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Television which is the most common and popular media of the age in which technology developed fastly and signification fact on television is discussed frequently and it is told that television productions which are mostly concerned with entertainment includes absurdity. Many people watch television by not thinking and watch to spend enjonyable time and meanwhile relation between television and significance looks as a problem. Television productions which are directly watched to spend time or to enjoy by numerous people are produced far from opinion and make people to spend enjoyable time because of commercial care. Meanwhile significance leaves concept of television. Television programs which are designed by reducing think and knowledge and sigficance and with simple and insigficant but enjoyable materials to address more people and television productions approach absurdism which claims insigficant of entity and everyhing in life. Main approach of absursdism which can not find a significance God’s creation universe and entity, changes into exciting images in television productions which are watched not to understand and to increase gain of television channels. Significance is consisted with knowledge and think and experience and it can not be regarded in television productions which are designed with simple materials. Television provides facilities for messages to expand all over the World fastly but television is censured because of insignificancy which is main approach of absurdism and is defined as media which blocks to think. Television productrions are conveyed to people baseless of thinking or philosophical approach and television spectator watch television not by waiting a spiritual impression and these evidences verify the arguments.

This article was written within the educational project “The Virtual Museum of Writers of the Southern Urals” of the Federal State Autonomous Educational Institution of Higher Education “South Ural State University (national research university)”. The purpose of the museum is to identify and demonstrate the enormous literary potential of the Southern Urals. This article is based on the material of the creative work of the poets of Chelyabinsk, since they are the key personnel of the virtual museum. The purpose of the article is to investigate current literary tendencies related to the regional text phenomenon (mythologization of urban space, urbanism, autobiography of poetry) in the works of three generations of modern poetry of Chelyabinsk: older, middle and younger. The image of regional climatic features and landscape features is one of the current thematic trends for those older Chelyabinsk poets who continue the traditions of classical and Soviet poetry. At the same time, such emblematic figures of the regional literary process as N.F. Boldyrev, V.O. Kalpidi continue the avant-garde traditions, are engaged in the search for new forms of expression in poetry. So, N.F. Boldyrev experiments with genres of oriental lyrics (haiku), V.O. Kalpidi - with the synthesis of different genres and literature directions. The peculiarity of the poetry of the Chelyabinsk authors of the middle generation is the confession and autobiography associated with a specific locus - Chelyabinsk. Most poets of the middle generation entered the literary life in the 90s, which was reflected in their poetics in the image of chaotic and absurd everyday reality. In the description of the Chelyabinsk space, the authors of the middle generation (A. Samoilov, J. Grants) inherit the Lianozovo school tradition of capturing the life of the suburbs, minimalism and aestheticism of the authors of the Lianozovo group. For the younger generation (A. Manichenko, D. Masharygin, E. Obolikshta, R. Yapishin) the cosmopolitan myth becomes an actual tendency, in which the lyrical hero moves in the intertextual space uniting a multitude of cultural texts

espanolPara quienes somos no solo ciudadanos de una sociedad material sino tambien seres metafisicos, es imposible reducir el rol de la filosofia -como querria el marxismo- a una revuelta contra la injusticia economica, etica o politica, o incluso -como Kant y Husserl- a un conocimiento racional de los primeros principios o a una ciencia formal. Explorando la angustia y el absurdo, la filosofia existencial aborda las causas de la conciencia desdichada de lo existente singular: la muerte, la necesidad y la irrealidad. Es un acto de rebelion, una tentativa de superar las evidencias y de descubrir las posibilidades del vivir. EnglishIf we are not only members of a material society, but also metaphysical beings, it is impossible to reduce the role of philosophy -like Marxism- either to a revolt against our unfair economical, ethical or political situation or -like Kant or Husserl- to a rational knowledge of first principles or to a formal science. The existential philosophy, which explores the anxiety and the absurd, deals with the causes of the existing individual‘s unhappy consciousness: death, necessity and unreality. It is an act of rebellion, a tragic attempt to overcome self-evident truths and find the possibility of living.

The aim of the article is the presentation of some interesting and stimulating questions connected with the problem of eschatological codes in the Theatre of the Absurd. The main objective of this paper is to discuss the topos of Death in the Theatre of the Absurd. Because the subject has been underexplored so far, the author tries to triangulate the Theatre of the Absurd within the genre of drama first, and then moves on to the short reflection on chosen plays of Beckett and Ionesco, concentrating on the role that eschatological elements, funereal objects and eschatons play in them. The starting point of this paper could be called “eschatology of the Absurd” or “immortality deconstructed”. Meaninglessness, as the value of absolute meaning, the meaning (Sinn) and significance (Bedeutung) of Death in the Theatre of the Absurd, is also discussed. As a method of research, he proposes a short “collective phenomenological analysis”. To analyse the issue from a broad perspective, the author takes into account the relationships between the writers and their times, and refers to cultural sources, specifically the Paradox of Death in the Theatre –particularly in the Theatre of the Absurd.