Chapters reveal the movement's origins, development and present-day influence upon popular culture around the world, employing the latest research to this often challenging area of study in a balanced and authoritative approach.
Essential reading for students of literature and theatre, this book provides the necessary tools to interpret and develop the study of a movement associated with some of the twentieth century's greatest and most influential cultural figures. Read more Read less.
Therefore, it could be assumed that there are mutual connections between absurd discourse and literary forms whose repetitiveness and constancy guarantee the creation of specific genres, such as various parodies of heroic romances or adventure novels, satirical novels, dystopia or anti-novels. Pages: 2—32 31 total. Shortly after the outbreak of WWI, when Camus was less than a year old, his father was recalled to military service and, on October 11, , died of shrapnel wounds suffered at the first battle of the Marne. David Hapgood. Riff-raff are running the show and they are making a difference. Carrington was very sceptical about all of this.
Review 'In his latest book Michael Bennett sets out to provide a scholarly but reader-friendly appraisal of the literary and dramatic manifestations of the absurd. No customer reviews.
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January 20, - Published on Amazon. Verified Purchase. Great book on the existential and absurd dimensions of life and how they have impacted the typically tightly structured and genre specific components of literature.
This is good, as whether we know it or not, we structure our lives around our own autobiographical narratives. Seeing the nonsensical in literature can provide a sense of both solidarity and potential perspective.
By Neil Cornwell. Manchester: Manchester University Press, In both his introduction and conclusion, Cornwell acknowledges the problematic provenance of the term, which applies equally to a range of literary [End Page ] and philosophical positions. In his attempt to comprehend it, Cornwell deploys two critical models, one historical, the other structural. The first of these argues that twentieth-century absurdism represents the full expression of latent tendencies that appear in writers from Sophocles to Dostoevsky.
Esslin is so rigorous in his definition that he dismisses both Camus and Sartre. In spite of this complication, The Absurd in Literature is impressive in both its scope and scholarship. Of particular interest is the chapter on Daniil Kharms, the twentieth-century Soviet miniaturist whom Cornwell has struggled, in this study and elsewhere, to bring to prominence in the English-speaking world.
For all his only too obvious absurdist credentials—the incongruity, the linguistic highlighting and the stress of language games, the logical inversions and the near or sheer nonsense—the Kharmsian oeuvre remains in a state of spiritual tension. The horrific surrounding reality of the epoch in which he lived merges into the beyond—both of this world and of a further dimension. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.
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