In absurdist fiction, authors and writers focus on characters who investigate the meaning of human existence to question existential notions. Some writers may use the character's confrontation with absurdism to reject or honor existentialism, while others may use it to demonstrate a sense of comfort or anxiety in the irrational nature of existence. In Crime and Punishment by Fyodor Dostoevsky, The Stranger by Albert Camus, and Crimes and Misdemeanors by director Woody Allen, human behavior in absurd circumstances is highlighted. The characters in these important absurdist fictions struggle to find intrinsic meaning in human existence. Although the protagonists face the absurdity of the world in similar ways, their individual battles with existentialism highlight the ultimate human motivation to find meaning in existence. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay In Crime and Punishment, Dostoevsky uses Raskolnikov's wavering qualities of good and evil and identification as an "ubermensch" to demonstrate his desire to find meaning for himself. As the novel begins, Raskolnikov commits acts of kindness, but begins to question his actions. For example, he leaves Marmeladov's family money after seeing poverty taint their family, but suddenly regrets doing so: “'What a stupid thing to do,' he thought. 'They have their Sonya, and I need her too'” (Dostoevsky 27). Raskolnikov's quick rebuke of his good deeds illuminates his motivation to find meaning as he fails to grasp the importance of being kind. It also foreshadows his ideas about justice. After listening to a student and an officer discuss Alyona's killing, Raskolnikov begins to find meaning: “'For one life, thousands of lives saved from decay and corruption. One death for hundreds of lives: it's simple arithmetic!'” (Dostoevsky 65). This conversation triggers an awareness in Raskolnikov: the world is full of injustices and therefore, to create meaning and order, it is necessary to eliminate injustice. This new conceptual remedy for making sense of the unknown becomes reality, and Raskolnikov not only kills Alyona, but also her sister Lizaveta. Moreover, this act manifests itself in a lifestyle for Raskolnikov; he begins to put himself on a pedestal, calling himself an “ubermensch”. This identification as “superman” provides Raskolnikov with a new understanding of existence, yet this title only proves to isolate him further and illuminate the falsity of his new meaning. Raskolnikov's initial confrontation with absurdity portrays humanity's need for a sense of meaning. Raskolnikov struggles to find his essence once the crime is committed, however, he ultimately rejects his previous ideas about existence and surrenders to love. Throughout the novel, he is constantly struck by an isolation marked by confrontation with absurdity. For example, by placing himself above most people and labeling himself an "ubermensch", he divided himself from the people around him such as Dunya and Sonya. This isolation is evident through Dostoevsky's use of symbolism; Raskolnikov's narrow, confined room represents his separation from the world, and the dark, brooding images offer an ominous tone that reveals the inner struggles humans face as they conquer absurdity. At the end of the novel, Raskolnikov begins to surrender to love and God, finally abandoning his previous ideas about existence and justice: “Infinite happiness lit up in his eyes; she understood, and for herthere was no longer any doubt that he loved her, loved her infinitely, and that the time had finally come…” (Dostoevsky 549). “'His beliefs can't be my beliefs now? His feelings, his aspirations, at least…'” (Dostoevsky 550). Both Sonya and Raskolnikov realize he finally loves her and once he takes out his copy of the New Testament, he recognizes that with God's power and love, he and Sonya are connected. Raskolnikov finally freed himself from his previous isolation and regenerated spiritually. Through Raskolnikov's rejection of his previous discovery of existence, Dostoevsky highlighted that human beings must face 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. of existence. Meursault, a very passive and indifferent man, kills an Arab and is tried for his crime. However, there is no explanation for his gesture. In fact, in court his only justification for the murder is the scorching sun: “Fumbling a little with my words and realizing how ridiculous I sounded, I said it was because of the sun” (Camus 103). Like human existence, murder has no rationality. However, the prosecutor begins to create rationality and explain away the murder, concluding that Meursault lacks normal human empathy, given his lack of emotion over his mother's death, and considers him a monster. Likewise, Meursault has the supreme desire to explain his actions, but begins to realize that no explanation exists. Through Meursault's interaction with the chaplain, his understanding of existence becomes evident: “What would it matter if he were accused of murder and then executed because he didn't cry at his mother's funeral? Salamano's dog was as good as his wife” (Camus 121). Meursault illustrates the equality that all beings face given the inevitability of death by equating Salamano's dog with the chaplain's wife. This depressing awareness of the absurdity of humanity allows, however, Meursault to reach a state of happiness: “...I opened myself to the sweet indifference of the world. Finding myself so much life – as well as a brother, really – I felt that I had been happy and that I was happy again” (Camus 123). Meursault has finally accepted the absurdity of existence and is at peace. Indeed, 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 Woody Allen's Crimes and Misdemeanors, Judah, like Meursault, struggles to find meaning in existence, but ultimately accepts the absurdity of the world. and rejects religion. Judah appears to have a happy and successful life, however, his relationship with Dolores begins to get in the way of his perfect lifestyle: she wants their relationship to be public, threatening to release his financial interactions to her family. With the help of his brother Jack, Judah decides to hire a hitman to kill Dolores and put him out of his misery. After she is killed, Judah is struck by an overwhelming sense of remorse and begins to question whether good and evil really matter. For example, he has flashbacks to his childhood and remembers his father's beliefs about ethics: "If necessary, I will always choose God over the truth" (Allen). Judah's father essentially believes that a person should lead a morally good life in a meaningless world, ultimately choosing God. Judah becomes very confused about existence given these flashbacks, however ultimately chooses the truth unlike his father. So long as.