates the critical and philosophical inheritance out of which Text World Theory evolved, in order to evaluate and engage critically with the theoretical framework in the light of recent developments in literary linguistics and cognitive poetics. This inheritance includes the fields of possible worlds semantics and narratology, artificial intelligence research and cognitive psychology. Essential modifications, revisions and crucial adjustments are made to Werth's approach in order to produce a refined model of Text World Theory. The augmented framework is tested through several practical and inter-related analyses. These centre around Absurd prose fiction, selected in order to highlight the adaptability of the new Text World Theory especially in the context of literary environments that are often judged to be challenging on a cognitive dimension. Extensive analyses of Paul Auster's The Music of Chance, Flann O'Brien's The Third Policeman, Emmanuel Carrere's The Mustache, Kurt Vonnegut's Slaughterhouse-Five, and Donald Barthelme's Snow White are undertaken over the course of the thesis. Further adaptations to the model are proposed as a result of these applications. The thesis aims primarily to be a contribution to the field of cognitive discourse study. However, incidental contributions are also made to the areas of the critical study of Absurd prose fiction, pragmatics and semantics, cognitive poetics and literary critical theory in general.
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Bencze-Rovez, Ludovic. "Le Ludique et l'absurde dans la littérature du XXè siècle : Raymond Devos et Raymond Queneau." Thesis, Cergy-Pontoise, 2011. http://www.theses.fr/2011CERG0569.

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L'amorce repose sur une contradiction quasi-résorbée : Les ludique et absurde négligés par la littérature, s'imposent au XXe siècle, comme composants utiles à une manifestation intellectuelle plus en phase avec la pensée humaine contemporaine. L'analyse littéraire repose sur l'observation d'aptitudes que manifestent les notions de ludique et d'absurde pour s'adapter aux contraintes inhérentes aux écritures romanesques, théâtrales et poétiques, aujourd'hui. Pour définir les compétences accrues d'un message littéraire en contexte ludique et/ou absurde, la première partie est une relecture ciblée d'auteurs que la critique ne classe pas dans un registre ludico-absurde. La seconde précise et illustre la nature de ces nouvelles compétences, par l'étude d'expérimentations de R. Devos et R. Queneau, dont les rhétoriques ludico-absurdes renvoient à une surréalité toujours populaire car déjà intellectuellement intégré par le récepteur. La dernière aborde la dimension socioculturelle de la littérature, témoin-artisan d'une pensée collective férue de valeurs ludico-absurdes, et qui après s'être souvent fait le chantre de la philosophie de l'absurde, esquisse de l'individu, sa nouvelle manière d'être au monde
The absurd along with that of the “ludic” can no longer be confirmed to the domain of literary prose, but are in fact essential elements to twentieth-century intellectual thought at large. The literary fundamentals are based on the observation of the capacity of the absurd and the “ludic” to adapt to inherent constraints of the novelistic, theatrical and poetic. Our first section argue for a re-evaluation of that message focusing on specific writers that critics thus far have failed to appreciate as part of a distinctive “ludico-absurd” form. The second section focus on this emerging capacity based on studies of the work of R. Devos and R. Queneau, whose “ludico-absurd” rhetoric holds in common a surrealism. It remains popular as audiences are ever sensitive to the message of the “ludico-absurd”, while the latters having integrated it intellectually. The third section focus on the socio-cultural dimensions of the literature, concentrating on the position of the artist as well as that of the beholder. Ultimately, this paper look at the way in which the philosophy of the Absurd continue to elaborate and indeed herald a new relationship between the individual and the contemporary world
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Cox, Lara Alexandra. "Re-envisioning the 'theatre of the absurd' : the Lacanian spectator and the work of Fernando Arrabal, Arthur Adamov and Eugène Ionesco." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3369.

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This thesis considers the interface between the theatre of the absurd and Lacanian cultural criticism. It conceptualises a ‘theoretical spectator’ produced by the play texts and examines its implications for a politics of spectatorship in a postmodern age. This methodology seeks to escape the trap of existentialist criticism that has dominated ideas on the theatre of the absurd since Martin Esslin’s coining of the term in 1961. I posit the modern-day relevance of absurd theatre, by putting the plays under examination into dialogue with Lacanian and current post-Lacanian cultural and political thought. The chapters theorise various ‘spectatorial positions’ produced by three prominent playwrights of the theatre of the absurd: Eugène Ionesco, Arthur Adamov and Fernando Arrabal. I seek to confirm and bolster my theoretical arguments by turning to contemporary empirical reaction to modern-day performances of two other absurdists playwrights, Samuel Beckett and Jean Genet. One of the key postulates is that the theatre of these playwrights chimes with Lacan’s notion of the split subject. Etymologically, the word ‘absurd’ refers to division; thematically and aesthetically, absurd theatre bears witness to the erosion of subjective stability. The conceptual parity between Lacanian theory and absurd theatre permits me to stake out a new critical pathway with regard to this body of theatre that paves the way for its re-politicisation in a postmodern world.
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Mellström, Johanna, and Elin Widman. "”Här kan man vara normal i det helt absurda och sjukaste som finns” - om behovet av stöd till anhöriga till sexuellt utnyttjade barn." Thesis, Mid Sweden University, Department of Social Work, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-24.

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Syftet med studien var att beskriva några anhörigas behov av föreningen ATSUB (Anhöriga Till Sexuellt Utnyttjade Barn). Vidare var syftet att undersöka några anhörigas upplevelser av det stöd och bemötande de får och har fått av föreningen samt andra instanser. Vi har använt oss av en kvalitativ forskningsmetod och uppsatsen bygger på sex stycken intervjuer med anhöriga till sexuellt utnyttjade barn samt litteraturstudier av tidigare forskning. I studien framkom det att kommunernas socialtjänst har det yttersta ansvaret för att de människor som vistas i kommunen får det stöd och hjälp som de behöver. Resultatet av studien visar att socialtjänsten i vissa fall inte har tagit detta ansvar gentemot de anhöriga och deras utsatta barn. Flera av respondenterna uttrycker en besvikelse på det bemötande de har fått från myndigheter då de har upplevt ett stort motstånd. Mamman blir ofta ifrågasatt och man tror inte på barnens berättelser. Både vår studie och tidigare forskning visar på att bristande kunskap om hur människor reagerar i kris samt kunskap om sexuella övergrepp över lag hos de professionella kan ha bidragit till det bristande bemötandet som barnen och de anhöriga har fått. Oavsett om man har haft en positiv eller negativ upplevelse från andra instansers stöd och bemötande visar våran studie att behovet av föreningen ATSUB är stort hos alla våra respondenter. Föreningen besitter en stor kunskap som de anhöriga saknade hos berörda myndigheter samt att de har egna erfarenheter vilket alla nämner som en viktig del. Man får en förståelse och empati hos ATSUB som inte går att få någon annanstans.

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Cloarec, Julie. "Fiction et connaissance, du théâtre à la physique : l'esthétique et les sciences du point de vue de l'acteur : vers une philosophie féconde de l'absurde." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010697.

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La fiction, bien plutôt que de relever d'une illusion, stérile et dangereuse, engendrée par une imagination trop souvent réduite à n'être que la « folle du logis» par la tradition rationaliste de la philosophie, ne montre-t-elle pas toute sa pertinence et sa fécondité dans le double domaine de l'esthétique et de l'épistémologie, que ce soit, par exemple, dans le jeu paradoxal du comédien ou dans la métaphorisation du réel par le chercheur scientifique, qui s'alimentent, tous deux, à la source d'une mimésis où s'originent toute connaissance comme toute action humaines ? Mais la fiction ne trouve et ne prouve toute son ampleur théorique et pratique que d'être inscrite dans une « philosophie du comme si », dont la véritable filiation est à rechercher dans un kantisme élargi plutôt que dans l'orthodoxie pragmatiste. Ce fictionalisme, qui permet à l'esprit humain de se déprendre de ses habitudes conceptuelles en faisant primer l'intuition poïétique sur l'intelligence technique, ne peut lui-même faire son œuvre que d'être ancré en une philosophie de l'absurde qui, bien loin de réduire « l'homme absurde» au désespoir, en appelle à une décision existentielle de (c l'âme active» qui ré-éveille le génie qui sommeille en chaque homme à l'exigence d'une existence soucieuse de lucidité et de responsabilité, pour soi-même et les autres comme pour le monde
Does not fiction, rather than arising from a sterile and dangerous illusion, engendered by a creative faculty that is too often reduced by the rationalist tradition in philosophy to nothing more than "an overactive imagination", reveal ail of its relevance and fecundity in the dual domain of esthetics and epistemology - for example in the paradoxical performance of an actor or the metaphorisation of the real by a scientific researcher, both of which draw from the source of a mimesis in which ail knowledge and ail human actions originate ? But the full theoretical and practical scope of fiction can only be found and proven when it is situated within a "philosophy of the as if, whose true filiation is to be found in a broadened Kantianism rather than in the pragmatist orthodoxy. Such a fictionalism, which allows the human mind to free itself from its conceptual habits by stressing intuition over technical intelligence, can itself do its work only by being rooted in a philosophy of the absurd which, far from reducing "the absurd man" to despair, calls for an existential decision of the "active soul" which re-awakens the spirit that lies dormant in each human individual to the demands of an existence mindful of lucidity an responsibility, for oneself and for others as for the world
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Hoffman, Dustin M. "Living Impaired and Other Stories of the Underemployed." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1245558235.

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Aqelsaravani, Zahra. "L'homme, l'humain et l'humanisme dans les oeuvres d'Albert Camus." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30032.

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Albert Camus a lui-même distingué trois phases dans son Œuvre : celle de l’absurde : (la prise de conscience du non-sens de la vie conduit Camus à l’idée que l’homme est « libre de vivre sans appel », « quitte à payer les consciences de ses erreurs » et doit épuiser les joies de cette terre. La vie accepte le non-sens du monde et trouve le bonheur au sein même de l’absurde. Camus affirme que l’absurde n’est ni dans l’homme ni dans le monde, mais dans leurs présences communes, dans leur « confrontations » et le définit comme « l’indifférence à l’avenir et la passion d’épuiser tout ce qui est donné »), celle de la révolte : (la révolte est considérée par lui comme la seule position tenable face à l’absurde. Elle figure avec la liberté et la passion, comme une solution valable et capable d’assurer la justice. Elle seule peut assurer une action affective capable de dépasser la stérilité et l’angoisse créées par l’absurde), celle de l’amour : (Camus entend par là, l’amour de l’homme, tel qu’il est, avec ses forces et son intelligence et aussi avec ses limites et ses faiblesses. Camus exprime son affection et sa solidarité envers l’homme. Ce n’est plus seulement un humanisme classique qui s’affirme, plus seulement une position morale, mais une position d’homme sensible. Camus recherche encore à s’approcher de ces « quelques choses », de cette « part obscure » qui est en tout homme, et en lui-même en particulier). Cette étude interroge sur la remarquable prose camusienne qui touche au premier plan la question de l’Homme qui progresse et modifie au fil des années ; l’attachement au service d’une justice relative aux hommes dont l’idée n’est pas séparable de celle du bonheur ; l’adhésion à une éthique humaine et humaniste qui n’est que pour pousser l’esprit humaine à la perfection. Son art n’est pas « une réjouissance solitaire ». Camus formule son exigence envers l’Homme car l’art est le moyen de l’expression d’une communion entre les hommes
Albert Camus himself distinguished three phases in his work: that of the absurd (awareness of non-meaning of life led Camus to the idea that man is ‘’ free to live without appeal’’, take a risk to pay the consciences of his errors and must exhaust the joys of this earth. Life accepts the non-sense of the world and finds happiness in even the absurd. Camus says that the absurd is not in man nor in the world, but in their common presences, in their ‘’ confrontation’’ and defines it as ‘’ indifference to the future and the passion to exhaust all that is given’’), that of the revolt: (revolt is considered by him as the only tenable position to face the absurd. It appears with the freedom and passion, as a valid solution and capable of ensuring justice. It alone can assure emotional action capable of overcoming unproductiveness and anxiety created by the absurd), that of the love (Camus meant here the love of man as he is, with its forces and intelligence as well as its limitations and weaknesses. Camus expresses his affection and solidarity towards man. This is not only a classical humanism which expresses itself, not just a moral position, but the position of a sensitive man. Camus still tries to approach these ‘’ few things’’ this ‘’obscure part’’ which is in every man, and himself in particular. This study examines the remarkable prose of Camus that concerns the issue of man, who progresses and changes over the years; attachment to the service of justice, relating to man whose idea is not separable from that of happiness; adherence to human and humanist ethics which are pushing the human mind to perfection. His art is not ‘’ a solitary joy’’. Camus formulates his expectation from man because art is the way of expression of communion between people
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Limsky, Drew. "The American absurd : the (postmodern) world according to Joan Didion /." 2007. http://wwwlib.umi.com/dissertations/gateway.

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Thesis (Ph.D.)--New York University, Graduate School of Arts and Science, 2007.
Typescript. Includes bibliographical references (leaves 243-251). Also available in electronic format on the World Wide Web. Access restricted to users affiliated with licensed institutions.
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Books on the topic "Absurde (The word)"

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Vasilev, Simeon. Globaliziranii︠a︡t absurd. Sofii︠a︡: UI "Sv. Kliment Okhridski", 2002.

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Lithwick, Dahlia. Me v. everybody: Absurd contracts for an absurd world. New York: Workman Pub., 2003.

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American absurd: A work of fiction. Grand Rapids, Michigan: Bowen Press, 2016.

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1950-, Taylor Geoffrey, ed. The absurd world of Charles Bragg. New York: Arcade Pub., 1991.

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Vorotnikov, V. I. Khronika absurda: Otdelenie Rossii ot SSSR. Moskva: ĖKSMO, 2011.

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Les décisions les plus absurdes de l'histoire. Laval (Québec) Canada: Guy Saint-Jean, éditeur, 2014.

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Jastrząb, Mariusz. Mozolna budowa absurdu: Działalność Wydziału Propagandy Warszawskiego Komitetu Wojewódzkiego PZPR 1949-1953. Warszawa: Instytut Studiów Politycznych Polskiej Akademii Nauk, 1999.

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Meininger, Robert Alan. The theme of the absurd in the French novel of World War One. Ann Arbor: University Microfilms International, 1987.

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Hanratty, Padraig. Behan and nothingness: The mortal individual's quest for meaning in an absurd world. Dublin: University College Dublin, 1996.

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Tyas, Shaun. Book-worm droppings: An anthology of absurd remarks made by customers in secondhand bookshops. Stamford, Lincs.: Paul Watkins, 1988.

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

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Anemone, Anthony. "The Anti-World of Daniil Kharms: On the Significance of the Absurd." In Daniil Kharms and the Poetics of the Absurd, 71–93. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-11642-3_5.

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Kharms, Daniil. "Yelizaveta Bam: A Dramatic Work. A new translation from the definitive text by Neil Cornwell." In Daniil Kharms and the Poetics of the Absurd, 220–40. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-11642-3_16.

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

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AbstractLet’s start our pilgrimage by following one of the most significant signposts of all: the workplace should promote absurdity. Signpost 2 came out of the idea that our capability to be absurd gives us a competitive edge over logic-based algorithms in the future of work. Because of this, absurdity should be nurtured at the places where we work (Signpost 3).
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"THAT DAMNED ABSURD WORD “LIBERTY”:." In The Battle for the Fourteenth Colony, 71–86. University Press of New England, 2013. http://dx.doi.org/10.2307/j.ctv1xx9hzr.12.

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Weiner, Joan. "Why Frege’s Apparently Absurd View Is not Absurd at All." In Taking Frege at his Word, 239–69. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198865476.003.0007.

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This chapter is largely an examination of the significance one of Frege’s views has for contemporary thought. The view, which was labeled the “apparently absurd view” in Chapter 6, is that (1) it is appropriate to give definitions of terms already in use that are, in part, stipulative and (2) it is appropriate to take sentences in which such terms appear as, already (pre-definition), having truth-values. It is argued that, although this view may seem absurd, it is perfectly in line with some scientific practices, in particular unexceptionable practices routinely used in epidemiology. If we follow Hilary Putnam’s view about the significance of our deference to experts, we should accept Frege’s apparently absurd view as not absurd in the least. Moreover, what we see on examination of this view are reasons for rejecting a number of contemporary views about vague language, including those of Field, Fine, Fodor and Lepore, and Williamson.
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Stein, Felix. "Abstract Labour and the Absurd." In Work, Sleep, Repeat, 93–118. Routledge, 2020. http://dx.doi.org/10.4324/9781003087427-5.

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"Grand Stupidity and Absurd Bravery." In Work Like You're Showing Off!, 9–14. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2011. http://dx.doi.org/10.1002/9781118256169.ch2.

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Trensky, Paul I., and William E. Harkins. "The Drama of the Absurd." In Czech Drama Since World War II, 96–147. Routledge, 2017. http://dx.doi.org/10.4324/9781315171890-5.

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Abulof, Uriel. "The Zionist Absurd." In Finding Meaning, 199–224. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190910358.003.0009.

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“If you have your ‘why?’ in life, you can get along with almost any ‘how?,’ ” argued Friedrich Nietzsche. Does the same apply to societies seeking meaning to ensure their collective existence? This chapter submits that it does, engaging contemporary Israel. The author argues that the political pursuit of moral meaning amounts to existential legitimation, or “nomization,” which can boost the nation’s resilience but, if failed, may end in an impasse of meaning, a political absurd. Israel has grown strong in many respects but existential fears, which have characterized Zionism from its onset, have not subsided. These existential fears and freedom—the realization of Zionism as but one solution to the modern Jewish condition—prompted Zionists to seek existential legitimation to the Jewish state. However, a growing sense that “the whole world is against us no matter what” has engendered the “Zionist absurd,” believing all Israel’s legitimation efforts are doomed, and thus substituting bad faith—essentialism, determinism, and fatalism—for freedom.
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Soper, Kerry D. "Absurdly Naturalistic." In Gary Larson and The Far Side, 183–204. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817280.003.0006.

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In this chapter the author assesses the cultural significance of Larson’s work within the closing decades of the twentieth century. To do this, he does the following: questions traditional views of newspapers cartoons as ephemeral gags that lacked semiotic weight; speculates on the level of emotional and intellectual investment of Far Side fans that collected, shared, clipped out, and posted favorite installments—and often proudly purchased and displayed Far Side paraphernalia like t-shirts and coffee mugs; and considers ways of thinking about The Far Side as a sprawling, micro-serialized, years-long text that included over 4,300 installments. He concludes by highlighting the satiric bite and philosophical depth of Larson’s work as a whole, suggesting that his most devoted to readers were prompted to develop critical ways of perceiving society, human behavior, and other mainstream cultural texts through the worldviews of naturalism, absurdism and the carnivalesque. Recollections from comedy professionals and every day fans are highlighted to support these conclusions.
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Conference papers on the topic "Absurde (The word)"

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Liinasuo, Marja, Tuisku-Tuuli Salonen, and Christopher Görsch. "Drywall Installers’ Work Demands – Tackling between Normal Duties and Absurd Challenges." In ECCE 2023: European Conference in Cognitive Ergonomics. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3605655.3605681.

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Hashimoto, Chikara, and Manabu Sassano. "Detecting Absurd Conversations from Intelligent Assistant Logs by Exploiting User Feedback Utterances." In the 2018 World Wide Web Conference. New York, New York, USA: ACM Press, 2018. http://dx.doi.org/10.1145/3178876.3185992.

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Bauriedel, Stephan. "The Digital Disruption of Ubiquitous Economic Theories." In EDAMBA 2021 : 24th International Scientific Conference for Doctoral Students and Post-Doctoral Scholars. University of Economics in Bratislava, 2022. http://dx.doi.org/10.53465/edamba.2021.9788022549301.16-28.

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Digitalisation demands new economic theories because the old laws are losing their validity. They were established to describe the business interrelationships in an analogue world. Now digital business models are breaking the boundaries and taking learned knowledge ad absurdum. New economic theories are emerging from the literature to explain how digitalisation works. The author finds that the new assumptions conflict with some ubiquitous economic theories. The inconsistencies were collected, reviewed, and evaluated. It turns out that at least five doctrines are no longer applicable in the digital world, as their parameters shift elementarily. Using a contrasting example from the music industry, the results were examined and confirmed by way of example. The result is that certain economic theories - from Porter to Pareto - no longer apply in the digital world. The rules must be rewritten so that order can emerge again from the growing chaos.
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Bagińska, Justyna, and Roman Maciej Kalina. "Language of Innovative Agonology: a Guide in Combining Micro and Macro Scales of Preventive, Therapeutic and Defensive Actions." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003501.

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The language of innovative agonology (IA) concerns three layers. One is the terminology, whose basic frame of reference is Tadeusz Kotarbiński’s general theory of struggle (agonology). The remaining ones are: the ambiguity of the same terms used in different sciences (some of which have been appropriated by the public media language); and the need to adapt key words (and even to create neologisms in English for the universal language of IA) which describes scientific discoveries of phenomena included the field of IA research, but originally published in languages other than English.Kotarbiński’s definition of struggle relates to people: “a struggle is any activity, in which at least two subjects participate (assuming that a team can be a subject), while at least one of the subjects hinders the other”. However, Jaroslaw Rudniański’s extension of the concept of ‘struggle’ means that in a certain category of combat (the fight against the pandemic), the parties may not only be human beings. Therefore, in the language of IA (that is, also in a methodology based on a complementary approach), it is legitimate to assume that the ‘material’ means the opponent (subject or thing) with whom the person (individually or in a group) fights.An example of the dilemmas with the ambiguity of using the same terms in different areas of communication is the semantic category ‘development’, elementary to IA (a term used only in a positive sense). The commonly accepted phrase ‘development of a disease’ is patently absurd. Even if the user explains that they meant ‘development in a negative sense’, all the more it shows that they are ignorant as to the semantics.One of the concepts originating from the Lviv-Warsaw school of the methodology of sciences is the term ‘wiedzotwórczy’, which has no equivalent in English. In many methodological arguments edited in Polish, it is a convenient combination of the words ‘knowledge’ and ‘creative’. Future IA professionals will undoubtedly face similar semantic dilemmas. Identifying, interpreting and formulating algorithms for phenomena that need to be effectively addressed (from micro to macro scales) in the areas of prevention, therapy and, in certain circumstances, call for undertaking a strong defense, requires unambiguous language that is understandable to experts in even distant fields.
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Reports on the topic "Absurde (The word)"

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Dogra, Keshav. Paradoxes and Problems in the Causal Interpretation of Equilibrium Economics. Federal Reserve Bank of New York, March 2024. http://dx.doi.org/10.59576/sr.1093.

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Equilibrium assumptions posit relations between different people's beliefs and behavior without describing a process that causes these relations to hold. I show that because equilibrium models do not describe a causal process whereby one endogenous variable affects another, attempts to decompose the effects of shocks into “direct” and “indirect” effects can suggest misleading predictions about how these models work. Equilibrium assumptions also imply absurd paradoxes: history can determine future behavior without affecting any intervening state variables today; individuals can learn information that no one originally possesses by observing each other’s actions. This makes equilibrium models unreliable tools to study how economic systems coordinate activity and aggregate dispersed information. I describe how to construct non-equilibrium models that avoid these paradoxes and can be interpreted causally.
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