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La novela Burma Boy (2007) del escritor y dramaturgo nigeriano-británico Biyi Bandele Thomas está inspirada en la experiencia de combate de su padre en la campaña de Birmania en la Segunda Guerra Mundial. Esta recreación posmemorial no solo sirve de conmemoración de la figura de su padre sino también de los soldados africanos negros marginados que participaron en esa campaña. La atención crítica prestada al trabajo de Bandele ha destacado su estilo surrealista y satírico, generalmente vinculado a una epistemología poscolonial. Este artículo analiza cómo la novela evoca los orígenes de un trauma y la inutilidad de la guerra dentro de la conciencia africana, junto con ontologías más amplias sobre la condición moderna. A través de una estética del Absurdo, tal como la esboza Albert Camus, Burma Boy no sólo evoca lo absurdo de la guerra sino que trasciende sus fronteras temporales, al ofrecer una reflexión amplia sobre la causa fundamental del trauma de guerra del padre del autor: la separación del ser humano de la realidad de la existencia. Por lo tanto, se concluye que esta novela posgeneracional aprovecha la estética del Absurdo para abordar las preocupaciones políticas y medioambientales contemporáneas. Palabras clave: campaña de Birmania; el Absurdo; Albert Camus; Biyi Bandele Thomas Nigerian-British writer and playwright Biyi Bandele Thomas' novel Burma Boy (2007) is inspired by his father's combat experience in the Burma Campaign of World War Two. This postmemorial re-enactment not only commemorates his father but also the marginalised black African soldiers who participated in that campaign. Critical attention paid to Bandele's work has noted his surrealistic and satirical style, usually in alignment with a post-colonial epistemology. This paper aims to show how the novel evokes the origins of a trauma and the futility of war within an African consciousness, alongside broader ontologies concerning the modern condition. I contend that through an aesthetics of the Absurd, as outlined by Albert Camus, Burma Boy not only evokes the absurdity of war but transcends its temporal wartime boundaries by offering a broad reflection on the fundamental cause of the author's father's wartime trauma: the divorce of humankind from the reality of existence. Thus, I conclude that this post-generational novel leverages an aesthetics of the Absurd to address contemporary political and environmental concerns. Keywords: Postmemory; Burma Campaign; The Absurd; Albert Camus; Biyi Bandele Thomas, Stretching the Temporal Boundaries of Postmemorial Fiction: Shades of Albert Camus' Absurd in Biyi Bandele Thomas' Burma Boy 'In the midst of winter, I found there was, within me, an [...]

In his seminal paper, 'The Absurd,' Thomas Nagel (1970) offers a key insight into the problem of the meaning of life.1 In particular, he sets out a certain conception of [...]

The article explores the relationships between tragedy, comedy and absurdity in theatre plays.

I give an account of the absurdity of Moorean beliefs of the omissive form (om) p and I don't believe that p, and the commissive form (com) p and I believe that not-p, from which I extract a definition of Moorean absurdity. I then argue for an account of the absurdity of Moorean assertion. After neutralizing two objections to my whole account, I show that Roy Sorensen's own account of the absurdity of his 'iterated cases' (om (1)) p and I don't believe that I believe that p, and (com (1)) p and I believe that I believe that not-p, is unsatisfactory. I explain why it is less absurd to believe or assert (om (1)) or (com (1)) than to believe or assert (om) or (com) and show that despite appearances, subsequent iterations of (om (1)) or (com (1)) do not decrease the absurdity of believing or asserting them.

Byline: Michael Smith (1) Keywords: absurd; absurdity; Albert Camus; Joel Feinberg; fulfillment; God; Godot; good; good for; justification; Thomas Nagel; pointless; pointlessness; self-fulfillment; Sisyphus; tragedy; tragic; value; worth Abstract: I take issue with two suggestions of Joel Feinberg's: first, that it is incoherent to suppose that human life as such is absurd, and, second, that a particular human life may be absurd and yet saved from being tragic by being fulfilled. I also argue that human life as such may well be absurd and I consider various responses to this. Author Affiliation: (1) Department of Philosophy, Princeton University, 1879 Hall, Princeton, NJ, 08540, USA Article History: Registration Date: 29/03/2005

Lindsay Waters suggested that Paul de Man randomness prevails as the aleatoric dross of the writer's habit, words spun off without consequence, the lesson of their irrelevance demanding paradoxic attention and it provided grim prologue to yet more grim awareness as the bleakness of de Man's assertion mocked its own existence. The power of words and texts and critical intellect might be less divorced from the moment's confusions, from misreading of literary history and absurdity that improbably asserted faith in the impossible continuity of the thwarted, undimmed interpretive power.

The Russian modernist Daniil Kharms based his absurd prose on the Bergsonian concept which focused on artistic intuition and an antimechanistic view of life. His prosaic absurd ran contrary to logic and is mainly concerned with the absurd separation between man and his environment. Kharms' artistic career change from the more aesthetic to the existential brought about more similarities of his work with that of Bergson.

Application of the holographic reconstruction of 'Hamlet' helps in reading Tom Stoppard's 'Rosencrantz and Guildenstern Are Dead,' by putting one scene upon the other, or generating patterns of interference between the play and the viewer's memory of 'Hamlet.' Wilder Pribram, John O'Keefe, and Daniel C. Dennett's models of consciousness use parallel sequences going on in the characters while viewers delineate the play's 'absurdist' subjects of alienation, loss of identity, and the collapse of language.

The struggle toward achievement is more satisfying than reaching the goal, an idea which can be expressed as the paradox of the end. After a goal is achieved, feelings of emptiness and boredom ensue. However, with the refusal of even trying to reach a goal comes feelings of loss of happiness and purposefulness. Therefore, the attempt to reach a goal and the attainment of a goal should be undertaken at the same time. The paradox of the end explains feelings of the Absurd and the meaninglessness of life.

... abstract words such as glory, honor, courage, or hallow were obscene beside the concrete names of villages, the number of roads, the names of rivers, the numbers of regiments [...]

Albert Camus does not provide an ethical argument for embracing the absurd in 'The Myth of Sisyphus,' as some commentators have suggested. Instead, Camus combines phenomenological method with an Aristotelian view of values as reflections of immanent human desires. According to Camus, awareness of the absurd is the basic fact that leads to self-consciousness. Humans have the freedom to accept or deny the absurdity of their existence, but the authentic choice involves affirmation of the absurd, a decision that is existential rather than logical.

The development of Camus's ideal of authenticity is evident in three literary works: 'The Outsider,''Caligula' and 'The Guest.' In 'The Outsider,' the hypocrisy underlying social ideals such as sincerity leads the protagonist to an awareness of absurdity, which allows him to achieve authenticity. However, in the play 'Caligula,' Camus shows that individualistic authenticity results in a destructive nihilism. The short story 'The Guest' suggests a return to natural values of honor, respect and dignity that are innately human and prior to any ethical code. Such values provide a positive content to the notion of authenticity.

A study reveals that a soul exists but it is not necessary that everyone have a soul. A soul is not born with human being and cannot take form till ones body is fully developed.

In Le Mythe de Sisyphe,(1) Camus commends the profundity of Kierkegaard's perception regarding despair: '[There is] nothing more profound than Kierkegaard's view that despair is not an act but a [...]