In absurdist fiction, authors and writers focus on characters who investigate the meaning of human existence in order to question the existential notions. Some writers may use their characters' confrontation with absurdism to reject or honor existentialism, while others may use it to demonstrate a sense of comfort or anxiety with the irrational nature of existence. In Crime and Punishment by Fyodor Dostoyevsky, The Stranger by Albert Camus and Crimes and Misdemeanors by director Woody Allen, human behavior in absurd circumstances is highlighted. The characters in these leading absurdist fictions struggle to find inherent meaning in human existence. Although the protagonists confront the absurdity of the world in similar ways, their individual struggles against existentialism highlight man's greater motivation to find meaning in existence. Say no to plagiarism. Get a tailor-made essay on "Why violent video games should not be banned"?Get the original essay In Crime and Punishment, Dostoyevsky uses Raskolnikov's vacillating qualities of good and evil and his identification with the "ubermensch" to demonstrate his desire to find meaning in himself. Early in the novel, Raskolnikov commits acts of kindness, but begins to question his actions. For example, he leaves Marmeladov's family money after seeing poverty infect their home, but he suddenly regrets having done so: "'What a stupid thing to have done,' he thought. “They have their Sonya, and I need her myself”” (Dostoyevsky, 27). Raskolnikov's quick reproaches of his good deeds illuminate his motivation to find meaning since he cannot understand the importance of being kind. This also foreshadows his ideas about justice. After hearing a student and an officer discuss Alyona's murder, Raskolnikov begins to find meaning: “'For one life, thousands of lives were saved from decadence and corruption. One death for hundreds of lives, that's simple arithmetic!' » (Dostoyevsky 65). This conversation makes Raskolnikov realize: the world is filled with injustice, and therefore, to create meaning and order, injustice must be eliminated. This new conceptual remedy for making sense of the unknown becomes reality and Raskolnikov murders not only Alyona, but also her sister, Lizaveta. Moreover, this act is manifested in Raskolnikov's lifestyle; he begins to place himself on a pedestal, calling himself “ubermensch”. This identification as "superman" offers Raskolnikov a new understanding of existence, but this title only isolates him further and illuminates the falsity of his new meaning. Raskolnikov's initial confrontation with absurdity depicts humanity's need for meaning. Raskolnikov struggles to find his essence once he commits the crime, but he eventually rejects his old ideas about existence and surrenders to love. Throughout the novel, he is constantly struck by an isolation marked by his confrontation with absurdity. For example, by placing himself above most people and calling himself an "ubermensch", he separated himself from the people around him, such as Dunya and Sonya. This isolation is apparent through Dostoyevsky's use of symbolism; Raskolnikov's narrow, confined room represents his separation from the world, and the dark, sinister images provide an ominous tone that reveals the internal struggles humans face while conquering absurdity. At the end of the novel, Raskolnikov begins to surrender to love and God, finally abandoning his former ideas about existenceand justice: “Infinite happiness was kindled in his eyes; she understood, and for her there was no longer any doubt that he loved her, that he loved her infinitely, and that the moment had finally come…” (Dostoyevsky, 549). “'Can't his beliefs be my beliefs now? His feelings, his aspirations, at least…” (Dostoyevsky 550). Sonya and Raskolnikov realize that he has finally loved her and once he pulls out his copy of the New Testament, he recognizes that with the power of God and love, he and Sonya are connected. Raskolnikov finally freed himself from his former isolation and was spiritually regenerated. Through Raskolnikov's rejection of his earlier discovery of existence, Dostoyevsky emphasized that humans must confront absurdity to find salvation, and this confrontation is inevitable. In The Stranger, Meursault attempts to find meaning in the absurd and eventually begins to accept the meaningless quality. to exist. Meursault, a very passive and indifferent man, murders an Arab and is tried for his crime. However, there is no explanation for his action. In fact, in court, his only justification for the murder is the blazing sun: "Fumbling a little with my words and realizing how ridiculous I sounded, I blurted out that it was cause of the sun” (Camus 103). Just like human existence, murder has no rationality. Nonetheless, the prosecutor begins to create rationality and explain the murder, concluding that Meursault lacks normal human empathy, given his lack of emotion following his mother's death, and makes him a monster. Likewise, Meursault has an ultimate desire to explain his actions, but he begins to realize that there is no explanation. Through Meursault's interaction with the chaplain, his understanding of existence emerges: "What does it matter if he was accused of murder and then executed because he didn't cry at his mother's funeral?" Salamano’s dog was worth as much as his wife” (Camus 121). Meursault illustrates the equality that all beings face in the face of the inevitability of death by likening Salamano's dog to the chaplain's wife. This depressing awareness of the absurdity of humanity, however, allows Meursault to reach a state of happiness: “…I opened myself to the gentle indifference of the world. Finding so much life there myself – so much like a brother, really – I felt that I had been happy and that I was still happy” (Camus 123). Meursault has finally accepted the absurdity of existence and is at peace. In fact, he freed himself from the constant false hope of finding meaning in the absurd. Camus concludes that although humans are constantly driven to find meaning, it is important to accept the irrationality of existence. In Crimes and Misdemeanors by Woody Allen, Judah, like Meursault, struggles to find meaning in existence, but ends up accepting the absurdity of the world. and rejects religion. Judah seems to have a successful and happy life, however, his affair with Dolores begins to get in the way of his perfect lifestyle: she wants their relationship to be public, threatening to disclose his financial interactions to her family. With the help of his brother Jack, Judah decides to hire a hitman to murder Dolores and free him from his suffering. After being killed, Judah is struck by an overwhelming sense of remorse and begins to question whether right and wrong really matter. For example, he has flashbacks to his childhood and remembers his father's beliefs regarding ethics: "If necessary, I will always choose God over the truth" (Allen). Judah's father essentially believes that a person must live a morally good life in a meaningless world, and ultimately choose God. Judah becomes very confused about existence because of these flashbacks, but chooses.