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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 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.

Çaǧlayan mluví o umělecké kinematografii, pod kterou snímky řazené k pomalé kinematografii spadají, jako o upozaďovaném tématu, ne ve vztahu ke kritické reflexi, ale co se nových odborných konceptualizací týče. Opírá se proto hlavně o dvě dnes již kanonické publikace, jež jsou pro historicko-poetický přístup zásadní - Narration in the Fiction Film (1985) Davida Bordwella a Screening Modernism: European Art Cinema, 1950-1980 (2007) Andráse Bálinta Kovácse.2) Kniha rovněž navazuje na antologii Rosalindy Galt a Karla Schoonovera Global Art Cinema z roku 2010, jež kombinuje hledání nových metod zkoumání soudobých trendů v umělecké kinematografii (včetně slow cinema) s propojováním nízké a vysoké kultury - tzn. „nečistou\" kinematografií.3) V duchu této publikace Çaǧlayan zbavuje pomalou kinematografii pověsti „nudných\" filmů s dlouhými záběry, ve kterých se ještě ke všemu nic neděje, a zároveň projevuje zájem o proplétání umělecké kinematografie s žánrovými inklinacemi. Představuje v něm argumenty spojované s „hnutím za zpomalení\" (slow movement), jehož agendu však označuje za příliš zjednodušující, jelikož podle něj lze zpomalování filmového času pozorovat již od počátku kinematografie. Zesílená kontinuita tak koreluje s vývojem zrychleného vnímání, které se projevuje bližším rámováním, extrémními rozdíly ve využití objektivů (rychlé střídání širokoúhlých a dlouhoohniskových variant), takzvanou odpoutanou kamerou, která volně pluje prostorem bez ohledu na pohyb postav, ale hlavně rychlejším střihem (nižší průměrnou délkou záběrů).

I offer a theory of advice. The theory has two parts: an account of the nature of advice, and an account of the quality of advice. In Sect. 2 I defend this definition: Advice: P advises R to X iff P communicates about X-ing to R in a manner that intentionally presents X-ing as worth reasoning to by R. In Sect. 4 , I defend a tripartite account of the quality of advice: the standards relevant to whether advice is good concern rational agency in general, the advisee’s particular situation, and the topic of the advice. These accounts of the nature and quality of advice are superior to extant alternatives on the basis of both descriptive adequacy and absurdity.

Interest in Zone 14 is sparked by the idea of intertextuality as an \"inevitable\" (Shakib 5) television narrative construction strategy. Because of the limited scope of this essay, attention will only be paid to texts explicitly linked? to Zone 14. The play sought to reflect an existentialist angst about peoples living conditions during apartheid by dissecting the hypocrisies of racism while agitating for social change (Krueger 22). GEAR's market friendly, neoliberal economic policies pitted Mbeki against some communists and trade unions in the Tripartite Alliance of the ruling party. GEARS prioritization of fiscal prudence and limited social spending resulted in what some analysts have argued caused jobless economic growth (Kotzé and Loubser 43).

This article examines The Happening by M. Night Shyamalan through an existential ecocritical lens, relating human-centered assumptions to the portrayal of nature as neutral, indifferent, and impervious to straightforward causal explanation. It argues that the speculative narrative of ecological disruption through an airborne neurotoxin produced by plant life is, in fact, a complex philosophical exploration of the human condition, nature, and the crisis of anthropocentrism and ecocentrism. The study employs a qualitative methodological framework grounded in close textual and visual analysis of the film, drawing on existential philosophy and ecocritical theory to interpret key scenes, character dynamics, and narrative structures. It is an existential ecocritical study of how The Happening subverts the human worldview and how existential anxiety, freedom, and responsibility intersect with ecological concerns, alongside anthropocentrism, situating the film within current discourses of posthumanism, environmental ethics, and ecological consciousness. The findings reveal that the film reconfigures nature as an impersonal and ethically indifferent force that unsettles anthropocentric assumptions, foregrounds human epistemological limits, and intensifies existential responsibility within the context of environmental crisis.

Both emphasize the importance of suicide, both emphasize individual-world/environment relations, and both are concerned with the relation between values and freedom. (1996) in their functional reconceptualization of mental disorders related to experiential avoidance, \"No human behavior is harder to conceptualize from a traditional categorical or dimensional diagnostic model than suicide\" (p. 1161). Constructing the problem of suicide as a verbal act comprises several scientific activities and products conventional within CoBS. Certain bodies of evidence would support this claim, particularly a lack of suicide reported among non-verbal children and adults and the increase in suicidal ideation as individuals engage in more and more complex forms of verbal behavior. Bazley and Pakenham (2019) found that individuals participating in their ACT-based HOLLY Program demonstrated significant improvements in suicide prevention behaviors as compared to a wait-listed control group. The problem of suicide is necessary to construct absurdism, just as it is necessary to construct \"a behavioral science more adequate to the challenges of the human condition\" (S. Hayes et al., 2012, p. 2).

Harold Pinter’s (1930-2008) The Dumb Waiter (1957) focuses on the tensions experienced by two hitmen, Ben and Gus, as they wait for their next order in a closed basement. The complex interactions of these characters represent the existential anxieties emerging in an indifferent, and absurd universe of human existence. In this work, Pinter emphasizes lack of communication and alienation through the dialogues and silences between the characters. This theme is also explored in Albert Camus’s (1913-1960) the Myth of Sisyphus (1942), where, after explaining concepts such as absurdity, suicide, and the absurd man, the story of Sisyphus endlessly rolling a rock up a hill, only to see it roll back down, is described. Camus uses this myth as a metaphor for the existential struggle of humanity. Both works serve as metaphors for the relentless human effort in an absurd universe filled with indifferent, repetitive actions, exemplified by waiting for an unknown task and pushing the rock. This in mind, this article argues that Pinter’s the Dumb Waiter aligns with and parallels Camus’s principles of absurdism, as Pinter’s play is examined as an interpretation of Camus’s philosophy. This article also explores how Ben and Gus resonate with the concept of ‘absurd man’ defined by Camus. The analysis emphasizes that both works, through their parallels and themes of searching for meaning in human existence represent the place of humanity and search for meaning in an absurd universe.

This paper, which inaugurated the 56the edition of BITEF, September 2022, explores the horrors of war through the prism of culture. I maintain that Russia, by invading Ukraine, not only attacked an independent country but also declared war against its own culture. Fascism is always a triumph of mediocrity, according to my argument, and it is precisely this so-called triumph that people in Russia are witnessing today.

Drawing upon qualitative and construct validity evidence within MI research and the oral histories of combat-exposed Veterans, this paper explores the role of moral paradox (MP) as a precondition of moral injury (MI). Research is recommended to clearly delineate MP as a causative factor leading to more intractable cases of MI in the definitional literature, beyond the recognized impact of perpetration and betrayal-based conditions. Veteran stories collected during the normal course of providing spiritual care to combat-exposed Veterans and used by permission will provide insight into the theoretical concepts and interrelations of MP; proposed here as: circumstances in which moral obligations and/or ethical values come into conflict, forcing a choice between sides, none of which can be honored without violating the other. Acquainted with religious traditions that elucidate the perplexity and liberating effects of paradox, the work of Chaplains will also be recommended to address the problem of MP in wartime situations, highlighting the efficacy of acceptancebased spiritual interventions and therapeutic programs. Psychological and spiritual interventions that facilitate self-transcendence and non-dual awareness through experiential acceptance and a subscale measuring paradox-induced injury will be recommended for future research as well.