Existentialism, Absurdism, Surrealism

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"It is a common experience that a problem difficult at night is resolved in the morning after the committee of sleep has worked on it." --John Steinbeck Scientific research confirms what people have always known: answers, ideas, and inspiration do come to us in dreams. Harvard psychologist and world-renowned dream specialist Deirdre Barrett, Ph.D., offers this rich collection of examples of how the world's most creative practitioners in art, music, film, science, literature and other fields have used the revelations of their dream life to inform their work. Dr. Barrett offers insights showing us how to encourage lucid, meaningful dreaming, and how to apply the meanings of our dreams to solving problems--from the everyday to the extraordinary. This is the stuff dreams are made of. In the visual arts, Jasper Johns couldn't find his unique artistic vision until he dreamed it in the form of a large American flag. Salvador Dali and his colleagues built the startling new genre of surrealism out of dreams. Kubla Kahn dreamed the design for his stately pleasure dome; thousands of years later, Lucy Davis, chief architect at a major firm, continues the tradition of dreaming designs into life in her extraordinary buildings. Film is a fertile avenue for dreams: "Twice I have transferred dreams to film exactly as I had dreamed them," confides director Ingmar Bergman, as have Federico Fellini, Orson Welles, Akira Kurosawa, Robert Altman, and John Sayles. From Mary Shelley's terrible nightmare, which became Frankenstein, to Stephen King's haunting dream as a little boy, which led to his first bestseller, countless writers have consulted the Committee. Musicians from Beethoven to Billy Joel and Paul McCartney have whistled the Committee's tunes. In science, physiologist Otto Loewi dreamed the medical experiment that earned him the Nobel Prize. In sports, Marion Jones dreamed she'd broken a world record, then brought the dream to life. Gandhi translated his dream of resistance into a movement that changed the world. Since Freud, we take it for granted that our dreams reflect our past. In The Committee of Sleep, Barrett reveals how dreams can also tell us about our future potential--and how to reach it.

To step into the world of James Douglas Morrison (Jim Morrison), and attempt a psychoanalytical study of his poetry would mean diving into a dimension defined by lucid images, mostly lewd and obscene but also rich in allusions and description. They provide a visual treat, sometimes psychedelic, sometimes existential and largely absurd. His poetry appears absurd and surreal owing to the images he painted under the influence of drugs such as LSD (Acid), Heroin, and Marijuana. The result is an array of images, feelings and emotions usually vague and ambiguous and barely coherent. This adds to the beauty of the writing rather than hampering it since it is a slice of the writer's genius mind. Morrison's writings serve as study material for psychologists and students of literature alike. This essay will critically analyse the poem The Ghost Song by Jim Morrison in the light of the surrealist movement, counterculture, existentialism and a few theories of Sigmund Freud. It would be ineffectual to study Morrison's poetry without understanding the era he lived in and his influences. He was influenced by Friedrich Nietzsche, Allen Ginsberg, Jack Kerouac, Arthur Rimbaud and William Blake. He was also inspired by Native American culture. He considered himself to be a shaman. William Cook in his article Jim Morrison: A Serious Poet? calls Morrison's poetry "surreal" and "symbolic" (Cook). He says that "…there is a pervading sense of the irrational, chaotic and the violent; an effect produced by startling juxtapositions of images and words." (Cook). Cook elaborates on the "ambiguity of meaning" which he claims, expresses "subconscious thought and feeling." This statement will be studied later, with reference to Sigmund Freud and psychology. Cook analyses Morrison's poetry with reference to the various schools of philosophy and thought that the poet has touched upon. Morrison's era housed the counterculture which spread across the United States in the 1960s. It was a movement of rebellion and flouting societal customs. It saw the rise of college students protesting against the Vietnam War and violence. Students also began trying to spread the message of peace and love, which simultaneously included the use of drugs and

Publisher: One World Publication (US)
Winner of the Prix Goncourt du Premier Roman
Winner of the Prix des Cinq Continents
Winner of the Prix Francois Mauriac
Longlisted for the FT/OppenheimerFunds Emerging Voices Award
Published: 2013
ISBN-10: 1590517512
ISBN-13: 978-1590517512
pp 160; Price: $9.90
Reviewed by: Olatoun Williams

http://bordersliteratureonline.net/books/The-Meursault-Investigation

This essay charts the development of two entwined intellectual threads during the 1950s: the translation of European existentialism into an American idiom and what Nathan Hale describes as the “golden age of popularization” for psychoanalysis in the United States. I argue that, in concert, these two movements contributed to the erosion of the New Deal regulatory state by elevating psychological—rather than structural or socioeconomic—explanatory templates for social phenomena. In contrast to the literature of the long Progressive Era, in many works published during the 1950s the ego and its vicissitudes become the dominant template for understanding society and the self. Patricia Highsmith’s novels provide a nodal point for this political and intellectual history as she recasts representations of violence, murder, alienation, class envy, and social mobility in ways that both represent and helped define the legitimation crisis of the regulatory state. Highsmith repudiates a narrative world governed by structural or environmental conditions and—in contrast to literary naturalists like Theodore Dreiser and John Steinbeck—presents the darker corners of human experience as phenomena of the largely autonomous, internal arena of an existential psyche. These shifts in literary tastes, the essay argues, augmented the weakening intellectual purchase of an interventionist New Deal reform agenda during the 1950s.

RESUMEN:
En el presente trabajo se trata el problema de la vivencia emocional, se indaga la naturaleza de la conciencia emotiva, es decir,  la conciencia de la emoción desde una perspectiva fenomenológica, siguiendo principalmente el pensamiento de Sartre en su obra “Bosquejo de una teoría de las emociones”, obra  sigue la tradición fenomenológica de Husserl, haciendo énfasis en las contradicciones en que incurre la teoría psicoanalítica. Se busca evidenciar cómo la conciencia emocional es ante todo  conciencia del mundo.
Referencia:
VÁSQUEZ ROCCA, Adolfo, “Sartre; Teoría fenomenológica de las emociones y conciencia posicional del mundo”, En Revista NÓMADAS. Revista Crítica de Ciencias Sociales y Jurídicas - Universidad Complutense de Madrid
|  Nº 36 (2012. 4)
Dr. Adolfo Vásquez Rocca

The Metamorphosis" is arguably, the most popular work of Franz Kafka and through it we are introduced to the literary genius of Kafka. The Metamorphosis is a novella about the miserable turn of events for a travelling salesman, Gregor Samsa, who finds himself transformed into a vermin after having unsettling dream. Metamorphosis is a notable work in the category of "Literature of the absurd", that delineates human condition, essentially absurd. Case in point, when Gregor found himself transformed into an insect his first thought was that he has already missed his train and had to hurry up to catch up the train which was to depart in the next fifteen minutes, otherwise he would definitely lose his job. There are multiple themes, a reader can encounter while reading but what I felt conspicuous was Gregor's ability for "Self-loathing".

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?'

The classical Chinese novel had to undertake an arduous journey before it reached the hands of the English-speaking readership. This "journey to the West" will be studied on the example of the novel "Xiyou ji" 西遊記 ("Pilgrimage (or "Journey") to the West"), one of the most famous and most beloved novels in China and East Asia. The appearance of Arthur Waley's abridged translation in 1943 marked an event of great importance in world literature, in that it brought this masterly work to the attention of larger Western audience. However, it took another 40 years before the complete English version by Anthony Yu came into the world, followed shortly by W.C.F. Jenner. The paper compares the three translations based on selected passages and discusses them shortly from the point of view of the theory of translation (e.g., Schleiermacher, Benjamin, polysystem theory, Bassnett and Lefevere, Eugene Eoyang). Finally, it studies the process of recreation of this literary work in the English-language literature in the past decades. It becomes obvious that the Monkey-hero character has been transmitted into the new literary community, becoming a sovereign property of the English-language, and mostly American, literature.

Absurd stanowi kluczowy termin dla filozofii absurdu – obszaru myśli humanistycznej sytuującego się na styku filozofii i literatury, który, mimo iż obecny jest w dyskursie przynajmniej od połowy XX wieku, nie doczekał się systematycznego opracowania. Podobnie jak filozofia absurdu, absurd jest kategorią interdyscyplinarną. Chcąc metodologicznie wyodrębnić tę dziedzinę, należy przyjrzeć się kategorii absurdu, czemu poświęcony został niniejszy artykuł.

Celem tekstu jest przedstawienie możliwych sposobów rozumienia absurdu ze szczególnym uwzględnieniem absurdu jako kategorii egzystencjalnej, czyli metafizyczno-kulturowej (absurd ontologiczny).
Jeśli chodzi o strukturę pracy, na wstępie, z uwagi na polisemiczność pojęcia absurd (zwłaszcza w języku polskim) przedstawię możliwe sposobów jego rozumienia. W dalszej części scharakteryzuję absurd epistemologiczny (ujęcie logiczno-językowe), wcześniejszy wobec absurdu ontologicznego, który to stanowi właściwy przedmiot niniejszej pracy. Końcową część stanowi podsumowanie – rekapitulację wyłożonych treści oraz uzasadnienie metodologicznego wyodrębnienia filozofii absurdu jako filozoficzno-literackiego kierunku stanowiącego istotny obszar myśli humanistycznej.

Niniejsza praca stanowi podsumowanie interdyscyplinarnych badań z zakresu filozofii, literaturoznawstwa oraz filologii. Jest efektem analiz czołowych absurdystów: Alberta Camusa, Franza Kafki i Fiodora Dostojewskiego. Możliwie precyzyjne zdefiniowanie absurdu jako kategorii egzystencjalnej pozwala nakreślić obszar refleksji, w której samoświadoma jednostka doznaje absurdu. Poczucie absurdu to doświadczenie wybitnie osobiste i uniwersalne równocześnie, rodzi się z obcości świata i uniemożliwia funkcjonowanie w nim na dotychczasowych warunkach. Istotnymi problemami są: samobójstwo oraz kwestia (nie)istnienia Boga. Absurd dowodzi irracjonalności natury ludzkiej, mimo że nie deprecjonuje rozumu jako takiego, i nie jest stanem finalnie pożądanym.

Dogłębne zrozumienie tej kategorii filozoficznej pozwala na pełniejsze odczytanie kondycji ludzkiej
w XX i XXI wieku.

The aim of this paper is to give an existentialist reading to certain themes in Tolstoyan literature. For this purpose three themes have been taken up for discussion: Death, Desires and Faith and Morality.
Each of those three themes has been dealt with in three different segments in this essay.
In each of the three segments an attempt is made at interpreting that particular theme as situated in the works of Tolstoy in the light of Existentialist philosophy. In the first segment that deals with Death, the focus is mainly on the interpretation of Tolstoy’s ideas on Death in the light of Heidegger’s perspective on death. Ideas taken up for consideration in this segment are ‘authenticity’, ‘human finitude’ and ‘death of the own-most self’ as developed by Heidegger and dealt with in works of Tolstoy like The Death of Ivan Illytch, War and Peace and Anna Karenina. The discussion on death which begins and engages with the questions on meaning of life gets intertwined with the role of desires in providing a meaning to life. This leads to the second segment—a discussion on Desires. In the second segment, the focus is mainly on Camus’ idea of absurdity and the endeavour is interalia, to interpret the suicide of Anna Karenina in the light of Camus’ idea of absurdity. This discussion leads to questions such as “Who finally emerges as the moral hero of Anna Karenina?” and “If Tolstoy can be compared with Camus can he be categorised as an absurdist like Camus or he sides more with the existentialists like Kierkegaard and Shestov?” These questions are dealt with in the third segment of the essay on Faith and Morality. This segment concludes that though Tolstoy follows closely with Camus’ idea of absurdity, he does not follow him till the very end to draw identical conclusions as those of Camus. He diverges from Camus at a critical juncture and relates more with existentialist like Kierkegaard.

All these three discussions, though have an independence of their own, are inter-related such that one discussion leads to the other. The endeavour is to bring out a glimpse of the Tolstoyan way of life in its totality through these discussions on Death, Desires and Faith and Morality.

Absurdism deals with the crisis of human existence, that crisis which is made up by the endeavor of finding answer of a historical question. Pointing human’s natural tendency to find out life's meaning and fruitfulness as the main hindrance of happiness, absurdism says that human being have to conceive present situation as ultimate fate. Otherwise, sufferings will strike them by reminding that they are the controlled pieces of anything, it may be ideology or god, which absurdity revolts against. But being stable into the universal chaos is not the solution of happiness but the main barrier of it, because by the ups and downs of civilizations, human re-collects the spirit of being, “all is well” ; destroys human's hope and endeavor. Based on this phenomenon This article aims to evaluate, the subconscious entrance of absurdism  in the world through the progression of literary and philosophical aspects (hence, philosophy and literature are the universal company of human existence) . This whole overview will show, how from the beginning to ongoing expansion, it changes it's form of expression according to inanimate tendency of modern mind. Remaining indifferent within it's core “meaninglessness”( which nourishes infidelity in modern mind), it prevents human being to determined an objective goal and proceed them to an unending journey. As the representative of starting points Albert Camus’s The Myth of Sysiphus and The Stranger, besides the determined progressional point; Haruki Murakami's 1Q84 will be disputed for showing establishing remark of this uncertainty. Further overview will proceed on discovering solution, which may give fuel in human hope for existence, such as, acknowledging a third omnipotent existence

The term " absurdity " is very well known in literature and frequently used by the writers of post 2 nd World War. They use this term in the manner of its meaning or even more than that in their works. The effects of War and human sufferings from that caused absurdism to flourished and also spread Nihilism, meaninglessness, nothingness. The aim and motive of this paper is to prove that the idea of absurdism may be new which is observed by absurd writer on human bizarre situation, but the existence of absurdism was already been used in the writings of Elizabethan writers or before that. In these writers the king of drama, William Shakespeare was also one of the most prominent in whose writings the existence of absurdity can easily be traceable when he is well known for his tragedies and comedies. Although this existence was not noticed by or tagged by the writers or critics of that time as absurdism, there was its presence on the large scale. This paper is going to compare the level of absurdity among the playwrights of absurd and absurdism in the select works of Shakespeare. The idea here is that the writer who is still incomparable also created the levels of absurdity in his plays unintentionally without being aware of the notion of " Absurdism " .

A person's own inner most awareness and the movements within their awareness field bring forth their direct personal experience of their cosmological archetypal field of awareness. This spontaneous event is given to us within the archetypal realm of awareness. The archetypal dimension manifests itself as us, and reveals itself to us through our experience of its self-manifestation.

Η παρούσα εργασία στοχεύει αφενός στον εντοπισμό των φιλοσοφικών ζητημάτων που εμπεριέχονται στο κείμενο του Α. Καμύ Ο Ξένος, και αφετέρου, στην ανάλυσή αυτών των στοιχείων βάσει της φιλοσοφίας του ίδιου του Α. Καμύ σχετικά με το παράλογο, έναν παραλογισμό που, όπως δηλώνει ο ίδιος, έγκειται στη σύζευξη του ανθρώπου με τον κόσμο. Ο Ξένος αποτελεί εν μέρει τη μυθιστορηματική μεταφορά του φιλοσοφικού δοκιμίου του Α. Καμύ Ο Μύθος του Σίσυφου, ο οποίος είχε δημοσιευτεί λίγους μήνες μετά την έκδοση του Ξένου (Μάιος 1942). Τόσο το παράλογο όσο και η εξέγερση απασχολούσαν τον Α. Καμύ καθ' όλη τη διάρκεια της ζωής του, γι' αυτό και καταλαμβάνουν μεγάλο μέρος στο έργο του συγγραφέα, τόσο στα φιλοσοφικά του δοκίμια όσο και στα διηγήματα και τα θεατρικά του έργα. Το παράλογο, με το οποίο και θα ασχοληθούμε, εντοπίζεται κυρίως στα έργα του Ο

The life in post-war period has been adverse due to the sudden eruption of the World War II that inflicted human suffering. In the second half of the 20th century, human life has been awful, problematic and miserable etc. the paper is an effort to understand post-war human suffering. Harold Pinter, the absurdist playwright investigated the unfavourable circumstances in this period where every kind of predicament troubled the humans. Existential dilemma has been the foremost issue discussed in the paper; it kept post-war humans on shocking edges all the time. The other issues reflected in the paper are Identity crisis and Breakdown of communication which have been the factors for human absurdity. The issue of hegemony or domination found among individuals is revealed through the events of the play.

was a famous Irish dramatist and novelist. Waiting for Godotis his masterpiece. Although it is recognized as the masterpiece of theater ofthe absurd, it is filled with religious feelings of the writer.The play seems absurd but with a deepreligious meaning.His early education regarding religion had massive impact on his literary creations. "Original sin, salvation, second coming of Jesus and other themes in Holy Bible" among other religious discussions are echoed in this play.

Being and existence have been a major problem for post-war humans. The post-war individuals have been haunted by various existential predicaments, and so they have given up everything rather chosen to live life in solitude. The modern humans are seen unable to identify themselves and are deprived of communication. The psychological threat has been recurring them in all forms of life. Such problems have given rise to ubiquitous human suffering in the second half of the 20th century. World War I and II lead the mass destruction in the world and spread terror among the individuals in the 20th century, so life has been in complete chaos. Authors from all over the world investigated the cause and effect relationship of the World War I and II,  and described human suffering, disorder, chaos and pathos, terror threat etc in their respective formats

Twenty selected and illustrated essays, written over a period of fifteen years, dealing with Russian and Western Literature and Spirituality, Christian theology, monasticism, prayer, holy foolishness and the Orthodox Church. About half previously published, others written specially for this volume.

Artykuł stanowi rozwinięcie i dopełnienie badań zaprezentowanych w pracy „Ściany labiryntu. Systemy narracyjne Franza Kafki i Nikołaja Gogola” (Świerczyński 2020). Jego głównym celem jest zarówno przedstawienie i analiza gogolowskich inspiracji Franza Kafki (1883–1924), przede wszystkim na płaszczyźnie poetyki, jak i ugruntowanie świadomości owych wpływów, w granicach polskiego literaturoznawstwa, dotychczas raczej w nim niedostrzeganych. Punkt wyjścia stanowi analiza pojęcia absurdu w recepcji współczesnych badaczy ze szczególnym uwzględnieniem jego rozumienia przedłożonego przez Alberta Camusa (1913–1960). Autor prezentuje poszczególne filary konstrukcyjne stanowiące o absurdzie obecnym w diegezie utworów Kafki i Gogola (1809–1852), ogniskując swoją uwagę na jej dialektyczności, wszechobecności przemiany czy inherentnej niepewności stanowiącej rdzeń „metafizycznego horroru”, w jakim zmuszeni są funkcjonować Kafkowscy i Gogolowscy bohaterowie.

❧ Świerczyński, F., „Transfiguracje labiryntu. Absurd w poetyce Franza Kafki i Nikołaja Gogola”, „Studia Rossica Gedanensia” 2021, nr 8, s. 175–204.

❧ URL: https://czasopisma.bg.ug.edu.pl/index.php/SRG/issue/view/493/274

Painting`s main attribute is the ability to create an autonomous space, exploring a mixture of reality and the subjective inner world of the artist. My main interest are paintings that directly draw upon this ambiguity. Surreal and elusive images depicting both reality and the world of dreams cause fluid stages of uncertainty between recognition and discovery of the new and yet unseen. What are the pictorial and formal elements of such images? How and why does an artist create pictures with enigmatic and unresolvable messages, inviting an experience,
not to understand?

I argue that the philosophy of Jean-Francois Lyotard and the film "Brazil" are mutually enriching and illuminating when read in conjunction, particularly around issues of technocapitalism, private selfhood, nostalgia, and the concept of The Human

Este ensayo analiza la estética del absurdo en El obsceno pájaro de la noche (1970), de José Donoso. La presencia de tal estética en la novela aparece como desarrollo del van-guardismo de las primeras obras del Donoso publicadas en últimos años del los 50 y en los 60. El obsceno pájaro de la noche representa la cumbre de la primera fase del autor. Allí, el discurso irracional y fragmentado producido por la mente delirante del protagonista expresa la ausencia de sentido existencial como eje fundamental de la obra. This essay analyses the presence of the aesthetics of the absurd in José Donoso's El obsceno pájaro de la noche (1970). The appearance of such aesthetic category in the autho-r's novel is observed as deriving from the previous avant-garde engagements of Donoso's narrative, where experimentalism is discernible already in his early works from the late 50's and early 60's. El obsceno pájaro de la noche will appear as the culmination of Donoso's first phase, and where the irrational and fragmented discourse produced by the delirious mind of the protagonist will disclose the contradictions present in the novel as the direct expression of existential lack of meaning.

Quantum Theory has created new perspectives on reality in the human mind. The fact that the micro-world has different identities than the macro-world, as it emerges with Quantum Theory, has made the subject of reality, which underlies everything, more complex. Quantum Theory has demolished the deterministic world view drawn by classical physics, revealing a reality of reality. In addition, it has brought up new questions about customary laws to date, including logic rules because of the peculiarities of the electrons, which appear to have multiple characteristics at the same time. Absurdism is the philosophical view based on the confrontation between the human's aspirations and the desire for happiness and the indifference of the world. The absurdism considered in existentialism that emphasizes subjectivity, although it is based on Sören Kierkegaard, was identified with Albert Camus. The absurdity of Albert Camus was the basis of his philosophy. In this study, it will be examined whether the characteristics of quantum theory, which are evaluated as strange, support absurdity. For this purpose, firstly Quantum Theory and its scientific results, which were evaluated as strange, were revealed. Later, existentialism, absurdity of Albert Camus, and the absurdity of Jean Paul Sartre, explained the relationship of Quantum Theory with these views.

This paper studies the influence of a book held in Savinio’s personal library, La psicoanalisi by Enzo Bonaventura (Mondadori 1938), on the growing presence of psychoanalytic themes in Savinio’s works since 1940. Reading this book, Savinio takes up a Freudian conception of psychoanalysis, laying emphasis on topics like sudden surfacing of unconscious, Freudian slips, psychoenergetic, death instinct. This results in an empirical practice of psychoanalysis, averse to Jung’s archetypes, aiming to «give form to formless» of unconscious through a careful study of the indirect clues of daily life and affectivity.

This paper seeks to analyze two key Shakespearean Adaptations in Modern European Absurdist Drama. The texts being analyzed are Alfred Jarry's Ubu Roi (1896) and Eugene Ionesco's Macbett (1972). Written in very different styles and separated by a little less than a century, both plays offer a stark expression of the miseries and absurdities of human condition while also adapting the Shakespearean tale of ruthless ambition and power play Macbeth. It is pertinent to note that the two plays deal with Macbeth in different ways and in the process, revive the Shakespearean idiom to the tune of contemporary issues.

ABSTRACT (cfr. pp. 271-295)
The aim of this paper is to outline a first comparison between Derrida and Camus (author intensely read by the young Derrida, but rarely quoted in his works), within a complex approach about the historical-philosophical relations between existentialism and post-structuralism.
After a biographical comparison, analogies will be shown by textual analyses. They will concern: a) the function of writing towards philosophy (sensible feature of sign; singular style); b) an isomorphism between logical absurd in Camus and spectral feature in deconstructive reasoning; a parallelism in conceiving the subject as self-extraneity, and also in the question of the absurd freedom, referring to the ethical decision in Derrida; c) a common affinity with Nietzsche, regarding the above-mentioned analogies, which will be suggested too.
Even if tragic, Camus’s conception of the subject appears as a humanistic conception, very far from Derrida’s philosophy. Nevertheless in Derrida, between the lines of his writing, one can see a conception of the subject as a singularity that remains, resisting to its deletion. Both the authors show a sort of productive strain – continuously reconfiguring the subject – between recognition and escape from the impasse of the absurd.
The outcome is an original self-critical practice of reason, representing, at the same time, an ethical-existential form of engagement.
KEYWORDS: Camus, Derrida, writing, absurd, subject.