[1] Pax, C. (2012). An Existential Approach to God: A Study of Gabriel Marcel. Springer Science & Business Media.
[2] Garff, J. (2013). Søren Kierkegaard: A Biography. Princeton University Press.
[3] Al-Hasani, H. M. S. R. (2023). Existentialism and absurdity in Albert Camus’s The Stranger: A psychological study. American Research Journal of Humanities Social Science, 6(5), 12–18.
[4] Ali, M. C. (2016). Absurd existential nihilism in post-colonial literature. Global Journal of Human Social Science Research, 16(1-A).
[5] Woodward, A. (2011). Camus and nihilism. Sophia, 50(4), 543–559.
[6] Crosby, D. A. (1988). The Specter of the Absurd: Sources and Criticisms of Modern Nihilism. SUNY Press.
[7] Bennett, M. Y. (2015). The Cambridge Introduction to Theatre and Literature of the Absurd. Cambridge University Press.
[8] Plain, G. (2013). Literature of the 1940s: War, Postwar and ‘Peace’ (Vol. 5). Edinburgh University Press.
[9] Brassell, T. (1985). Post-war theatre: Some contemporary currents. In Tom Stoppard: An Assessment (pp. 24–34). Springer.
[10] Mathur, T. (2016). Visualizing dramatic texts: Eugene Ionesco’s The Chairs and Badal Sircar’s Evam Indrajit. International Journal of Arts & Sciences, 9(3), 497.
[11] Rehan, M. (2021). Philosophical exploration of existentialism and absurdism in Matt Haig’s The Midnight Library. University of Chitral Journal of Linguistics and Literature, 5(II), 451–460.
[12] Couder, O. (2016). Towards a cognitive stylistics of the absurd: Joanna Gavins’ Reading the Absurd (2013). Language and Literature, 25(1), 72–81.
[13] Mostoufi, K. (2014). Manipulative language and loss of identity in Harold Pinter’s The Birthday Party: A pragmatic study. Procedia – Social and Behavioral Sciences, 134, 146–153.
[14] Esslin, M. (1960). The theatre of the absurd. Tulane Drama Review, 4(4), 3–15.
[15] Cardullo, R. (2015). Experimental theatre in the twentieth century: Avant-gardism, the absurd, and the postmodern. Neohelicon, 42, 341–358.
[16] Hinchliffe, A. (2017). The Absurd. Routledge.
[17] Oliver, W. I. (1963). Between absurdity and the playwright. Educational Theatre Journal, 15(3), 224–235.
[18] Nealon, J. (1988). Samuel Beckett and the postmodern: Language games, play and Waiting for Godot. Modern Drama, 31(4), 520–528.
[19] Scott, A. (2017). A desperate comedy: Hope and alienation in Samuel Beckett’s Waiting for Godot. In Shifting Focus (pp. 94–106). Routledge.
[20] Tiwari, C. S. (2012). Harold Pinter and the theatre of the absurd. Lapis Lazuli – An International Literary Journal, 2(2).
[21] Mandre, P. (2017). The absurd elements in Harold Pinter’s The Birthday Party. International Journal of Multidisciplinary Research, 3(5).
[22] Chetia, B., & Dey, A. K. (2019). Depiction of ‘self’ and ‘other’ dichotomy in Badal Sircar’s Evam Indrajit. Think India Journal, 22(14), 2800–2813.
[23] Chattopadhyay, A. (2024). Indian theatres of the absurd: Cultural politics of transformation. In The Routledge Companion to Absurdist Literature (pp. 448–460). Routledge.
[24] Renuka, E., & Bhattacharjee, S. (2003). Urban bias as a postcolonial distortion: A note on Badal Sircar’s Third Theatre. In Postcolonial Theory and Literature (p. 147).
[25] Mehdi, A. D., & Kumar, M. S. (2019). Theatre of absurd: A critical study with reference to Samuel Beckett’s Waiting for Godot, and Badal Sircar’s Evam Indrajit. Research Journal of English Language and Literature, 7(4).
[26] Bolick, E. L. (2009). Absurdism in post-modern art: Examining the interplay between Waiting for Godot and Extremely Loud and Incredibly Close. Inquiries Journal, 1(11).
[27] Majumder, S. S. (2024). Arun Sharma’s Aahaar: Reductio ad absurdum. In Performing Arun Sarma: Theatricality, Transgression, Transformation (p. 37).
[28] Pandya, D., & Sangha, T. (2019). Emergence of absurdism: Theatre and anti-theatre in the post-world war American drama. International Journal of Recent Technology and Engineering (IJRTE), 7(6S5), 2277–3878.
[29] Rahimipoor, S. (2011). Postmodernism, absurdity, and identity in Samuel Beckett’s and Harold Pinter’s drama. Cultural Perspectives – Journal for Literary and British Cultural Studies in Romania, 16, 89–99.
[30] Paul, D., & Alan, G. (2022). A comparative analysis of violence in Samuel Beckett’s Waiting for Godot and Harold Pinter’s The Birthday Party: An awareness towards peace. ECS Transactions, 107(1), 9183.
[31] Subramani, S. (2018). Samuel Beckett’s vision of life: A study of his play Endgame. Research Journal of English Language and Literature, 6(2).