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1
Van, Velzen Nicolas Herman. "Literature and existentialism, the case of Dostoyevsky". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ40179.pdf.
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2
Tan, Tijen. "Existentialism And Samuel Beckett". Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608995/index.pdf.
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This thesis carries out an analysis of the plays by Samuel Beckett, Endgame and Happy Days. It achieves this by exploring how the playwright&rsquos characterization, setting and use of language in these plays display his tendency to employ some existentialist concepts such as despair, anxiety and thrownness on the way to authenticity. This study argues that there are some similarities between Beckett&rsquo
s two plays and Existentialism, and some characters in both plays display the existentialist man who is looking for becoming an authentic man. In other words, although there are some differences, these plays show that Samuel Beckett&rsquo
s view of Existentialism is quite similar to the Sartrean view.
3
van, Velzen Nicolas Herman. "Literature and existentialism, the case of Dostoyevsky (Fyodor Dostoyevsky, Russia)". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ44894.pdf.
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4
Pilkington, Marilyn E. (Marilyn Elizabeth) Carleton University Dissertation English. "Existentialism in the novels of Graham Greene". Ottawa, 1988.
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5
Hohman, Xiamara Elena. "Transcending the "malaise" : redemption, grace, and existentialism in Walker Percy's fiction". Dayton, Ohio : University of Dayton, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1272680647.
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Thesis (M.A. in English) -- University of Dayton.Title from PDF t.p. (viewed 06/23/10). Advisor: Albino Carrillo. Includes bibliographical references (p. 72-75). Available online via the OhioLINK ETD Center.
6
Santos, Oscar de los. "The concealed dialectic : existentialism and (inter)subjectivity in the postmodern novel /". The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487843314695495.
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7
Sakkos, Tiina. "Existentialism and feminism in Kezilahabi`s novel Kichwamaji". Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-94160.
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Makala hii inachambua riwaya ya pili ya mwandishi maarufu wa Kiswahili, Euphrase Kezilahabi (*1944) iitwayo Kichwamaji (1974). Inajaribu kuzingatia mikondo miwili ya uchambuzi yaani inajadili kwa ufupi nadharia ipi au mkondo upi wa kimawazo unafaa zaidi katika kuichambua riwaya hiyo: udhanaishi au ufeministi. Je, inawezekana kuunganisha yote mawili?In this essay, I would like to analyse the novel Kichwamaji (‘Empty-head’; 1974) by the well-known Tanzanian writer Euphrase Kezilahabi against the background of two philosophical theories: existentialism and feminism. I will first discuss existentialism and the existentialist elements in the novel. Then I will present feminist theory and focus on the female characters in Kichwamaji. I will argue that a feminist reading of the novel is impossible due to its predominant existentialist character
8
Bohlmann, Otto. "An exploration of major existential elements in the principal novels of Joseph Conrad". Doctoral thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/23074.
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9
Jönsson, Ola. "Autobiographical Existentialism in Norman Mailer's The Executioner's Song". Thesis, Blekinge Tekniska Högskola, Institutionen för humaniora, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1666.
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This essay investigates how Norman Mailer’s “true-life” novel The Executioner’s Song may also be read as an autobiography. The novel contains strong traces of Mailer’s existential philosophy as related to sexuality, non-conformity and death. The essay discusses the nature of the relationship between truth as defined by the author and the function of autobiography to tell the truth about a life. The discussion centres around Mailer’s conviction that the novel is a better, i.e. more accurate vehicle for truth than is the autobiography. The essay argues that the truth which Mailer imparts is less the “true” story of Gary Gilmore and more the “true” story of Norman Mailer.
10
Immerman, Linda R. ""Stratagems to unblind" : reflexivity and existentialism in three novels by John Fowles". Master's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/21972.
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Bibliography: pages 161-174.This thesis proposes to re-examine John Fowles's self-reflexive practice and its interactions with existential themes on the basis that critical commentaries have not fully accounted for the rigour of his reflexive approach, nor for the complexity of its interrelations with existential philosophy, as it is used in his work. In my introductory chapter, I give a brief outline of critical treatments of Fowles's reflexivity, identifying two broad approaches. The first of these suggests that a reflexive aesthetic is a means, for Fowles, of remaining within a realist frame in an age of epistemological scepticism about the validity of its premises. The second approach more explicitly links reflexivity to Fowles's existential scruples whereby the 'ontological guilt' engendered by the conscious control of novel-writing can be assuaged and a degree of 'authentication' achieved. Reflexivity, in other words, exposes the writer's own 'bad faith' and allows him to be purged of it, alongside his characters who engage in journeys of discovery, leading to greater self-knowledge and moral commitment, through the enabling medium of personal narrative. These approaches, I suggest, are limited in that they assume that Fowles's reflexive novels can be apprehended as a unified body of work located within a conservative poetics (thought to be peculiar to English fiction) and assimilated to a humanistic moral branch of existentialism. My own method, then, is to attempt to look more closely at what I call the "reflexive positions" of each of the three novels under discussion and to account for their differing theoretical, epistemological and ontological affinities by establishing the critical contexts in which they reflexively situate themselves. This enables a more thorough examination of Fowles's development as a reflexive writer than has been offered thus far. The careful specification of Fowles's reflexive commentaries, furthermore, allows for a critique of the assumption that his reflexivity is explicable entirely in terms of his existential commitment. The thrust of my argument is to throw into question the unproblematic alliance between aesthetic and philosophical concerns that commentators perceive in his work. These issues are traced through Fowles's first three novels, The Collector (1963), The Magus (Revised Edition, 1977) and The French Lieutenant's Woman (1969), each of which is treated in a separate chapter. My approach in these chapters is to specify clearly the "reflexive position" of the individual novel under discussion and then to examine critically its correlations with existential preoccupations. The resulting disruptions, contradictions and displacements I identify suggest a deviation in Fowles's work from the existential framework used to explain it and a growing concern with issues converging on postmodern and poststructuralist areas of inquiry, particularly the constitutive capacity of language, the decentering of the subject and the discursivity of what we call 'reality'. The typically recuperative positions Fowles's critics take up and the existentialist, moralist and humanistic grounds on which they interpret his work, I suggest, are inadequate to coping with his self-reflexive practice, necessitating such a reappraisal. A brief examination of his later novels in an appendix indicates that Fowles's movement away from humanist themes is anticipated in the earlier novels to a degree not widely recognised by critical commentaries.
11
Rethore, Florent Philippe. "The evolution of the role of humanism in the combat against the absurd, from futility to essential: 1938-1945". Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1555177391619455.
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12
Hohman, Xiamara Elena. "Transcending the “Malaise”: Redemption, Grace, and Existentialism in Walker Percy’s Fiction". University of Dayton / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1272680647.
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13
Karr, Scott Michael. "Creating Meaning from the Meaningless: Existentialism and the Function of Language in Paul Bowles' "The Sheltering Sky"". W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625822.
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14
Rettová, Alena. "Lidství utu? Ubinadamu baina ya tamaduni". Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-97671.
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Taking its depature point in a translation of a play by a Czech playwright and philosopher, Václav Havel, into Swahili, the article strives at a cross-cultural comparison of a pivotal concept of Havel`s thought, lidství (`humanity´), and an equally central concept of Swahili moral and philosophical thought, utu. The basis of this copmparison is, on the Czech side, an explanation of Havel`s concept and its grounding in existentialist philosophy. The Swahili side is presented in a two-step procedure. First, the semantic field of `humanity´in the Swahili language, comprising utu and several concepts related to it (especially ubinadamu), is analyzed. Second, the concepts belonging to the semantic field of utu are traced in the development of Swahili literature, as a prominent representative of intellecual discourses in the Swahili culture.
15
Okamoto, Lʹucia Kazumi. "A literary model for evangelism among Brazilian humanists". Theological Research Exchange Network (TREN), 1990. http://www.tren.com.
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16
Moore, Elizabeth Roosevelt. "Being Black existentialism in the work of Richard Wright, Ralph Ellison, and James Baldwin /". Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3034939.
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17
Wilcox, Eliot J. "The Absurd in the Briar Patch: Ellison's Invisible Man and Existentialism". BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2305.
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This article claims that Ralph Ellison's use and then revision of French existential themes is essential to understanding his overriding message of Invisible Man: Ellison's hope for a more polyglot American democracy that transcends the white democracy of mid twentieth century America. Specifically, I argue that Ellison, after demonstrating his ability to understand and engage in the traditional ideology of European existentialism, deviates from its individualistic conclusions demanding that the larger community, not just the solitary individual, must become ethically responsible if the classic existential tenet of authenticity is to be achieved. In order to establish this claim, I identify key passages in Invisible Man that indicate Ellison's desire to engage the existential movement. Writings from Camus and Sartre provide the foundation for comparison between Ellison's work and the French based philosophy. This background provides the groundwork to explore Ellison's deviations from the existential forms of his day. These departures have significant implications for Ellison's view of a socially productive individual, and therefore of his message in Invisible Man. In order to document the prevalence of existentialism in Ellison's literary consciousness, I then discuss its rise and decline in postwar New York. I also outline what is known about Ellison's relationship to the movement. Lastly, I conclude with a discussion of the philosophical tradition of existential philosophy and the difference between the philosophy of existence, seen in the Western canon through philosophers like Kierkegaard, and existentialism, one of its popular manifestations that peaked in the 1940s. Separating the two existential movements allows me to explore the tangential way most Ellison critics have associated him with existentialism and advocate for a more inclusive critical discussion of Ellison's relationship to existentialism.
18
Slaymaker, Douglas. "Japanese literature after Sartre : Noma Hiroshi, Ōe Kenzaburō, and Mishima Yukio /". Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11079.
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19
Roche, Catherine Mary. "A philosophically based praxis for teaching symphonic music literature". Scholarly Commons, 2003. https://scholarlycommons.pacific.edu/uop_etds/2605.
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This study is directed to an awareness of and exploration concerning the wealth of the cultural heritage that the modern world possesses in the great body of symphonic music literature. A survey of musical education in this field showed a neglect of the subject compared to time and attention given to skills, theory, and performance. Practices are based on random individual philosophies for the most part. The author has pursued the development of techniques for teaching symphonic literature for several years, always questioning the educational philosophy that was best suited to this teaching, and searching for a pedagogy based on the best philosophy discernible. The emerging aesthetic philosophy of the 1960's showed fresh promise of investigation into theory and method. The work of Stephen Pepper who formulated four World Hypotheses was used as a pivot to evaluate the hypothesis that best suited the project at hand. Pepper chose a theory termed Contextualism exemplified by the theory of John Dewey presented in his Art as Experience (1980). This philosophy of experience was in line with the emerging phenomenological thought. Kaelin, keenly interested in education, in his extensive writings has given an account of aesthetic theory based on existential phenomenology. These theories were applied to music education, and methodological considerations were treated gathered from followers of Dewey, Champlin, Villemain, and Ecker. An outline was made of the contextualist/experimentalist proposition for art education, and Kaelin's description of aesthetic education was presented. Philosophies of music and music education were examined. Schwadron and Reimer laid the foundations for an aesthetic music education but by the 1990s the field was expanding rapidly. The analysis of philosophies with regard to music knowledge by Stubley in the Handbook of Research on Music Teaching and Learning (1992) was used as a base to examine emerging bodies of thought. She favored phenomenological perspectives of constructivist theories. Ingarden's theory of the musical work and the process of appreciation were examined along with several other phenomenological points of view. Kaelin's application of the theory he termed “Aesthetics Proper” to music, its temporality, and the funding of significance through apprehension of the qualities of a work, were adopted for application to a praxis. A method using time-contour charts constructed from musical scores, created by the author, was presented, with a description of the procedure, the role of the teacher, the nature of the experience of music, as well as cognitive and expressive characteristics of the process. Two examples, the first movement of Mozart's Symphony #40, and two selections from Holst's, The Planets , were used with lesson plans and the constructed time-contour charts for each. These were analyzed for cognitive and expressive characteristics, with ideas for discussion and evaluation. An extensive list of reference and source materials was included.
20
Kilicci, Esra. "J.D. Salinger's characters as existential heroes encountering 1950s America /". Open access to IUP's theses and dissertations, 2008. http://hdl.handle.net/2069/103.
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21
Hardwick, Joseph Brian. "Romans et theses : french "existentialist" fiction, literary history and literary modernism /". St. Lucia, Qld, 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16410.pdf.
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22
Boag, Cara Ingrid. "Solitude, suffering, and creativity in three existentialist novels". Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1713.
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Thesis (MA (English Studies))--University of Stellenbosch, 2009.ENGLISH ABSTRACT: As existent beings, we identify with the world through our thoughts and perceptions. Man is driven to seek meaning by the very complexities and contradictions of existence. As self-conscious beings, we cannot live without a sense of awareness and understanding. Creativity allows an individual to develop a unique understanding of the nature and destiny of man. This study draws attention to writers who were able to transcend their external environment and immerse themselves in a setting where man’s individuality is fundamental to living an authentic life. Camus, Dostoevsky and Kafka made every effort to live consciously and authentically. They believed that inwardness was not to be defined by an external, social setting, but rather through an intimacy of consciousness. This awareness and unveiling of being enables us to create meaning. These authors removed their social mantles and were willing to sacrifice acceptance in the pursuit of this cause. They believed that every man has a responsibility to live an individual and authentic life. This psychological and even physical isolation is not easy, however, and often causes much suffering. Using existentialism as a framework, this thesis will focus on solitariness, suffering and creativity, all of which point to the importance of individual consciousness rather than living a life of societal pressures and conformity.
AFRIKAANSE OPSOMMING: As lewende wesens identifiseer ons onsself met die wêreld deur middel van gedagtes en waarnemings. Die mens word gedryf deur die soeke na betekenis in die kompleksiteit en teenstellings van sy bestaan. As wesens met selfkennis kan ons nie leef met ‘n gebrek aan bewustheid en begrip nie. Kreatiwiteit laat die individu toe om ‘n unieke begrip van die aard en lot van die mens te ontwikkel. Hierdi verhandeling vestig die aandag op skrywers wat verby hul uiterlike omgewings kon uitreik en hulself kon indompel in ‘n mileu waar die mens se individualiteit grondliggend is om ‘n onvervalste lewe te lei. Camus, Dostoevsky en Kafka het alles in hul vermoë gedoen om bewustelik en suiwer te lewe. Hulle het geglo dat die innerlike nie gedefinieer kan word deur die uiterlike, sosiale omgewing nie, maar eerder deur ‘n intimiteit van bewustheid. Hierdie bewustheid en openbaring van bestaan laat ons toe om betekenis te skep. Hierdie skrywers het hul sosiale mantels afgewerp en was bereid om sosiale aanvaarbaarheid op te offer in hul strewe na hierdie doelwit. Hulle het geglo dat elke mens oor ‘n individuele en onvervalste lewe beskik. Die sielkundige en selfs fisieke afsondering is egter nooit maklik nie en het dikwels groot lyding tot gevolg. Met eksistensialisme as raamwerk sal hierdie tesis focus op afsondering, lyding en kreatiwiteit.
23
Seekins, M. Elizabeth. "L'importance d'autrui : une etude des themes existentialistes dans le roman Tous les hommes sont mortels par Simone de Beauvoir = The importance of others: a study of existential themes in the novel All men are mortal by Simone de Beauvoir /". Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/SeekinsME2007.pdf.
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24
Dia, Fatimetou. "An Existential reading of Samuel Beckett's Waiting for Godot". Thesis, Södertörns högskola, Engelska, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-41765.
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The play Waiting for Godot by Samuel Beckett has for a long time been considered one of his best works. Grasping the significance of key factors such as modernity, modernism and historical background is of great importance to situate and contextualise the play. As Beckett´s play belongs to the “Theatre of the Absurd”, the complicated aspects of where the play belongs has given opportunities for questioning. The intricate layers of the play have opened several doors for interpretation which has allowed diverse conclusions from various researchers. For that reason, further investigation on that matter may perhaps add another viewpoint which can be considered important to fully understand the potential of this piece. This essay examines Samuel Beckett´s famous play Waiting for Godot through the complex lens of Soren Aabaye Kierkegaard´s and Jean-Paul Sartre´s perspectives within the existentialist philosophy. Certain features of each perspectives within the philosophy such as the for-itself,in-itself and the three stages consciousness facilitate the linkage needed between the play and the theory. By using these two perspectives, this essay analyses how the elements of nothingness, purpose and meaning are apparent throughout the play. The analysis of the essay was done to: firstly, attempt to discover new possible meanings and secondly, to deepen and widen my understanding of the Beckett´s play. This essay argues that these elements provide evidence that the play contains components of both Sartre´s and Kierkegaard´s perspective of existentialism.
25
Rahmani, Hanna. "Febrig i Kandreland : En existentialistisk läsning av tre av Mare Kandres verk". Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-438480.
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26
Laitinen, Kerstin. "Begärets irrvägar existentiell tematik i Stig Dagermans texter /". Umeå : Stockholm, Sweden : Universitetet i Umeå ; Almqvist & Wiksell International [distributor], 1986. http://catalog.hathitrust.org/api/volumes/oclc/15265384.html.
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27
Murnion, Stephen. "The Limits of Existential Therapy in the Fiction of Nakamura Fuminori". Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19674.
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Written within an existentialist mode, Nakamura Fuminori’s early fictional works lend themselves to be read as therapeutic technologies reaching out to Japanese youth whose lives are marked by anxiety, isolation, and precariousness. Because English-language scholarship on Nakamura is lacking, this thesis analyzes two of his novels – Child of Dirt and Evil and the Mask – in order to introduce how Nakamura understands the human, how his texts function formally as therapeutic technologies, and how, in the final analysis, they exhibit a nascent sexism that borders on misogyny.
28
Davén, Krister. "Not Yet a Child of the Finite and the Infinite : Kierkegaardian Existentialism in William Golding’s Free Fall". Thesis, Stockholms universitet, Engelska institutionen, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-8644.
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In William Golding’s Free Fall, the novel ends without its protagonist, Sammy Mountjoy, receiving the atonement he seeks. As a consequence, the novel ends in an unresolved manner, leaving Sammy in a state of suspension. Despite having a metaphysical awakening in a Nazi POW camp, the consequences of his enlightenment do not reflect the way the Sammy retrospectively narrates the tale of his life. The existentialist theories of Danish thinker and writer Søren Kierkegaard offer a solution to the dilemma. Kierkegaard’s theories concerning the aesthetic, ethical and religious spheres of life, as well as his concept of ‘existential dread’, may be used to show that Sammy is able to make a ‘leap of faith’ from the aesthetic to the ethical sphere. However, because of his inability to make the last leap into the metaphysical sphere of life, he does not attain the insight he needs, namely that he is ‘a child of the finite and infinite’. The essay relates the ways Sammy Mountjoy fits into the Sartrean and Kierkegaardian expressions of existentialism, soon moving on to describe the details of Kierkegaard’s thought concerning the three spheres of life and the concept of ‘dread’. Sammy’s preoccupation with the present, his focus on the exterior rather than the interior and his inability to commit himself to people or situations fit neatly into the criterion for the aesthetic sphere of life. This, in turn, leads him to a state of dread, which reaches its climax in the dark cupboard. When released from his imprisonment Sammy has reached a state of awareness concerning the “vital morality” between people, previously a foreign concept. However, Kierkegaard points out that also the ethical sphere is flawed, leaving the religious/metaphysical sphere as Sammy’s ultimate destination. By failing to make the final ‘leap of faith’, due to a misguided conception of the boundaries between the ethical and the Absolute, Sammy falls short of the resolution he desires and the forgiveness he seeks from the three people that have influenced him the most. Thus an explanation is proposed to the unresolved manner in which Free Fall ends.
29
Řehák, Vilém. "Kazimoto and Meursault: `Brothers´in despair and loneliness". Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-97684.
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Makala haya yanashughulikia maswahli ya udhanaishi katika fasihi ya Kiswahili. Makala yanalinganisha riwaya mbili, Mgeni ya mwandishi wa Kifaransa anayeitwa Albert Camus na Kichwamachi ya mwandishi wa Kiwahili, Euphrase Kezilahabi, na kuonyesha jinsi riwaya hizo zinayofanana na zinavyotofautiana. Kwa vile Kichwamaji inafanana na Mgeni, ni sahihi humwita Kezilahabi mwandishi ya udhanaishi, lakini kuna tofauti nyingi pia baina ya riwaya hizo mbili. Tofauti moja ni kwamba Albert Camus anamtazama mtu peke yake na hali yake iliyotengwa kabisa na watu wengine, na Kezilahabi, licha ya mtu peke yake, anaizingatia jamii nzima na hali yake vilevile. Tofauti hii ni tokeo la sifa za communalism katika mawazo Kiafrika ya kimapokeo yanayotilia mkazo jamaa na jami, siyo mtu peke yakeThis article analyses and compares the the two writings Kichwamaji by Euphrase Kezilahabi and L´etranger by Albert Camus. Written in the tradition of existentialism, the two writings have many similarities but also differ in some important aspects. While Camus sees the individual just by itself, Kezilahabi also includes the whole family and is writing with it in the tradition of the african communalism
30
Torrubia, Juan Andres Amigo. "Existencialismo en La Lucha por La Vida". PDXScholar, 1994. https://pdxscholar.library.pdx.edu/open_access_etds/4748.
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El proposito principal de esta tesis es el de exponer los elernentos existencialistas que vernos en la trilogia La lucha por la vida, del escritor de la generaci6n de 1898, Pio Baroja. Esta la cornponen: La busca, Mala hierba, y Aurora roja. Partes de esta trilogia fueron escritas en 1904. Los existencialistas, nos hablan del incurable asilarniento del individuo, los absurdos rnecanisrnos de la sociedad que lo destruyen, el coraje del individuo al encarar la rnuerte pero a su vez aferrandose a la vida, la soledad, la agonia, la angustia, la incornunicabilidad de las almas, el peso y lo absurdo de la existencia. Baroja nunca se manifesto abiertamente corno un existencialista pero algunos estudiosos de la obra barojiana sefialan esta caracteristica del escritor vasco, entre ellos se destaca Gonzalez Lopez: "Su individualismo existencialista le hizo mirar con recelo las instituciones politicas existentes, comenzando por el estado, corno los partidos deseosos de reforrnarlas. 11 1 Entre muchos de los rasgos de Baroja destaca su actitud frente a la vida. Se ha dicho que Baroja ve la sociedad y la vida como una farsa, impidiendo que el hombre se exprese a su libre albedrio: "Su concepci6n de la vida es inseparable de su temperarnento. De sus paginas se desprenden incesantemente undas ideas sobre el hombre y el mundo que se inscriben a la perfecci6n en la linea del pesimismo existencial. 112 Baroja protesta abiertarnente contra lo que no permite que el hombre alcance SU maxima potencial. Baroja protesta contra todo: La iglesia, las universidades, y el gobierno. Y es aqui donde podemos ver esto rasgos existenciales.
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Braidwood, Alistair. "Iain Banks, James Kelman and the art of engagement : an application of Jean Paul Sartre's theories of literature and existentialism to two modern Scottish novelists". Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3024/.
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Over and above applying Sartrean literary philosophy to Banks and Kelman this thesis therefore also offers a model of literary criticism that can be applied to a number of other contemporary Scottish authors. In conclusion, this thesis suggests that Sartre’s theories of literature can assist in the attempt to better understand the value of the writer in society, and of Kelman and Banks in particular. The comparison and contrast between Banks and Kelman makes clear the importance of contextualising the individual writer not only with the work of their contemporaries, but with the time, place and position in which they are writing. The intention of the thesis is to discover how Sartre’s ideas of existentialism and literature can be applied to writers and their work in a way that allows ‘the critic’ to analyse both the novelist’s fictional technique and to gauge the value of their role in society – in other words, how Sartre’s theories allow us to better understand the individual writer in a social, political and moral context, both nationally and internationally.
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Hanna, Kifah. "Realities reflected and refracted : feminism(s) and nationalism(s) in the fiction of Ghādah al‐Sammān and Sah|ar Khalīfah". Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/7820.
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This thesis examines the literary representations of feminist and nationalist struggles in the Middle East particularly in Lebanon and Palestine. It aims to explore the simultaneous articulation of these two pivotal concerns in contemporary Arabic literature written by Arab women, from the 1960s to the present. One of the primary goals of this thesis is to explore how contemporary feminist literature reflects the effects of national crises in the Middle East on women’s status. To this end, this thesis reads closely a number of the novels of two contemporary Arab women writers: Ghādah al‐Sammān and Sah|ar Khalīfah whose work engages in this literary interrelationship of nationalist and feminist struggles in Lebanon and Palestine, respectively. Through the close analyses of these authors’ novels, this thesis explores how, in their response to the political turmoil in the Middle East, contemporary Arab women writers render reality in creative forms: al‐Sammān cries for freedom by exploiting literary existentialism to reflect the human struggle against the backdrop of the Lebanese civil war, while Khalīfah employs critical realism in her portrayal of the human pain during the Palestinian‐Israeli conflict. This thesis argues that both writers challenge long‐established literary traditions by advancing these themes in new artistic styles: literary existentialism and realism, and, therefore, considers this a manifestation of the avant‐gardism of both writers for they move the writings of Levantine women to a higher level by adding these literary forms to the repertoire of contemporary Arab women’s literature. The contribution of this thesis lies in its investigation of the innovative literary styles of these two authors and their place in the writings of contemporary Arab women. Thus, this thesis aims to remedy the neglect of the writings of these authors by presenting close analyses of some of the works of al‐Sammān and Khalīfah with a view to understanding their use of literary existentialism and critical realism.
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Van, der Colff Margaretha Aletta Adams Douglas. "Douglas Adams : analysing the absurd". Pretoria : [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-08212008-183816.
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Yapar, Seda. "A Study Of Existentialproblems Faced By Kafkaesque And Pinteresque Characters". Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/2/12611773/index.pdf.
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The aim of this thesis is to discuss the similarities between Kafka&rsquos The Trial, &ldquo
The Metamorphosis&rdquo
and &ldquo
The Judgement&rdquo
, and Pinter&rsquo
s plays namely, The Birthday Party, Old Times, Ashes to Ashes and The Dumb Waiter, in terms of their characters&rsquo
problems concerning their existence and their manners of dealing with these issues. The thesis argues that, as a consequence of being thrown into a meaningless world, characters created by Kafka and Pinter have to deal with existential problems like being alienated, having a limited freedom due to their facticity, and being subject to menace, the source of which is beyond their knowledge. It is also discussed that the characters of these writers apply similar methods
such as dominating the others and resorting to inauthentic existence, concerning their manner of dealing with the problems they face. In other words, this study intends to highlight the fact that both Kafka and Pinter reflect the situation of man, looking for a meaningful, secure existence in an absurd world, filled with disillusionment, loss of faith and failure of communication. Key
35
Corbin, Nicholas A. "Thinking Makes It So: The Search for an Authentic Self In Hamlet". University of Toledo Honors Theses / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1386941487.
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Rice-Mills, Faith A. Blackwell Frieda Hilda. "The existential search for national, individual and spiritual identity in selected works of Miguel de Unamuno". Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5171.
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Monti, Tony. "Sim e não - o ritmo binário em \'A Paixão Segundo G.H.\', de Clarice Lispector". Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-24082007-144449/.
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Esta dissertação é uma leitura de A Paixão segundo G.H., de Clarice Lispector. Tem como foco a questão da liberdade do homem no mundo e de suas possibilidades de dizer, como tratadas no romance. Aproxima-se em diversos aspectos da crítica de Benedito Nunes à obra da escritora, no que diz respeito à identificação e às diferenças entre Clarice e o existencialismo de Sartre. Uma idéia de ritmo binário é formulada, sucessão de afirmações e negações, que dá cadência ao texto e o estrutura. Os dois tempos desse ritmo são relacionados a duas idéias diferentes de liberdade, (1) a de poder (e ser obrigado a) escolher e (2) a de não ser obrigado a (nem poder) escolher. Formuladas como características de dimensões diferentes do ser humano, as duas vias que tais liberdades abrem não podem ser sintetizadas numa única.This dissertation is about Clarice Lispector\'s A Paixão Segundo G.H. Its main focus is on the issue of mankind\'s freedom and its possibilities of saying, as dealt with in the novel. In many respects, it is close to Benedito Nunes\' viewpoint in what regards the similarities and differences between Clarice Lispector and the Sartrean existentialism. A sense of binary rhythm is built, sequence of statements and negatives, which structures the text and gives it a cadence. This rhythm\'s two tempos are related to two different ideas about freedom. First, the sense of being able (having to/being forced to) choose and, second, of not being forced to (or being able to) choose. Enounced as characteristics of human beings\' different dimensions, the two paths opened up by these senses of freedom cannot be merged into a single whole.
38
Öhman, Marie. ""Här kan jag äntligen tala" : tematik och litterär gestaltning i Åsa Nelvins författarskap". Doctoral thesis, Örebro universitet, Humanistiska institutionen, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-1678.
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The subject of this thesis is Swedish author Åsa Nelvin’s writings. Five books are at the center of attention: The children’s books De vita björnarna (“The White Bears”) (1969) and Det lilla landet (“The Little Country”) (1971), the two novels Tillflyktens hus (“The House of Refuge”) (1975) and Kvinnan som lekte med dockor (“The Woman who played with dolls”) (1977), and the cycle of poems Gattet (“The Inlet”) (1981). The overriding aim of the the thesis is to characterize Nelvin’s literary works and her over-all literary enterprise. A major part of the thesis is devoted to textual analyses, the purpose of which is to identify fundamental themes and literary strategies in Nelvin’s works. Also treated is the author’s development from being a prose writer to becoming a lyric poet. In addition, the thesis examines how Nelvin’s writings relate to the cultural climate of the 1960s and 1970s; it deals with the reception of her works, and the question whether literary ideals and conventions have had any impact on her writings. Nelvin is generally associated with the emancipatory tradition of female autobiographers in the 1970s. Her works are considered to engage in psychological and/or gender issues and to be openly autobiographical. This thesis partly argues against that view by asserting that that the fundamental concern of Nelvin’s works is the experience of being and the creation of meaning. The textual analyses show that Nelvin’s writings in the main deal with existential matters such as time and death, art and eternity. They also show that the autobiographical elements in her works are not primarily directed towards the construction of womanhood or therapeutic confession. They rather serve as an aesthetic and meta-literary function, drawing attention to questions concerning the construction of the text (and life), and differences or correspondences between phenomena like fiction and reality.
39
Oliveira, Amanda Alvarenga Fernandes. "Da crítica à modernidade ao encontro com a América Latina: a literatura de resistência do argentino Ernesto Sábato". Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8809.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The modern man was betrayed by mathematical reason, in which he had deposited all his faith after turning his back on God and myths. This subject dominated nature and subjugated it to his wills and techniques, but lost in the middle of symbols and theorems, could not find answers to his anguishes and felt increasingly alone (although surrounded by all the other subjects of the world). Faced with this helplessness, emerged the Existentialist Philosophy of which the philosopher Jean-Paul Sartre constitutes the main disseminator. Giving to each man total freedom of action – as well as all sorts of consequences to each of his acts –, the primary objective of the Sartrean existentialism was to comfort this subject, putting he back in the center of himself. In this context (with the end of the two world wars, when the whole planet was trying to rise from the deeper abysses), Ernesto Sabato – who had dedicated himself to Physics for many years – found a chord to his afflictions in Literature, because he realized that only art possess a concrete language (which gives account of the concrete subject, a combination of reason and emotion, of light and shadows, past and present; the subject of History, for excellence). Sabato found in writing his way of action; using his intrinsic freedom, produced his literature as a mean of resisting the dehumanization of humanity. Therefore, we intend in this work (by Hermeneutical Philosophy as the method), to understand how the literature of Ernesto Sabato – his essays and novels – was constituted, and how it was inserted in his historical context.
O homem moderno viu-se traído pela razão matemática, na qual havia depositado toda sua fé após virar as costas a Deus e aos mitos. Este sujeito dominou a natureza e a subjugou às suas vontades e técnicas, porém, perdido em meio aos símbolos e teoremas, não conseguiu encontrar respostas para suas angústias e sentiu-se cada vez mais só (ainda que cercado por todos os outros sujeitos do mundo). Frente a este desamparo, emergiu a Filosofia Existencialista da qual o filósofo Jean-Paul Sartre constitui o principal divulgador. Atribuindo a cada homem total liberdade de ação – bem como toda sorte de consequências a cada um de seus atos –, o objetivo primordial do existencialismo sartreano foi o de confortar esse sujeito, recolocando-o ao centro de si mesmo. Neste contexto (findadas as duas grandes guerras mundiais, quando todo o planeta tentava se reerguer dos abismos mais profundos), Ernesto Sábato – que havia se dedicado à Física por muitos anos – encontrou acalanto para suas aflições na Literatura, pois percebeu ser a arte a única possuidora de uma linguagem concreta (que dá conta do sujeito concreto, mescla de razão e emoção, de luz e sombras, de passado e presente; o sujeito da História, por excelência). Sábato encontrou na escrita o seu meio de ação; utilizando-se de sua liberdade intrínseca, produziu sua literatura como um meio de resistir à desumanização da humanidade. Assim sendo, intencionamos neste trabalho (tendo por método a Filosofia Hermenêutica), perceber de que maneira a literatura de Ernesto Sábato – seus ensaios e romances – foi constituída, e como inseriu-se em seu contexto histórico.
40
King, John Paul. "The Sad Kitchen and Song of Neon: Two Novellas". TopSCHOLAR®, 2019. https://digitalcommons.wku.edu/theses/3149.
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The Sad Kitchen, a work of magical realism, tells the story of a saintly woman named Helen. She opens an underground kitchen where people who feel guilty can come to be comforted and nurtured in the middle of the night. The story is, at its heart, a reflection on forgiveness. Song of Neon, also of the magical realist genre, is an existential work about a nurse named Avery and her husband, an owl house maker, named Saul. Their town, Milliard, is under a trance. Avery and Saul struggle with their respective identities in the quiet, vacuum the town has become.
41
Sivinski, Daniel Jacobsen. "Hermeneutical exorcism and literary interpretation : a brief study on the problem of meaning and an existentialist interpretation of The Exorcist (1971)". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/25433.
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Interpretar sempre implicará uma grande jornada. Não é por acaso que esta prática esteja associada à figura mitológica de Hermes. O próprio ato reflexivo em torno da questão ‘o que significa significar’ envolve uma longa viagem. É dividindo a interpretação em dois momentos, ao qual nos referiremos amplamente apenas por ‘ontológico’ e ‘prático’, que esta dissertação adquire sua forma. Num primeiro momento, há uma problematização sobre a questão do significado numa perspectiva hermenêutica. Partindo da discussão engendrada na obra Politics of Interpretation (1983), e passando pela argumentação sobre ‘intencionalidade’ em interpretação textual, especificamente caracterizada na obra de E. D. Hirsch Jr. Validity in Interpretation (1967), busca-se um estudo introdutório sobre a questão do significado do texto literário em relação a um outro problema que é denominado como ‘o narcisismo do leitor’, para enfim culminar na proposta hermenêutica de Ricoeur. Ou seja, antes de especificamente lidar com a interpretação de O Exorcista (1971), busca-se uma abordagem teórica sobre a questão do significado. Num segundo momento, que não implica numa aplicação da teoria exposta, pois partimos do princípio que não há divisão entre teoria e prática, passamos à interpretação da obra The Exorcist (1971) de William Peter Blatty. Aborda-se esta obra por constituir-se um problema hermenêutico. Porém, a virada existencialista desta obra proposta por esta dissertação será precedida por uma releitura tanto do autor como um texto e sua conseqüente relação com a interpretação do romance, quanto por uma abordagem relacional entre não só a recepção crítica desta obra, assim como em relação aos demais romances do autor, na tentativa, primeiro, de demonstrar a insuficiência de caracterizações da obra como ‘horror’ e ‘teodicéia’, para, finalmente, propor a abertura da obra em direção a uma perspectiva existencialista.Interpreting will always implicate a long journey. It is not by chance that this practice is associated to the mythological figure of Hermes. The very reflexive act about the question of ‘what it means to mean’ involves a longe travel. It is by dividing interpretation in two moments, which will be referred to merely as ‘ontological’ and ‘practical’, that this dissertation achieves its form. In a first moment, there is a problematization about the issue of meaning in a hermeneutical perspective. Beginning from a discussion engendered in the work Politics of Interpretation (1983), and passing through an argumentation about ‘intentionality’ in textual interpretation, more specifically characterized in E. D. Hirsch Jr.’s Validity in Interpretation (1967), we search an introductory study about the meaning of a literary text in relation to another problem which is denominated as ‘the narcissism of the reader’, in order to finally culminate in Ricoeur’s hermeneutical proposal. It means that, before specifically dealing with the interpretation of The Exorcist (1971), we seek a theoretical approach to the question of meaning. In a second moment, which does not implicate in the application of the exposed theory, since we follow the principle that there is no division between theory and practice, we develop an interpretation of William Peter Blatty’s The Exorcist (1971). This work is approached because it configures a hermeneutical problem. However, the existentialist shift in this work proposed by this dissertation will be preceded by a reading of the author as a text and its consequent relation to the interpretation of the novel, as well as a relational approach not only to the specific critical reception of the mentioned title, but also in relation to the author’s other works, in the attempt, first, to demonstrate the insufficiency of the characterization of the novel as ‘horror’ or ‘theodicy’, and, finally, to propose the opening of the work in the direction of an existentialist perspective.
42
Santos, Kleber Pereira dos. "Da paixão inútil: o existencialismo na escrita de Carlos Heitor Cony". Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-26082009-001546/.
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Nesta dissertação é analisada a presença de elementos do movimento filosófico denominado existencialismo, especialmente os provenientes da leitura da produção ficcional de Jean-Paul Sartre (1905 1980), na prática literária do romancista brasileiro Carlos Heitor Cony (1926 - ). Para tanto, se desenvolveu um estudo comparativo das distintas versões de seu romance de estréia, O Ventre (1958), produzidas ao longo de mais de 50 anos de existência. Com base nessa construção de um olhar crítico sobre a obra e sobre as tendências que motivaram sua escrita e, principalmente, suas reescritas, delineadas pela leitura das alterações empreendidas de uma versão para outra do romance, se buscou compreender a dinâmica dessa relação intertextual flagrada no andamento de seu processo de criação. Este estudo pretende ressaltar a lógica complexa desse diálogo, marcado por momentos de aproximações e afastamentos, em consonância com as situações particulares em que os autores estavam envolvidos e seus objetivos específicos almejados, cada qual pertencente à época, local, situação histórica e política, formação pessoal e circuitos intelectual, cultural, literário e mercadológico distintos. Almejou-se, por fim, refletir sobre o complexo mecanismo das trocas culturais em funcionamento no seio da criação literária e delinear os pressupostos, as concepções de literatura sua função pessoal e/ou coletiva, sua posição na sociedade, sua face autocrítica subjacentes ao fazer artístico dos escritores anteriormente mencionados.This dissertation analyses the presence of elements of the philosophical movement called existentialism, especially those which came from the reading of the fictional production of Jean-Paul Sartre (1905 1980), in the literary production of the Brazilian novelist Carlos Heitor Cony (1926 - ). For this purpose, a comparative study of the different versions of his first novel, O Ventre (1958), written in a period of more than fifty years, was developed. Based on the formation of a critic reading of his oeuvre and of the tendencies that motivated his works and, mainly, the rewritings, traced by the reading of the changes made from one version to the other, a comprehension of the dynamic of this intertextual relation detected throughout its creation process was pursued. This study intends to highlight the complex logic of this dialog, marked by approaches and withdrawals, in consonance with the private situations in which the authors were involved and their yearned specific aims, each one belonging to different periods, places, historical and political situations, personal formation and also different intellectual, cultural, literary and marketing circuits. Finally, a reflection about the complex cultural exchanges mechanisms functioning in the core of the literary creation was aimed and also a tracing of the presuppositions, the conceptions of literature (its personal and/or collective functions, its role in the society, its autocritical side) underlying the artistic work of the previously mentioned writers.
43
Ireton, Sean Moore. "The existential grounding of death in Hölderlin, Nietzsche, and Heidegger /". Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/9952.
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Sarrinikolaou, Irene School of Media Film & Theatre UNSW. "The ontological status of Pirandello???s metacharacters: six characters in search of a Platonic author". Awarded by:University of New South Wales. School of Media, Film & Theatre, 2006. http://handle.unsw.edu.au/1959.4/25974.
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This thesis proposes that a defining feature of Pirandello???s 1921 play ??? Six Characters in Search of an Author, is a relentless transcendentalism. It argues that the play embodies a fascination with existential and conceptual ???occult???, and my hypothesis is that by exploring Pirandello's transcendentalism we may enhance our understanding of how and why Pirandello's play points a mirror up to the invisible and suggests that we could be a reflection of that. Pirandello's drama alludes to some of the most convoluted and enduring debates in western philosophy. However, there is very little English-language material on Pirandello???s relation to philosophy or the relevance of analytical philosophy, metaphysics or epistemology to Pirandello???s playwriting. Even foreign-language studies focus on existentialism, phenomenology and other Continental traditions of philosophy. My contribution is to craft a subjective response to Six Characters in accordance with the methods of analytical philosophy, making use of paradigms and techniques that stem from aesthetics and metaphysics to elucidate a complex self-reflexive play. Chapter One presents analytical philosophy as a potential interpretative framework for the play, whereas chapters two and three explore the metacharacters specifically. This thesis does not seek to offer conclusive assertions about the peculiar ontological status of Pirandello???s metacharacters, rather, it introduces some frameworks and conceptual tools for better approaching their ontolo
45
Thomas, Stefanie. "Sekai-kei as Existentialist Narrative: Positioning Xenosaga within the Genre Framework". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397573383.
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Orr, David J. "The existential quest for exemplary autonomy in three major novels". Scholarly Commons, 1998. https://scholarlycommons.pacific.edu/uop_etds/2332.
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Presenting and applying an ideal developmental model for the classical existential hero, or main character, provides a functional paradigm for discrimination between essentialist and existential texts. In particular it allows for degrees of fine existential differentiation amongst the hero's acts of any literary work. The paradigm does so by making it possible clearly to discern and describe the "recuperation" that a reader must do to render an "impaired" text intelligible.
The paradigm covers four phases of transformational activity by the hero, more or less successfully negotiated, depending on the given work under analysis; vacillation/bad faith; crisis/arrest; abrogation/nothingness; and nihilation/project choice. Only one of the three novels so analyzed, Camus' The Stranger, contains a hero, Meursault, who is able to engage this paradigm successfully. The other two novels, not generally associated with existentialism, Heller's Something Happened and Chopin's The Awakening, reveal important and explicable variations of the model, but neither finally gives an exemplary authentic hero. The value of this paradigm is the way it functions as a dynamic heuristics, as a template, to isolate and render meaningful the dimensions of the career of each main character of these works as an "existential murderer." After an introduction of the paradigm, the thesis analyzes the tragic suicide of Mrs. Edna Pontellier, the comic infanticide of Bob Slocum, and the tragicomic homicide of Meursault.
47
Lévy, Bertrand. "Géographie humaniste et littérature l'espace existentiel dans la vie et l'œuvre de Hermann Hesse, 1877-1962 /". Genève : Concept moderne, 1989. http://catalog.hathitrust.org/api/volumes/oclc/22118809.html.
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Thesis (doctoral)--Université de Genève, 1987.Spine title: L'Espace existentiel chez Hermann Hesse. Cover title: L'Espace existentiel dans la vie et l'œuvre de Hermann Hesse, 1877-1962. Includes bibliographical references (p. 357-388).
48
Benjamin, Elizabeth Frances. "The authenticity of ambiguity : Dada and existentialism". Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5600/.
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Dada is often dismissed as an anti-art movement that engaged with a limited and merely destructive theoretical impetus. French Existentialism is often condemned for its perceived quietist implications. However, closer analysis reveals a preoccupation with philosophy in the former and with art in the latter. Neither was nonsensical or meaningless, but both reveal a rich individualist ethics aimed at the amelioration of the individual and society. It is through their combined analysis that we can view and productively utilise their alignment. Offering new critical aesthetic and philosophical approaches to Dada as a quintessential part of the European Avant-Garde, this thesis performs a reassessment of the movement as a form of (proto-)Existentialist philosophy. The thesis represents the first major comparative study of Dada and Existentialism, contributing a new perspective on Dada as a movement, a historical legacy, and a philosophical field of study. The five chapters analyse a range of Dada work through a lens of Existentialist literary and theoretical works across the themes of choice, alienation, responsibility, freedom and truth. These themes contribute to the overarching claim of the thesis that Dada and Existentialism both advocate the creation of a self that aims for authenticity through ambiguity.
49
Calderón, Jorge. "Configurations aporétiques, fiction de l'histoire et historicité de la fiction : Simone de Beauvoir, Albert Camus et Jean-Paul Sartre". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85134.
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In this dissertation I explain the transition from modernism to postmodernism through the study of the French existentialist novel. I follow theories that demonstrate that the latter owes its success to historiographic metafiction. By setting off the aporias that deeply penetrate modern novels, I demonstrate the obsolescence of the prototype of the realist novel and I explain the impasses towards which the project of a committed literature lead, inscribed in the line of realism and aimed at an almost direct relation with society and history through the mediation of art between 1945 and 1955 in France.On one hand I consider literature as an object which can be described by the methodologies of history. On the other hand I suggest an analysis of the historicity of the text that is constituted by the dynamic system generated by the interaction, the interdependence, and the correlation of the poetic and aesthetic parameters and the factors of the historical context. My aim is to set off the poetic and aesthetic mecanism of stability and of transformation of literary creation according to the dynamic relation between the vector of the project associated to realism and the one of the prototype associated to the novel. I think that late modernism produces paradoxical configurations of the novel because it is the period in which the project of realism becomes lapsed and the prototype of the realist novel becomes dilapidated.
Among the works that are exemplary of the tension between fiction and history and between project and prototype in the framework of the representation of reality and of the inscription of history in novels, I identified Albert Camus' La Peste, Simone de Beauvoir's Les Mandarins and Jean-Paul Sartre's Les Chemins de la liberte . I conclude that the enterprise of committed literature was an aporias because it was generated from the impoverishment of the project of realism and the obsolescence of the prototype of the novel. Later literature was extricated, firstly, by the radically and extremely metafictional writing of the Nouveau Roman and, secondly, it was changed by postmodern historiographic metafiction. The crisis of history and of the writing of history was solved by works in which there is the acknowledgement and the use of sophisticated mediations to evoke and inscribe history in different ways.
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Hanscomb, Stuart Roy. "Anxiety's ambiguity : an investigation into the meaning of anxiety in existentialist philosophy and literature". Thesis, Durham University, 1997. http://etheses.dur.ac.uk/4992/.
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The dissertation has two primary aims: 1) To investigate the significance and role of anxiety in the work of existentialist writers; 2) To synthesize a unified account of its meaning within this tradition. There are seven substantial chapters, the first concerning the divergence between clinical anxiety and the existential version using the fear-anxiety distinction as a foil. Existential anxiety is Thai defined in terms of anxiety A (before the world as contingent), anxiety B (before the self as free), and urangst (an unappropriable disquiet caused by the incommensurability of anxieties A and B). Chapter 2 concerns Kierkegaard's The Concept of Anxiety. His emphasis on choice, guilt and ambiguity lay the foundations for existentialism, but the suggestion that anxiety can be overcome in faith distances him from later existentialists. Chapter 3 reads Heidegger as secularizing Kierkegaard's ideas. Here we find the origins of the anxiety A/B structure, but I find that his attempt to define an 'authentic' comportment which embraces these two sources fails. In Chapter 4 Sartre's anxiety before the 'nothingness' of a self responsible for creating values is discussed and found wanting. However, his ideas on bad faith and authenticity seem to be more alive to the ambiguity of existence that anxiety reveals. The relation between anxiety and death is a primary concern of Chapter 5 (on Tillich). I contend that death is important (though not in the way Tillich thinks it is), but that otherwise he underplays urangst and die dynamism required in an authoitic response to anxiety. The complexities of this process are further explored in Chapter 6 with respect to Rorty's version of 'irony'; and in the final chapter where two novels (Conrad's Heart of Darkness and Camus' The Fall) are read as demonstrating the subjective dynamics of authenticity in terms of the anxiety structure that has been developed.