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Artículos de revistas sobre el tema "Absurde (The word)"

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Publicado: 26 de julio de 2024
Última modificación: 27 de julio de 2024

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1

Das, Rimasree. "A comparative study Beckett’s Waiting for Godot and Ionesco’s Rhinoceros". International Journal of English Literature and Social Sciences 8, n.º 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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2

De Vos, Wouter Le R. "Regspraak: When will the notorious case of Hollington v F Hewthorn & Co Ltd 1943 KB 587 (CA) be laid to rest in South Africa?" Tydskrif vir die Suid-Afrikaanse Reg 2023, n.º 3 (2023): 533–47. http://dx.doi.org/10.47348/tsar/2023/i3a9.

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

BABELYUK, Oksana, Olena KOLIASA y Valeriia SMAGLII. "Language Means of Revealing Postmodern Ludic Absurd in English Literary Text". WISDOM 20, n.º 4 (24 de diciembre de 2021): 166–79. http://dx.doi.org/10.24234/wisdom.v20i4.531.

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The fiction politics of contemporaneity reflects diversified patterns of language forms and their func- tions. This has brought to life experimental (postmodernist) writing the key principles of intertextuality, fragmentation, destruction, play. Postmodernist aesthetics caused a blurring of traditional genre canons that led to contamination of syncretic genre compounds through a grotesque transformation of traditional genre models and created an „estrangement? effect. The phenomenon of ludic absurd is viewed in three as- pects: 1) linguo-philosophical; 2) cognitive; 3) poetic. The present study focuses on the analysis of ludic absurd; the role of graphic, phonetic, morphemic, word-forming, syntactical, semantic mechanisms, based on the intentional deviation of language norm, play on words; cognitive mechanisms, generated by ad-hoc way of thinking. The conducted linguopoetic analysis of American postmodern short stories suggests that ludic absurd as a stylistic device of postmodern poetics manifests itself at all language levels (lexical, syn- tactic, semasiological, and textual) and is realized via the semantic asymmetry of lexical units, using illog- ical, but grammatically correct syntactic constructions, syntactic mismatch of sentences and whole text fragments. Prospects for further studies consist in clarifying the pragmatic role of ludic absurd in the postmodern literary text; expanding the taxonomy of lexico-semantic, stylistic, and syntactic and paragraphemic means of ludic absurd.
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4

Vollans, Caroline. "The ‘v’ word". Nursery World 2022, n.º 1 (2 de enero de 2022): 34–35. http://dx.doi.org/10.12968/nuwa.2022.1.34.

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5

Houziaux, Alain. "L’absurde et la grâce". Études théologiques et religieuses 75, n.º 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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6

Werdiningsih, Endang. "Absurditas dalam Karya Sastra". Likhitaprajna Jurnal ilmiah 23, n.º 2 (7 de febrero de 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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7

Dzhur, Elena Vladimirovna. "Lexicographic representation of the lexeme ‘абсурд’ (absurd)". Philology. Issues of Theory and Practice 17, n.º 4 (27 de abril de 2024): 1338–42. http://dx.doi.org/10.30853/phil20240194.

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The aim of the research is to provide a lexicographic representation of the word ‘абсурд’ (absurd), compiled on the basis of data from various linguistic dictionaries. To compile a lexicographic portrait of this word in accordance with the theory of Yu. D. Apresyan, it was necessary to consider it from various sides: etymological, word-formation, grammatical, syntactic, stylistic, phraseological, pragmatic. This became the subject of the research and determined the structure of the work. The paper clarifies the lexical meaning of this word and gives its complex characteristics in various aspects. The scientific novelty lies in a comprehensive linguistic description of the lexical unit under study, which allows us to identify the history of its appearance in the language in the middle of the 19th century, trace its development up to the present day, show its collocability and speech functioning. As a result of the research, it was revealed that the lexical meaning of the lexeme ‘абсурд’ has practically not changed since its appearance in the Russian language, however, it has received quite significant clarifications, which is manifested in its collocability and systemic connections.
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8

Sboev, Aleksandr N. "CHINESE LANGUAGE "LATINIZATION". (ОN THE BASIS OF CHINESE INTERNET COMMUNICATION)". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, n.º 7 (2020): 64–83. http://dx.doi.org/10.28995/2686-7249-2020-7-64-83.

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The process of latinization of the Chinese language goes back to 1958, when Pinyin alphabet was created. The usage of Pinyin alphabet for a long time was limited only to the sphere of education, where the alphabet acted as an “extra tool” for studying the hieroglyphic script. Nowadays the usage of Pinyin alphabet has become wider: Chinese words in dictionaries are listed in alphabetical order; the alphabet is used for typing hieroglyphs in word processors; words written in latin letters are widely used in Chinese Internet communication, etc. While some of such “literal” words currently used in Chinese Internet communication are borrowings from other languages (mostly from English), this article is focused on wholly Chinese words that are written only in Pinyin alphabet without tone diacritics. Is it possible that writing in Pinyin alphabet will replace the traditional hieroglyphic writing? Today it seems absurd, but time will show.
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9

Paylor, A. J. "“Hello World!” Gwenpool: Marvel’s Camusian absurd hero". Journal of Graphic Novels and Comics 11, n.º 3 (4 de enero de 2019): 259–70. http://dx.doi.org/10.1080/21504857.2018.1556174.

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10

Linghong, Yu. "Chinese loanwords in the novel Blue Lard by Vladimir Sorokin". Izvestiya of Saratov University. Philology. Journalism 23, n.º 1 (21 de febrero de 2023): 86–90. http://dx.doi.org/10.18500/1817-7115-2023-23-1-86-90.

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The article discusses the Chinese loanwords that appear in the novel Blue Lard by Vladimir Sorokin. The novel contains an allegory of the Russian language of the future. Most of the neologisms created by Sorokin in Blue Lard come from foreign words, including an abundance of Chinese loanwords. The author of the article analyzes the Chinese loanwords from the point of view of phonetics and semantics, points out the mistakes in pronunciation in the novel, when Sorokin uses Chinese words or expressions. The analysis also focuses on the aesthetics of the word “Mei guo”, which by pronunciation in Chinese refers to the United States, and the word “Hei long jiang”– as one of the provinces in China, or the Amur River, flowing through the territory of three countries. Sorokin purposely changes their interpretation at the end of the novel to “beautiful country” and “Black Dragon River” in order to create the normal atmosphere of a dystopian society devoid of geopolitical boundaries. Sorokin introduces the word “dan huang”, which in the novel refers to the pro-China Russians and resembles the Chinese slangs “banana-man” and “egg-man” from the position of transcultural distribution. Moreover, in the course of the research, the author provides a comparison of Chinese loanwords with other foreign-language words used in the novel. By using Chinese loanwords as swear words, Sorokin literally commits linguistic violence. The final conclusion is that Chinese loanwords can be seen as a product of the overlap of cultures, which appear in the Russian-language fiction text. In addition, the Chinese loanwords with other Chinese elements give the novel a mystical oriental flavor and an absurd tone.
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11

Magee, Paul. "How Can Each Word Be Irreplaceable?: Is Coleridge’s Claim Absurd?" Philosophy and Literature 41, n.º 2 (2017): 400–415. http://dx.doi.org/10.1353/phl.2017.0048.

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12

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, n.º 6 (25 de junio de 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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13

Provazník, David. "The ambivalence of the absurd and the absurd hero in the work of Albert Camus". Bohemica Olomucensia 15, n.º 1 (1 de septiembre de 2023): 36–82. http://dx.doi.org/10.5507/bo.2023.004.

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14

Horton, Sarah. "Solidarity and the Absurd in Kamel Daoud's Meursault, contre-enquête". Journal of French and Francophone Philosophy 24, n.º 2 (21 de diciembre de 2016): 286–303. http://dx.doi.org/10.5195/jffp.2016.733.

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This article examines Kamel Daoud’s treatment of solidarity and the absurd in Meursault, contre-enquête and posits that the question of how to live in solidarity with others is central to the novel, although the word ‘solidarity’ never appears in it. After recalling Camus’s discussion of the absurd in Le Mythe de Sisyphe and of solidarity in L’Homme révolté, the article examines the manner in which Haroun, Daoud’s narrator and the brother of the Arab Meursault killed in L’Étranger, reveals his own failures of solidarity. He justly criticizes Meursault for privileging his confrontation with the absurd over the death of the Arab he did not even name, but Haroun too has killed. Haroun has, however, a greater understanding of solidarity than his fellows: he at least recognizes that murder is significant. He thus joins Meursault as an unworthy prophet who proclaims the absurd while surrounded by people who flee from it—and proclaiming the absurd can be a gesture of solidarity when one speaks for others, as Haroun speaks for his brother Moussa. Daoud’s novel reminds us that there are no final answers telling us how to live in solidarity with others and that we must do so all the same.
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15

Gaffney, Seán. "On being Absurd: Soren Kierkegaard 1813-1855". British Gestalt Journal 15, n.º 1 (1 de junio de 2006): 7–15. http://dx.doi.org/10.53667/fxpi2751.

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"Abstract: This paper raises some aspects of Kierkegaard's life and work, and posits a possible relevance for the Gestalt practitioner. This includes Kierkegaard's position as a source not only for the existentialism of Sartre, but also for the thinking and living of Laura Perls and Paul Goodman. In addition, the author's personal and professional responses to the influence of Kierkegaard are a central theme throughout the article. Key words: Kierkegaard, existentialism, Gestalt, faith, angst, existing individual"""
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16

Spies, Thomas. "“Making Sense in a Senseless World”: Disco Elysium’s Absurd Hero". Baltic Screen Media Review 9, n.º 1 (1 de diciembre de 2021): 80–89. http://dx.doi.org/10.2478/bsmr-2021-0008.

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Abstract This article examines the representation of mental health issues in the computer role-playing game Disco Elysium by using Albert Camus’ theory of the absurd as a basis. Through his daily work routine as a detective, the protagonist Harry DuBois’ trauma unfolds through the course of the game while simultaneously revealing the psychosocial aspects of trauma. Interpreting Harry’s existential struggles as those of an absurd hero supports the idea that finding (greater) meaning is not a necessity when coping with trauma.
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17

Yoo, Wang-Moo. "The Critical Vision and Memory of the Absurd World". Iberoamérica 22, n.º 2 (28 de diciembre de 2020): 25–57. http://dx.doi.org/10.19058/iberoamerica.2020.12.22.2.25.

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18

Yoo, Wang-Moo. "The Critical Vision and Memory of the Absurd World". Iberoamérica 22, n.º 2 (31 de diciembre de 2020): 25–57. http://dx.doi.org/10.19058/iberoamerica.2020.12.22.2.25.

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19

Myers, Robert y Nada Saab. "Revolutionary Theatre of the Absurd from the Arab World". PAJ: A Journal of Performance and Art 37, n.º 1 (enero de 2015): 94–96. http://dx.doi.org/10.1162/pajj_a_00249.

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20

Krill, Donald F. "Existential Social Work". Advances in Social Work 15, n.º 1 (16 de mayo de 2014): 117–28. http://dx.doi.org/10.18060/16846.

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The existential impact upon social work began in the 1960’s with the emphasis upon freedom, responsibility and a sense of the absurd. It affirmed human potential while faulting the deterministic thinking that was popular with psychological theorists at that time. It was open to the prospects of spirituality, but was less than optimistic concerning great progress among social institutions. It was a forerunner to the strengths-based social work programs of our present day.
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21

Myropolska, E. V. "THE DRAMA SEARCHES ON THE FIELDS OF THE "PHILOSOPHY OF THE ABSURD": THE EXPERIENCE OF MODERN UNDERSTANDING". UKRAINIAN CULTURAL STUDIES, n.º 1 (6) (2020): 64–68. http://dx.doi.org/10.17721/ucs.2020.1(6).14.

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The article reflects the logics of the development of the "philosophy of absurd" – a term of intellectual tradition connected with attributive characteristic of reference between a man and surrounding world. The best productive ideas of the "philosophy of absurd" – non- conformism,resistance to the imposition of other people's thoughts, revolt, freedomand some others have been described.The "philosophy of absurd" is aphilosophical conception which examines a man in the context of his inevitable relations with the world which is sencseless and unfriendly to human individuality, in the result of which "absurd consciousness" is bearing. The nuances of the "philosophy of absurd" in the art practices of the XX-th – the first two decades of the XXI-st centuries, especially absurd drama has been disclosed. Its typical signs are the absence of act's plays and time, the plot and composition are breaking, existentialist's mood of characters, absurd plot's situations, words' nonsense and so on. The heroes of the plays by S. Becket from the very beginning are solitude. But S. Becket developes ideas of "the philosophy of absurd", showing that if such people find faith, there is no strength that can break them. The main theme of S. Becket's creation is man's doom, his solitude. S.Becket became the most typical interpretator of the ideas of "the philosophy of absurd" in the drama, finding both simple and non-traditional methodsfor classic theatre aesthetics and new means of their incarnation.The playwright very exactly expressed such thought: progress's movement causes "progress" to all mankind reticence, alienation, closeness. One of the reasons of the negative perception of the world S. Becket calls a man's unrealizness and as a result – man's deformation. The consciousness wich is prepared by philosophical comprehension and scene "playing" absurd situations, helps a modern man worthly treat such situations in the real life, understanding that life occurs Hic et Nunc, we can't delay it for tomorrow.
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22

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, n.º 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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23

Savran, David. "The World According to Herbert Fritsch". TDR: The Drama Review 67, n.º 2 (junio de 2023): 142–60. http://dx.doi.org/10.1017/s1054204323000102.

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With his reinvention of absurd farce, Herbert Fritsch has become one of the most celebrated directors in the German-speaking world. Most remarkable are Fritsch’s original pieces, which he also designs, composed in collaboration with actors and musicians. These defy generic categorization and allow audiences to rethink what is possible to see and hear onstage.
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Rapatskaya, Yanina O. "“TRADITIONAL RUSSIAN DRAMA”: PRACTICES OF SELF-PRESENTATION OF RUSSIAN EXTREME METAL BANDS SECOND TO SUN AND L'HOMME ABSURDE". Articult, n.º 2 (2022): 44–66. http://dx.doi.org/10.28995/2227-6165-2022-2-44-66.

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The study of national identity is an important part of metal music studies. Researchers examine through what images, words, and sounds it is formed in the work of various musical projects. The Russian extreme metal projects Second To Sun and L’Homme Absurde differ in terms of their stylistic characteristics, the themes and language of the lyrics, and the approach to the visual content. These bands are united by a manifestation of belonging to the Russian scene, which is implemented through specific ideas about Russian cultural products. The distinctive component of which, according to the musicians, are the concepts of Russian despair and Russian “chthon” (something gloomy and sinister, sometimes connected with Russian realities) or, as the leader of L’Homme Absurde puts it, “Russian drama” – a tragic situation, gloomy events and circumstances, often due to social context, that cause mental suffering. The paper explores how the concept is represented in the work of the selected projects, their self-description, and the listener’s perception on the textual, visual, and sonic levels; and how it forms their identity and allows musicians to position themselves on the Russian and international scenes.
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25

Shirlow, Ryan. "Are we part of a unified work of absurd art?" Nature 625, n.º 7996 (23 de enero de 2024): 663. http://dx.doi.org/10.1038/d41586-024-00187-5.

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Gile, Daniel. "La transformation lexicale comme indicateur de l’analyse dans l'enseignement de la traduction du japonais". Meta 37, n.º 3 (30 de septiembre de 2002): 397–407. http://dx.doi.org/10.7202/002908ar.

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Abstract Loose lexical usage in Japanese often makes the lack of analysis in a student's translation exercise evident through a word-for-word translation that sounds implausible, illogical, very clumsy or absurd. Lexical processing can therefore often be used as an analysis indicator. The paper illustrates the fact through the example of one Japanese text and its translation. Tabulation enables rapid scrutiny of the situation of each student and of the group as a whole, as well as the assessment of the efficiency of didactic interventions by the instructor. The method cannot be applied as such to all languages, but other indicators, such as the processing of ambiguous or obscure clauses, can be used in a similar way.
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27

Goyes Narváez, Julio César. "Work in progress: la sátira plástica de Felipe Cifuentes". La Palabra y el Hombre, revista de la Universidad Veracruzana, n.º 47 (23 de agosto de 2019): 63–64. http://dx.doi.org/10.25009/lpyh.v0i47.2809.

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En la obra de Cifuentes existe una constante recurrencia al absurdo y a la sátira y se representa en sus autoretratos con ambientes llenos de tensión y suspenso. El artista reconstruye las formas clásicas de Goya, Sorolla, Caravaggio o El Bosco para retratar a una sociedad narcisista que viaja por la Internet.
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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 (29 de diciembre de 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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Baczewska-Murdzek, Agnieszka. "Absurd world of totalitarian oppression. Vladimir Nabokov’s play with myths and symbols". Studia Wschodniosłowiańskie 12 (2012): 7–21. http://dx.doi.org/10.15290/sw.2012.12.01.

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Исмаил гызы Дадашева, Ирада. "The genre of monodrama in the work of S.Beckett". SCIENTIFIC WORK 71, n.º 10 (23 de octubre de 2021): 7–11. http://dx.doi.org/10.36719/2663-4619/71/7-11.

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The article analyzes the text of the play by S. Beckett "Krapp's Last Ribbon", written by the author in 1958. The peculiarity of the poetics of monodrama in the period of crisis in the history of Western European theater is shown. The main theme of the play is loneliness. Complete loneliness was not only a theme, but also an aesthetic prerequisite that determined the very manner of the actor's play. Key words: monodrama, theater of the absurd, creation, contradiction, public conscience
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31

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, n.º 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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Ôno, Manako. "ACTES SANS PAROLES, PAROLES SANS SCÈNE". Samuel Beckett Today / Aujourd'hui 19, n.º 1 (1 de agosto de 2008): 403–13. http://dx.doi.org/10.1163/18757405-019001033.

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Owing to the declared absence of spoken words on stage, each of the and appears to consist of lengthy stage directions describing a series of actions tending toward an end that is going to shed meaning on them. However, this program contains a certain number of disruptions that go counter the obvious signifying intention, a situation with parallels in morality plays. These abnormalities are further emphasized by the linguistic nature of the description "without words." My analysis of these malfunctions leads me to reconsider the concept of the 'absurd' as it has been generally applied to Beckett's theatre.
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33

Bossaert, Benjamin. "Nederlandbeelden in Oorlog met het kleine Nederland (1965). Een nooit opgevoerde twee-akter van Rudolf Sloboda". Roczniki Humanistyczne 70, n.º 5sp (14 de noviembre de 2022): 11–26. http://dx.doi.org/10.18290/rh22705sp-1.

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De Slowaakse schrijver Rudolf Sloboda geldt als een van de meest vooraanstaande auteurs van Slowaakse literatuur na de Tweede Wereldoorlog. Zijn oeuvre valt uiteen in proza dat volgens Sloboda-kenner Zora Prušková uiterst autobiografisch te noemen valt, maar hij schreef naast enkele gedichtenbundels, essays en kinderboeken ook diverse filmscenario´s en twee toneelstukken. De meeste biografen vergeten daarbij dikwijls nog een twee-akter te vermelden die in 1965 in twee nummers van het literaire tijdschrift Slovenské pohľady kon verschijnen als Vojna s malým Holandskom (Oorlog met het kleine Nederland), omdat dit toneelstuk nooit werd opgevoerd. In deze bijdrage worden enkele opvallende kenmerken van het stuk uiteengezet. Daarbij wordt de ontstaanscontext van het stuk geschetst, die gepaard ging met de censuur van het communistische regime. Er wordt uiteindelijk betoogd dat, als de geografische benamingen en de personages goed onder de loep genomen worden, hier een imagologische en chronotopische tegenvoeter gecreëerd werd van het absurde toneelstuk Ubu roi van Alfred Jarry, met Nederland als een abstract genoeg begrip.
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34

Giroux, Henry A. "Trump's America: Rethinking 1984 and Brave New World". Monthly Review 69, n.º 1 (2 de mayo de 2017): 20. http://dx.doi.org/10.14452/mr-069-01-2017-05_2.

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With the rise of Donald Trump, U.S. politics has descended, like never before, into a theater of the absurd. Unbridled anti-intellectualism, deception, and "vindictive chaos" recall a morally reprehensible past in the guise of "making America great again." But despite his populist posturing, Trump's contempt for democratic processes is matched by his commitment to economic policies that favor the financial elite.Click here to purchase a PDF version of this article at the Monthly Review website.
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35

Безьё, Ж. И. "What is a logic? Towards axiomatic emptiness". Logical Investigations 16 (7 de abril de 2010): 272–79. http://dx.doi.org/10.21146/2074-1472-2010-16-0-272-279.

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We first recall the original Greek sense of the word logic and how logic was developed on the one hand as an efficient way of reasoning by the use of reduction to the absurd and on the other hand as a useless system of logic by Aristotle. Then we discuss the changes of the modern conception of logic: the rejection of the principle of noncontradiction considered as fundamental by Aristotle and the structuralist move breaking the Aristotelian accident/essence dichotomy. Finally we explain why and how in universal logic — like in universal algebra — axiomatic emptiness prevails: a logical structure is a structure obeying no axioms.
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36

D'aponte, Mimi Gisolfi. "Review: Pier Paolo Pasolini and the Theatre of the Word: Ezio d'Errico's Theater of the Absurd". Forum Italicum: A Journal of Italian Studies 26, n.º 2 (septiembre de 1992): 414–16. http://dx.doi.org/10.1177/001458589202600218.

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37

Smith, N. "Illustration - Heath Robinson: Welcome to Heath Robinson's absurdly ingenious world". Engineering & Technology 13, n.º 3 (1 de abril de 2018): 68–71. http://dx.doi.org/10.1049/et.2018.0326.

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38

Son, Ju-Yeon. "A Protester Within the Absurd World: A Study on Li Qiao’s Short Stories". Journal of Chinese Language, Literature and Translation 51 (31 de julio de 2022): 113–28. http://dx.doi.org/10.35822/jcllt.2022.07.51.113.

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39

DeLeon, Abraham. "Reporting from the realm of the absurd: Rethinking space in a neoliberal world." Theory In Action 3, n.º 4 (31 de octubre de 2010): 38–58. http://dx.doi.org/10.3798/tia.1937-0237.10032.

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40

Sathotho, Surya Farid. "ABSURDITY IN PUTU WIJAYA’S SHORT PLAY". TONIL: Jurnal Kajian Sastra, Teater dan Sinema 18, n.º 2 (13 de septiembre de 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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41

Raouf Aminzadeh. "Semiotic Analysis of Roland Barthes on Wardah Advertisement Version “I Face of Indonesia”". LingLit Journal Scientific Journal for Linguistics and Literature 2, n.º 4 (30 de diciembre de 2021): 141–49. http://dx.doi.org/10.33258/linglit.v2i4.552.

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This article is an attempt to focus on Interior by Maeterlinck in the light of Absurd tradition. Maeterlinck employed symbols to illuminate nature, spirituality, existence, and the innumerable and invisible forces that shape our existence. Maeterlinck uses symbolism to explore the theme of death that is omnipotent in everyday life. The Interior 's central theme is death. Maeterlinck generates suspense by juxtaposing the characters' uneasiness in the garden with the family's peace and ignorance within the house. In order to reach this aim, the researchers decide to explain the theatre of the Absurd and its elements. Maeterlinck distrust of language is shown in his distrust of words, using repetitions, silences, pauses and some other tactics. The existential theme and contents used in selected play are discussed. Themes such as: death, lack of individuality and lack of communication in mentioned play is discussed. Moreover, this article also contains a comparative study of the structure of the two.
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42

Михальчук, Наталія y Ольга Кришевич. "The Peculiarities of the Perception and Understanding of Sonnets Written by W. Shakespeare by the Students of the Faculty of Foreign Languages". PSYCHOLINGUISTICS 26, n.º 1 (12 de noviembre de 2019): 265–85. http://dx.doi.org/10.31470/2309-1797-2019-26-1-265-285.

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The purpose of the article is to analyze the peculiarities of the perception and understanding of Sonnets written by W. Shakespeare by the students of the Faculty of Foreign Languages. The methods of the research are: in order to study the features of perception and understanding of the absurd in the sonnets of W. Shakespeare we used the method of associative experiment. In our research we examined the dependence of the latent period of awareness of the absurd meaning of speech acts, depending on the nature of stimulation. For comparing we proposed to students high-frequency phrases, emotionally colored ones (chosen from the sonnets of W. Shakespeare), low-frequency statements, stylistically colored phrases, statements which include slang. The results of the research. At the end of the procedure of the experiment, a total of 1958 verbal responses of the students were received. From them, 897 reactions are for high frequency phrases; 458 – for emotionally colored ones; 293 are for low frequency phrases; 256 – for stylistically colored ones and only 54 reactions are for slang. At the stage of the analysis of the results we arranged the groups of words depending on statistical differences in the average time of the associative reaction for each group in order from the smallest one to the largest group: 1) high-frequency and emotionally colored; 2) stylistically colored: 3) low-frequency; 4) phrases with slang. Conclusions. It was proved that students adequately perceived and understood the emotionally colored phrases that were selected by us from W. Shakespeare’s sonnets and contained explicit and implicit absurd meaning. This gives us reason to argue that these statements, with their expressive context and absurd content, in a great degree attracted students that they perceived these phrases as personally significant, experienced them in such a way that they already entered their sphere of personally significant experience.
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43

Kalashnikova, Larisa V. "Interpretation of Nonsense as a Method of Children Imagination Development (as exemplified in Carroll L. «Through the Looking-Glass and What Alice Found There»)". Current Issues in Philology and Pedagogical Linguistics, n.º 4(2020) (25 de diciembre de 2020): 200–212. http://dx.doi.org/10.29025/2079-6021-2020-4-200-212.

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The article enlightens the probem of nonsense and its role in the development of creative thinking and fantasy, and the way how the interpretation of nonsense affects children imagination. The function of imagination inherent to a person, and especially to a child, has a powerful potential – to create artificially new metaphorical models, absurd and most incredible situations based on self-amazement. Children are able to measure the properties of unfamiliar objects with the properties of known things. It is not difficult for small researchers to replace incomprehensible meanings with familiar ones; to think over situations, to make analogies, to transfer signs and properties of one object to another. The problem of nonsense research is interesting and relevant. The element of the game is an integral component of nonsense. In the process of playing, children cognize the world, learn to interact with the world, imitating the adults behavior. Imagination and fantasy help the child to invent his own rules of the game, to choose language elements that best suit his ideas. The child uses the learned productive models of the language system to create their own models and their own language, attracting language signs: words, morphs, sentences. Children’s dictionary stimulates word formation and language nomination processes. Nonsense-words are the result of children’s dictionary, speech errors and occazional formations, presented in the form of contamination, phonetic transformations, lexical substitution, implemented on certain models. The first two models are phonetic imitation and hybrid speech, based on the natural language model. The third model of designing nonsense is represented by words that have no meaning at all and can be attributed to words-portmonaie. Due to the flexibility of interframe relationships and the lack of algorithmic thinking, children can not only capture the implicit similarity of objects and phenomena, but also create it through their imagination. Interpretation of nonsense is an effective method of developing imagination in children, because metaphors, nonsense as a means of creating new meanings, modeling new content from fragments of one’s own experience, are a powerful incentive for creative thinking.
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44

Ferreira, M. Jamie. "The Point Outside the World: Kierkegaard and Wittgenstein on Nonsense, Paradox and Religion". Religious Studies 30, n.º 1 (marzo de 1994): 29–44. http://dx.doi.org/10.1017/s0034412500022708.

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Much has been made of the Kierkegaardian flavour of Wittgenstein's thought on religion, both with respect to its explicit allusions to Kierkegaard and its implicit appeals. Even when significant disparities between the two are noted, there remains an important core of de facto methodological agreement between them, addressing the limits of theory and the dispelling of illusion. The categories of ‘nonsense’ and ‘paradox’ are central to Wittgenstein's therapeutic enterprise, while the categories of ‘paradox’ and the ‘absurd’ are central to much of Kierkegaard's attempt (pseudonymous and non-pseudonymous) to dispel religious illusion. Writing of how the ‘urge to thrust against the limits of language’ yields ‘nonsense’, Wittgenstein explicitly appealed to Kierkegaard: ‘Kierkegaard, too, recognized this thrust and even described it in much the same way (as a thrust against paradox)’.1 I want to consider whether Kierkegaard's category of paradox of the absurd is assimilable to Wittgenstein's view of nonsense and paradox. I shall argue that a consideration of Wittgenstein's view of paradox can highlight contrasting strands in Kierkegaard's writings on religious faith, strands which take paradox more or less strictly – in particular, it can clarify several different opinions concerning the status of religious claims. My exploration will bring to the fore some implications of the attempt to make room, in the religious employment of language, for a ‘higher understanding’ of truths which we are said to be able to grasp but cannot express.
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45

PARK, Sungkyu. "Zhu Xi's Commentaries on the Consistency of Confucius' Way and Zeng Shen's ‘Faithfulness and Consideration’ and the Zen Buddhist's Episode “Buddha Picks Up the Flower and Kāśyapa Smiles Subtlely”". Tae Dong Institute of classic research 49 (31 de diciembre de 2022): 279–304. http://dx.doi.org/10.31408/tdicr.2022.49.279.

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In Analects, Confucius said to Zeng Shen. “My way is consistent(吾道一貫).” Then Zeng Shen replied. “Yeah.” Zeng Shen further explained that “Confucius' Way is nothing but the ‘Faithfulness and Consideration(忠恕)’.” Zhu Xi commented on this as follows. One day, when Confucius suddenly pointed out with a single word, “吾道一貫”, Zeng Shen immediately came to enlightenment.(“言下有得”). He also said that the reason Confucius enlightened only Zeng Shen among the numerous disciples was that only Zeng Shen had accumulated many studies and had mastered all the principles, but only did not know the fact that the root was one. Later scholars criticize that Zhu Xi's commentary is an absurd commentary imitating a famous episode of Buddhism. “When Buddha Picks Up the Flowers and Kāśyapa smiled of enlightenment.(拈花微笑)” How could Confucius taught his disciples in a Buddhist way that “at sigle word and gesture, I immediately gained enlightenment?” Never. Zhu Hui also claims that Zeng Shen attained enlightenment because he accumulated a lot of study.
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46

Yonghee Lee. "The Female Sisyphean Hero, Mae, Confronts the Absurd World in Maria Irene Fornes’ Mud". Jungang Journal of English Language and Literature 57, n.º 3 (septiembre de 2015): 347–70. http://dx.doi.org/10.18853/jjell.2015.57.3.018.

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47

Osmanova, Kira P. "“ROMANTIC” ABSURD: “THE INVASION” BY ARTHUR ADAMOV AND “CHATTERTON” BY ALFRED DE VIGNY". Proceedings of Southern Federal University. Philology 25, n.º 4 (1 de diciembre de 2021): 137–50. http://dx.doi.org/10.18522/1995-0640-2021-4-137-150.

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The article contains an intertextual analysis of the play “The Invasion” (1949) by Arthur Adamov, one of the classical examples of the drama of the absurd. In his dramaturgical experience of 1949, Arthur Adamov demonstrates the acceptance of the XIX century French literature romantic tradition and significant refraction of this tradition in the coordinate system of the poetics of the absurd. Being open about his main source — the play “Chatterton” (1834) by Alfred de Vigny — Adamov intentionally strengthens and sharpens the theme of the tragic forlornness of a great artist who lost faith in himself in the face of a crisis of faith in the world mind. Adamov’s principal character is a filiation of the image of the romantic poetmessiah. The principal character of de Vigny and the principal character of Adamov have in common a vocation associated with the sacred power of the Word (the Poet and the Keeper of the Message), and fervor in following this high vocation; opposition to the world of ordinary people; loyalty to the individual life code. In the context of the mid-twentieth century philosophical views system, based on the idea of the absurd, Adamov revises the rules by which the artistic world is constructed, and transforms some romantic motives and characteristics. Love and creativity no longer perform a saving function; escape becomes the movement of an individual into the space of the inner prison. The fate of Adamov’s principal character cannot be shared by anyone else. The principal character is devoid of a demiurgical quality; he is doomed to plumb the depths of the concept of comprehensive futility and observe the loss of meanings at all levels of human existence. The analysis of the figurative system of “The Invasion” proves the romantic genesis of the absurdism of the twentieth century, confirming the theoretical concept of romanticism as a stable paradigm of artistic consciousness, which has retained its relevance in the modern era.
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48

Xiang, Fang. "Defender of Humanism in the Alienated World —Citrine’s Humanistic Journey in Humboldt’Gift". English Language Teaching 9, n.º 11 (18 de octubre de 2016): 53. http://dx.doi.org/10.5539/elt.v9n11p53.

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<p>The novel <em>Humboldt’s gift </em>which reveals the dilemma of two intelligentsia in the modern society where consumerism and materialism further aggravates the alienation among people and the culture is degraded into a capital form and is commercialized, so the dignity and even the survival of poets are threatened by this material-centered society. The thesis intends to discuss the destructive force of culture commercialization on the life of writers through the failure of Humboldt, and further analyze 3 stages Citrine takes to overcome his life crisis and be a defender of humanism in the absurd world.</p>
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49

Lowenthal, David. "British National Identity and the English Landscape". Rural History 2, n.º 2 (octubre de 1991): 205–30. http://dx.doi.org/10.1017/s0956793300002764.

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Heritage is a messy concept ill-defined, heterogeneous, changeable, chauvinist – and sometimes absurd. In a TV programmer's words, just as ‘lifestyle has replaced life, heritage is replacing history'. Rather than ‘history’, Philadelphia's tourist boss now ‘talk[s] about heritage – it sounds more lively’. It is also more equivocal; as Walter Benjamin put it, every cultural treasure that is a ‘document of civilization is at the same time a document of barbarism’. Yet for all its ambiguity, ‘the idea of “Heritage” [is] one of the most powerful imaginative complexes of our time’.
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50

Shaldehi, Ahmad Hedayatpanah, Mohammad Saeed Hedayatpanah Shaldehi y Marziyeh Hedayatpanah Shaldehi. "Comparative Analysis of Similarities and Differences between Null Hypotheses, Assumption of Breach". Indian Journal of Advanced Mathematics 1, n.º 2 (10 de octubre de 2021): 20–26. http://dx.doi.org/10.35940/ijam.b1110.101221.

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The main purpose of this paper is to comparatively study the similarities and differences between of the , null hypothesis and assumption of breach .The null hypothesis , in applied researches, particularly experiments for confirm or rejection .a hypothesis, regard to inferential statistics That used in many different fields of humanities researchers, particularly psychology, education, management and sociological placed assumption of breach, to prove geometric proposition( theorems), which hypothetical temporary, that with the help of reasoning, the false statements, it we conclude. Such a statement may deny our hypotheses or assume reduction ad absurdum. The use of these two words separately and hypothesis alternative in abundance, the world of science and research, has been discussed, but the relationship between these words, mention, yet. Isn’t .This article describes the relation of these assumptions. Likewise, in writing, to the similarity, their differentiation, are mentioned. Including the results, that is, the achieve results null hypothesis, researcher with the error is encountered, but In the Reduction ad absurdum the achieve results, not an error.
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