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Cross Product: HUM x ABS ()
See also: [L/D] [S/D]
See also: [af/art3/pkda2001 - pizoig gaming projects]
(please page down if needed)
x-product: Humanist x Absurdist ()
Humanist x Absurdist (Normalcy) --> The events of the "un-usual"
(l'insolite)
Jump down to: {Ionesco}
Humanist x Absurdist (Fashion) --> Trying to fit in; Pohl's
Planet off the Joneses
Jump down to: {Lautrec & Guilbert}
Humanist x Absurdist (Free Will) --^gt; Mind as existentialist commodity
Jump down to: {Mind}
Absurdist x Absurdist
Self-Referential
So would the absurdist view of abusurdity be reality (in a cynical/material sense)?
Jump randomly to: {x-product} {Abs} {Art} {Frc} {Fut} {Hum} {Jazz} {Sci} {Spi}
Absurdist x Artist
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Absurdist x Fractalist
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Absurdist x Futurist
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Absurdist x Humanist
Jump randomly to: {x-product} {Abs} {Art} {Frc} {Fut} {Hum} {Jazz} {Sci} {Spi}
In this section: {Ionesco}
Ionesco
Humanism (Normalcy) x Absurdism ---> the Absurd (l'insolte)
From [Palumbo, P.195, ff]
Eugene Ionesco: THe Fantasitc and Social Estrangment
by E.C. Hesson dn I.M. Hesson
In La Litte'rature fantastique en France,
Marcel Schneider enumerates the fantastic events in
[Ionesco's] theatre. Among thme are a corpse that
grows to gigantic proportions before the auience,
changes into a flag, and floats skywards; giant
mushrooms that proliferate in the living room of
Ame'de'e's appartment; people who change into
rhinocerouses; and characters who fly off into
space.
In passing, they also mention, [Op Cit, P. 195]
Certain elements of the fantastic in Ionesco's
plays, in particular the theme of flight, are
related to his socio-political views.
Ionesco claims he has always been "pre-occupied,
over-whelmed, obsessed by politics," and Dororthy
Knowles [Knowles, P. 305] is correct in nothing
that "POLIITICAL COMMITMENT IN WRITING IS [emphasis mine]
INCOMPATABLE WITH HIS PARTICULAR NOTION OF ART,"
this does not mean his works are devoid of
political content.
References
(this section only)
Knowels, Dorothy (1974). Eugene Ionesco's Rhinocerous:
Their Romanian Origin and the Western Fortunes.
French Studies 28 (July 1974), P. 305.
Palumbo, Donald (editor) (1988). Spectrum of the Fantastic.
DD: 700'61S'1988
Lautrec & Guilbert
From [Bombrich, et al, Pp. 11-12]
But how do these [fashion/movie/etc] idols shape
their image? The language of fashion gives at
least a partial an swer. They look for a
disntinctive note, for a striking characteristic
that will mark them out and attract attention
through a new kind of piquancy. One of the most
intelligent of stage personalitiees, the late
Yvette Guilbert, described in her memiors how
she deliberately set about in her youth to
create her type by deciding that, since she was
not beautiful in the conventional sense, she
would be different.
"My mouth," she writes, "was narrow and
wide and I refused to reduce it thoruogh
the use of make-up, becasue at that time
all the women of the stage had tiny
heart-shaped mouths." [Local Ref 12]
Instead, she emphasised her lips to contrast
with her pale face and to bring out her smile.
Her dress was to be simple as a shift, she
wore no ornametn but she completed her strikng
silhouette by adopting the long black gloves
which became famouse.
[P. 12]
Thus, her image which was a deliberate creation
met the artist half way, because it could be
summed up in those few telling strokes we remember
from the lithographs of Toulouse Lautrec.
References
(this section only)
[Local Ref 12 as qutoed in Bombrich] Guilbert, Yvette (1927).
La chanson de ma vie. (Paris, NPD).
Bombrich, E.H, Hochberg, Julian, and Max Black (1972).
Art, Perception, and Reality.
DD: 707.17'G632a
Mind
(As existentialist commodity)
See also: -[mind]- (in HUM)
-[mind]- (in FUT; mind + matrix, 1984, etc)...
From: [Hurst, P.300]
Jaspers objected to Heidegger's fundamental ontology,
because it presented itself as knowledge, rather than
as philosophy. Philosophy, for Jaspters, is an ACTIVITY [emphasis mine]
through wich the an indivieutal comes to authetnic
existncce, from out of one's historial situation,
and as a confrontation with transcendence.
Existential concepts are essentially un-like the
categories of scinece in that I can NOT think them
unless I am in some way in them. While what I am
is irrelevant to scientific categories [or should be!],
it is never thus with existenital concpets. Movint
toward authencic existence is a process in which
the mind unfolds from an initial pre-occupation
with empicralce existEnts to an eventual
confrontation with the Encompassing that I am,
and from there to a meeting with the Encompassing
that is the World, and finally to be a confrontation
with the Encompassing that is Transcendence.
Philosophical thinking can NOT make this happen, but
it prepares the way and perhaps helpts to create the
conditions in the individutal for what seems to be a
kind of ascesis of the mind.
[Hurst, P.300]
References
(this section only)
Gordon, Haim (199). Dictionary of Existentialism.
DD: 142.7803'D554
Hurst, William (in Gordon). Mind. Pp.300-304.
Absurdist x Jazzist
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Absurdist x Scientist
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Absurdist x Spiritualist
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