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Literatura académica sobre el tema "Absurdité"

Autor: Grafiati

Publicado: 15 de marzo de 2025

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Artículos de revistas sobre el tema "Absurdité"

Duprey, Elie. "Légitimité et absurdité dans l'œuvre d'André Schwarz-Bart". Les Temps Modernes 668, n.º 2 (2012): 202. http://dx.doi.org/10.3917/ltm.668.0202.

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Würtz, Siegfried. "Stupidité, vulgarité et absurdité de la production dessinée de David Lynch". Ligeia N° 165-168, n.º 2 (2018): 89. http://dx.doi.org/10.3917/lige.165.0089.

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Kacha, Sabrina. "Escaping Absurdity: The Incarnation of Magical Realism in Rawi Hage’s Carnival (2012)". Theory and Practice in Language Studies 13, n.º 6 (1 de junio de 2023): 1548–55. http://dx.doi.org/10.17507/tpls.1306.24.

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This paper examines the various representations of magical realism in Rawi Hage’s Carnival (2012). It investigates the portrayal of the fictionalized imaginative situations in the novel. Further, it discusses Fly as an exilic individual who attempts to escape his chaotic and disordered society. Through his flying carpet, Fly overcomes his hardship and produces a new space for his own in order to realize what he desires. Besides, among the serious problems that face the exilic individual is the absurdist existential life in exile. Thereby, this research article explores how Fly uses a magical realist element to escape the absurdity of his existence in the diaspora. Hence, Albert Camus’ writings on absurdism and the absurdity of human existence are paramount in analyzing this character.

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Laurin, Nicole. "La question de Dieu dans la sociologie". Thème 6, n.º 2 (25 de octubre de 2007): 25–32. http://dx.doi.org/10.7202/024960ar.

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RÉSUMÉ Dieu est désormais absent de la sociologie. Il a quitté d'abord la théorie sociologique générale et par la suite, il s'est retiré de la sociologie religieuse. De surcroît, en tant qu'élément de l'idéologie et source de mobilisation intellectuelle et politique, il est tombé en désuétude. Au moment où la théologie chrétienne cherche son inspiration du côté des sciences et, particulièrement, des sciences humaines, la sociologie n'a donc plus rien à lui offrir. À part le fait social, dépouillé de ses oripeaux, ramené à sa misère et son absurdité. Le fait social dans sa pesanteur.

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Abdalla, Shabaz, Rebwar Zainalddin Mohammed y Hedayat Muhamad Ahmad. "The Absurdity of Existence: Analyzing Human Relationships in Sartre's No Exit". SUAR BETANG 19, n.º 2 (4 de diciembre de 2024): 141–54. https://doi.org/10.26499/surbet.v19i2.19379.

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This article explores the philosophical concepts of existentialism and absurdism, focusing on the works of Jean-Paul Sartre and Albert Camus. It begins by examining Sartre's notion of "for-itself" and "in-itself," highlighting the inherent discomfort and isolation of human existence, which resonates with Martin Heidegger's idea of "Dasein." The study delves into the fundamental aims of absurdism, which seeks to reconcile the contradictions between human will and a hostile environment. By analyzing Sartre's play No Exit, the article illustrates how absurdist theatre employs non-linear narratives to evoke feelings of disorientation and absurdity, ultimately reflecting on the quest for meaning in a seemingly meaningless world. The study also critiques the absence of Grice's Cooperative Principle, particularly the Maxim of Quantity, in the dialogues of No Exit, emphasizing the complexities of communication in existential contexts. The findings underscore the interplay between existential themes and absurdist techniques, offering insights into the human condition and the perpetual struggle for purpose amidst existential despair. This article is relevant for readers interested in philosophy, theatre, and the exploration of human existence.

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Guyot, Jean-Philippe y Christian Simon. "L’examen de fin de formation : une absurdité ou devons-nous former des tricheurs ?" Revue Médicale Suisse 13, n.º 577 (2017): 1675–76. http://dx.doi.org/10.53738/revmed.2017.13.577.1675.

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Mazour-Matusevich, Yelena. "Le bal des voleurs de Jean Anouilh". Analyses 36, n.º 1 (9 de marzo de 2005): 95–106. http://dx.doi.org/10.7202/010638ar.

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Résumé Bien que Jean Anouilh soit l’un des héritiers les plus fidèles de la tradition théâtrale du XVIIe siècle, l’idée de divertissement subit chez lui une métamorphose essentielle qui révèle sa philosophie générale. La notion d’oubli, qui aide les gens à supporter la vie en masquant son absurdité finale, devient centrale dans cette philosophie. En conséquence, le théâtre et le rêve ont la même origine : la nécessité psychologique de s’oublier et d’oublier. En analysant ces deux formes de la même activité humaine que Freud nomma Tagtraum, Yelena Mazour-Matusevich cherche à formuler la conception du théâtre d’un des auteurs les plus énigmatiques du XXe siècle.

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Diouf, Benjamin. "Stratifications sociales en Afrique ancienne: performances et stagnations". Heródoto: Revista do Grupo de Estudos e Pesquisas sobre a Antiguidade Clássica e suas Conexões Afro-asiáticas 4, n.º 1 (12 de diciembre de 2019): 247–63. http://dx.doi.org/10.34024/herodoto.2019.v4.10121.

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Les sociétés africaines ont eu des organisations qui ont évolué et se sont maintenues en dépit du temps qui nous sépare de l’Antiquité. Parmi celles-ci, nous avons les castes qui sont, pour certains, une absurdité qu’il faut abandonner sans chercher à les comprendre. Pourtant, celles-ci peuvent nous éclairer sur le fonctionnement de notre société et son évolution. Les castes sont une stratification sociale établie sur la base des activités professionnelles, des métiers. C’est en Egypte ancienne qu’elles vont se professionnaliser et s’hériter. Au fil du temps, la religion et la loi vont intervenir dans le système des castes pour y introduire l’endogamie, la hiérarchie et le mépris tels que nous l’observons, aujourd’hui, chez certaines ethnies africaines.

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Dias, Mayoro. "Étude historique de l’evolution de la maxime hippocratique en grec dans le Traite D’hippocrate Épidemies I. 5 A laa maxime latine dans la tradition latine attestee par Lactance dans son Epitome des institutions divines, Chapitre 60". Heródoto: Revista do Grupo de Estudos e Pesquisas sobre a Antiguidade Clássica e suas Conexões Afro-asiáticas 4, n.º 1 (12 de diciembre de 2019): 284–304. http://dx.doi.org/10.34024/herodoto.2019.v4.10127.

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Les sociétés africaines ont eu des organisations qui ont évolué et se sont maintenues en dépit du temps qui nous sépare de l’Antiquité. Parmi celles-ci, nous avons les castes qui sont, pour certains, une absurdité qu’ilfaut abandonner sans chercher à les comprendre. Pourtant, celles-ci peuvent nous éclairer sur le fonctionnement de notre société et son évolution. Les castes sont une stratification sociale établie sur la base des activités professionnelles, des métiers. C’est en Egypte ancienne qu’elles vont se professionnaliser et s’hériter. Au fil du temps, la religion et la loi vont intervenir dans le système des castes pour y introduire l’endogamie, la hiérarchie et le mépris tels que nous l’observons, aujourd’hui, chez certaines ethnies africaines.

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Pratama, Anugrah Gio. "ABSURDITAS PEMIKIRAN DAN PERILAKU TOKOH UTAMA DALAM DRAMA BANGUN PAGI BAHAGIA KARYA ANDY SRI WAHYUDI (THE ABSURDITY OF THE THOUGHTS AND BEHAVIORS OF THE MAIN CHARACTERS IN DRAMA BANGUN PAGI BAHAGIA BY ANDY SRI WAHYUDI)". JURNAL BAHASA, SASTRA, DAN PEMBELAJARANNYA 13, n.º 2 (12 de octubre de 2023): 376. http://dx.doi.org/10.20527/jbsp.v13i2.16548.

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AbstractThe Absurdity of the Thoughts and Behaviors of the Main Characters in Drama Bangun Pagi Bahagia by Andy Sri Wahyudi. The purpose of this research is to explain the form of the absurdity of thought and behavior of the main character that appears in Andy Sri Wahyudi's drama Bangun Pagi Bahagia and the factors that influence it. This study uses a qualitative approach and belongs to the type of absurdity study. Literature review techniques were used to collect data and qualitative content analysis was used in this research data analysis technique. The results of the study show that the drama Bangun Pagi Bahagia contains elements of absurdity of thought as well as absurdity of behavior. Among the absurd forms of the main character's thoughts on Bangun Pagi Bahagia, namely the view that death is a form of a good ideal. Among the forms of absurdity in the behavior of the main character Bangun Pagi Bahagia is talking to statues to get help. Factors that influence the absurdity of the main character's thoughts and behavior can be formulated in three ways, namely the problem of life, freedom, and feelings.Keywords: absurdity, thoughts, behaviors, main characters, dramaAbstrakAbsurditas Pemikiran dan Perilaku Tokoh Utama dalam Drama Bangun Pagi Bahagia Karya Andy Sri Wahyudi. Tujuan penelitian ini untuk menjelaskan bentuk absurditas pemikiran dan perilaku tokoh utama yang muncul dalam drama Bangun Pagi Bahagia karya Andy Sri Wahyudi serta faktor-faktor yang memengaruhinya. Penelitian ini menggunakan pendekatan kualitatif dan tergolong dalam jenis kajian absurditas. Teknik studi pustaka dipakai dalam mengumpulkan data dan analisis isi kualitatif dipakai dalam teknik analisis data penelitian ini. Hasil penelitian menunjukkan drama Bangun Pagi Bahagia mengandung unsur absurditas pemikiran juga absurditas perilaku. Di antara bentuk absurditas pemikiran tokoh utama Bangun Pagi Bahagia, yaitu pandangan bahwa kematian adalah sebentuk cita-cita yang baik. Di antara bentuk absurditas perilaku tokoh utama Bangun Pagi Bahagia, yakni berbicara kepada patung agar mendapatkan pertolongan. Faktor yang memengaruhi absurditas pemikiran dan perilaku tokoh utama dapat dirumuskan ke dalam tiga hal, yakni masalah hidup, kebebasan, dan perasaan.Kata-kata kunci: absurditas, pemikiran, perilaku, tokoh utama, drama

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Tesis sobre el tema "Absurdité"

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 réalise
How 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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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf
B.F.A
Bachelors
Arts and Sciences
Art

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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 Bloechl
Per 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 Maumort
Montaigne'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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Más fuentes

Libros sobre el tema "Absurdité"

Bill, McKibben y Dethier Jean, eds. Over: Visions aériennes de L'American way of life : une absurdité écologique. Paris: Dominique Carré, 2008.

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Tacussis, Alex. Absurdía. Stgo. [i.e. Santiago, Chile]: Alfa, 1987.

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Olaniyan, Olumide. Lucidity of absurdity: Poems. Ibadan: Kraft Books, 2017.

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Smith-Luedke, Jeff. The absurdity of philosophy. Morrisville, NC: Lulu, Inc., 2008.

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Adepoju, Mas'ud Olanrewaju. The absurdity of the trinity. Ibadan: Wisdom Publications, 1996.

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Borecký, Vladimír. Odvrácená tvář humoru: Ke komice absurdity. Liberec: Dauphin, 1996.

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Borecký, Vladimír. Odvrácená tvář humoru: Ke komice absurdity. Liberec: Dauphin, 1996.

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Shovkun, Viktor. Z︠H︡ytti︠a︡ v absurdi. Lʹviv: VNTL-Klasyka, 2005.

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Rhodes, Rod y Nina Holm Vohnsen. The Absurdity of Bureaucracy: How Implementation Works. Manchester: Manchester University Press, 2017.

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Deme, Zoltán. Struggling against the absurdity of human existence. Greenwood Lake: Printed by Europeanculture Press, 1988.

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Más fuentes

Capítulos de libros sobre el tema "Absurdité"

Delisle, James R. "Legislative Absurdity . . ." En Dumbing Down America, 111–21. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003234722-6.

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Schmid, Hans Bernhard. "Augustinian Absurdity". En Evil in Joint Action, 81–113. Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429355332-3.

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Jelpke, Tom. "Absurditea". En Critical Conversations in African Philosophy, 73–86. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003172079-4.

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Ni, Wanqi y Tianyi Wang. "The Absurdist Doctrine of Jojo Rabbit and Absurdism in Personalized Characters". En Proceedings of the 2022 5th International Conference on Humanities Education and Social Sciences (ICHESS 2022), 1984–90. Paris: Atlantis Press SARL, 2022. http://dx.doi.org/10.2991/978-2-494069-89-3_226.

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Aronson, Ronald. "Camus and Absurdity". En The Routledge Companion to Absurdist Literature, 128–36. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003422730-16.

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Tredell, Nicolas. "Archetype and Absurdity". En Shakespeare The Tragedies, 68–82. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-40490-9_8.

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Bhattacharya, Kakali. "Civility as Absurdity". En Civility, Free Speech, and Academic Freedom in Higher Education, 163–78. New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429282041-15.

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Blockett, Kimberly. "“What Absurdity Next?”". En Nineteenth-Century American Women Writers and Theologies of the Afterlife, 111–24. New York, NY: Routledge, 2021. | Series: Routledge research in American literature and culture: Routledge, 2021. http://dx.doi.org/10.4324/9781003058595-10.

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Lerner, Richard M. y Willis F. Overton. "Reduction to Absurdity". En Individuals as Producers of Their Own Development, 330–50. New York, NY : Routledge, 2021. | Series: World library of psychologists: Routledge, 2021. http://dx.doi.org/10.4324/9781003089407-22.

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Keith, Sarah. "Absurdity and Nostalgia". En The Routledge Companion to Popular Music and Humor, 141–49. New York; London: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351266642-20.

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Actas de conferencias sobre el tema "Absurdité"

Besnard, Philippe. "Absurdity, Contradictions, and Logical Formalisms". En 2010 22nd International Conference on Tools with Artificial Intelligence (ICTAI). IEEE, 2010. http://dx.doi.org/10.1109/ictai.2010.60.

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Al Masykuri, Muh Zakky, Aceng Ruhendi Syaifullah y Eri Kurniawan. "The Phenomenon of Absurdity in Comics". En 4th International Conference on Language, Literature, Culture, and Education (ICOLLITE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.071.

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Han, Ruoqi. "Absurdism in “The Outsider”". En 2021 4th International Conference on Humanities Education and Social Sciences (ICHESS 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211220.455.

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Smokotina, V. A. "THE POETICS OF ABSURDITY IN E.L. SCHWARTZ’S SCREENPLAY «MARYA-ISKUSNITSA»". En ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-111.

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Kolobaeva, L. "ABOUT THE PAST IN A NEW WAY: THE NOVEL BY ALEXEY IVANOV “ARMOROSED STEAMERS”". En VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3688.rus_lit_20-21/33-36.

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Resumen

The purpose of the article is to clarify the creative novelty of the novel by Alexei Ivanov. It lies in depicting the “absurdity of the civil war”, as well as in emphasizing the importance of the individual principle in the choice of a historical path.

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Gerrard, Victoria. "Absurdist Rebellion: Negotiating the Moral Boundaries of Participation*". En PDC 2022: Participatory Design Conference 2022. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3537797.3537827.

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He, Bin-Bin, YangQuan Chen y Chun-Hai Kou. "On the Controllability of Distributed-Order Fractional Systems With Distributed Delays". En ASME 2017 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/detc2017-67685.

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This paper investigates the controllability of distributed-order fractional systems with distributed delays. By using the controllability Gramian matrix and reduction to absurdity, a necessary and sufficient condition for the controllability of linear system is established, and a sufficient condition for the nonlinear system is obtained. Examples are given to illustrate the effectiveness of the theorems.

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Salsabila, Indiana y Joesana Tjahjani. "Absurdity and The Significance of the Idea of Death in Albert Camus’ L’Étranger". En Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294765.

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Naraian, Srikala. "Feeling Failure, Managing Absurdity, Troubling Happiness: Tracing Teachers' Affective Performances in Their "Becomings"". En 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1578098.

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Pilar, Martin. "PAVEL SRUT AND HIS MR NOVAK AS A SAMPLE OF CENTRAL EUROPEAN CHARACTER". En 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.21.

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Pavel Srut (1940-2018) was a representative of a young generation of poets in the golden 1960s. After the invasion of the Warsaw Pact troops (1968), he stayed in Czechoslovakia but could only publish in samizdat and exile. During the period of strict neo-Stalinist censorship (1969-1989), Srut continued to write, more for himself and for a vaguely anticipated future readership. He followed the tradition of the Central European absurdity, which we know from the work of Franz Kafka. One of the highlights of Srut�s poetic work is considered to be his last published collection, Paper Shoes (2001). The character of Mr N. is called Mr Novak for a while. Even his resemblance to Newton and Noah is mentioned. Sometimes he is a kind of Mr Nobody (or Mr No Name), a strange being without a surname or identity who manages to survive the absurdity of Central European history by existing but, at the same time, living in a way that is not worth mentioning. Translations of Pavel Srut�s poems appeared individually in several European journals. A selection of his late poetry was published in the US in 2009 (including the collection Paper Shoes). It seems to be an example of regionally and historically grounded Central European poetry that has a chance of reaching a broad global audience.

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