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Rasheed, Nausheen, Mamona Yasmin Khan, and Shaheen Rasheed. "Philosophical Exploration of Absurdism and Existentialism: A Comparative Study of Kafka's Work The Metamorphosis and The Trial." Global Social Sciences Review VI, no. II (June 30, 2021): 94–100. http://dx.doi.org/10.31703/gssr.2021(vi-ii).10.
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The philosophical stance about the existence of being and the meaning of life has been a widely discussed subject among philosophers and critics. Existentialism says that a man can construct his own meaning of life by making judicious use of his awareness, free wills and personal responsibilities, but absurdism believes that there is no meaning of life out there. The focus of this study is to explore the absurdist and existential aspects in Kafka's fiction The Metamorphosis (1915) and The Trial (1925). This is qualitative comparative research, and the data which have been collected for this purpose is through purposive sampling techniques. In this study, Camus' theory of absurdism and theory of existentialism has been adopted as a theoretical framework. The study explores in what ways the traces of absurdism and existentialism are present in Kafka's fiction The Metamorphosis and The Trial. The findings show that characteristics of absurdism and existentialism are found in both the works of Kafka and are comparable with each other. For future recommendations, a comparative stylistic analysis of these selected novels can be carried out.
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Tyrrell, S. "An absurdity in today's world." Computer 33, no. 3 (March 2000): 9. http://dx.doi.org/10.1109/mc.2000.825684.
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Das, Rimasree. "A comparative study Beckett’s Waiting for Godot and Ionesco’s Rhinoceros." International Journal of English Literature and Social Sciences 8, no. 3 (2023): 360–65. http://dx.doi.org/10.22161/ijels.83.57.
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The definition of ludicrous according to Eugene Ionesco is "that which is devoid of purpose. Man is lost when he is cut off from his transcendental, philosophical, and theological origins; all of his activities become ludicrous, meaningless, and pointless. Every time Ionesco defines the term ridiculous by referring to the same concept of the absurd, his representation of the absurd infers a paradox. The term "absurd" doesn't have a clear definition. Therefore, despite all attempts to provide meaning, the absurdity of the ludicrous exists in the situation of meaninglessness. The word "absurd" defies easy interpretation in Camus and Ionesco's statements. Ultimately, it is impossible to definitively define the word "absurd". How therefore may the concept of the Theatre of the Absurd be defined? The term's creator and leading theorist, Martin Esslin, claims that "the Theatre of the Absurd is a part of the "anti-literary" movement, which has found expression in abstract painting with its rejection of "literary" elements in pictures or in France's "new novel" with its reliance on the description of the objects and rejection of empathy and anthropomorphism." Esslin, like Camus and Ionesco, doesn't give the concept of the ridiculous a specific meaning. Instead, he is able to draw attention to the connection between European literature and abstract art from the 1940s and 1950s. A literary text either imparts or asks for the process of concretization anytime it interacts with the reader, therefore there may be an "abstract" painting but not a "abstract" piece of literature, one could say. "Absurdity" of the literary text appears to be the equivalent of "abstractness" in art in Beckett's "Waiting for Godot" and Ionesco's "Rhinoceros" due to the ways in which both concepts contest the established structures by undervaluing ideas or disobeying the rules of artistic and literary production in art and literature. However, these two works touch on the subject of resistance in the process of enacting it. As a result, a counter-performance occurs in Beckett's text, inviting the reader to interpret it in a different way. Or, the text of Ionesco shows a character against the enigmatically alluring, jouissance-like harmony of the rhinoceroses. Resistance ends up being the only defining trait of "Literature of the Absurd". Additionally, the absurdity of these poems is a result of resistance. Resistances represent both the idea of absurdity and the texts of the Theatre of the Absurd. As a conclusion, we might state that the concepts "absurd" and "absurdity" defy accurate definition and clear interpretation. Certain referents and signifieds cannot under any circumstances be associated with these words. Second, the absurdity of the texts is created by resistances that either the narration or the literary text's structure exhibits in the works that Martin Esslin refers to as texts of the Theatre of the Absurd. Exploration of the word "resistance" is necessary here.
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Voitenko, L. I., and M. O. Kniazian. "TRADITIONS OF THE FRENCH THEATER OF ABSURD IN VICTOR SOLODCHUK’S PLAY “WHERE WE WERE EIGHT YEARS”." Writings in Romance-Germanic Philology, no. 1(50) (October 13, 2023): 29–42. http://dx.doi.org/10.18524/2307-4604.2023.1(50).285548.
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The article analyzes Solodchuk’s play «Where We Were Eight Years,» which was included in the electronic version of Anthology-24, published this year. The play is analyzed from the perspective of the French theater of the absurd, through the identification of common features in the play and in the plays written by S. Beckett and Ionesco, namely: a similar worldview, which is influenced by specific historical events, loss of the meaning of life, life without purpose and faith. The kaleidoscopic form of narrative organization, the absurdity and paradox of events, and the grotesque characters whose dialogues are reduced to a limited monologue, they do not understand each other. The form and style of the antidrama are subordinated to the effect of the evidence itself — the grotesque, the farce, brought to the point of excess, which reveals the monotony and meaninglessness of life. The desire to comprehend the universals of existence, the recurring patterns in human life are introduced into the text through the genre of parable, myth, symbol, and metaphor. The word loses its logical and grammatical connections, becomes grotesque, which leads to the loss of its meaning. The absurdist principle is also realized at the level of the figurative system of Solodchuk’s play, where the character appears as a multi-voiced entity. In the texts of the representatives of the theater of the absurd, attention is focused on material objects that replace the Other, so the role of things, objects, scenery increases, and to some extent they replace the object of communication for the characters. In Solodchuk’s play, the object is the Backpack, which is empowered with extraordinary abilities to take away aggression from the outside world. The open ending overcomes, even denies, the technique of ’exhaustiveness’ of dialogue in absurdist texts and appeals to the conceptual creation of the future.
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Febriyanti, Rina Husnaini, Zuriyati Zuriyati, and Saifurrohman Saifurrohman. "ABSURDITY IN THE NOVEL PERBURUAN BY PRAMOEDYA ANANTA TOER: EXISTENTIALISM STUDY." Hortatori : Jurnal Pendidikan Bahasa dan Sastra Indonesia 4, no. 1 (July 16, 2020): 40–47. http://dx.doi.org/10.30998/jh.v4i1.316.
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Abstract: The research aims to find absurdity aspects in the main character of the novel Perburuan that was written by Pramoedya Ananta Toer. The method used was qualitative descriptive. The approach was existentialism. The research technique was done by collecting data from words, phrases, clauses, and sentences that afterwards were categorized and analysed based on absurdity aspects. By the data analysed, it was interpreted with existentialism approach. The findings of the research study displayed the absurdity aspects as follows desperation, unbelief, unafraid of anything, cynicism, soul emptiness, pseudo hope, freedom, sentimentalism, and deadness. Keywords: Absurdity; Novel of Perburuan; Existentialism.
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Werdiningsih, Endang. "Absurditas dalam Karya Sastra." Likhitaprajna Jurnal ilmiah 23, no. 2 (February 7, 2022): 168–75. http://dx.doi.org/10.37303/likhitaprajna.v23i2.204.
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Absurdity comes from the word absurd which means impossible, unreasonable, ridiculous, laughing. Absurdity is defined as the impossibility of circumstances. Absurd is a condition that describes an emptiness. It then develops into a void of self in one's life. This emptiness is usually one of the characteristics of life which are played in stories that are classified as absurd. Absurd can also be said as things that deviate from harmony, unclear and illogical. Absurd events as things that no matter how strange and crazy for a straight mind but they exist in everyday life.
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Fahmi, Ari Khairurrijal. "ABSURDITAS ALBERT CAMUS DALAM NOVEL TERJEMAHAN KARYA ZURIYATI MENCARI PEREMPUAN YANG HILANG." Hortatori : Jurnal Pendidikan Bahasa dan Sastra Indonesia 3, no. 2 (January 22, 2020): 81–90. http://dx.doi.org/10.30998/jh.v3i2.219.
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Abstract: The aim of this study is to describe depthly about an Albert Camus Absurdity in a translation novel by Prof Zuriyati "Mencari Perempuan yang Hilang". The focus of this research is an expressions and words in the novel which have elements of life uncertainty, feelings of turmoil, and death in Albert Camus's concept. This study uses the Content Analysis method with expressions in the form of sentences as data derived from the novel book " Mencari Perempuan yang Hilang " as a data source. The researcher noted several patterns of expressions found in the novel in the form of uncertainty in life, fluctuations in feelings, to feelings of desire to commit suicide which are manifestations of albert camus's absurdity in real life. Key Words: (Absurdity; Albert Camus; Novel; Mencari Perempuan yang hilang).
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MILLER, ED L. "AT THE CENTRE OF KIERKEGAARD: AN OBJECTIVE ABSURDITY." Religious Studies 33, no. 4 (December 1997): 433–41. http://dx.doi.org/10.1017/s0034412597004071.
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No one doubts that Kierkegaard's Concluding Unscientific Postscript is one of the most important, one of the most artistically contrived, and certainly one of the wittiest works in the history of philosophy. Further, the Postscript has often been accorded a kind of centrality in the Kierkegaardian corpus. Kierkegaard himself seems to have assigned it some such role. He informs the reader in the ‘First and Last Declaration’ that he originally intended the Postscript to be his last word before retiring from his authorship (hence part of the significance of the word ‘concluding’). In The Point of View for My Work as an Author he himself calls it both ‘the turning-point’ (repeatedly) and ‘the middle point’ in the sense that ‘this work concerns itself with and sets “the Problem”, which is the problem of the whole authorship: how to become a Christian’. Aside from the way in which Kierkegaard may have conceived the Postscript as being central or pivotal to his whole enterprise, certainly scholars have sometimes treated the Postscript as, at least in some ways, his magnum opus and summum verbum – as I would also. But our concern here is not with the centrality of the Postscript but with the centrality within the Postscript. Most everyone would, I think, acknowledge that a central section of the Postscript may be identified, though I would go farther and claim that within this a central, pivotal, solitary statement may be identified.
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Li, Shuheng. "The Multilayered Meaning of Camus’ Absurdity as Seen in Caligula and the Stranger." Journal of Education, Humanities and Social Sciences 24 (December 29, 2023): 90–94. http://dx.doi.org/10.54097/22wa7361.
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Albert Camus’s literary works and philosophical ideas have had a profound impact on the world. After the two world wars, Europe, tormented by the catastrophe of war, was in a climate of resentful reflection, exploration of the future and skepticism about old values. When the old order is shaken and called into question, man’s everyday life becomes a concrete manifestation of absurdity. The world is absurd, is the subjective feeling of many characters in Camus’ books. The term “absurdity”, a key term in Camus’s life, evolved and developed throughout his work. In this paper, it examines two of Camus’s books, The Stranger and Caligula, to analyze the “Absurd Man” in Camus’s work, then introduces The Myth of Sisyphus to explore how Camus confronts the absurdity in his work, in other words, what he advocates as “revolt”. By exploring how Camus deepens and broadens revolt, the paper offers a better understanding of the uplifting power of words in Camus’ literature work.
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Sathotho, Surya Farid. "ABSURDITY IN PUTU WIJAYA’S SHORT PLAY." TONIL: Jurnal Kajian Sastra, Teater dan Sinema 18, no. 2 (September 13, 2021): 76–82. http://dx.doi.org/10.24821/tnl.v18i2.4458.
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Short play known as Drama Pendek (Drapen) is the latest form of Putu Wijaya's work. The play only ranges from two to twelve pages. From the number of pages, it is assumed that the drapen performance will only last five to ten minutes. Although only a short duration, Putu Wijaya is consistent with the aesthetic concept of terror. This concept, if traced further, is a derivative of the concept of the theater of the absurd. To see the possibility of performing the drapen, an analysis of the structure and texture of randomly selected drapes will be carried out. The analysis is carried out with a theoretical approach that sees the terror in the structure and texture in a drafted text. It is hoped that the results will show whether the short play meets the rules of dramaturgy to be performed on stage Key words: Short play, Theater of the Absurd, Putu Wijaya
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Paton, David. "Dark absurdity: Re-reading the work of Gordon Froud." de arte 50, no. 91 (January 2015): 39–62. http://dx.doi.org/10.1080/00043389.2015.11877213.
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Wierzbiński, Jarosław. "Иллюзия иностранной речи в структуре текстов Михаила Зощенко." Studia Rossica Posnaniensia, no. 43 (November 26, 2018): 315–26. http://dx.doi.org/10.14746/strp.2018.43.25.
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Mikhail Zoshchenko creates specific configurations of word and stylistic constructions using foreign-language parentheses in form of separate lexems, expressions and syntactic structures inserted into passages of a protagonist’s speech. The phenomenon of compilation of Russian and foreign-language forms [or quasi-foreign — taking into consideration the significant number of distortions] can be illustrated by the short story ‘История с переодеванием’. The interlocutors in the text, who in fact cannot speak any foreign language, pretend to use ‘foreign’ words and expressions, involving themselves in a specific verbal game. Their dialogue consists of collocations carried to absurdity, for example: ‘...их бин ейне шамбер-циммер Испания. Компрене? Испания. Падеспань’; ‘Ву зет Германия, одер, может быть, что-нибудь другое?’. Such words and foreign illogical collocations appear to be a unique stylistic device in Zoshchenko’s texts. Their specific features are determined by foreign lexical units usually belonging to several languages. Most frequent are syntactic structures containing Germanisms and Gallicisms. What is more, in Zoshchenko’s texts the foreign parenthetic words and expressions are used exclusively in Russian graphics, which leads to certain changes and modifications of their semantic and phonetic structures according to the model of the Russian language. Transliteration does not reflect the adequate articulation of foreign words and, consequently, results in grotesque effects.
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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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MARINA A., GOLOVANEVA. "DESTRUKTURIZATION AS THE MECHANISM OF CREATION OF ABSURDITY IN RUSSIAN DRAMA OF ABSURDITY OF THE END OF THE XX-TH CENTURY (COMMUNICATIVELY-KOGNITIVE ASPECT)." HUMANITARIAN RESEARCHES 78, no. 2 (2021): 26–30. http://dx.doi.org/10.21672/1818-4936-2021-78-2-026-030.
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The subject of research in the work is the language and speech means of creating absurdity. They come to light within the framework of the destructuring mechanism in the texts of the Russian drama of the absurd at the end of the twentieth century. As a result, it is concluded that there is a significant communicative and cognitive potential of the speech constructions of the absurd, participating in the objectification of the author's creative consciousness. The author's communicative tactics, active linguistic means: inserted words and nonsense words, telegraphic style, chopped prose, ignoring punctuation marks, forcing professionalism and one-piece nominative sentences, the absence of anaphoric and cataphoric connections within the utterance are noted. The analysis uses the techniques of the author's cognitive-discursive method.
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Cave, Peter. "With and Without Absurdity: Moore, Magic and McTaggart's Cat." Royal Institute of Philosophy Supplement 68 (June 20, 2011): 125–49. http://dx.doi.org/10.1017/s1358246111000038.
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Here is a tribute to humanity. When under dictatorial rule, with free speech much constrained, a young intellectual mimed; he mimed in a public square. He mimed a protest speech, a speech without words. People drew round to watch and listen; to watch the expressive gestures, the flicker of tongue, the mouthing lips; to listen to – silence. The authorities also watched and listened, but did nothing.
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Kvašytė, Regina, Džiuljeta Maskuliūnienė, and Kazimieras Romualdas Župerka. "The manifestations of political correctness in the Lithuanian and Latvian languages." Lietuvių kalba, no. 13 (December 20, 2019): 1–11. http://dx.doi.org/10.15388/lk.2019.22480.
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The article discusses the manifestations of the ideology of political correctness in the current Lithuanian and Latvian languages. It features a more detailed analysis of the usage of words referring to persons by health, race and nationality (invalidas – neįgalusis, invalīds – nespējnieks [invalid – disabled]; negras – juodaodis, nēģeris – melnais [negro – black]; čigonas – romas, čigāns – roms [gipsy – Romany], etc.). At first glance, the intentions of the supporters of that ideology seem honorable: their substitution for ordinary words can be seen as a euphemism of a language, which is promoted by tolerance of otherness, empathy, and the pursuit of non-offending communication. However, the implementation of that ideology introduces a new language and is often accessible to extremes, absurdity. The authors of the article agree with linguists and other cultural figures who believe that imposing political correctness for a language is essentially harmful. One characteristic consequence of this interference with language is that a certain, usually negative, connotation of the word, naturally or fancifully conceived by ideology enthusiasts in English-speaking society, is transferred to other languages irrespective of their established meanings and shades. Thus, neutral words unreasonably attribute to a negative evaluation of the subject matter. Recommendations for the usage of words in one way or another should be guided by linguistic science and one’s own cultural tradition, not by an unconditional adherence to any ideology.
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Gao, Yu. "Black humor in Daniil Kharms`s works." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 60 (2021): 208–23. http://dx.doi.org/10.37816/2073-9567-2021-60-208-223.
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Daniil Kharms` s works have been a hot topic of research worldwide for several years. The present study discusses Kharms’s black humor writings of the 1930s, exposes aesthetic potential and humanistic content of black humor as an avant-garde phenomenon, and defines the role of black humor in the plot of works containing allusions to arrest in secret, hospitals and the life of Soviet children. As paper suggests the themes and subjects of Kharms’s black humor are designed to enhance humanistic content. In Kharms’s art world of black humor, “purity” is a kind of harmonious world order representing the earth as “a space, filled with madness and fear” on a real level while on an artistic level it functions as the purity of creative mind generating circular compositional structure and using semantic shift and narrative interruption. In other words, purity embodies the real world while belonging to it. The popularity of Kharms may be, firstly, explained by a clear feeling of absurdism and black humor, the root of which is his requirement for humanization of life and firm faith in God. Kharms believed that religion is “ambiguous and amorphous” and should be expressed in some form or object, without which the essence of religiosity would be lost, even if the most reliable authority and firm dogma are there. Thus, overtly inhuman elements which give a false impression of writer’s spiritual value, do not express the essence of his worldview, but reflect surrounding senseless reality. Out of dissatisfaction with reality, Kharms uses black humor to respond to the evil and absurdity of life.
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Patra, Atanu. "In the Light of Absurdism : A Comparative Study of Tom Stoppard's Rosencrantz and Guildenstern Are Dead and Samuel Beckett's Waiting for Godot." Praxis International Journal of Social Science and Literature 6, no. 6 (June 25, 2023): 7–16. http://dx.doi.org/10.51879/pijssl/060602.
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This paper is an attempt to compare and contrast the similarities and differences of Tom Stoppard's Rosencrantz and Guildenstern Are Dead and Samuel Beckett's Waiting for Godot under the light of Absurd tradition. The paper explains the theatre of the Absurd and its elements. Beckett and Stoppard's distrust of language is shown in their distrust of words, using clichés and repetitions, silences, pauses and some other tactics. Furthermore, the two dramatists' use of verbal games and word-plays, in order to show their distrust of language as a tool of communication, is also explained in this paper .The existential theme and contents used in both plays are discussed. Themes such as: death, lack of individuality and lack of logic are compared and contrasted in both mentioned plays. Moreover, this paper also contains a comparative study of the structure of the two plays. Using Beckett as a starting point, some critics believe that Stoppard can be considered as an ending point in the process of evaluation of Absurdist theatre. The paper also anlyses the symbols which both the playwrights use(such as failing memory, confused identity. lake of desicion making skills) to describes the characters in their plays and thus also compares them with each other.
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Setiawan, Nugraha Hery, Mohamad Ikhwan Rosyidi, and Maria Johana Ari Widayanti. "Questioning morality through absurdity in Hinton’s 'The Outsider'." Rainbow : Journal of Literature, Linguistics and Culture Studies 10, no. 1 (April 23, 2021): 1–12. http://dx.doi.org/10.15294/rainbow.v10i1.36771.
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In this study, the writer has two main aims. They are (1) to explain how morality is portrayed in the novel and (2) to explain how morality is questioned through absurdity. This study is a qualitative analysis. The data were collected by reading, identifying, and classifying excerpts from the novel and analyzed by interpreting process of elucidating the binary opposition which later was reversed (the hierarchy) by applying Derrida’s deconstruction theory. After conducting this study, the writer came at two conclusions. First, the morality in The Outsiders was portrayed by appearances and judgments, neglecting various factors such as reasons, conditions, and motives behind particular actions. Second, considering other factors mentioned before, the writer implied that most of those moral-immoral things portrayed in the novel were merely bias. In oversimplified words, morality is an idea comes from one’s perspective (subjective), yet many people thought they could differ the right from the wrong. Thinking those entire possibilities, raised fundamental question, is not morality so absurd? Does morality even exist in the first place?
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Korolev, Andrey D. "A WORLD WITH MANY ANSWERS." Humanities And Social Studies In The Far East 19, no. 3 (2022): 45–48. http://dx.doi.org/10.31079/1992-2868-2022-19-3-45-48.
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What should people do, who suddenly found themselves in a society of fear, absurdity and uncertainty about the future from the consumer society? To answer this question, the author suggests considering the question of how living objects differ from inanimate ones. The desire for expansion and the ability to work with different virtual realities distinguish the living from the inanimate. Working with virtual reality is shown for the first time on the example of sensory memory and conditioned reflex. The subthreshold zone is described below, which allows us to connect to an infinite number of new, unknown virtual realities
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Ìkò̩tún, Reuben Olúwáfé̩mi. "The Semantic Expansion of ‘Wife’ and ‘Husband’ among the Yorùbá of Southwestern Nigeria." Journal of Language and Education 3, no. 4 (December 31, 2017): 36–43. http://dx.doi.org/10.17323/2411-7390-2017-3-4-36-43.
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Although one of the existing studies on Nigerian or African kinship terms has argued that semantic expansion of such words constitutes an absurdity to the English society, none has argued for the necessity of a specialized dictionary to address the problem of absurdity to the English society, the custodian of the English language. This is important especially now that the language has become an invaluable legacy which non-native speakers of the language use to express their culture as well as the fact that the English people now accept the Greek and Hebrew world-views through Christianity. This paper provides additional evidence in support of semantic expansion of kingship terms like ‘wife’ and ‘husband’ not only in a Nigerian or an African language but also in Greek and Hebrew languages. The paper argues that if English is to play its role as an international language, it will be desirable if our lexicographers can publish a specialized dictionary that will take care of kinship terms, as it is the case in some other specialized dictionaries on the different professions such as medicine, nursing, linguistics and agriculture, to mention but a few, so as to guide against ambiguity or absurdity that may arise in language use in social interactions.
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Joo, Hayoung. "The Postcolonial Recontextualization of Absurdity Represented in the Work of Kader Attia." Art History Forum 51 (December 31, 2020): 243–65. http://dx.doi.org/10.14380/ahf.2020.51.243.
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Davis, Muriam Haleh. "‘A new world rising’: Albert Camus and the absurdity of neo-liberalism." Social Identities 17, no. 2 (March 2011): 225–38. http://dx.doi.org/10.1080/13504630.2011.558375.
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McLauchlan, David. "A Sea Change in the Law of Contract Interpretation?" Victoria University of Wellington Law Review 50, no. 4 (December 2, 2019): 657. http://dx.doi.org/10.26686/vuwlr.v50i4.6306.
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This article challenges the recent extrajudicial argument of Sir Geoffrey Vos, Chancellor of the High Court of England and Wales, that there has been a "distinct sea change" in the law of contract interpretation as a result of the United Kingdom Supreme Court's decisions in Rainy Sky SA v Kookmin Bank, Arnold v Britton and Wood v Capita Insurance Services Ltd. He suggests that these decisions have the effect that Lord Hoffmann's well-known restatement of the law in Investors Compensation Scheme Ltd v West Bromwich Building Society, particularly his Lordship's fourth and fifth principles, no longer represent the law. In his view, the position now is that a court must give the words of a contract their plain meaning except "in a most exceptional case or a case of obvious absurdity". However, Professor McLauchlan argues that Sir Geoffrey reads more into the decisions than is warranted by the Supreme Court's reasoning and that Lord Hoffmann's restatement has survived largely unscathed. In substance, the reasoning spelt out what was either explicit or implicit in the restatement in the first place.
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Swazo, Norman K. "Between Hospitality and Hostility: A Derridean Reflection on “the Refugee”." Journal of French and Francophone Philosophy 30, no. 1 (November 10, 2022): 17–38. http://dx.doi.org/10.5195/jffp.2022.1007.
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Every philosopher who is concerned with practical rationality and the public import of philosophy assumes a politico-philosophical responsibility for his or her words, thoughts, and deeds. More often than not, this is a function of his or her place and time in history as well as the press of current events that claim the philosopher’s solicitude so as to intervene at least with the force of thought and words, if not with deeds. Yet, as philosophers such as Martin Heidegger and Albert Camus have argued, thinking is itself always the essential action that is needed in times of momentous decision, despite the seeming absurdity of events.
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Golikova, Guzel, and Irina Khairova. "The “little man” in Tatyana Tolstayas prose." Przegląd Wschodnioeuropejski 8, no. 1 (July 1, 2017): 289–99. http://dx.doi.org/10.31648/pw.3620.
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The aim of the article is to reveal peculiarities of implementation of the theme and the image of the “little” person in the stories by Tatyana Tolstaya, show artistic form of interaction with Gogol and Gogol’s images according to the particular aesthetics of the writer. Playing with Gogol’s characters – Bashmachkin, old-world landowners, using Gogol’s chronotope, the composition, the writer translates the classic theme in ironic-parody plan. Neo-romantic orientation of Tolstaya’s texts leads to the existence of a particular philosophical component. Postmodern dominant determines the game with “word”: citations, intertextuality. Special aesthetic game with the classics allows the writer to convey the nature of the modern era, the cynicism and absurdity.
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Juchniewicz, Agnieszka. "Komiczno-humorystyczny charakter wypowiedzi w dramatach Olega Bogajewa." Studia Rossica Posnaniensia 47, no. 1 (June 26, 2022): 43–58. http://dx.doi.org/10.14746/strp.2022.47.1.4.
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The aim of this paper is, first of all, to discuss the linguistic sphere in Oleg Bogayev’s comedy works. We would like to pay special attention to the way the characters express themselves. The way Bogayev’s characters create reality is deeply rooted in the spirit of postmodernism, which is reflected primarily in the playwright’s bold experimentation with words, especially in the area of constructed replicas. Language saturated with humour and comical elements can be found in the plays Maria’s field (2004) and Notes of a prosecutor in love (2019). In each of these works, the mode of expression is shaped slightly differently, primarily because of the relationship between the word and the reality presented. They have been constructed according to different genre patterns. The comical and humorous character is most clearly manifested in the former at the linguistic level, while in the latter it is conditioned by the situation. On the one hand, there is humour in Bogayev’s works that can be described as good-natured and comical, directed at human existence and social problems, both as perceived by the author and the characters. On the other hand, there is satirical humour that destabilises the image of the presented world, shattering stereotypes and fixed beliefs. Humour often lurks the tragedy and absurdity of the human world, with all its weaknesses and problems.
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Oteiwey, Ghanim Obeyed. "Inefficacy of Language:A study in Beckett's Play –Waiting for Godot." Kufa Journal of Arts 1, no. 25 (January 18, 2016): 61–78. http://dx.doi.org/10.36317/kaj/2015/v1.i25.6290.
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Language is what determines the regulated world, the signification of which provides the foundation of our culture, our activities and our relations. It defines our identity as a form of reassurance. It deals not only with the impossibilities of knowing the motivation of human beings, but also presents the problem of communication between human beings. Speech is, undoubtedly, the proof of existence as well as a manner of contending silence, solitude and death, and it is man’s unique heritage. Absurd dramatists’ use of language probes the limitations of language both as a means of communication and as an instrument of thought as there can be no definite meanings in a world deprived of values, principles and virtues. They have chosen to write in a language devoid of content to become the adequate representation of stagnant life; they present language as an inefficient tool to express one’s thought, to comprehend the world, or to define one’s self. So Samuel Beckett metalized the absurdity of modern life and human condition in his play. He displayed that with the advent of the twentieth century and its idiosyncrasies, the already taken-for-granted defined character has turn to the most passive of all, bewildered, disillusioned, alienated, dislocated, and purposeless. This creature may provide a new language, new ideas, new approaches, and a new vitalized philosophy to transform the modes of thought and feeling of the public at large in a not too distant future. The present paper aims to reveal the labyrinth of language since it is the symbol of human existence. So it is used here as a symbol of absurdity. Key words: absurdity, existence, communication, inefficient, deterioration, gestures
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Turahmat, Turahmat, and Jupriyanto Jupriyanto. "ABSURDISME INDONESIA DALAM �SUMUR TANPA DASAR� KARYA ARIFIN C. NOER." Jurnal Pendidikan Bahasa Indonesia 5, no. 1 (November 17, 2017): 83. http://dx.doi.org/10.30659/j.5.1.83-98.
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The issue that arises from the limitations of absurdism on the drama's text is: is it possible that the drama STD (The Well Without Basic) by Arifin C.Noer does not in any way recognize the existence of God in his narrative? Another issue is how the form of absurdism in this drama text ?. This research utilizes a hermeneutic approach. Data were collected using reading technique and record technique. There are two sources of data in this study, namely primary data sources and secondary data sources. The primary data source in this research is the drama of No Drawing Well by Arifin C.Noer. The data contained in this research are words, phrases, clauses, or phrases in the drama dialogue of the Unfounded Wells by Arifin C.Noer which allegedly contains markers of drama absurdism. The data were analyzed using hermeneutic readings. Then presented in the form of a neatly arranged and systematic report. The forms of absurdism in this text lie in the following points. First, this drama uses the myth as a source of storytelling. Secondly, in this drama script also occur events outside the logic that utilize the human subconscious. The story of human life or figure in the drama script is oscillated in uncertainty. Third, the storyline in the drama script STD contains events that can still trace the plot. The existence of God still appears in this drama script. The traces of God's power also appear to be intertwined in several dialogues.
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Kolyada, O. "''The Old Tune'': Samuel Beckett’s Poetics of the Author Translation (on the Example of Adaptation of a Play for Radio ''La Manivelle'' by Robert Pinget)." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 1(87) (May 13, 2018): 85–91. http://dx.doi.org/10.35433/philology.1(87).2018.85-91.
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The article examines peculiarities of the author translation and adaptation within the frames of tradition and studies possibilities of the Irish idiomaticity in the context of Beckettian poetics offering an alternative perspective at his own dramaturgy. The article correlates textual and contextual features of a play for radio as genre, showing development of the Irish dramatic tradition from the point of view of Modernist parody and Postmodernist pastiche to study tragicomedy as a leading type of play in the Irish theatre of the 20 th century. Based on Robert Pinget’s ''la Manivelle'' play the article exemplifies peculiarities of the literary, for word, translation as a means of authorial self-discipline intrinsic to Beckettian poetics. The article examines also a concept of an ''Irish bull'' as a statement containing an incongruity or a logical absurdity, usually unknown to the speaker; a ludicrously illogical statement that functions effectively in post-Modernist drama, Irish in particular due to its natural satirical tradition evolved into the XXth c. existentialist mindset to transform into being ludicrous by its absurd logic. Supposedly the Irish are predisposed to this type of absurdity or rather this is a style of humour peculiar to the Irish. Some aspects of the study highlight metaphorical connotations of certain lexical misconceptions, the so-called unnatural conceits that are used erroneously from a logical point of view, but their figurative segment is efficient: catachresis an incorrect use of a word by misapplication of terminology or by strained or mixed metaphor. Such trope is used to trespass the contextual determiners to justify its use. The play follows in the tradition of mystification and travesty, ambivalent nature of 'paddywhackery' as a controversial slang for non-conformity and novelty. The art of auto-(authorial) translation reveals effectiveness of ambivalent obscurity and satire via oxymoron patterns as a marker of stereotypical associations with certain marginalized layers of society Beckettian characters are conventionally being identified with.
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Soesilo, Anodya Ariawan. "Menertawakan Absurditas Agar Tetap Waras: Humor, Nihilisme, dan Penertawa." GEMA TEOLOGIKA: Jurnal Teologi Kontekstual dan Filsafat Keilahian 4, no. 1 (April 24, 2019): 31. http://dx.doi.org/10.21460/gema.2019.41.396.
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Laughter is cloaking that has always assumed depth and shallowness. The construction of this article departs from the reading of Nietzsche’s aphoristic description in Guy Science concerning our question marks and the issue of intelligibility. The activity of laughing has personal dimension pointing to inner independence first; to a person who laugh. As long as words are part of the persona (phrosophon: ‘mask’) then the expression of laughter also points to the disguise. In reading Nietzsche, cloaking is not identical with hypocrisy. Humor can be a form of creative resistance even though it contains nihil aspect because it does not change any situation other than the possibility of being more tolerable. Nihilism was Nietzsche’s description of his day. The ability to laugh at oneself can be a healthy critique for those who claim to be godly. At least, in the Christian sphere laughter has religious dimension, containing the promise of salvation. In the Middle Ages, there was a tradition of humor and laughter as part of the Easter celebration (Risus Paschalis).
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Haider, Ali Jal. "Philosophy Can Be The Genuine Source Of Literature But Not Superior To Literature: A Study." Journal of Humanities,Music and Dance, no. 11 (September 1, 2021): 13–14. http://dx.doi.org/10.55529/jhmd.11.13.14.
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After reading Sir Philip Sidney’s “ An Apology For Poetry” , I must say philosophy can be the format of writing literature but not superior to literature. In other words philosophy is theory , literature is practical. After World War –II , many great philosophers emerged with the high philosophical approach like Existentialism, Absurdist ,Surrealism etc. But all these thoughts got more vitality in the form of literature.
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Haider, Ali Jal. "Philosophy Can Be The Genuine Source Of Literature But Not Superior To Literature: A Study." Journal of Humanities,Music and Dance, no. 11 (September 1, 2021): 22–23. http://dx.doi.org/10.55529/jhmd.11.22.23.
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After reading Sir Philip Sidney’s “ An Apology For Poetry” , I must say philosophy can be the format of writing literature but not superior to literature. In other words philosophy is theory , literature is practical. After World War –II , many great philosophers emerged with the high philosophical approach like Existentialism, Absurdist ,Surrealism etc. But all these thoughts got more vitality in the form of literature.
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Jal Haider, Ali. "Philosophy Can Be The Genuine Source Of Literature But Not Superior To Literature: A Study." Journal of Humanities,Music and Dance, no. 11 (September 1, 2021): 13–14. http://dx.doi.org/10.55529/jhmd11.13.14.
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After reading Sir Philip Sidney’s “ An Apology For Poetry” , I must say philosophy can be the format of writing literature but not superior to literature. In other words philosophy is theory , literature is practical. After World War –II , many great philosophers emerged with the high philosophical approach like Existentialism, Absurdist ,Surrealism etc. But all these thoughts got more vitality in the form of literature.
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Jabborova, Dilafruz. "Interpretation of Fitrat Dramas in Literary Criticism." International Journal for Research in Applied Science and Engineering Technology 9, no. 12 (December 31, 2021): 2437–40. http://dx.doi.org/10.22214/ijraset.2021.39332.
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Abstract: This article examines the fact that after the independence of Uzbekistan, the works of modern literature began to be reevaluated on the basis of new approaches. Literary scholar Ilhom Ganiev's monograph "Poetics of Fitrat dramas" is analyzed and the poetic world of the playwright is covered. The article is based on the analysis of the physicist's focus on Fitrat's character creation skills, the symbolic and figurative motives used in dramas, and the use of artistic language. Keywords and word expressions: drama, jadid literature, criticism, natural science, jadid studies, jadid writers, playwright, drama, symbolism, theater, tragedy, soviet ideology, “Abulfayzkhan”, confection, “Hindu ihtilotonzhon”, conflict, independence ideas, poetic thought, hermeneutic thinking, vulgar-sociological approach, principle, reassessment, new scientific and aesthetic thinking, systematic approach, analysis and interpretation, hermeneutics, synergetics, structuralism, historical-biographical approach, historical-cultural approach, modernism, absurdity, existentialism.
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Gilbert, Sky. "Closet Plays: An Exclusive Dramaturgy At Work." Canadian Theatre Review 59 (June 1989): 55–58. http://dx.doi.org/10.3138/ctr.59.013.
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I remember the first time I read Edward Albee’s Who’s Afraid of Virginia Woolf! I wanted so much to like it (this was when Albee was hot in the early seventies), and I almost did. I mean, it had all the elements that usually excite me in theatre – wit (it had a lot of that), and absurdist structure, and lots of sex. I got about halfway through it and was very excited; then I got to the “baby” and I just got bored. Why? Well, I didn’t know why until I saw the movie (which is really bad, but again, starts out great) and realized that it was Albee’s great closet gay play.
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Verbivska, H. O. "THE EXPERIENCE OF ABSURDITY: EXISTENTIALISTIC PARADIGM AND PARADIGM OF THEATRE OF THE ABSURD (WITH REGARD TO SAMUEL BECKET'S PLAY 'NOT I')." UKRAINIAN CULTURAL STUDIES, no. 1 (8) (2021): 37–40. http://dx.doi.org/10.17721/ucs.2021.1(8).08.
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This article circles around the phenomenon of absurdity and absurd which appears to be greatly elaborated by Albert Camus and Theatre of the Absurd. The article reflects mainly upon Becket's dramatic monologue "Not I", which might be characterized as a sort of missing link between two forms of absurd. The style of Albert Camus puts emphasis on the inner experience extrapolated by means of the author. In this sense, the feeling of despair and existential crisis, typical for existentialism in general, brings into existence the absurdity of being as such. In comparison with that, the manner, in which Theatre of the Absurd presents current states of things, organizes the comic dimension of a given situation. To put it another way, Theatre of the Absurd sets up living intersubjectivity, which is a sense-formative precondition of the laughter, and dynamic omnipresence of the inner experience literally declared on the scene. Becket's "Not I" deploys, on the one hand, the existentialistic understanding of human beings, and, on the other, the theatrical representation injected with intersubjectivity. The article takes into account Deleuzian approach towards cinematography in order to conceptualize Becket's play. The notion of affection-image, which is taken from Deleuze, illustrates the structure and essentially the nature of images taking place in "Not I". Becket draws special attention to the image of the voice with regard to audial metaphors, which the main heroine uses during all the time of self-enunciation. Behind the words that she speaks there is an implicit trauma, which is unknown to the contemplators of the performance. It is noteworthy to admit that the organization of the play makes visible only the mouth of the heroine whereas everything remains in the shadows. Deleuzian affection-image deals with annihilated spatial-temporal coordinates and absolutization of the face (faceification). The quality of metaphors in the monologue and the decoration of space establish the phenomenon of absurdity in Becket's "Not I".
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Ali, Hira, Tabinda Khawer, and Noor-ul Ain. "Representation of Female Figure in Sidhwa’s “The Bride”." ANNALS OF SOCIAL SCIENCES AND PERSPECTIVE 1, no. 2 (December 31, 2020): 91–97. http://dx.doi.org/10.52700/assap.v1i2.21.
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The research aims at examining the essence of patriarchy in the ill-treatment of post-colonial women. Women were deliberately manipulated in that era. This highlights the absurdity of patriarchal society as a governing power. The ruthless customs, honor of tribes and word of shame has only meanings for women. A patriarchal society like Pakistan which is repressive and oppressive gives privilege to men and allows their harsh treatment toward women, they are considered inferior to men and are sexually oppressed. This work covers the ways of Sidhwa with which she has applied the feministic approach in her work through gynocritic lense and concludes the excellence of the writer by which she has presented such a marvelous piece of English fiction in the history of Pakistan. We will also make an effort to depict the suppressed, objective, gendered and marginalized journey of Sidhwa’s woman.
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Clarke, Malcolm. "Interpreting contracts—the price of perspective." Cambridge Law Journal 59, no. 1 (March 2000): 18–20. http://dx.doi.org/10.1017/s0008197300260017.
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WHEN a court seeks the meaning of a written contract, it meets a barrier on the outskirts of the document, a barrier imposed by the parol evidence rule. Traditionally, if a court wants to go beyond the barrier for a wider perspective of what the document might mean, it requires a permit on one or more of three grounds. The first is “technicality”: that, although the words appear clear, they have a technical meaning that is not apparent without seeking extrinsic evidence. The second is “ambiguity”: that the words are not clear and the ambiguity must be resolved from a wider perspective. The third is “absurdity”: that a literal reading is not just unreasonable but unworkable or absurd and that that reading must be avoided by taking once again a wider perspective. The perspective is one which takes in the purpose and background (also called the matrix) of the document.
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R, Saranya, and Dr Evangeline Priscilla B. "Pandemic and Resilience— An Analysis of Love in the time of Cholera and the Plague." International Journal of English Literature and Social Sciences 7, no. 3 (2022): 090–93. http://dx.doi.org/10.22161/ijels.73.14.
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The article proposes to provide an insight into Pandemic Literature revealing the impact of pandemic on society as well as the remarkable human resilience. Human history has witnessed a number of pandemics like cholera, plague, and the current covid-19. The word ‘pandemic’ is derived from the Greek words ‘pan’ and ‘demos’. Pan means all and demos means people or crowd. Pandemic is an infectious disease widespread over a large part of the world. Resilience is the human ability to recover quickly from adverse circumstances. Love in the Time of Cholera by Gabriel Garcia Marquez is a classic piece of pandemic literature. The author says that lovesickness is a literal illness. The story takes place in the backdrop of a cholera outbreak. The marked effect of cholera on people’s life and the remarkable human resilience are highlighted in the article. The protagonist’s outburst in the end of the novel shows the surge of resilience. The analysis of The Plague by Albert Camus, the noted French writer throws light on helpless human beings unable to change their destinies. The writer’s absurdist point of view is revealed. The novel begins with the onslaught of plague in the Algerian city of Oran. Besides the sufferings of people, the change of human attitudes and the trait of resilience are also depicted by the author.
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Dimopoulos, Bill. "The Vitalistic Components of the Nietzschean Man: Society, Culture, Education." Filosofiya osvity. Philosophy of Education 19, no. 2 (December 23, 2016): 155–62. http://dx.doi.org/10.31874/2309-1606-2016-19-2-155-162.
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The nietzschean man is composed on the basis of life’s attempt to realize the terror, the horror and the absurdity hiding in itself. In others words it concerns an extremely dangerous, tragic as well as uncertain demand fulfilled only by means of society, culture and education. As a consequence of this triple help emerges a new category of men called to struggle against the tragic content of existence. It’s about a coming generation with “intrepidity of vision”, which does not, however, have relations with the bloodthirsty barbarians. This is because its power does not deliver from the brutal force but from the intellectual ability to stand and transform the pain into representations justifying the world.
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Yankauer, Alfred. "Job Lewis Smith and the Germ Theory of Disease." Pediatrics 93, no. 6 (June 1, 1994): 936–38. http://dx.doi.org/10.1542/peds.93.6.936.
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"If these doctrines (evolution and germ theory of disease with its concomitant disproof of spontaneous generation) are true, all talk of creation or methods of creation becomes absurdity; for just as certainly as they are true, God Himself is impossible. . . . No, if this after all is the best that science can give me, give me then, I pray, no more science."1 These are not the words of a modern-day creationist, but those of the President of Columbia College, F.A.P. Barnard, speaking at the first meeting of the American Public Health Association in 1873. Barnard was no religious fanatic but a sophisticated scientist who had summarized the work of Pasteur and Lister earlier in his talk.
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Чимитов, В. Н. "Grotesque metamorphoses of the motif of ancient Russian architecture in the work of N.D. Gritsiuk." Iskusstvo Evrazii [The Art of Eurasia], no. 3(26) (September 30, 2022): 216–25. http://dx.doi.org/10.46748/arteuras.2022.03.018.
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В статье исследуется процесс формирования гротескной образности в творчестве новосибирского художника Н.Д. Грицюка (1922–1976) на примере трансформации мотива древнерусской архитектуры в серии «Фантазии и интерпретации». Источником возникновения гротескных композиций являются каракули и «почеркушки» из путевых альбомов художника, созданные по принципу автоматического письма из фрагментов древнерусской архитектуры, силуэтов дымковской игрушки и частей человеческого тела. В процессе творческих поисков эти комбинированные «гротески» органично трансформируются в самостоятельные карнавальные композиции, отражающие отстраненное ироничное отношение автора к фольклорным мотивам и сюжетам. В композициях рубежа 1960–1970-х гг. при сохранении гротескной образности ирония сменяется тревожной интонацией неопределенности. Помещенные в беспокойное цветонасыщенное пространство храмы превращаются в деформированные и разъятые антропоморфные образы-гибриды, в которых отражаются экзистенциональные переживания художника. Реальность становится для Грицюка неоднозначной и зыбкой и рассматривается им под углом абсурда и фантасмагоричных допущений. Возникновение трагического столпотворения, ассоциативно считываемого зрителем как символ предвестия конца света, свидетельствует о размышлениях художника над проявлениями духовного, трансцендентного. Духовная и одновременно абсурдистская проблематика гибридных образов сближает поиски Грицюка, с одной стороны, с метафизической живописью М.М. Шварцмана и Э.А. Штейнберга, а с другой — с гротескным искусством скульпторов Э.И. Неизвестного и В.А. Сидура. Таким образом, в условиях доминирующего реалистического дискурса гротеск как прием позволил новосибирскому художнику погрузиться в символическое пространство свободного самовыражения и соприкоснуться с миром трансцендентного. The article examines the process of formation of grotesque imagery in the work of the Novosibirsk artist N.D. Gritsiuk (1922–1976) on the example of the transformation of the motif of ancient Russian architecture in the series “Fantasies and interpretationsˮ. The source of the grotesque compositions are scribbles from the artist’s travel albums, created on the principle of automatic writing from fragments of ancient Russian architecture, silhouettes of a Dymkovo toy and parts of the human body. In the process of creative searches, these combined grotesques organically transform into independent carnival compositions, reflecting the author has detached ironic attitude to folklore motifs and plots. In the compositions of the turn of the 1960s and 1970s, while maintaining the grotesque imagery, irony is replaced by an alarming intonation of uncertainty. Placed in a restless, colour saturated space, the temples turn into deformed and disjointed anthropomorphic hybrid images, which reflect the existential experiences of the artist. Reality becomes ambiguous and unsteady for Gritsiuk, and he considers it from the angle of absurdity and phantasmagorical assumptions. The emergence of a tragic pandemonium, associatively read by the viewer as a symbol of the doomsday, testifies to the artist's reflections on the manifestations of the spiritual, the transcendent. The spiritual and at the same time absurdist problematic of hybrid images brings Gritsiukʼs search, on the one hand, to the metaphysical painting of M.M. Shvartsman and E.A. Steinberg, and on the other hand, to the grotesque art of the sculptors E.I. Neizvestny and V.A. Sidur. Thus, in the conditions of the dominant realistic discourse, the grotesque as a technique allowed the Novosibirsk artist to immerse himself in the symbolic space of free self-expression and come into contact with the world of the transcendent.
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LITTLE, ROGER. "World literature in French; or Is Francophonie frankly phoney?" European Review 9, no. 4 (October 2001): 421–36. http://dx.doi.org/10.1017/s1062798701000394.
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However valuable as a term defining – by a shared language – a grouping of nations, ‘la Francophonie’ proves imprecise and divisive on closer analysis. In the field of literature, ‘Francophone’, despite its etymology (and the consequent absurdity of the phrase ‘Francophone literature’), has paradoxically come to exclude white writers from metropolitan France. At a time when the population of France is becoming increasingly multi-ethnic, any exclusion tainted with racism is particularly inappropriate. The centralizing mentality of France, politically motivated in the seventeenth century and entrenched over the years, is at odds with the ambition of universality except in terms of an assumed superiority through conquest or paternalism. The ‘mission civilisatrice’ has become the more insinuating ‘présence française’. For the literary scholar alert both to postcolonial discourses and to the heretofore marginalized texts of French literature dealing with blacks as well as to the dynamic contribution by black writers to literature in French, a new term is proposed: ‘la Francographie’. To replace the binary polarisation of French and Francophone, which fosters oppositional stances, comes a new model appropriate for our computer age: the net.
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Bollack, Jean. "Die Dichtung und die Religion." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 51. Heft 1 51, no. 1 (2006): 106–17. http://dx.doi.org/10.28937/1000107614.
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Dem Gedenken an den verstorbenen Dichter Théophile Gautier gibt Mallarmé in seinem Gedicht Toast funébre eine Form, in der die religiöse Praxis programmatisch und in strenger Antithese der Kunst des Wortes gegenübergestellt wird. Der Verzicht auf das eine bedingt das Gelingen des anderen. Die Religion besteht aus leeren Formen; ein Spiel mit Schemen führt das Jenseits in kosmischen Kulissen ad absurdum. Die Sprache eröffnet den Raum einer innerweltlichen Transzendenz, die sich auf dem Boden eines kathartischen Atheismus in der artistischen Moderne erfüllt. In his poem ›Toast funébre‹, Mallarmé gives a form to the commemoration of the dead poet Théophile Gautier by confronting the religious practice with the art of the word in a programmatic and strictly antithetic manner. To renounce the former implies to achieve the latter. Religion consists of empty forms; a play with phantoms shows, in the realm of cosmic wings, the absurdity of the beyond. Language opens a sphere for innerwordly transcendency which is accomplished in artistic modernity on the basis of cathartic atheism.
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Nasir, Touqir, Sonia Touqir, Sajid Pervez, and Hira Ali. "Exploring the Absurdity of War and International Aid in the Novel ‘Red Birds’ by Mohammad Hanif_ A Critical Discourse Analysis." ANNALS OF SOCIAL SCIENCES AND PERSPECTIVE 2, no. 1 (June 30, 2021): 59–70. http://dx.doi.org/10.52700/assap.v2i1.42.
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Discourse is a wide-ranging term to cover many forms of human utterances and textual forms of communication. Development through multiple stages gave birth to CDA which bridges the micro-structure of linguistic choices to macro-structures of social reality. Theorists like Van Dijk, Fairclough, and Fowler contributed to its development with the foundation provided by Halliday’s SFL. The qualitative research endeavors to analyze ‘Red Birds’, a novel written by Mohammad Hanif under Huckin’s model of CDA to highlight the absurdity of war and international aid. The three dimensions of Fairclough’s model are at the background of Huckin’s model. The analysis has been carried out at three levels i.e. broad level, sentence level, and word level. A well-thought analysis reveals the nature of war in a region where there is nothing to destroy. It has also been concluded that the aid programs are nothing more than ‘making them orphan and then adopting them’ which clearly runs incongruous to the spirit of aid.
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Mushtaq, Amna, Touqir Nasir, and Aneela Sultana. "Exploring the Absurdity of War and International Aid in the Novel 'Red Birds' by Mohammad Hanif: A Critical Discourse Analysis." Global Anthropological Studies Review III, no. I (December 30, 2020): 1–10. http://dx.doi.org/10.31703/gasr.2020(iii-i).01.
Full textAbstract:
Discourse is a wide-ranging term to cover many forms of human utterances and textual forms of communication. Development through multiple stages gave birth to CDA which bridges the micro-structure of linguistic choices to macro-structures of social reality. Theorists like Van Dijk, Fairclough, and Fowler contributed to its development with the foundation provided by Halliday's SFL. The qualitative research endeavors to analyze 'Red Birds', a novel written by Mohammad Hanif under Huckin's model of CDA to highlight the absurdity of war and international aid. The three dimensions of Fairclough's model are at the background of Huckin's model. The analysis has been carried out at three levels i.e. broad level, sentence level, and word level. A well-thought analysis reveals the nature of war in a region where there is nothing to destroy. It has also been concluded that the aid programs are nothing more than 'making them orphan and then adopting them' which clearly runs incongruous to the spirit of aid.
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Яроцкая, Галина. "Коронавирус в юмористических дискурсивных практиках: приёмы создания комического әффекта." Linguodidactica 25 (2021): 39–49. http://dx.doi.org/10.15290/lingdid.2021.25.03.
Full textAbstract:
The following study is dedicated to the analysis of a collection of internet memes as media products of discursive and humorous practices. The intertextuality of a meme is required criteria that must be present in its discursive, epistemological and aesthetic value; if the meme does not have this quality, it essentially has no chance of being put into use, gaining the status of a precedential phenomenon, and integrating into the culture altogether. Internet practices of humorous discussion reflect the main characteristics of society’s valuative and emotional response to the formed global pandemic situation. The main linguistic and discursive features of this response are intertextuality, interdiscursivity, polycody, and the use of language/word play, among which the most frequently used in this internet collection turned out to be the strategic utilization of absurdity and reframing-based linguocognitive play. Comic effects are achieved in most cases due to knowledge of precedential phenomena, which is why many memes are difficult to decode for those who are uninformed.
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Bolnick, Joel. "Potlako Leballo – the Man Who Hurried to Meet his Destiny." Journal of Modern African Studies 29, no. 3 (September 1991): 413–42. http://dx.doi.org/10.1017/s0022278x00000586.
Full textAbstract:
This is an account of the early life of a widely regarded hero of resistance in South Africa who constantly betrayed the absurdity, the hypocrisy, and the staggering human frailty of the modern leader. In later years Potlako Kitchener Leballo also gained renown as a mesmerising orator who lived to dramatise, to command the centre of attention, to captivate listeners with impassioned stories. Having grown up in a world of oral culture it is not surprising that he expressed himself best in the spoken rather than the written word. Leballo's autobiographical sketches, which have been recorded piecemeal by numerous authors, are festooned with exaggerations, illusions, and ambiguities. However, he was an intelligent fabricator of information, with a talent for fitting a story into its appropriate context. This alone makes him an exciting subject for a biography, since the reconstruction of his life and its links to the social structure provide stiff tests for the sleuthing and analytical skills of the researcher.
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Bolnick, Joel. "Potlako Leballo – the Man Who Hurried to Meet his Destiny." Journal of Modern African Studies 29, no. 3 (September 1991): 413–42. http://dx.doi.org/10.1017/s0022278x00003542.
Full textAbstract:
This is an account of the early life of a widely regarded hero of resistance in South Africa who constantly betrayed the absurdity, the hypocrisy, and the staggering human frailty of the modern leader. In later years Potlako Kitchener Leballo also gained renown as a mesmerising orator who lived to dramatise, to command the centre of attention, to captivate listeners with impassioned stories. Having grown up in a world of oral culture it is not surprising that he expressed himself best in the spoken rather than the written word. Leballo's autobiographical sketches, which have been recorded piecemeal by numerous authors, are festooned with exaggerations, illusions, and ambiguities. However, he was an intelligent fabricator of information, with a talent for fitting a story into its appropriate context. This alone makes him an exciting subject for a biography, since the reconstruction of his life and its links to the social structure provide stiff tests for the sleuthing and analytical skills of the researcher.