Ce travail consiste à comprendre le phénomène de l'ennui. L'ennui sera perçu comme un élément indissociable de la condition humaine. L'homme est un être qui s'ennuie, parce qu'il est doté d'une conscience, et que cette conscience l'inscrit dans un rapport particulier au temps. Mais nous constatons, en Occident, et à partir de l'époque moderne, que l'homme s'attache par toutes ses activités à fuir l'ennui. Tromper l'ennui c'est tromper sa condition, c'est, en tant qu'homme, se tromper soi-même. Toute la question est de comprendre comment cela est possible. Partant du divertissement comme moyen général de tromper l'ennui, nous irons jusqu'à la possibilité de ne pas tromper l'ennui, ce faisant nous serons amenés à étudier un aspect de la pathologie humaine à travers l'affection mélancolique. L'ennui doit être trompé, et cela pose une difficulté : comment un être conscient peut-il se tromper lui-même ? Mais l'ennui qui ne serait pas trompé mènerait l'homme vers un état pathologique. Pourquoi l'homme doit-il alors tromper l'ennui ? Notre travail se scinde en trois parties. Il s'agira d'abord de comprendre pourquoi l'homme trompe l'ennui. Il s'agira ensuite de comprendre comment il peut s'y prendre pour cela. Enfin nous envisagerons des possibilités pour ne pas tromper l'ennui. Notre étude s'attache à comprendre l'enjeu d'un ennui fondamental, et à travers lui, la condition humaine avec ses contradictions et ses questions / The aim of that work is to understand the boredom phenomenon. The boredom is here understood as an indivisible aspect of the human condition. A human being is a person who get bored because he has a conscience, and that conscience place himself in a particular relation with the time. But we see that from the modern age in the occident that human being strives through all its activities to escape boredom. Cheating boredom is cheating his condition, it is, as a human being, to cheat to yourself. The question is to understand how this is possible. Starting from the entertainment as a general way to run rings around boredom, we will get to the possibility of not cheating boredom, in doing so we will go through a facet of the human pathology through the melancholic affliction. Boredom shall be cheated and here comes a complication : how a conscious human being can cheat himself? But boredom that would not be overcame would leads man to a pathological condition. Why then shall human being run rings around boredom? Our work is divided into three chapters. First part will consider the reason why human being cheat boredom. The next step is to understand how he can do so. Finally we will consider opportunities for not cheating boredom. Our study aims to understand the concern of a fundamental boredom, and through hit the human condition with its contradictions and questions.

Text in French with an abstract in English / The loss of a life for natural causes has always been, always is and always will be something tragic for human beings, even if it was foreseen. It is all the more tragic when the loss of human life is caused by violent circumstances such as murder or an accident, as in the case of the untimely death of Albert Camus in a car accident. The worst, however, is when a miscarriage of justice in court, due to an error on the part of the judge, results in the loss of a valuable life by the death penalty. This value must be assessed in existential terms, in terms of the human being contextualized in a life worth living despite its absurdity, as described by Camus. It must be realized that this brutal death is imposed by a few words pronounced by a fallible judge, imposing the death penalty on another fallible human being, and that the sentence is then carried out by another fallible human being – all of whom are fundamentally subject to human imperfection and who regularly make mistakes in life. By emphasizing the fallibility of the human being in various ways in his literary works, Camus convincingly demonstrated that, in our already absurd existence, the death penalty is the ultimate scandal, making this punishment truly exponentially absurd – the absurdity of absurdity. How the author demonstrated that fallibility, the eternal imperfection of human beings, is the main reason why the death penalty exceeds absurdity. Using L'Étranger as a starting point, a novel in which the death penalty is mentioned only at trial, on death row, and in the very last part of the novel, and which is strategically supported by other works by Camus, this essay explores how Camus may have used his characters to subtly illustrate the relationship between the everyday imperfections of human beings and the possible death penalty. The essential principle is that there is a precise operational link between the essence and structure of everyday conflicts and the structure of a trial. Parallels are drawn between conflict and trial, particularly with regard to the fallible human beings participating in both, in various judicial capacities, confirming Camus' conviction that the death penalty is the absurdity of absurdity. / Linguistics and Modern Languages / M.A. (French)

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It is well-known that Kafka had a great fascination with the possibilities and transience of the physical body, as evidenced in his various literary works. Using the theory of "the uncanny", The essay interprets and investigates how and what Kafka writes about others' bodies, as well as his own. It turns out that women's appearances are observed and commented on by Kafka to a greater extent than men. Primarily, these descriptions take on grotesque and absurd characteristics, sometimes with an element of fascination. Regarding Kafka's own body, it primarily evokes a sense of disgust in what the author sees. Linked to the essay's theory of "the uncanny”, it becomes evident throughout (clearly, in) his observations that Kafka experiences a feeling of the aforementioned "uncanny". As a conclusion to the essay, the potential of diaries used in an educational context (the classroom) is highlighted, as well as how students can benefit from reading and working with diaries to acquire skills and abilities. / <p>Slutgiltigt godkännandedatum: 2023-05-31</p>

Perverted in Neon is collection of short fictions engaged with various facets of modern popular culture. In its stories, a washed-up rocker enlists the aid of pigeons to deliver messages to his estranged wife; a writer obsessed with finding out what “really” happened to Andy Kaufman is pushed into the fringes of his own life; a kid on restriction discovers a secret level to a video game that threatens to change the nature of his reality; a woman on Airbnb advertises her home—and her life—to potential house renters. The characters throughout this collection tread among the desperate and downtrodden, often seeing some faint impression of hope in the distance, something worth continuing to fight for. Perverted in Neon challenges traditional distinctions of literary genres, often incorporating elements of non-fictional pop culture into fictional worlds, and vice-versa. The stories throughout aim to interrogate some notion of emotional maturity, or lack thereof—characters who think they understand the world, but quickly realize that they understand only their most immediate desires. / MFA

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CONK is a collection that explores the absurdist irony located at the intersection between horror and humor. The events are predicated upon the characters' fundamental misunderstandings of the world around them, their doom arising from their inability to differentiate between the indecipherable and the incorrect ("Bird Kill"). Some are more reflexive, revolving around the difficulty of telling a story at all ("What a Story''), or exploring the dissolution of self that results from the act of artmaking (the eponymous "CONK"), or even indulging in the joy of said dissolution ("Celebration"). Other times, the pieces mix esoteric language and pop culture referents with the goal of defamiliarizing them ("Will That Be All?"). The resulting destabilization, this breakdown of heuristic methodology, creates situations that resist understanding and renders uncanny previously mundane images. / Master of Fine Arts / CONK is a collection of short fiction.

This work is an effort to investigate the relationship between Albert Camus' philosophic concepts of the absurd presented in "The Myth of Sisyphus" and the Absurdist Theatre as defined by Martin Esslin. Included in this thesis is a discussion of each of the above concepts. Focus is placed upon the characteristics of the Absurdist Theatre which constitute the basis for the label "Absurdity." The conclusion indicates that while the playwright's personal experiences and philosophies correspond to Camus', their plays fail to communicate or express that concept of absurdity satisfactorily. The major emphasis is on the lack of concrete reality used to communicate a concept based upon concrete reality.

Enoncée notamment dans ses Notes et contre-notes, l’idée de Ionesco de donner de la matérialité à l’absence, à l’invisible, se retrouve dans la plupart de ses créations théâtrales. Pourtant, il ne s’agit pas d’une innovation technique pour soutenir le théâtre de l’absurde, dans le sens strict, mais d’une procédure qui se nourrit de l’irrationnel de l’existence humaine. Ainsi, les troubles identitaires sont la conséquence du gouffre dans lequel s’enfonce irréversiblement le personnage hanté par la mort. Dans un univers où il ne trouve plus de repères pour établir sa position, autrement dit son identité, il y a un déficit de présence. Non seulement le personnage hanté se manifeste comme présence absente, mais aussi la mort personnifiée qui transcende l’univers de sa proie. Victime et bourreau, jamais réconciliables, deviennent conscients de leur présence réciproque et leur rencontre ne se produit que pour accomplir l’acte d’agression. / In his book « Notes et contre-notes », Ionesco announces his project to give substance to absence, to the invisible, which is portrayed in most of his theatrical creations. For the playwright this is not a matter of creating new techniques to sustain the theater of the absurd, but rather a procedure that exposes the irrational side of human existence. The characters’ identities troubles are thus presented as a result as their being haunted by death – a haunting similar to sinking or falling into a deep chasm. In a universe in which the character has no clues for establishing his position or for articulating his identity, there is an absence or lack of presence. The haunted character manifests himself as a paradoxical lack of presence or a personification of death. Victim and aggressor become conscious of one another and their meeting will serve solely to accomplish the act of aggression.