Abstract An existentential nihilist paper on Albert Camus's essay on "An Absurd Reasoning." The paper focuses on Camus' major theme of absurdity with its relation to life and suicide. The paper uses quotes from Camus and examines the concepts of society and its ideal ethics.
From the Paper "Existential nihilist philosopher and 1957 Nobel Prize winner for literature, Albert Camus wrote an essay entitled ?An Absurd Reasoning,? where he suggests suicide is a solution to the absurd. As horrifying as it may sound and as absurd as it may seem, surprisingly, there is logic to his rather depressing theory. Due to society's concept and interpretation of suicide, Camus theory may and most likely be ignorantly disregarded. However, the purpose of this essay and perhaps also the impact may in doubt be able to reach upon and grasp further than the concepts of society and their ideal ethics. In order to grasp Camus theory, one must not understand but rather identify absurdity with its own parallel connection to the self. Without a reason to live and the absurdity in the pursuit of meaning, a simple conclusion may be drawn rather than sought, where suicide is the solution to the absurd."
A comparative analysis of the concept of absurdism in the characters of Meursault in, "The Stranger" by Albert Camus, and Gregor Samsa, in "The Metamorphosis", by Franz Kafka.
1,450 words (approx. 5.8 pages), 0 sources, 2009, $ 48.95
Abstract This paper discusses how Monsieur Meursault of "The Stranger" by Albert Camus is a prime example of a man who took absurdism to its pinnacle and established himself as an absurd hero. It also examines how Gregor Samsa of "The Metamorphosis" by Franz Kafka can also be viewed as a follower of the absurd, although the concept of absurdism was not fully developed at the time of publication of the book. The paper contends that unlike Meursault, who adheres to revolt, freedom, and passion completely in a free, wide world, Gregor must accept the consequences of the absurd in a limited, locked chamber in a transformed state, which in turn compels him to assume an incomplete disposition of revolt.
From the Paper "Gregor Samsa, after his transformation from human to vermin, is forced to accept the consequence of revolt after his father "gave him a hard shove [into his room], and bleeding profusely, he flew far into his room [and] the door was slammed shut with the cane" (Kafka 19). Revolt is "a constant confrontation between man and his obscurity, an ongoing struggle with the absurd," which forces the absurd hero to deny all reasons that come in conflict with absurdism: logic, religion, and social norms of society (Rhein 28). The hard shove and the slamming of the door by his father signify that his family no longer accepts him as who he once was: a traveling salesman who works hard to support his family in order to repay his parents' debt (Kafka 4). The rejection by his own family forces him to abandon the social norms of society since he can no longer establish communications with his family members and is trapped inside a room treated as an inhumane insect. "
Abstract This paper discusses how in "The Myth of Sisyphus," Camus identifies the absurd hero who can survive amidst chaos. The absurd hero neither conforms to social rules, and religion as a means to deny the chaos, nor chooses suicide as a means to escape it. In particular, it looks at how Camus exemplifies his hero as Monsieur Meursault in the novel "The Stranger" and how Meursault shows every characteristic of the absurd hero. It examines how he revolts, is free and passionate, but never explains his actions nor those of others.
From the Paper "A third characteristic of an absurd hero, as stated by Camus, is that of passion. Camus describes passion as the pursuit of a life rich with diverse experience, the counter to what the French refer to as "metro, boulot, dodo," subway, work, sleep. Meursault lives his life full of experiences. He goes swimming with friends (19-20, 34, 47). He attends movies with Marie and his friend Emmanuel (20, 34). He can be seen hopping on a truck for fun with Emmanuel (25-6). Meursault is not completely wrapped up in his work. He has a rich life with many experiences, not the least of which being killing a man and discovering the beauty of life while in prison."
Abstract The purpose of this paper is to discuss Absurdist (Existential) theatre and four works by ?Theatre of the Absurd? playwrights. The works used are "Victoria Station" by Harold Pinter, "The Zoo Story" by Edward Albee, "The Philadelphia" by David Ives and "Sure Thing," by David Ives. Specifically, it discusses hopelessness and meaningless as a base plot for the ?Theatre of the Absurd? and how these two concepts reveal themselves in the works.
From the Paper "All four of these plays are by authors considered to write for the "Theatre of the Absurd" movement, which began in the late 50s. It is a movement concerned with the absurdity and absolute pointlessness of life. Many playwrights participated, including Samuel Beckett, Harold Pinter, Eugene Ionesco, Jean Genet, and Edward Albee. "The 20th century's most popular non-realistic genre is absurdism. The root 'absurd,' connotes something that does not follow the roots of logic. In the Absurdist school of drama, this holds true. Existence is fragmented, pointless. There is no truth so the search for truth is abandoned in Absurdist works. Language is reduced to a bantering game where words obfuscate rather elucidate the truth. Action moves outside of the realm of causality to chaos. Absurdists minimalize the sense of place. Characters are forced to move in an incomprehensible, void-like realm" (Sosnowski)."
Abstract The paper explores the theme of the absurd in Voltaire's "Candide", Balzac's "Pere Goriot" and Kafka's "The Trial" in reference to their respective landscapes, situations and characters. The paper explains that the point of writing with the absurd is to present an accurate portrayal of life, with all of its degrading and humiliating parts. The paper also brings out how all three of these novels conclude with the protagonists' self-realization.
From the Paper "In Kafka's novel The Trial, the main character Joseph K, or simply K lives through a series of unfortunate events of which the first he is accused of some ambiguous crime on his 30th birthday. One year later he is killed in the name of the law and K, for his part does not object to the killing. The absurd as a theme in this event is very overtly portrayed. The ambiguous nature of the actions of the other characters in the novel prove to be ridiculous and a definite parody of real life trial situations. The trial itself is a charade because everyone in the courtroom including K already know the outcome; they are merely going through the actions because it is something of a tradition to do so. Thus, the characters are focused, not on the truth of the matter, did K commit a crime, but merely on the trial itself and their part in the facade."
Abstract This paper describes how the author takes irony to the extreme. Rather than write a direct essay criticizing Ireland's treatment of its poor, Swift realizes that irony and parody are much more effective tools. Consequently, he develops an absolutely absurd "solution" to Ireland's poverty problem and bends reason to persuade his readers directly that his proposal that Ireland's wealthy eat the poor babies is a possible one, and indirectly that Ireland's treatment of the poor may as well be cannibalistic in its cruelty.
From the Paper "This is arguably the most successful passage in the piece. In one fell swoop, Swift professes his sincerity in suggesting that eating babies would give pleasure to the rich and that Swift himself is exempt from this proposal. He does this by combining the reasoning device of sincerity discussed above with another example of lulling the reader into submission: the public good of the country, advancing the trade, providing for infants and relieving the poor are all worthy goals to attain. But Swift tacks on "giving some pleasure to the rich" to the end of that list, and as readers, we at first swallow that "benefit" as well, but on a double-take, realize that giving pleasure to the rich is not one of our duties, it just seems that it is given society's ills."
Abstract This paper will compare and contrast the two essays: "A Few Words About Breasts: Shaping Up Absurd" by Nora Eptron and "The Importance of Dissimulation" by Shirley Abbott.
Abstract Description of the concept of aburdity and its history as a literary idea. Broad analysis of how character of Meursault embraces this view of an absurd life. Specific analysis of key incidents which highlight this in the text.
From the Paper "Absurdism is a literary idea that began to grow in the 1920s and prospered as people sought to explain the wars and hardships that plagued the world at that time. Its basic principle is that life doesn?t matter. People are powerless to really change their lives or the lives of others, and so humanity is basically useless. No matter how brilliantly or terribly we live our lives, whether we are a doctor or a murderer, we will eventually die and be left with nothing. The world is therefore meaningless, but humanity is constantly trying to explain its own existence. People are searching for something they can never possibly find. It is an absurd search."
Abstract This paper disagrees with Robert Cohen's argument in "Oedipus and the Absurd Life" that Oedipus is a bullheaded, unschooled primitive and his persistence brings about his downfall. The primary source is Sophocles' "Oedipus Tyrannus."
From the Paper "In Robert Cohen's Oedipus and the Absurd Life, Cohen's estimation of Oedipus in Oedipus Tyrannus is frequently harsh. As Cohen writes Oedipus is stubborn, bullheaded, frequently stupid, often rude and admittedly and unashamedly..."
Tags: Oedipus, King, fate, pride, character, leadership, human understanding, Sophocles
Abstract This paper analyzes Lawrence Ferlinghetti's poem, "Constantly Risking Absurdity", noting that the simile used in the poem, 'the poet is like an acrobat', emphasizes that the whole poem is a metaphor comparing a poet to an acrobat. The paper then goes on to discuss various elements of the poem including the use of free verse, and irregular words and sounds across the verses. The paper also notes that the poem uses short lines and that it is a challenge to read. The paper explains that this challenge relates to the theme of the poem and is similar to the process of writing a poem.
From the Paper "The poet-figure is characterised throughout the poem. As the acrobat performs his tricks we discover the similarities between the poet and him. The line 'climbs on rhyme' expresses how a poet uses rhyme to link his lines as he climbs down the poem, while an acrobat climbs a ladder to perform his tricks. The poet-figure is 'balancing on eyebeams'. The poet and the acrobat rely on their audience's recognition. The audience's gaze keeps the acrobat in the air and the poet's admires keeps his spirits high. The line 'paces his way' emphasises how cautious poets and acrobats need to be in their professions. An acrobat has to pace himself as he crosses the tightrope and a poet can definitely not rush through the poetry process."
Abstract Albert Camus, a political activist and intellectual often expressed his philosophical attitudes through fiction and short essays. Camus is primarily known for philosophical position; a form of existentialism, that he portrays in his essays "The Absurd" and "The Myth of Sisyphus". The absurd is a set of beliefs to be adopted towards life in a universe that is devoid of a true or higher meaning when the only outcome will be death. This paper shows how, in the two previously mentioned essays, Camus explores the way in which absurdity appears in life and the consequences of making this discovery. Camus identifies the Absurd not as a source for despair but describes a way to defy meaninglessness and live life through experience.
From the Paper "The theatre of the Absurd is a display of modern life in a universe that is devoid of a true or higher meaning. This existential philosophy illustrated through plays relates a brutal world freed from any notion of divinity. In a world where the only outcome is certain death, there is no moral code, no god and no ultimate purpose. A person is left with a feeling of unease and dislocation, such is the beginning of Absurdity. Harold Pinter's The Birthday Party and Samuel Beckett's Waiting for Godot are two plays, which explore concepts such as these. Modernist theatre features the notion of the absurd; a concept reflective of global attitude at the time in the wake of World War Two and the decline of religious faith."
Abstract This paper examines the reality of suicide. The author relates that the two philosophers Albert Camus and Arthur Schopenhauer explain the philosophy of suicide through the concepts of human absurdity, the naturalness of pain and suffering and an inability to give meaning to life. The paper points out that both Camus and Schopenhauer argue that the act of suicide is a natural response to an inability to cope with a society that simply does not make sense. However, Camus' emphasis on the absurdity found in human life and how this absurdity prevents an individual from finding meaning in life makes his theory more complete than the more foundational theory of Schopenhauer.
Table of Contents:
Introduction
The Act
The Philosophy
Philosophy Era
The Philosophy of Camus and Schopenchauer: Existentialism
Thesis Statement
The Philosophers of Suicide
Argument One: The Absurd Camus
Schopenchauer
Argument Two: The Pain of Human Existence
Camus
Schopenhauer
Argument Three: Lack of Meaning in Life
Camus
Schopenchauer
Personal Reflection
Conclusion
From the Paper "Camus further argues that pain and suffering are a natural part of the human existence. In his The Myth of Sisyphus, Camus outlines the fact of pain and suffering. In the story the Greek mythological character of Sisyphus is condemned to repeat forever the same meaningless task of pushing a rock up a mountain, only to see it roll down again. Although Sisyphus suffers a life of constant pain and suffering caused by his task, Camus states, "The struggle itself is enough to fill a man's heart" thus "One must imagine Sisyphus happy.""
Abstract The paper focuses on two themes in "Rosencrantz and Guildenstern are Dead"; one of absurd theatre and the other of the alignment of the Renaissance reality with the existentialist void of the 20th century. The paper opines that, despite the initial confusion that it tends to invite, "Rosencrantz and Guildenstern are Dead" continues to be a play which illuminates and heartens.
Outline:
The Point of View
The Theme
Absurd Theatre
The Renaissance Angle, the Dovetailing of the Two Ages and Beyond Absurdity
From the Paper "It was during the 1960's with the slow, but steady, emergence of the concepts of post-modernism that the idea of the pastiche was beginning to become more and more exciting for writers, scholars, and academicians alike. The environment was charged with possibilities, linearity of both experience and reality were being questioned. Old traditions were quickly being shed or bent into new, contemporary shapes. Amongst all the excitement Marshall McLuhan wisely announced that the paradigm, which had till now defined all things, was now at the verge of a pronounced shift."
Abstract This paper will interrogate the arguments of Camus, with respect to the question of absurdity, in light of the criticism of Thomas Nagel. It will be argued that - for all its flaws and fundamental pessimism - Camus' understanding of absurdity allows us the capacity for meaningful human action; a quality denied by the ironic approach of Nagel.
Abstract Albert Camus, in his essay "The Myth of Sisyphus", defines the absurd as the collision between man and the world, resulting in the discrepancy between what one wants and what one gets. The resulting anxiety leads to the individual's confrontation with nothingness and with the impossibility of finding justification for the choices he or she must make. The paper provides an in-depth look at how Virginia Woolf's novel, "Mrs. Dalloway" depicts the absurd through narrative terms strikingly similar to those explored by Camus in "The Myth of Sisyphus".
From the Paper "For Clarissa, the manifestation of the absurd is a subtle but profound flickering of light within the depths of the inner life, but for Septimus the hollow caverns of his war-torched soul, reflect an inferno of absurd terror and beauty. Septimus embodies the ideal of the absurd man, the protruding edge slicing through the fine film of reality. His experiences of crystallized beauty, sublime surrealism, and visionary spells isolate him in a silenced world. Part of the world but distinctly separate from it, Septimus combats convention and proportion, symbols of excessive rationality prescribed to the world as cures for the malady of the absurd."
