The Literary Dimension of the Absurd and Black Humour in Catch-22

In the center of this article, it is going to be a literary movement which was named absurdism, theatre of the absurd, articulates the meaninglessness of the total existence. Such meaninglessness deprives you from any importance human existence as in his overall personality also in his particular personality display, in every act, feeling and effort. As a literary trend, absurd belongs more to a literary formation order, which makes it different from many simultaneous activities and other literary movements in XX century, which found themselves in different forms of art- in paintings, music, cinamtography, sculpture, as there is on the one hand e.g symbolism, impressionism, expressionism, on the other hand, there is grotesque, montage, colazh etc. Secondly, this article will treat the ways how these tropes are elaborated by the postmodernist writers beginning from the ealier ones up to the latest representative authors such as J. Heller, K. Vonnegut, J. Hox, A. Jarrie etc. How do these writers reflect through their powerful word of art in their works? Thirdly, this article will deal with the efforts to be released from the “tyrany” of words and by the oppressivness of traditional literary contexts part of this, and “antiliterarism” as its distinguished trait. Finally,it is going to be concluded by the evaluation of significant critics and reviews, that will makes us understand better what happens especially seen from the Heller “Catch-22” point of view, and realizing major postmodern elements such as Black humor, grotesque, parody , irony , sarcasm etc. DOI: 10.5901/mjss.2013.v4n9p37