Département d'Anglais

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Browsing Département d'Anglais by Subject "Absurdism"

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    Camus's Absurdism: Edward Albee’s Zoo Story(1958),Amiri Baraka’s Dutchman(1964) and Adrienne Kennedy’s Funnyhouse of a Negro(1964).
    (Mouloud Mammeri University of Tizi –Ouzou, 2023) Messaoudi, Tania
    This dissertation explores the philosophy of the Absurd in Edward Albee’s Zoo Story (1958), Amiri Baracka’s Dutchman (1964) and Adrienne Kennedy’s Funnyhouse of a Negro (1964) in light of Albert Camus’s theoretical concepts of the absurd as developed in his essay “The Myth of Sisyphus” (1942). To unveil common aspects of Absurdism, in the three plays, I divided this dissertation into three chapters. In the first chapter, I have dealt with the crisis of identity that the main characters in the three plays have suffered from. In the second chapter, I focused on character's alienation and how they isolate themselves from the real world as they see it devoid of meaning. The last chapter examines violence, death and race relationships within the three plays that ironically led them to commit suicide. The main objective of this dissertation is to expose the struggle of modern man, more precisely American one against his absurdist existence. In fact, all characters within the three plays are alienated from the rest of the world. They are tortured by their real world; therefore, each one tries to find a way out. Unfortunately, they resort to verbal violence at first, which becomes latter on physical, leading to their death. Like any Absurdist character as explained by Camus, our characters are struggling to give meaning to their existence and escaping their isolation. Furthermore, the characters’ loneliness greatly affected them. They had resorted to violence to escape their isolation.
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    Suppositions of Nietzsche’s Übermensch in Albert Camus’ Caligula (1944) and Samuel Beckett’s Waiting for Godot (1953)
    (Université Mouloud Mammeri, 2023) LIMANI Lamia
    This study was conducted by analyzing the implicit Nietzschean elements in the famous twentieth century plays Caligula (1944) written by Albert Camus and Waiting for Godot (1953) by Samuel Beckett. The purpose of this dissertation was to expound the main echoes of Nietzsche’s morality, Übermensch, Last Man and Higher Man within the scope of the playwrights’ implementation of these notions for the construction of their main characters. In addition this, I have attempted abstracting them in order to get a map of Nietzsche’s kinds of men that rely on his controversial ideas about superior and inferior moralities. The results showcase the intertextual dialogism of the two plays. The first chapter dissected Nietzsche’s representations, mainly that of the Overman, in the play Caligula. Findings after analysis showed that Albert Camus was not only exploring the concept through his main character, but he also caricatured the emperor of Rome by applying the attributes of Nietzsche’s Overman in a literal and rigid manner. Chapter II was dedicated to an analysis of Waiting for Godot’s Vladimir and Estragon as well as a study of Pozzo and Lucky whom were presented as a literal Master/slave dichotomy. This second chapter revealed the failure of Vladimir and Estragon to go beyond themselves as well as Pozzo and Lucky’s oversimplified representation that served as a critique to the duality of dominance and subservience. Therefore, the conclusion that imposed itself was that the playwrights payed double-edged tributes to Friedrich Nietzsche’s philosophy