Even though parallels between the philosophy of Albert Camus and The Big Lebowski have been drawn repeatedly, a sustained enquiry into several possible dimensions of the matter is yet to have been conducted.This dissertation makes an attempt to conduct the aforementioned enquiry in some detail. In doing this, the study will try to analytically compare Camusian philosophy and Dudeism and bring out the similarities between them. This does not imply that there are no differences between the two; but the focus of this study is the similarities and not the differences. Dudeism, for the purpose of this study, will not be restricted to The Dude and the literature written on The Dude and Dudeism. It will also be expanded to accommodate certain other parts of the larger discourse of Ethan and Joel Coen’s filmography as well as a few other parts of The Big Lebowski itself. It is crucial, however, to “draw a line in the sand” (Walter, The Big Lebowski) at the very outset. In embarking on a comparative analysis between Camusian philosophy and Dudeism, this study does not intend to propose that one of them is influenced by the other and “what-have-you” ("The Editorial Preface" 12). Instead, it simply attempts to point out some of the discursive elements that they share with each other as well as with several of the sub-discourses they comprise of. The analysis in the dissertation that follows is split into three major chapters: 1. ‘Well, I’ll tell you what I’m blathering about’: An analytical frame of reference. 2. ‘You can’t be worried about that shit, life goes on, man’: Life, Death and Absurdity in Camus and Dudeism. 3. ‘Somebody this square community won’t give a shit about’: Camus’ Absurd Man and Dudeism The first chapter, “‘Well, I’ll tell you what I’m blathering about’: An analytical frame of reference”, provides an analytical framework for the discussions that follow in the rest of the dissertation. It is further divided into three sections. The first section lays out a basic understanding of a few fundamental ideas of Dudeism for the readers. The second section discusses a few important aspects of the philosophy of Albert Camus. The third section briefly establishes the connections between Dudeism and the philosophy of Camus which are examined in greater detail later in the study. The second chapter, “‘You can’t be worried about that shit, life goes on, man’: Life, Death and Absurdity in Camus and Dudeism” looks at Camus’ takes on Life, Death and Absurdity while also pointing out the parallels they seem to strike with Dudeism. The chapter is further divided into four sections. The first section examines strands of Camusian thought, especially the Absurd in the other films of Ethan and Joel Coen before establishing a connection to The Big Lebowski. The second section explores the attitudes towards Death in Camusian philosophy and Dudeism. The third section compares the ideologies of Life in the works of Camus and Dudeism. The fourth and final section explores parallels between Camus’ novel The Stranger and The Stranger: the cowboy narrator of The Big Lebowski. The third chapter picks up on the Camusian trope of the Absurd Man and its relation to Happiness in both: the works of Camus as well as the discourses of Dudeism. It comprises of three sections. The first section explores the notion of Alienation in Camusian philosophy and Dudeism and looks at how it eventually leads to the trope of the Absurd Man in Camus. The second section explores Camus’ creation of the Absurd Man through the Cycle of the Absurd and looks at how it fits into Dudeism. The third and final section delves into a comparison of the Absurd Man’s quest for Happiness in Camus and Dudeism. / M.A. Honours with Research in English

Dudeism was inspired by a film released in 1998 named The Big Lebowski, which recounts the adventures of a character called the Dude, the namesake of the religion. The Dude is an example of the (mostly) ideal practitioner of Dudeism, which Dudeists mean has existed throughout the ages, expressed differently by different systems of belief and behaviour while retaining an essential Dudeistic spirit.    A superficial overlook of this system of belief and behaviour finds many similarities to early Taoism, a parallel which Dudeism itself encourages, particularly in regards to the Tao Te Ching. It is also clear that many of Dudeism’s central concepts are inspired or borrowed from said work.    This essay explores the relationship between Dudeism and Taoism through comparison, focusing on the teachings of Tao Te Ching in relation to Dudeist thought and practice. It seeks to establish Dudeism’s religious history as a religion firmly rooted in both a modern motion picture and ancient Eastern thought. The essay concludes that Dudeism has adapted the teachings of the Tao Te Ching for a modern, Western audience through the language and imagery of The Big Lebowski, adding its own twists to ancient concepts.