الفهرس 
Chapter OneOnly 14 pages are availabe for public view
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Abstract
The present thesis revolves around the problematic dramatization of Albert Camus’s concept of ‗the absurd man‘ in six plays by Samuel Beckett. These plays are Waiting for Godot (1953), Endgame (1957), Krapp’s Last Tape (1958), Happy Days (1961), Play (1963), Not I (1972). The treatment of this research topic starts with presenting the concept of the absurd man, which is inextricably bound up with the concept of the absurd in Camus’s theory. The concept of the non-absurd man is discussed in contradistinction to the concept of the absurd man. In light of these two contradictory concepts, the characters are classified into absurd-man and non- absurd-man characters. The contradiction between these two connected concepts calls for the adoption of Hegel’s dialectical method which consists of three laws that deal essentially with contradiction. The analysis shows that Beckett has created dramatic worlds which are replete with the manifestations of the absurd to show how the characters respond to it. from their responses, it turns out that few characters in the six plays are delineated as absurd man whereas most of the characters are non-absurd man. In his dramatization of the concept of the absurd man and its opposite, the playwright has utilized dramatic elements such as action, dialogue, stage props, stage light, etc. for two main functions: first, to show the differences between the two types of characters; second, to trigger the audience’s consciousness of the absurd. The delineation of the absurd-man characters who accept the absurd and live life with consciousness and courage gives an insight into Beckett’s vision which calls for accepting life as it is and living it to the fullest.
Keywords: Samuel Beckett, Albert Camus, the absurd man, the non-absurd man, problematic dramatization, Hegelian dialectical method.