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Theater captures the essence of human experience, which is not visible, so that the light becomes a prominent and effective presence. Silent may be undesirable in life, so silent in the theater is replaced by silence to take a philosophical dimension -as in the absurd -or a dramatic position inclose personal alienation -as in Monodrama-. This research focuses on the format of silence in theatrical performance as one of the basic pillars associated with the performance process, and try to analyze and interpret and identify the mechanism through some of the performance models of the play with the aim of activating the investment and use it in the best performance in theater.

This study attempts to investigate the process of canonization that Ionesco‟s initial play went through by means of Martin Esslin‟s famous work of theater criticism that labeled the unknown plays of the 50‟s “absurd”. The present study argues that Esslin‟s attempt to canonize these plays under the label of The Theater of the Absurd did not do justice to the ethical perspectives that these plays set forth. My contribution to this topic will be focusing on a postmodern performance by Jean-Luc Lagarce to try to elucidate how his performance of The Bald Soprano challenged the pre-judged attitude of the audience through challenging the previously established beliefs concerning the Theater of the Absurd. The semiotics as the study of the way meaning is created will be drawn on. In The Semiotics of Theater, Erika FischerLichte outlines the internal theatrical code at three different levels of system, norm and speech. Here, the emphasis will be on speech to illuminate the staging by Lagarce and explain how a classic work precipitates postmodern production from within the established canon.

Drawing on the work of Albert Camus this paper offers a critique of certain discourses around ‘novel ecosystems’. These new species ‘assemblages’ are frequently defended, or even celebrated, as exemplifying resilience and adaptability to the environmental repercussions of a global situation inaccurately glossed as ‘The Anthropocene’. Here the increasing prevalence of economically generated changes, including the accelerating translocations of species, are set against earlier conservation values emphasizing protection of ‘natural’ and ‘native’ ecologies. The proliferation of novel ecosystems, together with an instrumental emphasis on their functional, ‘pragmatic’, and economic benefits, appears to make environmentalists’ ethical concerns about the loss of endangered others seem ‘absurd’ and frames conservation as a Sisyphean task. Yet Camus early work provides arguments for ethical / political resistance in just such absurd and extreme circumstances.

“Story of Sanatorium Zone” by Mykola Khvylovyi, fi rst published in 1924 under the title “Sanatorium Zone”, has been considered in two interconnected contexts – the one of European modernism of the initial decades of the 20th century and that of the so-called Ukrainian ‘latent’ modernism of the 1920s – 1930s. The mentioned fact of the story’s relation to the ‘sanatorium’ theme in the works of European writers (“The Magic Mountain” by T. Mann, “The Last Chapter” by K. Hamsun, “Sanatorium” by S. Maugham, “Sanatorium under Clepsydra” by B. Schultz, “Health-Resort Visitor” by H. Hesse) is considered as a testimony of the writer’s concentration on the confi ned area, which is one of the conceptual signs of the modernist aesthetics. The analysis of the confined space, shown in the story, is carried out in several aspects: a) a metaphor of ‘zone’ as a factor of forming the semantic field of the confined space; b) typology of confined spaces: pragmatic, prophanic, social and historical, space of memory, existential, mythological, absurdist; c) relation of the sanatorium space to the out-of-sanatorium one, frontiers and borders, verticals and horizontals, collision ‘inside/outside’; d) composition of the textual space of the story (frame composition, the beginning and the end as compositional elements, assembly, principle of counterpoint, doubling of the narration subject; e) the structure of the confined space as a Text (‘beginning/end’ as structural component, binary oppositions, intertextuality – ‘autointertext’, intertextual ‘Dostoyevsky’ palimpsest). The analysis of poetics, structure, and semantics of the confined space in “Sanatorium Zone” gives the basis for marking the innovative role of the story by Mykola Khvylovyi in the establishment of the Ukrainian model of modernism.

This essay examines two oppositional figures in Paul Beatty’s debut novel, The White Boy Shuffle (1996), and most recent novel, The Sellout (2015): the exalted race leader and the excoriated race traitor. Positioned at extreme ends of the spectrum of exceptionalism, these figures function to perpetuate a phenomenon that the essay’s author terms the necropolitics of black exceptionalism, the paradox of justifying the violent oppression of the majority of black people by celebrating or censuring a single black figure. In exploring the absurd dimensions of these extreme figures through the lens of satire, both novels denounce black exceptionalism as a necropolitical tool of oppression that entrenches the social death and civic exclusion of black people in a modern US society that purports to be color-blind and postracial. Emerging within the postmodern turn of the African American literary tradition, these novels take on a nihilistic tone to raise questions about how the black community might effectively (if at all) achieve civil progress in the contemporary age. Ultimately, these satirical novels reimagine historically necropolitical spaces, such as the basketball court, the plantation, and the segregated urban neighborhood, as potential, albeit vexed sites of black agency, empowerment, and community building.

O objetivo deste trabalho é tecer algumas considerações sobre as temáticas da identidade, da alteridade e da civilidade no conto “Maria”, de Conceição Evaristo, publicado no livro Olhos d’água (2014). A análise pretende responder de que modo, e em que medida, a constituição identitária de Maria e a sua alteridade, configurada na relação com os outros que a cercam em um ambiente público, como o ônibus, contribuem para a violência a que se vê exposta. Do mesmo modo, o esvaziamento da civilidade, nas sociedades como um todo, é mais um fator que discutimos no artigo, pois sua ausência promove a hostilidade e desestabiliza as relações de afeto que podem humanizar a convivência entre indivíduos. Além disso, propomos uma reflexão sobre a alteridade na sociedade contemporânea, onde as relações são mais fluidas, as redes de afeto mais frágeis, a solidão e a incomunicabilidade, por vezes, uma constante, o que acaba por resultar na falência da civilidade.

I begin with a not so empathic inquiry into Camus’ fictional character Mersault, examining the extent to which I think it is primarily the character’s Absurdist (and therefore amoral) philosophy th...

Problem and goal. The article substantiates the psychological and pedagogical potential of modern children’s literature, which has an absurd and humorous orientation, and provides guidelines for the inclusion of such works into the teenagers’ reading list. The problem is caused by active discussion in pedagogical circles about educational and socialising functions of absurd children’s literature. The purpose of the article is to determine the content and methodological approaches to the study of modern literature addressed to the child-reader and based on the tradition of absurdity (based on works by K. Dragunskaya, G. Oster, A. Givargizov). The methodology of the article is the analysis and synthesis of scientific and methodological literature on the issues of children’s reading, as well as a description of experimental work, including ascertaining experiment (survey) and search experiment (project activities for the organisation of extracurricular reading of 5th grade students). Results. On the basis of modern approaches to the educational process a methodical model is developed, focusing on the inclusion of works of an absurd nature into the children’s reading list. The functional significance of such texts associated with the concept of «laughter therapy» is substantiated, and the main content aspects important for discussion with students are indicated. Conclusion. The author’s concept of the study of modern absurdist children’s literature proposed in the article can be implemented in the practice of school literature teaching in order to achieve important psychological and socialising goals.

On World Philosophy Day, November 15, 2018, the Institute of Philosophy of the Russian Academy of Sciences organized the international conference on the Russian classic writer I.S. Turgenev (“Ivan Sergeevich Turgenev: A Philosophical Writer and Political Philosopher. On the 200th Anniversary of the Birth”). During the plenary and two breakout sessions, speeches were given by philosophers, cultural researchers, historians ofRussia,USA,Germany,Austria. The conference’s attitude to the consideration of the multifaceted heritage of the great Russian writer made it possible to highlight in the modern historical and cultural context many aspects of Turgenev’s work, to rethink stereotypes existing among researchers and in the mass consciousness regarding Turgenev. At the conference, Turgenev was presented as a political thinker, a liberal who embodied spiritual asceticism, a supporter of the dialogue of cultures, a “Russian European” who does not accept “new barbarism” in all its manifestations from radicalism to Russian exclusivity idea. In the reports and speeches, attention was drawn to the cultural bilingualism inherent in Turgenev, his ability of non-biased artistic and philosophical observation, which enabled him to analyze the then state of minds in Russian society, to foresee many collisions inherent in the national historical process in the 20th – early 21st centuries and world cultural trends engendered by the “uprising of the masses,” to anticipate the drama of the absurd. At the conference, among the discussed topics were the themes of nihilism and loneliness, viewed through the prism of the existential experience of the writer and world literary characters.

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

Reasoning about ideological criticism through literary work can be seen from how the literary work represents the ideology of the author as a critical form of social dominated ideology. The matter is when the criticism exactly shows paradox with what the author delivered, so the type of ideological criticism has been described by the author with real literary work which uses language as a medium. Therefore, the author's subjectivity of literary work is just symbolization which forms as post-ideology and it is termed by Žižek as cynicism which only appears on the level of ideological fantasy. This matter is applied by the researcher to analyze Danarto’s short story Godlob. This research focuses on Danarto’s ideology which is offered as radical acts by the characters. This research method leads to textual and objective analysis to detect radical action in Godlob Short Story. The result of the textual analysis is presented with the subjectivity of the author, which produces harmony as well as the paradox of radical action. This is what described in the discourse of Danarto's short story Godlob about; (1) how the radical actions of the characters are depicted in the Godlob short story, and (2) how ideological fantasies are generated through the encounter of both literary subjects in the Godlob short story. The goal is to see that ideological criticism through literary works is not only through the phenomenon but also through the reality itself. In other words, by analyzing radical action textually and then confronted with the author's subjectivity, the paradox of ideological criticism can be embedded in the discourse of this study. Based on the analysis, literary works as a criticism shows how ideological fantasy comes as a result of the cynicism of the author. Danarto seemed to be immersed in an ideology that he criticized in his work.

An unpublished piece of prose in the style of Romanian writer Urmuz has rekindled my interest in absurdist writings and/or absurd cases which, in Romanian culture, are associated with the likes of Urmuz, Caragiale or Ionesco. I will ponder here, with the aid of the aforementioned authors and also by comparing their work with Lewis Carroll’s, the absurdist spirit of certain Romanian literary and dramatic pieces, or only of certain scenes therein, to propose a typology of the absurd as distinct from satire (the latter often a companion piece to the former). Mine is an investigation that crisscrosses texts, cultures and ages more than it offers an in-depth analysis by recourse to concepts and theories; asks questions more than it offers answers; plays more than it does sober research; and laughs – lest it should weep.

In order to demonstrate an aspect in which the novel is relatable to the canon of absurdism and enrich the view of dimensions in which it functions, the purpose of the following article is a reading of Flann O’Brien’s The Third Policeman in relation to the Absurd as an ontological category of existentialism and absurdism. Firstly, some assumptions already made on account of the novel are introduced. Secondly, the relevant and chosen characteristics of the Absurd are summarized in relation to Kierkegaard’s and Camus’s conceptions of the Absurd. Then, the novel is interpreted in relation to the insufficiency of human knowledge and rational thought in terms of achieving comprehension transcending existence. Lastly, the novel is interpreted in relation to the narrator’s fear of death, with death as an element transcending existence and adding to its irrationality. Overall, the way in which the novel depicts a specific contraction resulting in the Absurd is illustrated.

In the paper, the author has provided the hermeneutical analysis of the play “The Dresser” (1980) by English playwright Ronald Harwood. It has been investigated that in this literary work, the writing of which was finalized in postmodernism, there are philosophical features of postpostmodernism. The role of Shakespearean intertext in the play has been outlined. A number of provisions on the features of post-postmodernism in English literature of 1980s has been clarified, as well as features of connection between postmodernism and neo-fabulism as one of the directions of post-postmodern literature. In the aspect of the development of B. Shalahinov’s literary approaches regarding the specificity of the interaction of two metaforms of world culture – carnival and mystery – in the play “The Dresser” has been spotlighted. The representation of existentialistic features in the outlook of the main actor (Sir) in the play, as well as King Lear, played by Sir, has been revealed. It is emphasized the explication of Shakespearean masks system as intertextual manifestations in order to counter the absurd reality and lift above it. The features of the humanistic worldview in the outlook of the main actors of the play have been described.

Many instances of art are valuable. Where is this value located? And how is it to be justified? In this paper I reconstruct and critically assess Albert Camus’ answers to these questions. Camus’ theory of the value of art is based on his “logic of the absurd”, i.e., the idea that the human condition is absurd and that we therefore ought to adopt an attitude of revolt. This idea entails that art lacks any intrinsic value. Rather, Camus argues, art is valuable only insofar as it promotes creators’ or recipients’ awareness of the absurd and their attitude of revolt. The main problem with this theory is that it exaggerates the significance of the logic of the absurd for art. Even if the human condition is absurd and we ought to revolt, artistic value cannot plausibly be reduced to these facts.

The irreverent, bizarre and deeply political work of Instagram meme artists serves as a potent rejoinder to the claim that “the left can’t meme” In their commitment to a constantly moving mix of politics and absurdism, IG memers have something in common with the Alt-Right despite their completely opposed politics. Many of these well-followed accounts have developed a signature brand of humor and aesthetics while cultivating loyal fans. These “meme lords” are part of a recent wave in online culture I’m calling “weird Instagram.” Named for Facebook precursor, weird Instagram might best be differentiated by the much greater inclusion of self in meme production. In this paper I’ll discuss this phenomenon in its platform specificity, using the work of two prominent meme artists to exemplify the phenomenon.

Metamorphosis is one of Kafka's representative short stories. It mainly reveals the alienation of modern western society through the absurd story of the protagonist Gregor Samsa turning into a beetle. From the perspectives of self-alienation, the alienation of living environment, the alienation of interpersonal relationship and the alienation of the relationship between man and nature, this paper discusses the squeeze and distortion of human beings in the western capitalist society, and reproduces the true picture of the abnormal society.

The paper reads Stoppard’s work in the 21st century as further testimony of the gradual politicisation of his work that began in the 1970s under the influence of Czech dissidents, and particularly as a result of his visits to Russia and Prague in 1977. It also provides evidence that Stoppard, since the 1990s, had begun to target emotional responses from his audience to redress the intellectual cool that seems to have shaped his earlier, “absurdist” phase. This turn towards emotionalism, the increasingly elegiac obsession with doubles, unrequited lives, and memory are linked to a set of biographical turning points: the death of his mother and the investigation into his Czech-Jewish family roots, which laid bare the foundations of the Stoppardian art. Examining this kind of “phantom pain” in two of his 21st-century plays, Rock’n’Roll (2006) and Leopoldstadt (2019), the essay argues that Stoppard’s work in the 21st century was increasingly coloured by his biography and Jewishness—bringing to the fore an important engagement with European history that helped Stoppard become aware of some blind spots in his attitudes towards Englishness.

V razpravi primerjamo dve drami: poetično filozofsko dramo Antigona Dominika Smoleta (1929–1992), ki je leta 1960 imela premiero na Odru 57 in je usodno zaznamovala razvoj slovenske drame, in satirično igro Děvka z města Théby (Prostitutka iz mesta Teb) češkega dramatika Milana Uhdeta (roj. 1936) iz leta 1967, ki so jo samo kratek čas izvajali v praškem in brnskem gledališču, potem pa so jo zaradi ruskega vdora na Češkoslovaško in totalitarnega režima prepovedali. Med dramama ni realne povezave in ne moremo govoriti o možnih vplivih, razkrivajo pa se neverjetno podobna medbesedilna izhodišča in idejne povezave: obe se motivno in tematsko navezujeta na Sofoklovo in Anouilhovo Antigono (ta je imela na Češkem po vojni še večji uspeh kot v Sloveniji). Oba dramatika filozofsko izhajata iz eksistencializma in absurdne dramatike (prav te oznake se pojavljajo tudi pri poznejših analizah njunih dram). Češki filozof Patočka je izpostavil tezo, da v 20. stoletju dominira problem Kreonta in tudi v obravnavanih dramah Kreon postaja osrednji protagonist oz. antagonist. V analizi se osredotočamo na lik Kreonta, ki v obeh dramah postaja glavni »igralec« v dramskem dogajanju in tudi osrednja figura, ki se giblje na območju zla, kar razkriva njegov diskurz in dinamika odnosov z drugimi postavami. Njegova osebnost se v dramskih situacijah pogosto oblikuje v nasprotjih in njegova dejanja izražajo notranji konflikt. Kreon je v obeh dramah zanimiv tudi zaradi političnih konotacij: njegov problem lahko razlagamo kot tipičen problem socialističnega oblastnika.

O presente artigo pretende analisar o conceito de “lei” na obra de Franz Kafka, suas múltiplas interpretações, bem como a dificuldade dos personagens kafkianos em compreender a função e significado da “lei”. Diante das inúmeras dificuldades dessa investigação, analisaremos os processos de angústia, culpa e agonia que surgem dessa tarefa contínua, bem como de que maneira tais afetos são também, em grande medida, formas de expressão da “lei”. Analisaremos ferramentas de enfrentamento dessa dificuldade em identificar tanto a regra quanto a ação correta, bem como buscaremos compreender os impasses desse contínuo método de produção do significado, no jogo da significação e da construção simbólica do mundo. Por fim, diante da contínua e inesgotável necessidade de identificação da “lei” e de interpretação de seus significados, analisaremos a possibilidade de uma interpretação literária presente na filosofia de Albert Camus para interpretar a angústia do homem kafkiano, na luta por reencontrar ou reconstruir o espaço da plenitude “metafísica” perdida. Ao final, concluímos que, diante da agonia inevitável da incessante necessidade de identificação e interpretação da “lei”, é viável, no plano filosófico, a interpretação de Albert Camus sobre o esforço absurdo, para dar sentido à tarefa de viver de acordo com regras.

Albert Camus (1913–1960) stands as one of the famous pioneers in the French history of existentialism. He was a novelist, political activist, essayist and editor, as well as a journalist and playwright. Although he was described as philosopher, he often denied this ascription. Through his professional and creative expressions, Camus focused on questions of existentialism, the aspect of the human fate, and meaning in life, death and suicide. These existential questions have experienced a strong revival during the Covid-19 occurrence. This psychobiographical approach aims at understanding Albert Camus' life and work in the context of the terror management theory of Becker and Wong's 4 pillars of PP2.0 theory, namely virtue, meaning, resilience and well-being. Both theories have gained importance during the pandemic. Based on the findings of the research study, implications for future research in the context of the pandemic are given. Finally, this article provides recommendations and best practices on how to approach the Covid-19 pandemic from a terror management theory and PP2.0 perspective in the light of Albert Camus' philosophy. The contribution of this psychobiography is two-fold: first, it expands psychobiographical research on Albert Camus from absurdist and existentialist theories and thereby expands the theoretical framework of psychobiographies. Second, it aims at strengthening the importance of theoretical psychobiographical investigations and their application in real-world scenarios to address complex contemporary challenges on the basis of existentialist positive psychology theories.

The quest for reconciliation in South Africa is an exercise in the absurd. To say it is an exercise for the absurd might also have some merit. Like Sisyphus, the figure in Greek mythology, those engaged in the quest for reconciliation are condemned to repeat forever the same, in some cases, meaningless task of pushing a boulder up a mountain only to see it roll down again. This is amid the human propensity to forever search for meaning irrespective of the incongruity of the ideal and the absurdity that defines our existence. The illogicality of apartheid and the subsequent pain and alienation continues to be a defining feature of a country trying to come to terms not what it ought to be, but what it is – chaotic, irrational and sometimes meaningless. In this context, Rustenburg is a symbol of the audacity to dream of something beyond the absurd. Moreover, invoking a theology of reconciliation to achieve something extraordinary amid an uncertain future.

In this crisis of the COVID19 pandemic, for which the public and private educational system was not prepared, the measures of confinement and social distancing forced us all to experiment with various distance education strategies. The experiences have been diverse, between the absurd and creative. The digital transformation of our societies has been underway for a long time, and it has accelerated in recent years with the advance of many emerging technologies. These emerging technologies to address covid-19-like pandemics challenges in education systems been-or is being-implemented in several countries. This paper introduces the digital transformation of education and the significant trends in technologies applied to education. We track current the education systems’ response to COVID-19 across the world and in Canada and Russia, particularly.

Применение метода истории понятий (Begriffsgeschichte) продуктивно для выражений, имеющих автора, но значение которых определяется переменами в философии культуры. Термин «онтология слова», введённый Густавом Шпетом, был обоснован радикальной реформой гносеологии, которую произвёл этот философ. Эта реформа была критически исследована В. В. Бибихиным, что позволило уточнить проект Шпета как остраняющий онтологию и гносеологию одновременно ради создания работающей логики культуры. Также онтология слова получила развитие в кругу «чинарей», где она оказалась вписанной в общий проект негативной онтологии уже как самостоятельная логика культуры. Но современная философия культуры может уточнить и этот проект, уже не на уровне самой онтологии и гносеологии, но их репрезентаций. Современные проекты онтологии слова стали убедительными благодаря сложно проделанной интеллектуальной работе, в которой разрывов больше, чем связей, но благодаря одинаково устроенным уточнениям онтология слова состоялась как критический принцип логики культуры., The application of the method of the history of concepts (Begriffsgeschichte) is productive for expressions with authorships, but the meaning of which is determined by changes in the philosophy of culture. The term ontology of the word, introduced by Gustav Shpet, was justified by a radical reform of epistemology, which this philosopher produced. This reform was critically examined by Bibikhin, which made it possible to clarify Shpet’s project as defusing ontology and epistemology both for the sake of creating a working logic of culture. Also, the ontology of the word was developed in the circle of Chinari, where it was included in the general project of negative ontology as an independent logic of culture. But modern philosophy of culture can also clarify this project, no longer at the level of ontology and epistemology itself, but at their representations. New projects of the ontology of the word have become convincing through the complex intellectual work in which there are more breaks than connections, but thanks to the equally arranged refinements, the ontology of the word now exists as a critical principle of the logic of culture.

A majority of humans possess innocuous minds, preoccupied by hopes, beliefs and absurd imagination (Fig. 9.1), yet susceptible to misconceptions and lies, denoted by Chomsky and Hermann 1995 as manufactured consent.

In my essay, I present my own work as a playwright, which stands at the intersection between surrealism, the absurd and pataphysics. I establish esthetic and philosophical distinctions between these three literary schools and movements. But I also stress the fact that they are never mutually exclusive: instead, they complement each other in the creation of an original language that exceeds the narrow boundaries of realism and rationalism. I then study the issue of ludics by showing that it holds a definite power of transgression. This transgression is both of a linguistic and of a political nature. In my perspective, ludics necessarily includes a form of critical thinking that engages the theatrical text within the community and radically questions the values and the norms of both the social order and mainstream culture.

22 p. -- Bibliogr.: p. 21-22 Harold Pinter’s 'The Birthday Party' and 'The Room' have very frequently been read as absurdist plays, being Martin Esslin’s 'The Theatre of the Absurd' the reference work for such interpretation. Nonetheless, the aforementioned plays have scarcely been analysed from the point of view of the realist literary current. Attempting to cover such gap, this article provides an interpretation of 'The Birthday Party' and 'The Room' as realist plays, revealing the early Pinter as the ultimate realist playwright. By drawing on evidence from the text and reliable literary criticism on the matter, the following lines offer an analysis of two crucial elements of Pinteresque early oeuvre that have been frequently tackled, namely the communication between characters and the lack of verification, showing that these are deeply committed to represent real life. Furthermore, the text explores how the political element is expressed in these two plays, inferring, by its non-didactic nature, that Pinter seeks to illustrate real life without interfering on it. As a result, the complete analysis leads to fulfil the premises of the thesis.

Shakespeare’s dramatization of villainy in Richard II is an enthusiastic accumulation of the seeds of iconoclastic rebellion that will appear in Nietzsche’s theory of the unhistorical man next to the irrationality of the theater of the absurd, precisely with Brecht. Shakespeare’s new idea of history seems to be contingent on disconcerting the teleological impression about his text as an English chronicle with a view to reconnect with the human beyond conformity. It is in this light that Richard II displays the importance of villainy as sine qua non for the subversion of the enduring Christian time-consciousness. Shakespeare’s history drama therefore permeates a philosophical performance of a subjective time-consciousness which transcends the overthrow of English kings into a larger irony about the repressive will of their socio-political world.

Este trabalho analisa a estética minimalista do Teatro do Absurdo empregada para transformar a peça-poema Morte e Vida Severina em animação cinematográfica 3D. Nesse sentido, analisa-se a produção de uma mise-en-scène marcada, audiovisualmente, por um existencialismo essencial e universal. O enfoque esteve em elementos sonoros e cores monocromáticas que universalizam o sertão através do sentimento de espanto, da sensação de  silêncio  e  vazio  e de  uma  monotonia  existencial.  A  partir  dessas  percepções  mais universais, discutimos como a estética minimalista universal, oriunda do Teatro do Absurdo, se atualiza no cartunismo xilográfico de Serpa. Analisamos ainda como essa técnica, oriunda do Nordeste brasileiro, ajuda a retratar a complexidade e a sofisticação da tragédia humana, em um mundo pós-conflito. A tragédia humana, por sua vez, se atualiza em diferentes eventos históricos, épocas e sociedades. Neste trabalho, vemos o sertanejo Severino se tornar um homem universal, vivenciando no sertão a sua trágica versão de um mundo absurdo.

The theme of death has always been present in the history of philosophy and is also present in Sartre's existentialist texts. The main work that deals with death is: “The being and the nothingness” of 1943, on which this article is concentrated. In this work, death is seen as the limit for nadification. However, the important conception of atheistic existentialism in the work “Existentialism is a humanism” also stands out, in which death is presented as an end, without the postmortem perceptions of Christianity. It will also deal with the text “Nausea”, as a way of thinking about death and its absurdity. The theme of the absurd is also described in the work “The being and the nothing”, and it is the first key for reading this phenomenon of the limit of life, but which is still life. One last issue to be addressed, and no less important, is being-for-another, the conception of my death faced by the other, and how this other reacts and underlies, in a sense, my own death.

This article aims to develop a brief explanation on Beckett’s theatre, how this famous Irish author had read Dante’s Divina Commedia and how deeply this literature had influenced in some aspects (especially aesthetical and narrative) the compositions written by Beckett, as well as to identify some correlations between the literary trajectory of Beckett and the purgatorial experience developed by Dante. In both authors there is a way through which their characters face the universal forces and the possibility to overcome their sins, purify their souls and achieve another state of narrative/personal living. It is not possible to track this path without facing Joyce as a middle term between the Florentine author and the Dubliner one, not as a kind of ascending level, but as a bridge that connects them particularly through the Joyce-Beckett partnership in Ulysses and how Beckett was introduced to the Commedia , probably in 1923-24.

This study aims to reveal the absurdism value contained in the show Pelukis dan Wanita by Adhyra Irianto. This study uses a descriptive analysis approach with qualitative research methods. The theoretical framework chosen to answer the research questions is the concept of dramatic structure and the concept of absurdism. Several conclusions resulted from this research, namely, Pelukis dan Wanita by Adhyra Irianto has an indication of absurdism from play texts to performance texts. Painters and Women have plots that are not circular or circular, conflicts without certainty, unbalanced characters and unresolved ending. The indications of absurdism depicted in this work are irregularity, uncertainty and imbalance.

I’ll always remember consoling a couple who had recently lost their child to leukaemia. Less than 10 minutes later a lifelong smoker was telling me they were expecting their centenary birthday card from the Queen. An individual working as a GP runs the risk of becoming an automaton. Evidence-based medicine and professional standardisation contribute to uniformity and, by definition, a reduction in diversity. It is both risky and strenuous to act outside of established clinical behaviours, and instead we acquiesce. The automaton GP is unable to deviate from the prescribed sequence of actions but can sleep easy at night without contemplating the true terror of clinical life. Nevertheless, it may only take one tragic clinical outcome to change a clinician and undermine their entire mode of practice. This brief moment of reflection is dangerous: we decide whether working in a familiar yet obscure world is more preferable than becoming a stranger in our own …

Trabalho de Projeto Submitted by Anabela Novais (anabelanovais@eseig.ipp.pt) on 2020-09-11T11:32:57Z No. of bitstreams: 1 DM_TomasCunha_2020.pdf: 51109029 bytes, checksum: de809e3b8008fe6ea70b54a1420410db (MD5) Made available in DSpace on 2020-09-11T11:32:57Z (GMT). No. of bitstreams: 1 DM_TomasCunha_2020.pdf: 51109029 bytes, checksum: de809e3b8008fe6ea70b54a1420410db (MD5) Previous issue date: 2020-07-26

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.