Abstract
This article explores how the repeated use of proper nouns in the absurdist works of Daniil Kharms diminishes the overall cohesiveness of the text by creating unusual focus on the subject rather than the predicate, thus breaking up the storyline, making it harder for the reader to follow. As a result, the events of the story are dulled, which helps produce impervious characters and self-destructive plots. These, in the end, were desirable qualities in the belief system of Kharms, who felt that a pure reality could only be attained by separating out the parts of the whole and that perfection consisted in reducing things to a state of zero. Consequently, the overuse of proper nouns is instrumental in reflecting Kharms’ philosophical views and creating the world of the absurd in his works.
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