The Existential and its Exits: Literary and Philosophical by L. A. C. Dobrez

By L. A. C. Dobrez

The publication fills an important hole in glossy serious experiences. Hitherto, there was no thought of try and relate Existentialist proposal to modern literature - and this can be accurately what Dr Dobrez achieves, taking 4 major writers and discussing their paintings when it comes to Husserl, Heidegger and Sartre. Readers will locate this account enlightening in its dialogue of Existentialism itself and its program of Existentialist ideas in smooth literature. hence this booklet should be of significant price to scholars of either modern literature and smooth philosophy.

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Additional info for The Existential and its Exits: Literary and Philosophical Perspectives on the Works of Beckett, Ionesco, Genet and Pinter

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She! (p. 19) What is called for is, it seems, unthinkable, unable to be told. At one level, the voice is asked to name itself, or rather to identify its true source, beyond the mind of the helpless protagonist. Because it cannot do this and consequently substitutes a story - that of the protagonist - it effectively reduces the entire play to a digression, an evasion of the truth, which has nothing to do with "she", the protagonist. At another level the voice is asked to say "I" rather The Reduction 41 than "she", to identify itself as none other than the woman in question.

Who? . no! . she! (p. 19) What is called for is, it seems, unthinkable, unable to be told. At one level, the voice is asked to name itself, or rather to identify its true source, beyond the mind of the helpless protagonist. Because it cannot do this and consequently substitutes a story - that of the protagonist - it effectively reduces the entire play to a digression, an evasion of the truth, which has nothing to do with "she", the protagonist. At another level the voice is asked to say "I" rather The Reduction 41 than "she", to identify itself as none other than the woman in question.

With the proviso that all commentary proceeds from a source other than himself we may say that the subject ponders his situation. Is the voice speaking to him? If so, of whom is it speaking? Of himself or someone else? What is the import of its strange declaration, "You are on your back", etc. 7) or "You first saw the light at Easter" (p. 19)? Does it require his identification with it? In that case he would be able to fc'himself through the voice, to say "I": "What an addition to company that would be!

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