in regards to adolescence what is the personal fable and the imaginary audience
Personal fable Feelings of uniqueness may stem from fascination with one's own thoughts to the point where an adolescent believes that his thoughts or experiences are completely novel and unique when compared to the thoughts or experiences of others. This belief stems from the adolescent's inability to differentiate between the concern(s) of his thoughts from the thoughts of others, while simultaneously over-differentiating his feelings.[2] Thus, an adolescent is likely to think that everyone else (the imaginary audience) is just as concerned with him as he himself is; while at the same time, this adolescent might believe that he is the only person who can possibly experience whatever feelings he might be experiencing at that particular time and that these experiences are unique to him.[2] According to David Elkind (1967), an adolescent's intense focus on himself or herself as the center of attention is what ultimately gives rise to the belief that one is completely unique, and in turn, this may give rise to feelings of invulnerability. Ultimately, the two marked characteristics of personal fable are feelings of uniqueness and invulnerability. Or as David Elkind states, "this complex of beliefs in the uniqueness of (the adolescent's) feelings and of his immortality might be called a "personal fable", a story which he tells himself and which is not true."
Theatre of the Absurd In comparison to Sartre's concepts of the function of literature, Samuel Beckett's primary focus was on the failure of man to overcome "absurdity" - or the repetition of life even though the end result will be the same no matter what and everything is essentially pointless - as James Knowlson says in Damned to Fame, Beckett's work focuses, "on poverty, failure, exile and loss — as he put it, on man as a 'non-knower' and as a 'non-can-er' ."[57] Beckett's own relationship with Sartre was complicated by a mistake made in the publication of one of his stories in Sartre's journal Les Temps Modernes.[58] Beckett said, though he liked Nausea, he generally found the writing style of Sartre and Heidegger to be "too philosophical" and he considered himself "not a philosopher".[59]