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Katerina Vassilopoulou

This present paper applies possible-worlds theory – as developed by literary theorists–to an analysis of absurdist drama, a genre that has, to date, been unexplored in these terms. I argue that this framework can prove very useful in the approach to absurdity. I discuss some selected extracts from Pinter’s Old Times, Ionesco’s The Bald Prima Donna, Jacques or Obedience and Rhinoceros, and Beckett’s Waiting for Godot. The analysis is based on Ryan’s (1991) typology of accessibility relations, as well as on her catalogue of types of alternative possible worlds that can be included within a fictional universe (1985). A discussion of the plays in terms of the first typology shows that some partial impossibilities can often be captured by accessibility relations other than logical compatibility, which is typically associated with absurdist drama. I further examine whether it is the relaxation of these relations alone that is responsible for the created oddity. Additionally, in discussing the conflicts within the fictional universe I argue that a further factor for the creation of absurdity lies in the fact that the mismatches fail to move the plot forward, contrary to what happens in other genres.

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Edited by Anne Carlier, Véronique Lagae and Céline Benninger

Le temps est structuré à l'image de nos facultés de compréhension. Il en résulte la dissymétrie, bien connue, entre passé et futur : à la différence des faits à venir, les faits révolus possèdent déjà le statut de réalité et sont de ce fait accessibles à la connaissance. Aussi les langues ont-elles développé un dispositif particulièrement riche de formes permettant de localiser avec précision les situations passées, permettant également de spécifier le mode de déroulement de ces situations. Cette richesse caractéristique du domaine du passé trouve un reflet dans le présent volume, réunissant des contributions à la troisième édition du colloque Chronos, qui s'est tenue à Valenciennes les 29 et 30 octobre 1998.

Series:

Pieter B. Hartog

by the angel of the presence. 13 The Temple Scroll, though it also often paraphrases its base text, seeks to accrue authority for itself by reformulating its base text in the first person, implying that it contains God’s very words. 14 Both compositions furthermore present themselves as what Najman

Series:

Matthew Goff

as “servants of Satan”) who led the earth astray (1 En. 54:6; cf. 10:1–15). The text then invokes the flood, which is construed as a combination of the upper waters and the lower waters (54:7–55:2; cf. Gen 1:7). The former are presented as “male,” and the latter as “female”: “And all the waters will

Series:

Samuel L. Adams

different context. Nevertheless, many recent commentators have utilized post-colonial ideas to elucidate meaning in the biblical texts and other ancient documents, and it is profitable to consider these concepts in relation to scrolls research. Yet the cryptic references in the scrolls present a more basic

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Kipp Davis

Introduction In his survey of Jeremiah scrolls from Qumran, George Brooke observed that scriptural Jeremiah is present in at least two versions and in six manuscripts. He noted that the evidence of both and Jeremiah texts in the collection indicates their currency in Palestine since the third

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Eibert J.C. Tigchelaar

preferred old forms since these would be more respectable. The Theory: Sociolinguistics and the Concept of Anti-Language All modern discussions of anti-language refer back to Halliday, who first introduced the concept with its present meaning 28 in discussing the commonalities of three extreme versions of

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Alison Schofield

QS 2:19–23 One is struck by the order of ceremony in this text. At least on the level of conceptual space (Secondspace), the movements of the group members are presented as orderly, regulated, and hierarchical, based on their relative standings within the community. The results of such rankings

Series:

Reinhard G. Kratz

, which are no more than indicators of something to be explained, but the tendency and the overall concept are the key criteria for deciding whether a text is a literary unity or not. I cannot present a complete analysis of the Temple Scroll here and so I will confine myself to some basic observations

Series:

Drew Longacre

similar to which must have originally been present in the text of the composition. 27 In this case, however, probably due to the scarcity or lack of alternative copies of the composition, the missing text was never supplemented by a corrector. 28 Chester Beatty Papyrus II ( GA P 46 ) Folio 31v Line 5