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Noury, Richard. "Projet Iris : Inclusion, exclusion, expansion, essaimage, dissémination et absurdité." Master's thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/26249.
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Ce court essai décrit une recherche créative, touchant la notion d’inclusion/exclusion mise en corrélation avec l’aphorisme Le monde est absurde. Une recherche que j’ai entreprise dans le cadre de ma pratique interdisciplinaire en arts visuels. Par ce fait même, je me questionne sur l’origine et le sens de la vie, sur la raison de notre existence et sur nos comportements sociaux. Le document est divisé en quatre chapitres. Le premier définit la notion d’inclusion/exclusion juxtaposée au spencérisme et à la sélection naturelle de Darwin. Le deuxième chapitre montre de quelle façon je fais agir la notion d’inclusion/exclusion à l’intérieur du projet Iris et de ses différents aspects : la métaphysique, la narrativité, le sujet et l’architecture. Le troisième chapitre illustre la manière dont le projet Iris se développe par le truchement des vecteurs d’expansion tels que l’implicite et la ligne de pensée rhizomatique suggérée par Gilles Deleuze et Félix Guattari. Finalement, le dernier chapitre décrit l’évolution et les multiples transformations physiques du projet Iris à partir d’un quelconque début jusqu’à aujourd’hui, et du possible à venir. C’est-à-dire, les directions qu’Iris pourrait emprunter dans son déploiement et sa transformation.
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Shimada, Kaoru. "Absurdité, théâtralité, fictionnalité: essai sur le texte de théâtre : l'écriture théâtrale d'Albert Camus." Paris 4, 2005. http://www.theses.fr/2005PA040006.
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Comment lire le théâtre d'Albert Camus, comme il le souhaitait, sous l'angle purement esthétique : sans le réduire à la démonstration de la thèse exposée dans ses essais philosophiques ? Dans le contexte actuel de l'esthétique et de la poétique, la question est inséparable d'une autre : qu'est-ce que la théâtralité du théâtre et de son texte ? L'examen du cas de Camus révèle des traits spécifiques au texte théâtral qui semblent converger vers la fictionnalité de ce dernier. Toutefois, la théâtralité n'est pas synonyme de fictionnalité bien que les deux notions soient étroitement liées à l'absurdité : celle-ci, qui se trouve dans le principe fondamental de la communication, sert à la reconnaissance de l'une ou de l'autre. Et dans le cas du théâtre de Camus qui exemplifie l'absurdité plus qu'il ne la représente, l'expérience esthétique du lecteur-spectateur consiste avant tout à saisir la signification de cette distance entre l'intention artistique et l'œuvre qui la réaliseHow can we read the theatre works of Albert Camus, as he wished them to be read, from a purely aesthetic angle, without reducing them to the demonstration of the thesis expressed in his philosophical essays? In the current context of aesthetics and poetics, this question is inseparable from another question: what is the theatricality of theatre and theatrical text? The case of Camus reveals some specific features of the theatrical text that appear to point towards its fictionality. However, theatricality is not synonymous with fictionality, although these notions are both closely connected with absurdity. Absurdity, which is to be found in the fundamental principle of communication, allows us to recognize both theatricality and fictionality. In the case of Camus's theatre, which exemplifies more than it represents absurdity, the aesthetic experience of the reader-spectator consists above all in grasping the full meaning of the distance that separates the artistic intention and the works that realize it
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Al-Ghafari, Hanan. "The influence of the theatre of the absurd on Arabic drama." Thesis, University of Leeds, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364452.
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Millspaugh, Tuong Anh. "The Absurdity of Honor." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/718.
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Eisenbiegler, Grace. "Intersubjectivity and Coping with Absurdity." Thesis, Boston College, 2018. http://hdl.handle.net/2345/bc-ir:108013.
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Thesis advisor: Jeffrey BloechlPer Jean-Paul Sartre and Albert Camus, existentialism is the profound truth that the world lacks inherent meaning and thus, we are radically free to choose, to live life as we please. While these assertions are both true and liberating and the theoretical level, these axioms leave individuals disoriented. They never answer the question: how does one live within an absurd world? Thus, these authors never give us a way of coping with the harsh repercussions of absurdity. To answer this question, this project turns to intersubjectivity and the work of Emmanuel Levinas. Levinas’s theory of the other demonstrates that we are not merely beings in a vacuum; the world is conditioned by the interpersonal. Relating to the Other allows us to see that we are not alone in our suffering, for the Other and the individual mutually witness one another. Such connections provide a means of coping with absurdity, allowing us both solidarity and insight into the truly absurd nature of the world. Thus, the application of Levinas’s intersubjectivity to existentialism serves to save Camus’s notion of absurdity from its more nihilistic tendencies, allowing us to accept and apprehend absurdity without falling into despair or ignorance
Thesis (BA) — Boston College, 2018
Submitted to: Boston College. College of Arts and Sciences
Discipline: Departmental Honors
Discipline: Philosophy
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Jurgens, Francois. "Absurdity in the Early 21 Century." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/3676.
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This essay argues against contemporary theorists who claim that the concept of Absurdity that flourished in Western Europe in the 1940s is now of purely historical interest. It is argued instead that while it is important to locate the concept of Absurdity in an appropriate historical context, people living in the early twenty-first century are, in fact, living within an historical period that makes the experience, and thus the concept, of Absurdity relevant again. While Absurdity in the 1940s involved a loss of certainty due to the role the Second World War played in undermining secular and religious beliefs, Absurdity in the twenty-first century involves a loss of certainty due to intense exposure to alternative points of view. This loss of certainty means that when one's typical point of view is brought into relief by an atypical perspective, one struggles to reaffirm one's typical perspective. This robust clash of perspectives strikes at the heart of the way in which we understand the world and ourselves, forming part of the experience that has come to be known as Absurdity. If the analysis of Absurdity that is offered in this essay is correct, then Absurdity is best understood as a personal epistemological condition, rather than a universal metaphysical condition that affects all people simply in virtue of their being human.
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Brigham, Stephen. "Limitations of reason and liberation of absurdity reason and absurdity as means of personal and social change: case study: psychotherapy /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060320.161119/index.html.
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Triantafyllou, Angeliki. "Roger Martin du Gard lecteur des Essais de Montaigne. Un inventaire des extraits annotés des Essais dans les Thibault et Maumort." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL147.
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Les Essais de Montaigne étant l'un des livres les plus cochés et annotés de la bibliothèque de Roger Martin du Gard selon Jochen Schlobach, qui a établi le catalogue de sa bibliothèque, l'idée d'entreprendre l'étude détaillée et exhaustive des passages cochés et annotés dans les deux éditions des Essais, celle de la Pléiade et celle de la Librairie des bibliophiles, nous a tenté, ainsi que le projet d'établir un parallèle entre les Essais, le Journal de Roger Martin du Gard, Les Thibault et Maumort, son œuvre posthume, un roman et trois types d'écriture de soi avec ses propres caractéristiques chacun, qui nous permettent de voir à fond ce qui dresse le modèle de vie propice, allant du pessimisme souriant, au bonheur de l'homme qui a su vivre une vie pleine et sans scrupules. Ayant eu recours à l'Institut de Romanistik de l'Université de la Sarre, par l'intermédiaire de l'Association des amis de Roger Martin du Gard, nous avons pu nous procurer le fond des photocopies que Schlobach y avait confié, les photocopies des pages où il y avait les passages cochés/annotés des Essais. Nous les avons recopiés tous, et nous avons lu à fond, le crayon à la main, le Journal de RMG ainsi que les Thibault et Maumort, un texte d'autofiction où l'auteur semble être omniprésent, malgré lui, sous une forme de figure bien avancée, scrupuleusement forgée et plus avant-garde que celle qu'il dévoile minutieusement dans son Journal personnel, mais aussi dans les Thibault, où l'on rencontre des figures et des thèmes qui le hantent, afin de construire notre propre fond d'étude. L'étude de ces trois textes nous a permis de constater la continuité et l'évolution de RMG qui y est bien reconnaissable. Nous avons dû établir un fichier thématique selon ce à quoi Roger Martin du Gard accorde une très grande importance, allant de la vocation, des aspirations d'un petit enfant jusqu'à la fatalité et puis nous avons essayé, procédant par associations d'idées, d'établir le lien entre ces quatre textes. Pourquoi RMG fait-il de Montaigne un de ses penseurs préférés? Pourquoi coche/annote-t-il tant de passages? L'annote-t-il parce qu'il s'y retrouve, parce qu'il s'y reconnaît? Pour s'annuler? Pour se redéfinir? Pour s'approprier? En quoi les Thibault reflètent-ils de ses propres fantasmes, de ses propres tourments? Et le journal de Maumort, entamé à un âge fort avancé et censé être le Journal d'un homme heureux, disciple de Montaigne, pourquoi a-t-il comme héros un homme qui a su s'accepter et se laisser faire par ses désirs, sa propre volonté, cherchant à n'appartenir qu'à lui-même et à être maître de soi? L'écrivain, peut-il se distancier, de ses héros? Peut-il y avoir un texte neutre, quoique d'autofiction, sans réminiscences de son créateur ? Si l'on n'échappe ni à son père, au dire d'Antoine Thibault, ni à son temps, au dire de Maumort, on n'échappe non plus à son concepteur. RMG semble cocher et annoter dans les deux éditions des Essais, des passages qui touchent les thèmes qui le préoccupent tout au long de sa vie. Tantôt il s'aligne avec Montaigne, tantôt il le prend en exemple, tantôt il semble regretter ne pas avoir pu se comporter comme lui. Notre travail a été un travail de citation qui nous a fait évoquer bien des fois La seconde main d'Antoine Compagnon. Souligner, cocher, annoter, des réactions d'appropriation. Travailler sur et avec la citation, un jeu de découpage et de collage, un jeu d'enfant, en vue de tracer l'itinéraire spirituel qui a mené à cette somme de citations que nous venons de répertorier. Malgré nous, nous sommes devenues partie prenante de cette aventure de lecture et de relecture, à la recherche des intentions de RMG quand il coche les extraits des Essais, mais aussi quand il crée ses personnages des Thibault et de MaumortMontaigne's Essays being one of the most marked and annotated books in the library of Roger Martin du Gard, according to Jochen Schlobach, who compiled the catalog of his library, the idea of undertaking a detailed and exhaustive study of the marked and annotated passages in the two editions of the Essays—the Pléiade edition and the Librairie des Bibliophiles edition—tempted us, as well as the project of establishing a parallel between the Essays, Roger Martin du Gard's Journal, Les Thibault, and Maumort, his posthumous work. These form a novel and three types of self-writing, each with its own characteristics, allowing us to thoroughly explore what constitutes a suitable model of life, ranging from a smiling pessimism to the happiness of a man who has lived a full life without scruples.With the help of the Institut de Romanistik at Saarland University, through the Association des Amis de Roger Martin du Gard, we were able to obtain the collection of photocopies that Schlobach had entrusted there, photocopies of the pages where passages of the Essays were marked/annotated. We copied all of them, and we thoroughly read, pencil in hand, RMG's Journal as well as Les Thibault and Maumort, a work of autofiction where the author seems to be omnipresent, despite himself, in the form of a well-developed figure, scrupulously crafted and more avant-garde than the one he meticulously reveals in his personal Journal, but also in Les Thibault, where we encounter figures and themes that haunt him, in order to construct our own foundation for study. The study of these three texts allowed us to observe the continuity and evolution of RMG, which is clearly recognizable.We had to establish a thematic file according to what Roger Martin du Gard attached great importance to, ranging from the vocation and aspirations of a small child to fatality, and then we tried, by association of ideas, to establish the link among these four texts. Why does RMG make Montaigne one of his favorite thinkers? Why does he mark/annotate so many passages? Does he annotate them because he identifies with them, because he recognizes himself in them? To cancel himself out? To redefine himself? To appropriate them? How do Les Thibault reflect his own fantasies, his own torments? And the Journal of Maumort, started at a very advanced age and supposed to be the journal of a happy, accomplished man, a disciple of Montaigne—why does it have as its hero a man who has learnt to accept himself and let himself be guided by his desires, his own will, seeking to belong only to himself and to be master of himself? Can the writer distance himself from his heroes? Can there be a neutral text, though one of autofiction, without reminiscences of its creator?If, according to Antoine Thibault, one cannot escape one's father, and according to Maumort, one cannot escape one's time, one also cannot escape one's creator. RMG seems to mark and annotate in both editions of the Essays passages that touch on themes that concern him throughout his life. Sometimes he aligns himself with Montaigne, sometimes he takes him as an example, sometimes he seems to regret not being able to behave like him. Our work has been a work of citation that made us recall many times La seconde main by Antoine Compagnon. Highlighting, marking, annotating, reactions of appropriation. Working on and with the citation, a game of cutting and assembling, a child's play, in order to trace the spiritual itinerary that led to this collection of citations that we have just cataloged. Unwittingly, we became participants in this adventure of reading and rereading, searching for RMG's intentions when he marks the excerpts of the Essays, but also when he creates his characters in Les Thibault and Maumort
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Mericle, Robyn Rene. "Mirrors of absurdity the positive unconscious of knowledge /." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0010464.
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Brown, Brittany S. "Sleepwalk, Dance, Repeat." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/philosophy_hontheses/9.
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Sleepwalk, Dance, Repeat is a one-act play with existentialist themes such as absurdity, death, and authenticity. Existentialism deals with subjective human experience in a meaningless, incomprehensible world. We are condemned to label everything around us, but the world is such that we can never be satisfied with our labels because they do not capture individuality. Everyone, to some degree, feels the need to understand what's going on, but we are always missing some piece of the puzzle. Thus, absurdity is the normal state of affairs for us. It is the result of our trying to comprehend the incomprehensible. The protagonist, Rose, is an existentialist hero in that she gradually accepts the inability to comprehend. My goal in writing this play was to breathe new life into existentialist ideas and introduce them to others in a way that sparks significant introspection.
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Matos, Lorena Bezerra de Souza. "Experiencing absurdity of organizational life: a dive in a kafkaesque universe." reponame:Repositório Institucional do FGV, 2018. http://hdl.handle.net/10438/20690.
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Dysfunctional bureaucracy is a major challenge for developing countries like Brazil today. There are innumerable problems, among which the lack of effectiveness, inefficiency, and absurd contexts that lead to stress, suffering and burn-out are highlighted. Although such organizations have received attention from the area of Administration and Organizational Studies, the studies related to coping with absurd contexts are very incipient. More rare are the empirical studies that analyse the daily life of people who face such situations. In order to address such gaps, this research is based on an empirical study carried out in a 15-month period (October 2015 to December 2016) of data collection through 50 interviews, conversations and daily observation of managers of research, development and innovation (R&D&I) projects in the largest company in the electric sector in Brazil. Secondary data and documents were also collected. The goal of this research is to develop theory about the absurd in bureaucratic organizations. This research contributes to the development of academic knowledge in two aspects: first, from the theoretical point of view, when dealing with absurdity in a bureaucratic organizational context, a subject not much discussed; second, from a practical point of view, to deepen the knowledge about the daily life of managers, and to bring elements that allow to rethink several of the daily challenges of these managers. Data was analyzed through an iterative thematic analysis. Through this I identified that the organizational context is complex and involves: (1) Bureaucracy; (2) Multiples cultures; (3) Leadership changes and the lack of sensegiver; (4) R&D&I colliding with organizational routine; (5) Personality in the processes; (6) Informality and non-registration of activities; (7) Politics. The data theory presents that the absurd is understood from the notions of: (a) Environment of contradictions; (b) Fear and guilt; and (c) Loneliness. The consequences of the absurd experience in the context studied involve: (i) Emotional work; (ii). Turnover; (iii) Non-implementation of projects; (iv) Metamorphosis of the sense of innovation; (v) Loss of sense of innovation; and (vi) Inaction. In answering the proposed research question, the contributions of this thesis are: (i) the elaboration of a working definition for absurdity; (ii) contribution to the practice of innovation management in the Brazilian electric sector, based on the reflection of its innovation dynamics. The theory generated is under construction and reflects the interpretation of a particular researcher. The effort of this research is expected to stimulate researchers in the continuity of research into the absurd in bureaucratic organizations.
Burocracias disfuncionais são um grande desafio para países em desenvolvimento como o Brasil hoje. Existem inúmeros problemas, entre os quais se destacam a falta de eficácia, a ineficiência e os contextos absurdos que levam ao estresse, ao sofrimento e ao burn-out. Embora essas organizações tenham recebido atenção da área de Administração e Estudos Organizacionais, os estudos relacionados a lidar com contextos absurdos são muito incipientes. Mais raros ainda são os estudos empíricos que analisam a vida diária das pessoas que enfrentam tais situações. Para abordar essas lacunas, esta pesquisa se baseia em um estudo empírico realizado em um período de 15 meses (outubro de 2015 a dezembro de 2016) de coleta de dados através de 50 entrevistas, conversas e observação diária de gerentes de projetos de pesquisa, desenvolvimento e inovação (P&D&I) na maior empresa do setor elétrico no Brasil. Os dados e documentos secundários também foram coletados. O objetivo desta pesquisa é desenvolver a teoria sobre o absurdo em organizações burocráticas. Esta pesquisa contribui para o desenvolvimento do conhecimento acadêmico em dois aspectos: primeiro, do ponto de vista teórico, ao lidar com o absurdo em um contexto organizacional burocrático, assunto não muito discutido; segundo, do ponto de vista prático, ao aprofundar o conhecimento sobre a vida cotidiana dos gerentes e trazer elementos que permitam repensar vários dos desafios diários desses gerentes. Os dados foram analisados através de uma análise temática iterativa. Através disto, identifiquei que o contexto organizacional é complexo e envolve: (1) Burocracia; (2) Culturas múltiplas; (3) Mudanças de liderança e falta de sensegiver; (4) P&D&I colidindo com rotina organizacional; (5) Personalidade nos processos; (6) Informalidade e não registro de atividades; (7) Política. A teoria dos dados apresenta que o absurdo é compreendido a partir das noções de: (a) Ambiente de contradições; (b) Medo e culpa; e (c) Solidão. As consequências da experiência do absurdo no contexto estudado envolvem: (i) Trabalho emocional; (ii). Turnover; (iii) Não-implementação dos projetos; (iv) Metamorfose do sentido de inovação; (v) Perda do sentido de inovação; e (vi) Inação. Ao responder a questão de pesquisa proposta, as contribuições desta tese são: (i) elaboração de uma definição para absurdo; (ii) contribuição para a prática da gestão da inovação no setor elétrico brasileiro, com base no reflexo de sua dinâmica de inovação. A teoria gerada nos dados está em construção e reflete a interpretação de uma pesquisadora em particular. Espera-se que o esforço dessa pesquisa estimule pesquisadores na continuidade da investigação acerca do absurdo em organizações burocráticas.
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Rankin, Paul Gerald. "The absurdity of the translator? : translating disruptive discourse in three Spanish plays." Thesis, Queen's University Belfast, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437538.
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Baré, Simon Grant. "This is Me my House: (Negotiating meaning amidst the betwixt and between of an absurd existence)." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15718.
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This is Me, my House explores the narratives we construct in our everyday lives to make sense of and bring coherence to an absurd existence - as defined by Albert Camus in his 1942 text The Myth of Sisyphus. In this work Camus argues the human longing for meaning amidst meaninglessness gives rise to absurdity and an ongoing conflict that plays out in our relationship with the world. In This is Me, my House I explore representations of meaning amidst meaninglessness in my research paper and practice, a multi-channel video installation that sits on the boundary between art and film – approached through the prism of crisis, the betwixt and between of liminality and the uncertainty of the unheimlich, of not being at home in the world. In the course of my research I have examined the practice of David Lynch, Charlie Kaufman, Gregor Schneider and Anja-Liisa Ahtila whose films and artworks invoke crisis in a liminal and unheimlich space. In doing so I argue they get at meaning by making absurdity visible, inviting the viewer to question meaning within the work and to question the stories they tell to make sense of their own existence. To do this I have utilised documentary recountings of the lived experience of uncertainty alongside imagery of abandoned, banal and every-day spaces, configured together as a video and audio installation. Amidst these fragmented images and narratives the viewer is similarly asked to seek out significance for them selves with the work and perhaps in their own lives.
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Abramjan, Andran. "Právě teď je now!" Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-371638.
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The thesis deals with the use of absurdity in documentary cinema and its role in our understanding of the world. It defines the absurdity as an illusion of nonsense (or sense) which arises from removing various phenomena from their usual contexts and putting them together while forming a new, unusual context. These new contexts may not be entirely random and often have a specific function in a number of artistic works. By dissolving the illusion of the non/sense we can acquire a deeper insight into certain matters. But even if the illusion remains, the absurdity itself stimulates our imagination by questioning our patterns of perceiving the world. The author discusses various cases of absurdity that arise from ideologies, inventions, encounters of remote paradigms or contradictory information in the human mind and their use in documentary films, including his own works.
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Leeper, Jill M. "Preacher for the age of absurdity : morality in the novels of Kurt Vonnegut." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/482743.
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The purpose of this study was to examine the moral imagination of Kurt Vonnegut and attempt to determine its philosophical basis. This topic was previously only mentioned briefly in the course of other studies, and no one had ever attempted to examine the scope of Vonnegut’s moral vision. This moral vision was examined within the categories of government, technology, violence, economics, and religion. It was concluded that Vonnegut’s vision is based upon the philosophy of humanism: Man is sacred and must be preserved. To this end, Vonnegut advocates a more democratic and selfless form of government, the deemphasis of technology, a more moral scientific responsibility, global pacifism, a socialist economic system, a new religion based on humanism which emphasizes love for all people, and, finally, a return to large extended families. Although Vonnegut acknowledges that this moral vision is unlikely to be instituted on a large enough scale to really change anything due to complexity of an absurd, mechanized, and dehumanized society, he believes it is the moral responsibility of every individual to attempt it. He concludes that the future of mankind depends upon a return to humanistic values.
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Underkuffler, Wilson H. "Hume on the Doctrine of Infinite Divisibility: A Matter of Clarity and Absurdity." Scholar Commons, 2018. http://scholarcommons.usf.edu/etd/7235.
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I provide an interpretation of Hume’s argument in Treatise 1.2 Of the Ideas of Space and Time that finite extensions are only finitely divisible (hereafter Hume’s Finite Divisibility Argument). My most general claim is that Hume intends his Finite Divisibility Argument to be a demonstration in the Early Modern sense as involving the comparison and linking of ideas based upon their intrinsic contents. It is a demonstration of relations among ideas, meant to reveal the meaningfulness or absurdity of a given supposition, and to distinguish possible states of affairs from impossible ones. It is not an argument ending in an inference to an actual matter of fact. Taking the demonstrative nature of his Finite Divisibility Argument fully into account radically alters the way we understand it.
Supported by Hume’s own account of demonstration, and reinforced by relevant Early Modern texts, I follow to its logical consequences, the simple premise that the Finite Divisibility Argument is intended to be a demonstration. Clear, abstract ideas in Early Modern demonstrations represent possible objects. By contrast, suppositions that are demonstrated to be contradictory have no clear ideas annexed to them and therefore cannot represent possible objects—their ‘objects,’ instead, are “impossible and contradictory.” Employing his Conceivability Principle, Hume argues that there is a clear idea of a finite extension containing a finite number of parts and therefore, finitely divisible extensions are possible. In contrast, the supposition of an infinitely divisible finite extension is “absurd” and “contradictory” and stands for no clear idea. Consequently, Hume deems this supposition “impossible and contradictory,” that is, without meaning and therefore, descriptive of no possible object. This interpretation allays concerns found in the recent literature and helps us better understand what drives Hume’s otherwise perplexing argument in the often neglected or belittled T 1.2.
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Johansson, Josefin. "Holding States Responsible for National Corporates’ Extraterritorial Human Rights Violations: Possibility or Absurdity?" Thesis, Uppsala universitet, Teologiska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-384811.
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Almost four decades have passed since the European Court of Human Rights introduced the concept of positive obligations. Positive obligations mean that the member states must take affirmative action in order to secure the rights and freedoms provided for by the European Convention on Human Rights. Since then, the scope of positive obligations has extended tremendously, and today all substantive rights generally contain positive obligations. The reason behind the development is to maintain the full effectiveness of human rights enforcement within the European context, and it has been enabled, inter alia, through dynamic interpretation and because the European Convention on Human Rights is considered a living instrument. The fact that European companies operating transnationally, i.e. in a non-European context, sometimes through its commercial activities violates human rights has given rise to discussion in legal doctrine on whether the scope of positive obligations should be further extended so that the member states to the European Convention on Human Rights will incur state responsibility for national corporates’ extraterritorial human rights violations. Thus, the purpose of the thesis is to examine whether the European Court of Human Rights can and should proceed with such expansion. An expansion creates methodological and technical problems as it challenges the traditional notion of jurisdiction, however, it is not impossible. Whatever the European Court of Human Rights will decide to do, the thesis will provide arguments both for why home state responsibility for national corporates’ extraterritorial activities that violates human rights can and should be imposed, as well for why it is beyond its (the European Court of Human Rights) competence.
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Smith, Jared L. "From One to All: The Evolution of Camus's Absurdism." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1586797469986232.
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Zileli, Bilge Nihal. "Absurdity Of The Human Condition In The Novels By Albert Camus And Samuel Beckett." Phd thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606750/index.pdf.
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This study carries out both a technical and a thematic analysis of the novels by Albert
Camus, L’
Etranger, La Peste, and La Chute, and Samuel Beckett, Molloy, Malone Dies, and The Unnamable. In the technical analysis of the novels, the study explores the differences in characterization and narrative technique. It argues that the differences in these two issues mainly emerge from the difference in the two authors&
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views of art. In the thematic analysis, on the other hand, the study focuses on the recurring themes in the two authors&
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novels. It argues that Camus and Beckett explore similar themes in their novels because both writers belong to the absurd tradition. In other words, although their notions of art are different, their views of the human condition are quite similar, which is reflected in the common themes they explore in their novels.
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Thompson, Robyn, and n/a. "'Stepping out' with Gargantua learning new research practices in the educational theatre of absurdity." University of Canberra. Education, 2003. http://erl.canberra.edu.au./public/adt-AUC20050726.094032.
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Access to new forms, conduct and practices of educational research remain elusive
providing researchers stay within the narrow theoretical constructs�the static, single
vista of conventional research models.
This dissertation presents the findings of an experimental study that aims to extend the
discourse of educational research through a 'performative ethnographic analysis' by
using a single-site case study approach. The case study is an analytical parody based on
multiple discourse relevant to a 'new' and different approach to educational research so
that a more comprehensive and complex process of reading and writing text becomes
possible. Throughout this process, a generative methodology and interpretative base are
anticipated to provide a metaphoric focus for a critical dialogue.
The discourse informing the theoretical and interpretative base of the study include
philosophy, science, visual arts, literary theory, critical postructuralist theory and theatre performance. The data are presented as a series of performance narratives in the form of
socio-drama, interspersed with critical reflection that enables the researcher, the
research participant and reader to become part of a triadic construct.
The findings from this study have major implications for informing contemporary
educational research, as they demonstrate that by approaching research in 'new' and
different ways, the researcher and the educational community have access to insights
that are unavailable within the constraints of conventional models of research.
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Halay, Alannah Marie. "Recognising absurdity through compositional practice : comparing an Avant-Garde style with being avant garde." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/16880/.
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‘avant garde’ and ‘Avant Garde’: one term denotes artistic progression, the other describes a fixed concept. These terms are easily and often confused, and this contributes to blurring the boundaries between being progressive and adhering to a style. Unknowingly adhering to the Avant-Garde style, under the false guise of being ‘new’, perpetuates a Sisyphean nature in Avant-Garde practice today. Such practice has become inward-looking, separated from the majority of society, and therefore fails to be the ‘advance post’ it proclaims. In Camus’s terms, this is absurd. Rather than proving and accepting this absurdity, I explore the unfolding of such absurdity through compositional practice, and attempt to avoid it. This involves recognising the absurdity (and maintaining an awareness of it) as well as examining and comparing the mechanics behind the formation of the Avant-Garde style with being avant garde by way of an introspective examination of my compositional process. This practice-led method is supported by theoretical, musicological, and analytical research into existing practice. My research is supplemented by the following topics: Meno’s paradox; Heidegger’s hermeneutic framework as a development of Meno’s paradox; Adorno’s notion of naïveté; détournement as a means of recognising absurdity through practice. Examining my own compositional process, in relation to existing practice, allows me to propose that the Avant-Garde style is based on two interacting hermeneutic frameworks between ‘unfamiliarity’ and ‘familiarity’, and creative ‘freedom’ and ‘restriction’. If one is to overcome these frameworks and be genuinely avant garde, subversion of technique cannot be an end in itself but should support the truth content of a musical work; this is because a musical work is defined by its context more than its constituent musical characteristics. Subversion must happen in relation to the context of a composition, not the composition itself. Adherence to an Avant-Garde context, perpetuated by the expectations of practitioners with a knowledge of that context, prevents compositional practice from moving beyond that context and being genuinely avant garde. All one can do now is recognise this absurdity. This is not a solution, but should pave the way for future developments in this area. For now, ‘there is no longer any art that has remained inviolable.’
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Muhammad, M. M. "Aeschylus, Sophocles and Samuel Beckett : some origins of an absurdism." Thesis, University of Essex, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332505.
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Scebbi, Alyssa E. "The Chromatic Fall." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1430230127.
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Hageland, Dustin Aaron. "Full Circle: The Development Process of Small Box with a Revolver." OpenSIUC, 2021. https://opensiuc.lib.siu.edu/theses/2848.
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This thesis examines the process of bringing Small Box with a Revolver from pre-writing to production at Southern Illinois University in March 2021, and my own growth in that process. I drew inspiration from the general societal behavior during the pandemic and other crises of 2020, as well as absurdist plays like Ionesco’s Rhinoceros and Beckett’s Waiting for Godot. The play was written to my stylistic preference of writing dark comedies about social issues.Chapter One examines where I began and how I developed the plot, characters and stylistic choices. Chapter Two examines the writing process, including initial peer and faculty feedback to the script. Chapter Three looks at the unique pre-production process in trying to bring Small Box with a Revolver to the stage, virtually. Chapter Four details the production itself, what I learned, and what further work I would like to do on the script. Chapter Five details my evaluation of my process throughout the MFA program as a playwright and professional, as well as my final considerations. Also included, is the production script.
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Anderson, Andrew Woodruff. "The Violence of Identity Construction in French and Francophone Absurdist Theater." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316112837.
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Melin, Thomas. "Sista brevet till Godot : Utvandrarserien som absurd teaterpjäs." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-122294.
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Cardozo, Elloit. "‘That rug really tied the room together’: Knitting Dudeism and Camusian Philosophy into a Larger Tapestry." Thesis, University of Mumbai, 2017. http://hdl.handle.net/10919/94575.
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Even though parallels between the philosophy of Albert Camus and The Big Lebowski have been drawn repeatedly, a sustained enquiry into several possible dimensions of the matter is yet to have been conducted.This dissertation makes an attempt to conduct the aforementioned enquiry in some detail. In doing this, the study will try to analytically compare Camusian philosophy and Dudeism and bring out the similarities between them. This does not imply that there are no differences between the two; but the focus of this study is the similarities and not the differences. Dudeism, for the purpose of this study, will not be restricted to The Dude and the literature written on The Dude and Dudeism. It will also be expanded to accommodate certain other parts of the larger discourse of Ethan and Joel Coen’s filmography as well as a few other parts of The Big Lebowski itself. It is crucial, however, to “draw a line in the sand” (Walter, The Big Lebowski) at the very outset. In embarking on a comparative analysis between Camusian philosophy and Dudeism, this study does not intend to propose that one of them is influenced by the other and “what-have-you” ("The Editorial Preface" 12). Instead, it simply attempts to point out some of the discursive elements that they share with each other as well as with several of the sub-discourses they comprise of. The analysis in the dissertation that follows is split into three major chapters:
1. ‘Well, I’ll tell you what I’m blathering about’: An analytical frame of reference.
2. ‘You can’t be worried about that shit, life goes on, man’: Life, Death and Absurdity in Camus and Dudeism.
3. ‘Somebody this square community won’t give a shit about’: Camus’ Absurd Man and Dudeism
The first chapter, “‘Well, I’ll tell you what I’m blathering about’: An analytical frame of reference”, provides an analytical framework for the discussions that follow in the rest of the dissertation. It is further divided into three sections. The first section lays out a basic understanding of a few fundamental ideas of Dudeism for the readers. The second section discusses a few important aspects of the philosophy of Albert Camus. The third section briefly establishes the connections between Dudeism and the philosophy of Camus which are examined in greater detail later in the study. The second chapter, “‘You can’t be worried about that shit, life goes on, man’: Life, Death and Absurdity in Camus and Dudeism” looks at Camus’ takes on Life, Death and Absurdity
while also pointing out the parallels they seem to strike with Dudeism. The chapter is further divided into four sections. The first section examines strands of Camusian thought, especially the Absurd in the other films of Ethan and Joel Coen before establishing a connection to The Big Lebowski. The second section explores the attitudes towards Death in Camusian
philosophy and Dudeism. The third section compares the ideologies of Life in the works of Camus and Dudeism. The fourth and final section explores parallels between Camus’ novel The Stranger and The Stranger: the cowboy narrator of The Big Lebowski.
The third chapter picks up on the Camusian trope of the Absurd Man and its relation to Happiness in both: the works of Camus as well as the discourses of Dudeism. It comprises of three sections. The first section explores the notion of Alienation in Camusian philosophy and Dudeism and looks at how it eventually leads to the trope of the Absurd Man in Camus. The second section explores Camus’ creation of the Absurd Man through the Cycle of the Absurd and looks at how it fits into Dudeism. The third and final section delves into a comparison of the Absurd Man’s quest for Happiness in Camus and Dudeism.M.A. Honours with Research in English
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Gaus, Annie. "A More Porous Postmodernity: Absurdity, Politics, Consumerism and the Cultural Authority of Spongebob Squarepants." Oberlin College Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1411126786.
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Collins, Rachel. "HAPPY DAYS: A MODERN WOMAN’S APPROACH TO ABSURDISM THROUGH FEMINIST THEATER THEORY." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1338311141.
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Cheshire, Adam W. "At the edge of being absurdity and instability in the works of Franz Kafka and Harold Pinter /." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-1/cheshirea/adamcheshire.pdf.
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Edeh, A. (Anthony). "Existential absurdity and alienation in Samuel Becketts’s Waiting for Godot and Franz Kafka’s The metamorphosis:an existential analysis." Master's thesis, University of Oulu, 2019. http://jultika.oulu.fi/Record/nbnfioulu-201909122853.
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Abstract. This thesis carries out an existential analysis of Samuel Beckett’s Waiting for Godot and Franz Kafka’s The Metamorphosis through the complex lenses of existential absurdity and alienation and analyses how the use of these existential notions reflects relevant existential attitudes essential to the existential discourse. Furthermore, this thesis employs a comparative analysis of Waiting for Godot and The Metamorphosis as two distinct genres of literature yet, unified by the existential resources used extensively in them. This project problematizes the comparative distinctiveness in Samuel Beckett and Franz Kafka’s use of existential absurdity and alienation in their works.
Waiting for Godot and The Metamorphosis created and advanced absurd characters and alienated protagonists as constructs of the existential spirit and ideal. This study is an essential confrontation into the complex corpus of an absurd and alienated existence portrayed in the existential crisis of Vladimir, Estragon, and Gregor Samsa. Ultimately, through Samuel Beckett and Franz Kafka, we can better understand how existential absurdity and alienation were explored and used in both works on review in this thesis. The research revealed that both authors utilized significantly distinct methods and styles in order to bring out notions of absurdity, nihilism, and alienation in their work.
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Kaplan, Leah K. "A New Theory About the Brontosaurus: Humor as Absurdity and the Violation of Expectations in Monty Python's Flying Circus." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276977937.
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Vassilopoulou, Katerina. "Towards a cognitive stylistic approach to absurdity in drama with a particular focus on Ionesco's The bald prima donna." Thesis, Lancaster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497210.
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The aim of the present thesis is to explore absurdity in drama from a cognitive stylistic perspective. In particular, it seeks to investigate how absurdity is linguistically conveyed in the literary movement known as "Theatre of the Absurd' through a comparative approach of dramatic plays by Harold Pinter, Samuel Beckett and Eugene lonesco. The study involves a combination of stylistic tools and frameworks borrowed from cognitive linguistics. I suggest that this combination can offer a more integrated interpretation of how absurdity is created in these plays through language.
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Fortney, Thaddeus William. "Crime and Violence in the Mode of Absurdity: The Importance of Sherlock Holmes in the Works of Daniil Kharms." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1396271883.
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Vaz, Sarah L. "Disjoint and Distortion: An Essay in Manifesting Contradiction." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397467660.
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Booth, Alison C. "The divine dark : absurdism and mysticism in the work of Luigi Pirandello and Eugène Ionesco." Thesis, University of Bristol, 1988. http://hdl.handle.net/1983/51ca1aaf-5a2d-4a97-b765-dcf5485ee19a.
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Lattanzi, Matthew. "Elegies for Domestic Tranquility." Youngstown State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1411475519.
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Gutberlet, Terrance. "Chaos Management." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2325.
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Lameirinha, Cristianne Aparecida de Brito. "O sentido do exílio em \'La Peste\' de Albert Camus." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-08112007-144148/.
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O exílio é um tema recorrente, embora pouco explorado, em Albert Camus. Sua obra é organizada em dois ciclos de criação: o absurdo e a revolta. Apesar de situado pelo autor no ciclo da revolta, propõe-se neste trabalho uma nova leitura de La Peste, obra que permite captar em um único texto a multiplicidade da temática do exílio em Camus, caracterizando-a como livro de transição entre esses dois conceitos, com a lucidez como elemento comum. O homem absurdo se percebe como tal pela consciência que tem de seu universo. Para o homem revoltado, a lucidez permite o combate. Em La Peste, o exílio, sob três aspectos, físico-social, psicológico e metafísico, integra a condição humana metafísica, em contraponto à condição histórica, tornando possível compreender tanto sua perspectiva como a do reino neste autor.Exile is a recurring subject, though little explored, in Albert Camus. His work is organized in two creation phases: absurdity and rebellion. Even though situated by the author in the rebellion phase, this work proposes a new reading of La Peste, which allows seizing in only one text the thematic multiplicity of exile in Camus, characterizing it as a book of transition between these two concepts, with lucidity as their common feature. The absurd man thus perceives himself by means of the conscience he has of its universe. For the rebellious man, lucidity allows struggle. In La Peste, exile, under three aspects, physical-social, psychological and metaphysical, integrates the metaphysical human condition, in counterpoint to the historical condition, making it possible to understand its perspective, as well as the perspective of the kingdom, in this author.
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Ward, Joseph J. "The Accidental Practitioner: Principles of Rational Emotive Behavior Therapy in the Works of Kurt Vonnegut." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1802.
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Just as psychology and philosophy have influenced the field of literary studies, literature provides insight about the theories and practices of its sister disciplines. The purpose of this thesis is to demonstrate how literary works of Kurt Vonnegut illuminate principles of the influential branch of psychotherapy known as Rational Emotive Behavior Therapy (REBT).
This thesis traces the similar philosophies and shared beliefs of Vonnegut and REBT's founder, Albert Ellis, and details how Ellis's REBT is illustrated in selected works of Vonnegut, specifically, Slaughterhouse-Five, Breakfast of Champions, Galapagos, and Timequake. The thesis concludes by suggesting that Vonnegut's works -- and the principles of REBT that they illuminate - provide a much needed guide for living in an irrational, often absurd world.
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Langteau, Paula T. "The absurdity of Miller's Salesman : examining Martin Esslin's concept of the absurd as presented in Arthur Miller's Death of a salesman." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/544134.
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Arthur Miller's Death of a Salesman, 1949, is traditionally viewed as a modern tragedy. Ample evidence in the text, however, suggests that Miller leans also toward the convention of the Theatre of the Absurd. Miller uses several techniques, including an absurdist handling of set, time and space, thought, action, and language to contribute to the larger absurdist "poetic image" of the death of a salesman. And the thematic interpretation of that image in terms of character and audience suggests the perpetuation of illusion, a common absurdist theme.Because Miller effectively combines the absurdist with the realistic elements of the drama, an absurdist reading of the play does not negate its readings as tragedy and social realism, but rather enhances those readings, providing an important additional perspective from which to view the play. An absurdist reading also establishes a definite tie between this important twentieth century playwright and the influential absurdist convention in theatre.Department of English
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Santiago, Silvana Maria. "Absurdidade, liberdade e formaÃÃo humana em Sartre." Universidade Federal do CearÃ, 2016. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=17866.
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nÃo hÃUma chave de leitura na investigaÃÃo sobre o conceito de absurdidade em Sartre nÃo pode deixar de esclarecer a noÃÃo de absurdo como algo que atravessa o homem no sÃculo XX, assim como tambÃm o momento histÃrico do pensamento contemporÃneo sobre a realidade que se desmorona. Logo, a noÃÃo de absurdidade nÃo se reduz a uma simples ideia que surgia nas primeiras obras desse autor, mas como uma noÃÃo ontolÃgica mesma do filÃsofo. Portanto, à possÃvel considerar uma formaÃÃo humana a partir do conceito de absurdidade? Essas sÃo algumas das questÃes que devem guiar esta pesquisa. O objetivo deste trabalho à evidenciar a perspectiva da formaÃÃo humana alicerÃada na ideia da absurdidade e da liberdade na filosofia de Sartre. Absurdidade, liberdade e formaÃÃo humana em Sartre traz a discussÃo de ideias distintas, mas que se intercruzam. Pensa-se a existÃncia, ou a consciÃncia, como uma categoria absurda e percebe-se a imprevisibilidade e a falta de justificativa da vida. Entende-se a existÃncia de maneira solitÃria no mundo contingente. Sendo assim, a existÃncia à uma experiÃncia subjetiva, logo à inexplicÃvel. Entretanto, essa ideia nÃo cai no pessimismo, pelo contrÃrio, o homem nÃo à compreendido como uma coisa, ou como os objetos que estÃo no mundo, nÃo sendo, assim, uma substÃncia. Portanto, o homem à dono do seu destino, podendo superar as circunstÃncias que encontra no mundo. Dessa forma, mesmo submetido pelas condiÃÃes materiais, o homem à agente histÃrico, fazendo a HistÃria na medida em que ela tambÃm o faz. Por causa disso, e contra todo tipo de dominaÃÃo, o homem se associa. Consequentemente, essa experiÃncia à uma maneira de pÃr em prÃtica a liberdade. Pode-se afirmar que a liberdade à a condiÃÃo da existÃncia, mas a liberdade deve ser conquistada, uma vez que o homem està em uma determinada realidade. PorÃm, à imprescindÃvel elucidar que, mesmo sendo livre, ele encontra as resistÃncias e as determinaÃÃes no mundo, as quais ele precisa enfrentar. Em razÃo disso, a liberdade humana ganha um estatuto diferente, pois essa deverà ser conquistada historicamente pelos indivÃduos. Nesse caso, a liberdade à o âsaltoâ que a existÃncia à capaz de âdarâ para superar o carÃter absurdo da vida, porque essa à injustificÃvel; à vista disso, tal âsaltoâ, por outro lado, à capaz de acabar tambÃm com tudo que cerceia a liberdade humana. O homem à indecifrÃvel. Sendo assim, concebe-se, para tanto, que ele assuma o compromisso e a responsabilidade pelo sentido de sua existÃncia, dos outros homens e do mundo. Conclui-se que isso sà à possÃvel se o mesmo passar pela formaÃÃo literÃria, visto que essa deve ser livre, sem preconceito e engajada com a verdade. A literatura à um dos instrumentos imprescindÃveis para o exercÃcio da liberdade, estando em permanente revoluÃÃo, dado que à uma aÃÃo a ser construÃda pelo homem. A intenÃÃo à expor o pensamento desse filÃsofo sobre a questÃo: absurdidade, liberdade e formaÃÃo humana como uma contribuiÃÃo importante para se pensar a existÃncia no mundo, que exige dessa existÃncia, consequentemente, uma atitude responsÃvel.
A key to the reading of research on the concept of absurdity in Sartre will not fail to show this notion as something that attaches itself to man in the twentieth century, as well as to the historical moment of contemporary thought dealing with a crumbling reality. Thus, the notion of absurdity is not reduced to a simple idea that emerged in the early works of this author, but as an ontological notion of the philosopher himself. Therefore, is it possible to consider a human formation from the concept of absurdity? This and other questions are some of the points that should guide this research. The goal of this study is to highlight the perspective of human development founded on the idea of absurdity and freedom in the philosophy of Sartre. Absurdity, freedom and human formation in Sartre brings forth a discussion of different ideas that somewhat intersect. Existence or consciousness is thought as an absurd category that reveals the unpredictability and the lack of justification of life. Existence is understood in a solitary instance in the contingent world. Existence is a subjective experience, therefore it is inexplicable. However, this idea does not fall into pessimism, on the contrary, man is not understood as a thing or objects found in the world, therefore he is not a substance. It follows that Man is master of his destiny and can overcome the circumstances that challenge him in the world. Even submitted by material conditions, man is a historical agent, making history as well as being changed by it. Due to this and against all kinds of domination man tries to associate himself to other men. Consequently, this experience is a way to implement freedom. It can be said that freedom is the condition of existence, but freedom must be earned, since man is part of a certain reality. However, it is essential to clarify that even being free man is challenged by resistance and deterministic pressures from the world, which he must face. For this reason, human freedom presents itself in a different status, because it shall be conquered historically by each individual. In this case, freedom is the "leap" that existence is able to "take" to overcome the absurdity of life, since life is unjustifiable; in view of this, such "jump", on the other hand, can also overcome all things that curtail human freedom. Man is indecipherable. So, it is conceived that it takes his commitment and responsibility for his existence, as well as of other men and the world. We conclude that this is only possible if man is empowered by a literary education, provided it is free, unprejudiced and engaged with the truth. Literature is an essential tool to the exercise of freedom, being in permanent revolution, since it is an action to be built by man. The intention is to expose the thought of this philosopher on the issue: Absurdity, freedom and human development as a major contribution to the evaluation of existence in the world, which requires from that existence, as a result, a responsible attitude.
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Gregemar, Erik. "Det sublima och det absurda : en kritisk närläsning och analys av begreppens kontaktytor utifrån Lyotard och Camus." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-34350.
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I denna uppsats har kontaktytorna mellan det sublima och det absurda undersökts utifrån hur Lyotard och Camus definierar respektive begrepp. Uppsatsen har utgått från en forskningssituation där få jämförelser mellan dessa begrepp – som i sig kan te sig undflyende och vaga – verkar finnas. Syftet med undersökningen har således varit att låta nya perspektiv på de båda begreppen träda fram genom deras relation till varandra. Utifrån jämförelsen mellan det sublima och det absurda kan det konstateras att det tycks finnas klara kontaktytor mellan begreppen. Dessa kontaktytor har yttrat sig genom att begreppen delar likheter i följande avseenden: (1) de är båda negativa begrepp, (2) de innefattar liknande kritik mot rationalism, (3) båda begreppen innefattar moment av en för subjektet inledande känsla av hämmande som övergår i en stärkande känsla, (4) de påvisar distansen mellan subjektet och världen, (5) båda innefattar liknande anspråk på konsten som ett slags materialiserad form av deras egen innebörd. Utöver dessa direkta kopplingar uppmärksammades att det Camus kort beskriver som ”känslan av det absurda” kan ses som analogt med det sublima, vilket skulle kunna innebära att den absurda insikten, såsom Camus beskriver den är direkt kopplad till en sublim känsla. Alla dessa aspekter hänger förvisso samman, men det intressanta är att Lyotard och Camus skriver om dem på liknande vis i sina respektive texter. Relationen mellan begreppen kan således uttydas inte endast i generella, utan i specifika likheter.
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Duke, Wendy S. "Experiencing Ionesco’s Nightmare World: The Preparation and Production of Man with Bags." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1289585453.
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Nord, Caroline. "Någonting föds ur en olycka." Thesis, Konstfack, Institutionen för Konst (K), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7684.
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Denna essä beskriver hur motståndet blir ett verktyg för att kunna uppnå färdiga resultat som konstnären själv förväntar av sig, men även för att fullfölja Konstfacks kandidatutbildning. Problematiseringen ligger i att kunna släppa på kraven som finns för att kunna ta vara på sin egen intuitiva kraft i processen, vilket är det mest centrala för Caroline Nords konstnärskap. Men även hur viktigt det fysiska arbetet har varit för att kunna bearbeta trauman.
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Santiago, Silvana Maria. "Absurdidade, liberdade e formação humana em Sartre." reponame:Repositório Institucional da UFC, 2016. http://www.repositorio.ufc.br/handle/riufc/20829.
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SANTIAGO, Silvana Maria. Absurdidade, liberdade e formação humana em Sartre. 2016. 158f. - Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2016.Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2016-11-07T13:04:35Z No. of bitstreams: 1 2016_tese_smsantiago.pdf: 835079 bytes, checksum: 75ea339d291d8da56245a240fdf49914 (MD5)
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A key to the reading of research on the concept of absurdity in Sartre will not fail to show this notion as something that attaches itself to man in the twentieth century, as well as to the historical moment of contemporary thought dealing with a crumbling reality. Thus, the notion of absurdity is not reduced to a simple idea that emerged in the early works of this author, but as an ontological notion of the philosopher himself. Therefore, is it possible to consider a human formation from the concept of absurdity? This and other questions are some of the points that should guide this research. The goal of this study is to highlight the perspective of human development founded on the idea of absurdity and freedom in the philosophy of Sartre. Absurdity, freedom and human formation in Sartre brings forth a discussion of different ideas that somewhat intersect. Existence or consciousness is thought as an absurd category that reveals the unpredictability and the lack of justification of life. Existence is understood in a solitary instance in the contingent world. Existence is a subjective experience, therefore it is inexplicable. However, this idea does not fall into pessimism, on the contrary, man is not understood as a thing or objects found in the world, therefore he is not a substance. It follows that Man is master of his destiny and can overcome the circumstances that challenge him in the world. Even submitted by material conditions, man is a historical agent, making history as well as being changed by it. Due to this and against all kinds of domination man tries to associate himself to other men. Consequently, this experience is a way to implement freedom. It can be said that freedom is the condition of existence, but freedom must be earned, since man is part of a certain reality. However, it is essential to clarify that even being free man is challenged by resistance and deterministic pressures from the world, which he must face. For this reason, human freedom presents itself in a different status, because it shall be conquered historically by each individual. In this case, freedom is the "leap" that existence is able to "take" to overcome the absurdity of life, since life is unjustifiable; in view of this, such "jump", on the other hand, can also overcome all things that curtail human freedom. Man is indecipherable. So, it is conceived that it takes his commitment and responsibility for his existence, as well as of other men and the world. We conclude that this is only possible if man is empowered by a literary education, provided it is free, unprejudiced and engaged with the truth. Literature is an essential tool to the exercise of freedom, being in permanent revolution, since it is an action to be built by man. The intention is to expose the thought of this philosopher on the issue: Absurdity, freedom and human development as a major contribution to the evaluation of existence in the world, which requires from that existence, as a result, a responsible attitude.
Uma chave de leitura na investigação sobre o conceito de absurdidade em Sartre não pode deixar de esclarecer a noção de absurdo como algo que atravessa o homem no século XX, assim como também o momento histórico do pensamento contemporâneo sobre a realidade que se desmorona. Logo, a noção de absurdidade não se reduz a uma simples ideia que surgia nas primeiras obras desse autor, mas como uma noção ontológica mesma do filósofo. Portanto, é possível considerar uma formação humana a partir do conceito de absurdidade? Essas são algumas das questões que devem guiar esta pesquisa. O objetivo deste trabalho é evidenciar a perspectiva da formação humana alicerçada na ideia da absurdidade e da liberdade na filosofia de Sartre. Absurdidade, liberdade e formação humana em Sartre traz a discussão de ideias distintas, mas que se intercruzam. Pensa-se a existência, ou a consciência, como uma categoria absurda e percebe-se a imprevisibilidade e a falta de justificativa da vida. Entende-se a existência de maneira solitária no mundo contingente. Sendo assim, a existência é uma experiência subjetiva, logo é inexplicável. Entretanto, essa ideia não cai no pessimismo, pelo contrário, o homem não é compreendido como uma coisa, ou como os objetos que estão no mundo, não sendo, assim, uma substância. Portanto, o homem é dono do seu destino, podendo superar as circunstâncias que encontra no mundo. Dessa forma, mesmo submetido pelas condições materiais, o homem é agente histórico, fazendo a História na medida em que ela também o faz. Por causa disso, e contra todo tipo de dominação, o homem se associa. Consequentemente, essa experiência é uma maneira de pôr em prática a liberdade. Pode-se afirmar que a liberdade é a condição da existência, mas a liberdade deve ser conquistada, uma vez que o homem está em uma determinada realidade. Porém, é imprescindível elucidar que, mesmo sendo livre, ele encontra as resistências e as determinações no mundo, as quais ele precisa enfrentar. Em razão disso, a liberdade humana ganha um estatuto diferente, pois essa deverá ser conquistada historicamente pelos indivíduos. Nesse caso, a liberdade é o “salto” que a existência é capaz de “dar” para superar o caráter absurdo da vida, porque essa é injustificável; à vista disso, tal “salto”, por outro lado, é capaz de acabar também com tudo que cerceia a liberdade humana. O homem é indecifrável. Sendo assim, concebe-se, para tanto, que ele assuma o compromisso e a responsabilidade pelo sentido de sua existência, dos outros homens e do mundo. Conclui-se que isso só é possível se o mesmo passar pela formação literária, visto que essa deve ser livre, sem preconceito e engajada com a verdade. A literatura é um dos instrumentos imprescindíveis para o exercício da liberdade, estando em permanente revolução, dado que é uma ação a ser construída pelo homem. A intenção é expor o pensamento desse filósofo sobre a questão: absurdidade, liberdade e formação humana como uma contribuição importante para se pensar a existência no mundo, que exige dessa existência, consequentemente, uma atitude responsável.
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Mittermaier, Sten. "The Intolerableness of All Earthly Effort : of Futility and Ahab as the Absurd Hero in Melville's Moby Dick." Thesis, Stockholm University, Department of English, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-8324.
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In 1942, Algerian writer Albert Camus published a philosophical essay called The Myth of Sisyphus along with a fictional counterpart, The Stranger, wherein he presumed the human condition to be an absurd one. This, Camus claimed, was the result of the absence of a god, and consequently of any meaning beyond life itself. Without a god, without an entity greater than man, man has no higher purpose than himself and he himself is inevitably transient. As such, man, so long as he lives, is cursed with the inability to create or partake in anything lasting. The absurd is life without a tomorrow, a life of futility. As one of the main precursors of this view of life and of the human experience, Camus mentioned Herman Melville and Captain Ahab’s chase for the white whale - Moby Dick.
Now, as will be indicated in the following, the most common critical position holds that the white whale of Moby-Dick, Melville’s magnum opus, is to be interpreted as a symbol of God, and thus Ahab’s chase is tragic by virtue of its impossibility for success. As such, the tragedy is entailed by the futility vis-à-vis its impermanence. However, the ambiguity of Moby-Dick allows for the possibility of several alternative interpretations as to the role of the whale: for instance that of the devil, evil incarnate or merely a "dumb brute". As such, Ahab’s quest might as well be the pursuit of a creature which understands nothing of vengeance, thus rendering his objective equally, if not more fruitless, than the pursuit of a god.
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Fiedler, Randy M. "Possibilities for Humanism in a Contemporary Setting: Camus' Absurd Humanism." Miami University Honors Theses / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1165600212.
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Hodges, Steven. "The digital absurd." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/33950.
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I believe that the concept of the absurd, as described in philosophy and reflected in works of drama and literature, provides an unusual and helpful perspective from which to view the emerging field of digital media. In my opinion, absurd principles can help us understand the mixed feelings we may have when engaging with digital media: joy and frustration, play and despair, significance and nonsense.
I intend to explore the concept of the absurd through a handful of authors and works, including the philosophy of Camus and the literature and drama of Pinter, Beckett, Roussel, and the Oulipo. I will use these works to analyze characteristics of absurdist works and then extend this analysis to characteristics and theory of digital media. I believe an absurdist analysis may bring a new vantage point to the study of digital media, from which we can see not only the advantages and liberation it offers but also the ever-present threat of nonsense it entails.
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Covington, Ruth Ellen. "The Subjection of Authority and Death Through Humor: Carnivalesque, Incongruity, and Absurdism in Cormac McCarthy's Blood Meridian and No Country for Old Men." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4106.
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Cormac McCarthy's representation of the comic theories of the carnivalesque, incongruity, and absurdism by the antagonists of Blood Meridian and No Country for Old Men demonstrates the unique and ostensible power of humor over (or at least, its awareness of and reconciliation to the absurdity of) death; it also emphasizes the supreme power and influence of humor as a means for destroying other institutions and philosophies which claim knowledge or authority but fail to sustain individuals in times of crisis. This makes humor a formidable factor in determining and justifying the outcome of human interactions and in defining the strengths and limitations of McCarthy's antagonists.