Absurdism

This study focuses on the shared characteristics of Samuel Beckett’s play Waiting for Godot (original title En attendant Godot) and of Eugène Ionesco’s play The Bald Soprano (original title La Cantatrice chauve), which are significant from the perspective of semiotics. These common features will be analyzed under the scope of concepts such as meta-theatricality, plot, cultural memory, chronotope, meaning generation, and explosion. The aim of the study is to argue that the texts are semiotic experiments with great meaning-generation capacity even seventy years after they were written.

Keywords: theatre of the absurd, Esslin, meta-theatre, Lotman, Bakhtin, cultural memory, tragi-comedy, meaning generation, explosion

Like a newborn child, the magician wept In spite of his avowed disrespect for the magic skills of Mommy Fortuna, it seems he is deeply affected by her tragic death. Inverted, the word "child" is related to the keyword "old". 2 "No," she said answering his eyes. "I can never regret." Dramatic presentation of the profound motif of the attribute of the eternal being is achieved through exchange of hypothetical lines. There are traces of impressive dramatic situation and meaningful utterances that reminds of Shakespeare, in The Last Unicorn. Related to the keyword "eternal", contrasted with "sorrow", below. 3 The unicorn waited, feeling the days of her life falling around her with the rain. Related to the keywords "poetic phrases" and "the eternal". Cf. …for the first time she began to feel the minutes crawling over her like worms. 4 "I can sorrow," she offered gently, "but it's not the same thing."

Piala di Atas Dangau, sebuah antologi cerpen remaja yang berasal dari pengarang remaja dari berbagai daerah di nusantara. Cerpen-cerpen ini memiliki keunikan dalam penyampaian permasalahan dengan menyinggung unsur-unsur lokalitas dari tiap daerah. Dengan diduga adanya unsur lokalitas yang hadir dan menjadi keunikan di setiap cerpen penulis tertarik untuk mengulik lebih dalam dari cerpen-cerpen yang ada di antologi ini. Tujuan penelian ini adalah untuk mengetahui struktur naratif teks dan unsur lokalitas yang terkandung dalam cerpen. Penelitian ini menggunakan metode deskriptif analitik. Kajian ini menggunakan pendekatan berupa pisau analisis sosiologi sastra, dengan fokus penelitian yang mengacu pada unsur lokalitas yang dibatasi hanya tiga cerpen yang dikaji, yaitu (1) “Piala di Atas Dangau” karya Muhammad Isrul, (2) “Mutiara di Balik Randengan” karya Renti Fatonah, dan (3) “Karatak Atei” karya Teresa Yokia Novantia. Hasil dari penelitian ini adalah ditemukannya unsur-unsur lokalit...

[Artículo de revista] Pedro Naranjo Cobo y Alejandro G. J. Peña, «El absurdo de la condición humana en Sartre y Camus», Pensamiento. Revista de Investigación e Información Filosófica, 80, núm. 308, 2024, pp. 337-350.

RESUMEN: En este artículo postulamos que en los sistemas filosóficos de Jean-Paul Sartre y Albert Camus se observa un reconocimiento del existir humano como absurdo, entendido en el primero como una condición ontológica del para-sí, y en el segundo como el divorcio entre nuestra pretensión de sentido en el mundo y la indiferencia de este. Mediante una hermenéutica comparativa de textos de ambos autores, concluiremos que el absurdo en Sartre nos aboca a crear nuestra esencia conforme existimos y puede trascenderse, mientras que, en Camus, el absurdo es insuperable, pero aprehenderlo es nuestra única vía para convivir con dicha condición.

Βάσω Κατράκη| Η γυναίκα που καθυπόταξε την πέτρα και χάραξε πάνω της τον μύθο του ελληνικού δράματος Η γυναίκα που ταξίδεψε το 1963 στην Κίνα του Μάο για να αποδείξει ότι είχε δίκιο. Μέλος μίας αποστολής Ελλήνων Κομμουνιστών, η χαράκτρια Βάσω Κατράκη επισκέπτεται την επαναστατημένη Κίνα, για να εκθέσει τα έργα της και κυρίως, να αποδείξει την εκτίμηση που είχε διαμορφώσει: ότι είναι δυνατό να διαμορφωθούν τυπώματα με χρήση λίθου1. Όλοι οι δάσκαλοι της την συμβούλευαν για το αντίθετο, αυτή όμως ταξίδεψε, εξέθεσε τα έργα της, είδε την σοσιαλιστική Κίνα και, κυρίως, επιβεβαίωσε της καλλιτεχνικές και ιδεολογικές εκτιμήσεις, στις οποίες μπόρεσε να φτάσει μέσα από την λογική συνέπεια της τέχνης της.

Pada pertanyaan “Apa Tujuan Kita Menjalani Kehidupan Ini?”, subjek yang ditanya adalah Kita (yang Sedang Menjalani Kehidupan Ini). “Kita” di sini adalah siapa saja yang sedang Menjalani Kehidupan Ini. Artinya, pertanyaan tersebut ditujukan bagi siapapun yang sedang Menjalani Kehidupan Ini. Oleh karena itu, jawabannya dapat berbeda-beda bagi setiap orang dan masing-masing jawaban sama benarnya.

Ketika kita bertanya “Apa Tujuan Kehidupan Ini?”, itu artinya kita sedang menanyakan terkait apa yang dituju atau ingin dicapai oleh “Kehidupan Ini”. Subjek yang ditanya adalah “Kehidupan Ini”. Oleh karena itu, hanya “Kehidupan Ini” lah yang tahu apa yang sedang ia tuju (seandainya ia memiliki tujuan). Namun, karena “Kehidupan Ini” tidak dapat menyampaikan pesan, maka ia tidak mungkin dan tidak akan pernah bisa menyampaikan apapun kepada kita.

Albert Camus's La Malentendu (or The Misunderstanding, or Cross-Purpose) foregrounds itself as a magnum opus in the theater of the absurd. Fashioned in the style of a Greek tragedy, it loosely plays with the themes of fate and destiny to assert the inevitability of the tragic reality of the modern man. Bringing forth the motifs of murder, miscommunication,
and misunderstanding, Camus creates the microcosm of a dismal world marked by a sense of linguistic rupture. This premise enables Camus to highlight the absurdity and anguish of the human condition. This paper analyzes how Camus uses grotesque imagery, misunderstanding,
and silences to promote the narrative intention of creating a claustrophobic atmosphere and if he succeeds.

Kurt Vonnegut is an integral part of the postmodernist literary movement and a master of satire, gallows humor, and science fiction. The uniqueness of Vonnegut's works is that in addition to having excellent themes, the novels are also technically accomplished and colorful. Vonnegut refuses to confine himself to a single form of fiction, which is something that is certainly clear from a review of his books. In reality, modal diversity is demonstrated in each of his works. Vonnegut, a man of profound vision, tries to experiment with brilliant techniques in his novels, including science fiction, comic science fiction, black humor, dark humor, morbid humor, gallows humor, meta-fiction, satire, political satire, postmodernism, dark comedy, war novels, absurdist fiction, modes of absurdity, and semi-autobiographical writing. In his works, he deftly weaves these strategies around his theme. He draws attention to the numerous social defects, the atrocities of war, and the sorrows of mo...

Cerpen merupakan karya prosa fiksi yang memiliki persoalan yang terfokus dan kompleks. Bentuknya yang pendek dibanding novel, membuat cerpen dapat dengan mudah untuk dipahami peserta didik. Pembelajaran moral dalam pendidikan selalu menemui jalan buntu, yang mana ajaran yang disampaikan begitu didaktis dan dogmatis. Peneliti menemukan suatu permasalahan yang didapat dari kumpulan cerpen “Menebang Pohon Silsilah” karya Indra Tranggono atas kesesuaiannya dengan tuntutan kurikulum 2013. Dengan demikian, atas hubungannya dengan pembelajaran moral serta karyanya yang diasumsikan dapat memberikan pembelajaran lebih dalam kehidupan peserta didik, maka peneliti akan menganalisis nilai moral tokoh utama yang ada pada kumpulan cerpen “Menebang Pohon Silsilah” karya Indra Tranggono dengan tuntutan Kurikulum 2013. Peneliti mengajukan beberapa masalah, sebagai berikut: 1) Bagaimanakah nilai-nilai moral tokoh utama dalam kumpulan cerpen Menebang Pohon Silsilah karya Indra Tranggono?; 2) Bagaimana...

The present essay intends to look through and into the play Cross Purpose (1943) by Albert Camus as an illustration of existential philosophy, looking at how the characters-Jan and Martha in particular-maneuver through the absurdity of life. Echoing Camus' central theme of absurdity, it will examine the futility of pursuing moral clarity in a universe devoid of inherent meaning. The play's criticism of society norms, questioning of accepted morality, and blending elements of dark comedy and tragedy to produce an engaging theatrical experience will also be examined in this paper. By closely analyzing Cross Purpose, this paper hopes to add to the larger conversation about existential issues and the search for purpose in life's meaning in an oblivious universe. With a meta-existentialist lens, this essay also aims to evaluate the play and uncover intricate narrative layers that represent the complexities of existential philosophy. Through nuanced structural details and character interactions, it will look at how Camus incorporates the absurd into the narrative and challenges the audience to think about the nature of storytelling and meaning formation.

La exploración del absurdismo y el existencialismo revela una lucha intrínseca del ser humano por encontrar sentido y autenticidad en un mundo que, en su esencia, puede parecer vacío y desprovisto de significado.
Este análisis invita a una reflexión profunda sobre la naturaleza de la existencia, la identidad y el significado persona.

Bu çalışma, kaynak dil İngilizce’den hedef dil Türkçe’ye çevrilen iki metin üzerinden çevirmenlerin bakış açısını ortaya koymayı amaçlamaktadır. Çalışma kapsamında, Avustralyalı yazar Jessica Au’nun ilk baskısını Şubat 2024 tarihinde yapmış olan “Kar Havası” ve İngiliz yazar George Orwell'in ilk baskısını Eylül 2024 tarihinde “Neden Yazıyorum” eserlerinin Timaş Yayınları’ndan yapmış olan çevirileri ele alınarak çevirmenin metin üzerinde aldığı kararlar ve zorluklarla nasıl başa çıktığı tartışılmaktadır. Au’nun eseri, özgün metnin atmosferini ne denli yansıttığını, çeviri sürecinde hangi zorluklarla karşılaşıldığını ve bu zorlukların nasıl aşıldığını ele almaktadır. Orwell’in metni ise, çevirisinde dilin ve ifadenin sadakatine odaklanarak, çevirmenin nasıl bir yaklaşım benimsediği ve bu yaklaşımın metne nasıl yansıdığı üzerinde durmaktadır. Çalışma, çevirmenin kararlarını ve çeviri sürecinin arkasındaki sistemi anlamayı hedeflerken, çeviri eserleri analiz ederek çevirmenin metni hedef dile nasıl uyarladığını inceler. Çalışmada, her iki eseri çevirmiş çevirmen hedef gösterilerek kendisi ile çeviri yöntemleri üzerine röportaj yapılmıştır. Çevirileri inceleme yöntemleri olarak başlıca kaynak ve hedef metin karşılaştırılması yapılmış olup kaynak ile hedef metin arasındaki farkları analiz ederek çevirmenin metindeki kararları üzerine hangi stratejileri kullandığını belirlemek amaçlanmıştır. Aynı zamanda içerik analizi ve bağlamsal inceleme ile ifadelerin anlamlarının hedef metinde ne kadar doğru yansıtıldığı ve çevirinin kültürel referansların hedef kültüre nasıl uyarlandığı incelenmiştir. Çevirinin dilsel ve kültürel boyutlarını derinlemesine incelemeye olanak tanıyarak çevirinin kalitesi hakkında kapsamlı bir değerlendirme yapmak hedeflenmiştir. Çalışma kaynak metnin çevrilmesi sürecinde yorumlayıcı değişimin çevirmenin doğrudan veya dolaylı yorumunu içerdiği fikri savunulmaktadır. Çevirmenin, eserin doğasını belirleyen dilsel, edebi ve tarihsel kümeleri yansıttığına ve öznel, kendi çerçevesini çizebilme yeteneğine sahip olduğuna değinilmektedir. Bu bağlamda, çevirinin sosyo-kültürel parametrelerle sınırlı kalmayan bir süreç olduğu vurgulanmaktadır. Bu çalışma ile çevirmenin çeviri sürecine bakış açısını daha yakından incelemek hedeflenirken çeviri sürecindeki çevirmenin aldığı kararların ve çevirinin arkasındaki sistemin görülmesi, çevirmene çeviri sürecindeki karmaşıklıklarını ve çevirmenin sorumluluklarını tartışarak metinlerin farklı kültürel bağlamlarda nasıl anlaşıldığını ve yorumlandığını ortaya koyarak yardımcı olacaktır. 
Anahtar sözcükler: çeviri eleştirisi, Jessica Au, George Orwell, Kar Havası, Neden Yazıyorum

This paper analyzes the act of 'thalaikoothal,' performed on ill and infirm older people in the southern part of the state of Tamil Nadu, India, with reference to two Tamil films, K.D. (2019) and Thalaikoothal (2023), which portray the horrors of the practice. A kind of involuntary euthanasia, the ritual continues to have covert social acceptance as exemplified in the films, favoring the common stereotype that marks aging bodies as unproductive and unworthy of living. Therefore, this article explores the aging bodies in the films as sites of power, controlled by death enforced through Thalaikoothal, employing Mbembe's concept of 'necropower.' It also examines the effects of the practice on the elderly, who are compelled to prepare themselves for a forced death. The study further identifies the underlying factors contributing to the prolonged existence of Thalaikoothal even in the present times.

The essay analyses the potential for a negative hermeneutic in liturgical studies, taking as its basis Cyprian Krause's 'justification of the ritual in the face of the absurd'. It then examines consequent challenges for other theological subjects. The method of negative hermeneutics focusses on the limits of and gaps within the process of sense. This article explores how different aspects of negativity of sense (e.g. formal and content related) can help to study otherwise ignored and liminal aspects of liturgy. A negative hermeneutics of ritual can allow us to read the Christian liturgy as a performance whose power lies in its capacity precisely to unsettle, transform and subvert, rather than merely to authorize, justify and unify.

Matt Haig uses the conceit of a staging place between life and death to explore the what might have beens that have the potential to make our lives appear to be oceans of lost opportunity. Nora Seed had plenty of talent but had made decisions that left her apparently unloved and unsuccessful.

She attempts suicide and finds herself in the Midnight Library and is offered the opportunity to parachute into some of those lives she had not lived becuse of roads not taken.

None seems quite as desirable as her regrets about her decisions might have suggested. Each time her discontent self-executes and she finds herself returned to the Library.

Nora can continue this quest exploring other of her unlived lives; can proceed beyond this limbo state to her final death; or maybe choose the life she had rejected by her own hand.

What will she choose?

Matt Haig is a sensitive and imaginative writer who explores sadness and mental health issues in his writing.

This paper aims to unmask the sharp vestiges of Absurdity as an offshoot of Existentialism both through the form and content of the play, for which, a skull-like room devoid of any sign of life and hope has been designed. As a matter of fact, this research focuses on the imbroglio after the Second World War from which no exit door could be found and this overwhelming bog is mostly represented through the two characters who are called Hamm and Clov. In addition to that, the co-dependency between the Modern Men as an absurdist notion is represented through the bonding between Hamm and Clov; although Clov every now and then gets exhausted by giving services to Hamm, he supposes that if the bonding between them is torn, their existence will be at stake. It is worth mentioning that the cyclical pattern of the play as an embodiment of the cyclical stasis of human existence alongside the unconscionable repetitions in characters' dialogues which stands for the emptiness and meaninglessness of modern life will be discussed in detail. Apart from the absurdist features of Endgame which have been succinctly referred to, another underlying trait of this literary movement, namely the failure of language to help the characters communicate well and its pivotal role as a propeller towards their isolation and alienation will be scrutinized. Finally, an important question, which has made Endgame's attentive readers overly curious is to be answered in this research; the question is that 'are characters' actions in this play a representation of Existentialist philosophy or Absurdism?'

Not only did Camus include in his philosophical essay The Myth of Sisyphus an appendix dealing with “Hope and Absurd in the Work of Franz Kafka”, but Kafka’s The Trial (1925) seems to have inspired him when writing The Outsider/The Stranger (1942). Each of these two books revolves around a hero who, for reasons unbeknownst to him, is subject to the judgement and the condemnation of the society. Both characters live in a world inescapably dominated by nonsense, where the absurd being rejects the divine and obstinately searches for answers from humans only. With no solution whatsoever, incapable of finding a reasonable explanation for the irrational situations they are in, these characters declare the incoherence of reality and emerge as antiheroes, very different from – even opposed to – the traditional heroes.

This paper examines absurdist drama and absurd humor in the interest of br inging the following desiderata t o light: (a) their common feature: what does each have which, despite their marked differences, enables the same adjective to apply to them? I argue that the absurd is "that which radically violates all reasonable canons of expectability." (b) Their specific differences: absurd humor, I claim, is self-contained, nonreferential in its absurdity; absurdist drama necessarily makes reference to something (unfathomable) beyond itself. My analysis brings out these features by contrasting both with satire. (c) Their "ontologicalOrientation": lask what kind of a world each demands and conclude that absurd humor demands to be viewed against a backdrop of sense, order, while absurdist drama is essentially concerned to deny that any such sense or order exists. Some of the most poignant literary and artistic works in modern times bear the descriptive label "absurdist," from Kafka's nightmarish creations to Camus's novels to plays by Beckett and lonesco, to mention but a few. At the same time, we have been treated to any number of creations, especially (though not exclusively) in literature and film, which are capable of provoking in us the most sidesplitting laughter, yet which likewise happily receive the description "absurd." I refer to essays by Robert Benchley and Woody Allen, performances by Monty Python, again to name but a few. Clearly, there is something about the absurd which enables it to either amuse us or depress us, and to do so, in each case, with considerable ferocity. It is in the interest of understanding how this is possible that the present paper has been written. In order to achieve this aim, my analysis proceeds

Chaoticism is a philosophical doctrine that assumes life is governed by unpredictability and disorder. It does not rule out the fact that certain things occur at the right time, but generally speaking, life has no inherent meaning. This philosophical current underlines awareness of chaos as the necessary ingredient of human life and the events and coincidences happening in people's lives are transient and inconsistent.

The practice of theatre of the absurd is more present and popular with politicians in Africa than with playwrights. Particularly in Nigeria, the grotesque images and ridiculousness in the utterances of those saddled with the responsibilities of governance can only be viewed as characters in any known absurdist' play. Nigeria is a nascent democracy, and the 2023 general elections are fraught with inadequacies right from the moment of selection of party candidates through the election proper. Candidates, political parties executives and the court have engineered these inadequacies. The concern of court being the last hope of common man, is on the administration of justice as perceived by parties involved in a case and the society. Therefore, a flawed judgment can only serve to dampen the peoples' belief in the sanctity of the judiciary. On 28th May 2022, Bashir Machina contested and won the All Progressive Congress's Yobe North Senatorial primary election unopposed, and in June the same year, the political party submitted the name of Ahmad Lawan to the Independent National Electoral Commission (INEC) as its candidate for the main election into the Senate. In the ensuing litigation, both lower court and court of appeal affirmed the authentic candidacy of Machina, however, the Supreme Court in its judgment, affirmed Ahmad Lawan as the APC candidate for the election to the Senate. It is against this background that this study examines APC v Machina and argued that in this particular case, justice has been perceived not to have been done by the large segment of the society based on the peoples reaction in the media. We conclude that the five justices of the Supreme Court with divided resolution of three against two, and other participants in the litigation, merely represent different characters of an absurd drama fit only for the stage.

This is a meeting point between philosophy, literature and rhetoric with the purpose of finding out whether life is worth living or not. The literary device known as oxymoron is brought into within the context of the absurdist theory and by extension the theatre of the absurd.  The conclusion is that individuals make their own choices in the face of the vicissitudes of life, deciding whether to fight back or simply go with the flow. In other words, they decide whether the proverbial bottle is half-full or half-empty.

La propuesta de la presente investigación considera que Revueltas
eligió, como núcleo composicional de Los errores, el choque entre
dos pulsiones: liberación y encierro, para dar cuenta de la lucha interna
que se suscita en los personajes y devolvernos una mirada del
mundo a través de una tendencia trágica organizada a nivel estructural
por medio de varios recursos y líneas estilísticas.

The following chapter presents an ideology of working – ‘landscape fictions’ as ‘future realities’ – and an example of how this methodology was deployed in one recent design project. Both the methodology and the project are reflective of the agency of the absurd or ‘sublime madness’ (as described in the piece) to point, prod, expose, and catalyze change through imaginative response to the conditions in which we currently exist.

Visual humor is one of the important tools used by designers and artists. Art historians and thinkers have mostly analyzed, commented on, and researched humor in literary fields, such as stories and novels. However, in the context of the relationships of absurd and absurd humor in art and design, the analyses and research on their differences and similarities have been limited. The aim of this research is to analyze how and why absurd humor, which has absurd and absurd characteristics in art and design, is used in the fields of art and design, and to derive findings and results. In the research, it was seen that the absurd, absurd and strange aspects of visual absurd humor are a common approach in the works of dada and surrealist artists. In order to discuss and analyze the subject in a concrete form, the works of Max Ernst, one of the important representatives of surrealism, were examined in this context. It was determined that the unexpected surprises formed by the strange and absurd phenomena seen in Ernst's figurative works constitute the basis of absurd humor. On the other hand, it was seen that similar surreal and strange figurative elements seen in the works of Jan Lenica, an important name in poster design, were used to create communication to tell a specific concrete story. In the analyses and findings made within the framework of the works of Ernst and Lenica in the context of visual absurd humor in art and design, it was seen that the visual language used and the idea analyses have a parallel structure. On the other hand, since the purposes of art and design fields are different, the use of absurd humor in art is handled with a more vague and uncertain understanding, while similar images in design are transformed into a specific concept for communication. It is possible to say that the findings obtained in this research with the comparative methodology in academic studies on the relationship between art and design will contribute to the literature on the subject. ÖZ Görsel mizah, tasarım ve sanatçılar tarafında kullanılan önemli araçlardan birisidir. Sanat tarihçileri ve düşünürler mizahın daha çok edebi, hikâye ve roman gibi alanlarda analizler, yorumlar ve araştırmalar yapmıştır. Fakat özellikle gerçeküstü mizahın sanat ve tasarım alanındaki ilişkileri bağlamında, birbirlerinden farlılıkları ve benzerlikleri yönünde, analizler ve araştırmalar kısıtlı kalmıştır. Bu araştırmanın amacı, sanat ve tasarımda görülen absürt ve saç

The intention to make parallels between L. Carroll and S.Beckett and proposes an intertextual approach to show how much Caroll`s work can be interpreted as a foreshadowing of postmodern discourse in modern drama with specific reference to Beckett's. Carroll`s works tend to show certain interesting aspects that were to interest Beckett in his drama and postmodern concepts with regard to meaning of language, space and time, the problem of personal identity.Carroll prefigures modern drama, especially in the guise of the Theatre of the Absurd, and provides fertile ground for postmodern discourse-a radically new notion of setting, time, action, language, dialogue and plot. Man is seen as disintegrated and his society presented as increasingly deconstructing and irrecoverably fragmented. This absurd image of man is not unconnected to Carroll's philosophy of nonsense which significantly engages questions of life and existence. T shec tion of the paper is structured as follows; the significance of language, space and time, characters and the question of identity. Space and time are undeniably important aspects of the Carroll stories. The space-time theme takes a complicated and more philosophical turn in Beckett's plays-actually indicates the caged nature of the world and nothingness in time. There are number of characters in Carroll's stories that prefigure Beckett's treatment of characters. Their verbal exchange only point sth e difficulty of codifying possible meanings and, like Beckett's characters, they seem to have no society, no history, no occupation, no real personality or identity except their names, that helps to generate incomprehensibility and indeterminacy.

The intention to make parallels between L. Carroll and S.Beckett and proposes an intertextual approach to show how much Caroll`s work can be interpreted as a foreshadowing of postmodern discourse in modern drama with specific reference to Beckett's. Carroll`s works tend to show certain interesting aspects that were to interest Beckett in his drama and postmodern concepts with regard to meaning of language, space and time, the problem of personal identity.Carroll prefigures modern drama, especially in the guise of the Theatre of the Absurd, and provides fertile ground for postmodern discourse-a radically new notion of setting, time, action, language, dialogue and plot. Man is seen as disintegrated and his society presented as increasingly deconstructing and irrecoverably fragmented. This absurd image of man is not unconnected to Carroll's philosophy of nonsense which significantly engages questions of life and existence. T shec tion of the paper is structured as follows; the significance of language, space and time, characters and the question of identity. Space and time are undeniably important aspects of the Carroll stories. The space-time theme takes a complicated and more philosophical turn in Beckett's plays-actually indicates the caged nature of the world and nothingness in time. There are number of characters in Carroll's stories that prefigure Beckett's treatment of characters. Their verbal exchange only point sth e difficulty of codifying possible meanings and, like Beckett's characters, they seem to have no society, no history, no occupation, no real personality or identity except their names, that helps to generate incomprehensibility and indeterminacy.

Theatre of the Absurd has been an important experiment in the history of theatre and of the collective canvas of literature. The forerunning plays of absurd theatre primarily focused on ‘man’ as an alienated and isolated being, having essentially lost the sense of logic and reason, and having realized ‘meaninglessness’ of his existence. Existential philosophy of Albert Camus was at its intellectual heights in the European socitey and at the very core of the Absurd plays. However, some playwrights placed man in the traditional and social institution of marriage, placing another human character of close proximity, and yet portraying the essentially absurd sentiments of lonliness and isolation. Eugene Ionesco did not situate man in an isolated space, but in living rooms and marriages, and through this exposed hopelessness and meaninglessness of both man’s existence and the social institutions that ought to bind him with a sense of security and unity. To understand how Ionesco could marry marriage and absurdity, we look at various elements of literature and theatre, also to scrutinize and analyse his contribution. This paper aims to explore the matrimonal and social aspect of absurd theatre in two specific plays of Eugene Ionesco, namely The Bald Soprano and The Chairs.

Argumentative Essay examining a foundation of Camus’ the Myth of Sisyphus. Focusing on the exploration of selectively applied explanations of the myth. Raising comparative metaphor and its potential inconsistencies in motivation, ethics and the meaning of life itself. The oversimplification leads to overlooking complexity of mind and actions. The practicality of life after being aware of the absurdity.

Laporan Tugas Akhir ini mendeskripsikan bagaimana penulis bekerja sebagai sutradara di dalam sebuah film pendek Mie Kuning Abadi yang memiliki unseen character. Analisa yang didapat bahwa dalam menyutradari film pendek dengan menggunakan aktor lansia yang berinteraksi dengan unseen character dibutuhkan teknik dari pengenalan karakter dari segi aspek psikologis, sosial maupun fisiologis serta konsep ide di dalam menyutradarai yang harus dibangun secara mendalam. Penulis melihat hasil analisa serta pembelajaran ini dapat dijadikan sebagai bahan untuk teori dalam dunia pendidikan khususnya di bidang perfilman.

Δεν θα υπήρχε καλύτερη επιλογή έργου από Τα πικρά δάκρυα της Πέτρα φον Καντ για να φέρει αντιμέτωπες περιόδους και καταστάσεις της ανθρώπινης υπόστασης.
Το έργο αναπτύσσει μια ιστορία σχεδόν εξ ολοκλήρου μέσα στον ορίζοντα της ανατροπής και του βλέμματος: μια πλούσια σχεδιάστρια μόδας, η Πέτρα, ερωτεύεται με πάθος την Κάριν, μια νεαρή κοπέλα από εργατική τάξη, την οποία μια φίλη της είχε συστήσει. Η νεαρή κοπέλα την εγκαταλείπει και η Πέτρα καταρρέει για να συνειδητοποιήσει αργότερα ότι τα κίνητρά της δεν ήταν τόσο η ρομαντική αγάπη όσο η εγωιστική επιθυμία να υποτάξει και να κατέχει το είναι ενός άλλου όντος.

Writers who have undergone a psychic trauma during their childhood mirror those memories in their works. Those memories, as Freud says, are a site where the past is maintained, nourished and sometimes rewritten. Based on the theories of Freud and

The Old Man And The Sea, by Ernest Hemingway, went in printing in 1952, a year later was awarded the Pulitzer Prize for fiction. In 1954, Hemingway was given the Nobel Prize in Literature. After such a big success and a long and well accomplished career, a few years later, on a Sunday, the morning July 2nd 1961, Hemingway committed suicide. The paradox of the author’s ending with the ending of his most famous novel The Old Man And The Sea is that Ernest Hemingway, the man, gave up, whereas his character in the novel Santiago never gave up, was never defeated, emerging triumphant with the struggle against larger forces. This paradox raises the question: is The Old Man And The Sea a reflection of the author’s personal life and agony, as most commentators believe, or is it much more than that? A novel that depicts and represents the constant struggle of human kind in every era? Why was Hemingway in agony? Ernest Hemingway was a writer that belonged to the Lost Generation. One can imagi...

In this article, we recommend the drama of theatre of the absurd as a novel space for critically reflecting upon management and management education as shaped by the forces of emotion, irrationality and conformism rather than reason. We discuss the theatre of the absurd as uniquely relevant to understanding our troubled times. We present a brief overview of the history of business schools and management education. We apply the idea of absurdity to the world of business schools and management education, focusing on the work of one of the theatre of the absurd’s leading proponents, Eugène Ionesco. We emphasise the importance of fiction and fantasy as key aspects of organisation and education. We contribute to debates about management education by reflecting on possible futures for management education and the business school, embracing the humanities as a core disciplinary focus. We suggest that this will help rebalance management education, retaining the best of the existing curricul...

This paper claims that Rushdie develops his protagonist Saleem as an unreliable anti-hero. In doing so, the novel borrows tools and techniques of Mock Heroism. The Restoration and Augustan authors John Dryden and Alexander Pope are chiefly responsible for the mock-heroic genre. A mock-heroic book parodies the heroic style in literature in a sarcastic fashion, mimicking the actions or manner of a hero, often comically in nonheroic circumstances. Saleem claims to be the new India’s voice, taking on significant political responsibility and “evoking” these heroic deeds. He is, however, powerless, nd his magical ability to spy on people is dependent on a disproportionately large nose. His reliance on his cucumber nose to sense the true history is really hilarious. In this sense, Saleem is undoubtedly an absurd hero because his attempt to recapture what has been already lost is an absurdist attempt. Saleem is well aware that his historical account of India will be incomplete anyway. Despi...

Historically, Canada was a country that most Germans associated with wild animals, an abundance o f nature, and Indians. Ever since Hessian mercenaries aided Great Britain during the American War o f Independence, there was an awareness o f Canada in Germany. Even the German writer Johann Wolfgang von Goethe (1749-1832) profes.sed an interest in this new country.' Traditionally, Canada was admired in Germany as a country o f immense size that offered new possibilities for many emigrants.^ Prior to World War One (W W I) Dr. Hammann-Perleberg noted that "for most o f those that belong to the educated elite Canada is hardly more than a geographical expression."^ Shortly after W W I a German civilian wrote, "Canada is very little known over here. Indeed, during the war when Canadian troops were mentioned one could hear among common people that they took them for red Indians in feathers and war paint.""* More recent writers, including Boeschenstein, wrote that some German authors commenting on Canada "felt themselves commissioned-to see and say what Germany wanted to hear."' Helfried W. Seliger followed a similar line o f thought stating that German literature on Canada written between the World Wars fell into two basic categories. One was the traditional travel account presented by such individuals as Nazi sympathizer Colin Ross, or Lutheran emigration consultant Hermann Wagner; the other was that o f a hunter or trapper in remote areas. O f the second category, a good example can be found in the works o f Max Otto, who.se writings perpetuated stereotypes o f Canada. Seliger stated that such writers were more skilled with a gun than a pen and once their vendetta against Canadian wildlife had ended, they felt compelled to preserve their victims in literary form, "invariably, these writers concentrated on those aspects which had always intrigued the European armchair traveller who searched for things his own environment no longer could provide: the wide open spaces, the vast forests, wild waterways and pristine lakes as yet untouched by the threatening advance o f civilization."Ô tto emigrated from the German state o f Saxony in 1912, intending to spend three years in Canada. His intent was to explore the forests and experience the hunting and trapping prospects in western Canada. Little is known o f Otto's education or personal background in Germany, but he quit his job as a forester to experience life abroad. In keeping with O tto's purportedly masculine character, he intended to settle in the northern wilderness and test his prowess as a fur trapper and hunter. He specifically chose the western Canadian province o f Alberta. With the advent o f W W I, his threeyear residence abroad turned into, in O tto's own words, "a nine-year adventure."^ This article will look at Max O tto's alleged experiences in the Canadian province o f Alberta between 1912 and 1921 as portrayed in his four major books. These are In kan adisch er W ildnis (In the Canadian Wilderne.ss), 1923; Trapper u ndFarm erleh en in kan adisch er W ildnis (Trapper and Farmer Life in the Canadian Wilderness), 1925; In K a n a d a s U rw aldem u n d Prdrien (In Canada's Primeval Forests and Prairies), 1926; and D a s