The well-known label of “theater of the absurd” is based on the Aristotelian logic of the nonincluded middle, the common interpretation being that of the chaotic and irrational character of the universe, human destiny, and language. However, we propose another view on the subject, relying on the discoveries of quantum physics, the main principles of transdisciplinarity, and the literary theory of the possible worlds. We applied these ideas to some of Eugene Ionesco’s fa-mousplays, concluding that absurd becomes an irrelevant notion (...) if analyzed in this perspective. (shrink)

For the last sixty years, the French novel has sought for one or several aesthetic paths, failing to do so and sputtering into lots of individual perspectives, with an autofictional ruling pattern and with an increasing role of the media. Contemporary novel seems to have forgotten or not to care anymore about being a privileged means to question and to understand the world.