This paper aims to explain the role of Absurd Theatre, as an innovative form of dramatic composition in the first half of the 20th century, in evolving novels and literary traditions after 1960s. The main problem of this research is finding some reliable limits of mutual impacts by which it could be possibly said that Absurd Theatre and New Novels had many interchangeable effects through the time. The key question is how Absurd devices have had an impact on the style of novel writing, if it could be claimed that this type of theatre had emerged at the period of a historical passage into Postmodernism from Modernism. Inspired by an evolutional structuralism method, this study intends to describe the key factors of mutual stylistic interactions between Nouveau Novels and Absurd Drama. To this purpose, a statistical population of recognized writers and dramatists has been selected to realize a comparative reading of their features. Focusing on some masterpieces of Samuel Beckett and Marguerite Duras’ novels, the comparison confirms how these movements influenced on each other and how it would be possibly rearranged and re-interpreted today. The features such as Deviation of Norms and Styles, Humanism as well as Scientism are among the most important criteria that prove the main hypothesis of the research. They are basically literary devices or approaches which have transferred to theatre and performance.The paper first reviews the historical evolution of Modern Literature and shows how modern style of telling stories influenced on some other types of artistic forms. It explains that Absurd Drama was significantly inspired by modern approaches of European literary criticism. The “Estrangement effect” of Epic Theatre and “Defamiliarization” of Formalist poetics are two of the main reasons of emerging Absurd techniques during 1930s. The research summarizes then the key features of Modern Novels at a tentative table and presents some operational descriptions for subsequent assessment. It will finally prove that the literary focus on Body and Movement, Claustrophobical arrangement of fictional scenes, and Performative aspects of language are all made under influence of Absurd devices. In effect, it could be said that Absurd drama developed literary language of New Novels in terms of performability and theatricality.

Objective: Suicide is a multidimensional phenomenon, and examining each of its dimensions can help control this destructive social phenomenon. This study aimed to investigate meaningless and Absurd experiences in people who attempted suicide in Iran. Methods: The present study was conducted using a qualitative-descriptive phenomenology. The participants were selected using the purposive sampling method from persons who attempted suicide and were admitted to the Intensive Care Unit (ICU) of Loghman-e Hakim Hospital in Tehran City, Iran, in 2020. The study data were collected via semi-structured interviews. The collected data were theoretically saturated after interviewing 15 participants. All data were also recorded, transcribed, and analyzed using Colaizzi’ s seven-step method. Results: The initial codes identified in this study were categorized into 4 main themes and 22 sub-themes. The main themes were “ underlying and revealing causes of suicide” , “ outburst of feelings and thoughts before suicide” , “ reaction of those around to suicide” , and “ the overall meaning of life and a looking at life after suicide” . Conclusion: This study showed that those who attempted suicide for at least one of the reasons of poverty, lack of financial independence, love failure, and not being understood by parents or the spouse experienced a sense of meaninglessness and Absurdity. An awareness of the experiences of people who attempted suicide can help mental health professionals understand its underlying causes and make subsequent clinical and treatment decisions.

Emphasizing on the structural aspects of theatre of the Absurd as a modern form of drama development, the present paper studies some of the principles of this dramatic school in Bahman Farsi's plays of 1340s. One of these principles is Farsi's new understanding of dramatic action which is the most important element in conveying the author's intended concepts. Affected by theatre of the Absurd, Farsi has removed outside realities and events and the cause and effect plot in the traditional drama and has reinforced the intellectual and doctrinal aspects. The circular pattern of the plays, the complexity and oblique presentation of the characters and their philosophical and doctrinal beliefs, poetic pictures, development and domination of verbal aspect on action in the play and the open-ending with no relief are the innovative visions of Farsi's plays which proves the influence of artistic and dramatic school of theatre of the Absurd on him. The objective of this paper is to investigate the extent of the influence and parallel which exists between this different dramatic genre and Bahman Farsi's plays.

Our aim in this study was to make an intervention in the target group in order to improve interpersonal relationship skills via listening. To do that a pseudo-experimental plan was used in two control and experiment groups of nine. After the pretest, reading Theatre of the Absurd pieces in collective bibliotherapy sessions, 9 salespeople in the experiment group received the necessary instructions. Four weeks after the reading sessions, the control and experiment groups were tested again. Data analysis was performed by one-way ANCOVA. Also, to strengthen the findings related to the first stage of the study, the customers’,perspectives/attitudes were analyzed twice both before and after the instructing. The results suggested that reading Absurd theater pieces impacts listening skills in salespeople and that impact is reflected not only in their attitude (self-assessment) but also in their behavior (assessing customer).

This paper deals with the role of the Theatre of the Absurd in the evolution of the history of Iranian dramatic literature. In the modern art everyone in a way is involved in the question of modern technology. Mechanization has made its way into everyday life and has affected all its aspects. This effect is so immense that everyone is in way occupied with the same subject. One of the concepts evident in the works of European authors and playwrights is Absurdity and inefficiency of the modern time and the people. This article investigates how the concept of the Absurd is reflected in the plays of Gholam HosseinSaedi. It has been tried to present an analysis of how Theater of the Absurd and its pioneershave influenced Saedi's plays.

Numerous scholarly works have explored the Absurd theatrical movement and analyzed Beckett's plays. However, there is a noticeable lack of comprehensive analysis of the performative aspects within Beckett's theatrical works, with only isolated cases having been studied. In fact, the performances of Beckett’s plays have been neglected and this research seeks to fill this gap by employing a semiotic approach in the analysis of two significant performances: Krapp's Last Tape, directed by Atom Egoyan, and Endgame, directed by Samuel Beckett. Among many performances of Beckett’s plays, these two have been chosen due to their importance and significance of the Absurd theatrical movement.While semiotics offers a fertile ground for cognitive studies, it has been underrepresented in the domain of drama and theater, despite its significant presence in this literary sphere. Early semioticians in theater primarily focused on dissecting dramatic signs and textual elements. However, starting in the 1980s, newer semioticians began emphasizing the analysis of theatrical performance. Drawing upon semiotic theories by eminent scholars such as Keir Elam and Eli Rozik, this research aims to unravel the intricate process of meaning production and transmission to both directors and the performing ensemble through a meticulous examination of semiotic signs within theatrical performances and a thorough comprehension of how these signs interrelate within the context of the performance.Theatrical metaphor and stage contracts emerge as pivotal components in the analysis of theatrical performances, particularly in Absurd plays. According to Peirce's triadic classification of signs, metaphor belongs to the iconic category, with the governing principle hinging upon similarity between the sign and its referent. Rozik introduces another significant facet of metaphor, namely stage metaphor, which invariably involves a fixed entity to which a metaphorical statement refers. Scenic metaphor, at non-verbal levels, encompasses the actor's performance style, gestures, movements, and various other non-verbal forms. Conversely, stage contracts encapsulate a set of theatrical rules and norms that inherently do not elucidate their meanings. Rather, a comprehension of their meanings is derived through a detailed examination and analysis of the relationships of similarity or adjacency between these conventions within the presented domain. In essence, comprehending stage contracts serves as a tool through which a profound understanding of theater is attainable.Using a descriptive-analytical methodology, this research begins with an overview of theater semiotics. Subsequently, various types of metaphor and stage contracts, along with other vital components for analyzing theatrical performances, are meticulously scrutinized in the performances of Krapp's Last Tape and Endgame. This analytical approach aims to facilitate a comprehensive understanding of how directors and performers can grasp the nuances of readings and the intricate process of meaning production within these performances. Additionally, this paper explores the broader implications of semiotics in understanding the evolution of theatrical art and its role in contemporary dramatic performances. The study delves into the interplay of semiotics and theatricality, shedding light on how meaning is constructed and conveyed in theatrical performances, thereby contributing to a deeper comprehension of the artistic and philosophical dimensions of Absurd theater.

Historically, meaningful life is one of the most controversial concepts in philosophy and psychology and trying to understand its nature, has continued over the centuries. Accordingly, in this article has been tried to take the meaningful life against the Absurdity from the Islamic point of view, to make it clear the importance and role of education, and it has opened a new way, facing on experts and pundits, to improve performance in education. The present study, is done, with a qualitative approach and descriptive - analytic study. The findings of this study indicate that meaning of life is very important issue of Islamic culture and, closeness of God, is the true meaning of life from the Islamic point of view. Having a purposeful life, exactly the same as meaningful life and in the training process, the people who believe in God and have found the true meaning of life, will provide better performance in contrast with failures and challenges and Finally, follow all stages of life with high motivation and hoping to achieve their targets.

Nihilism is the denial and sometimes the whole of life. This idea dates back to ancient times and emerged in the Middle Ages, but it has been reorganized in modern times. Nietzsche, Kafka, and Emil Zola's students at the School of Naturalism paved the way. In today's philosophical and literary naturalism, there are features that overlap with some of the non-authoritarian components and perspectives. Choubak's stories are full of naturalistic mixes and teachings. Naturalism, which has led to a passive inhumanity in Chubak's thought and vision, as it negates society and life, it offers no choice but to go out of this circle of astonishment and confusion. Although naturalism is passive in some respects, it is not necessarily Absurd. The question that arises in Sadegh Choubak's work is whether to combine these passive naturalistic aspects with some nihilistic approaches that keep the writer and the reader as spectators. This article is an attempt to represent this intertwining that is sometimes difficult to discern between the two-naturalism and nihilism-in Chubak's works.

Nihilism means the belief in nothingness, the preference of nothing for being, and the fundamental negation of an aspect of human cognition or value. But how can one argue in philosophy about something that is allegedly non-existent? To answer this question, we need to answer more detailed questions, such as how nihilism can be defined and how much providing a definition helps to understand nihilism? In what ways can nihilism be divided? Also, according to the definitions and types of nihilism, what are the strengths and weaknesses of the Persian equations of nihilism? Nihilism can be divided into pre-Nietzschean and post-Nietzschean history, active and passive approach, individual and social extent, and cognitive and value-based context. In all these divisions, nihilism is negating, so its definitions are also descriptions of "how to say no" or "to what say no". But all theories that have radically rejected their earlier ideas are relatively nihilist and at the same time "may" be considered positive in relation to their later ideas. So we can say generally that nihilism is opposed to metaphysics, and specifically is opposed to any philosophy, nihilism of that philosophy. But nihilism is not just an independent way of thinking, that’s a way to examine metaphysics and any other philosophy. Nihilism also questions the obviousness of philosophy itself,the obviousness of that we must have answers to the questions in our minds,it questions the question. Our questions are not necessarily answerable, they are not necessarily meaningful questions at all.

Contemporary cultural-social approaches in non-formal education is an interesting as well as intriguing area for modern research in the context of education, culture, and society. The arts, literature, new technologies, pop culture, theatre, cinema, and mass media are considered, among others, very important factors/agents of modern non-formal education internationally. In this context, it is strongly highlighted that literature, theatrical plays, and cinema can play an important role in contemporary cultural-social approaches to non-formal education nowadays. Based on the latter fact, this study presents examples from all three aforementioned fields: a case study on Medieval Literature, the poem of ‘ Sir Gawain and the Green Knight’ with a connection to the issue of antifeminism, a case study on Harold Pinter’ s play ‘ The Birthday Party’ whose title is further discussed and a case study on Paul Verhoeven’ s film ‘ Basic Instinct’ with a view to present gender stereotypes in the cinematic sphere.