Albert Camus Research Papers - Academia.edu (original) (raw)

Figuration de la limite, chez Camus la Méditerranée désigne une confrontation entre différentes attitudes émotionnelles, de haine et d’amour devant le monde. Au-delà du ressentiment des “derniers hommes” et des la politique de puissance des “surhommes” nazi-fascistes, le “premier homme” de Camus se situe dans le sillage nietzschéen d’une recherche philosophico-politique de dépassement du nihilisme contemporain. Par une transformation radicale de la temporalité, il évoque une voie de libération qui permet d’enraciner la communauté politique, en dehors de la violence, dans l’amour.

- by
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- Mediterranean Studies, Friedrich Nietzsche, Henri Bergson, Philosophy of Time

The thesis challenges the relation, brought forth in recent debates in political philosophy (Gianni Vattimo, Jean-Luc Nancy), between the question of nihilism and the aesthetic declination(s) of the concept of the political in the comparative analysis of Albert Camus’ and Hannah Arendt’s reflection.
The textual reconstruction of Camus’ threefold acceptation of nihilism from Le Mythe de Sisyphe to L’Homme révolté, and the focus on the author’s attempt to define a good (use of) nihilism as providing an aisthetic method of thinking in the margins of the so-called modern nihilism and against the 20th century hubristic «revolution» of the absolute-nihilistic fabrication of corpses, is read next to Arendt’s threefold critique of nihilism - in the 19th century ideologies of History, in the mob’s unprincipled political action (early nihilism) and in the totalitarian contempt of mere existence (radical nihilism) in The Origins of Totalitarianism – as bringing into light the fabrication model of political action in the Western tradition of political thought, culminating in the totalitarian project of Politics as Total Art.
By tracing in the critique of radical nihilism a still largely overlooked key to the two authors’ contribution toward a re-thinking of the political in the margins of the post-war Liberal and Conservative restoration of the tradition, the thesis focuses on Camus and Arendt’s appropriation of the (Nietzschean) concept of (political) creation and of tragedy as providing the elements for an alternative paradigm of aesthetic politics, which opposes to the poietic model of a politics of achievement (as politics of whatness) the performative model of a politics of dignity or politics of whoness, beyond the impasse of the incorporation/de-materialization logic of the political exposed by total(itarian) domination.

- by Samantha Novello
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- Nihilism, Aesthetics and Politics, Hannah Arendt, Tragedy (Philosophy)

Resumo: Estrangeiros radicados em Paris, o argelino Albert Camus e o romeno Emil Cioran possuem tantas divergências quanto afinidades intelectuais. Ambos operam uma evasão da Filosofia-entendida aqui como discursividade conceitual e abstrata-em direção a formas outras de produção do conhecimento, e o fazem como modo de participação sui generis no mundo e no contexto histórico em que se inserem. Camus se dedicaria à literatura do romance, e Cioran ao aforismo e à poética do fragmento: formas distintas que cada um deles encontrou no intuito de fazer frente à hegemonia moderna de uma racionalidade abstrata e homogeneizante, amiúde totalitária. As obras destes dois autores denotam uma tensão agônica entre a autonomia da ética e a heteronomia da moral, certa preocupação metafísica com a condição humana profunda para além de toda historicidade, certa ênfase na lucidez (lucidité, vocábulo comum a ambos) como uma disposição subjetiva necessária para a conservação de uma probidade intelectual intransigente face à absurdidade do mundo, e, por fim, a busca estética do Belo como alternativa a uma racionalidade que tende a obliterar a soberania do ser humano, em sua irredutível singularidade, em nome de ideias e ideais que tendem a anular o mesmo indivíduo em nome de causas tão abstratas quanto, muitas vezes, humanamente desastrosas. De onde o fato de terem sido, ambos, cada um à sua maneira, autores marginais e incompreendidos no contexto em que se inserem. Pretende-se problematizar, no registro de uma reflexão estético-filosófica, como suas respectivas obras, que descrevem uma evasão da Filosofia sem deixar de pressupor um espírito filosófico, se oferecem como uma possibilidade de criação alternativa capaz de elaborar uma crítica radical dos descaminhos e reveses da racionalidade europeia historicamente estabelecida.
Palavras-chave: Camus, Cioran, lucidez, absurdo, criação.

- by Rodrigo Inácio R . Sá Menezes
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- Creative Writing, Creative thinking, Albert Camus, Estética

Translation of Albert Camus' Master's Thesis

Artykuł jest poświęcony polemice z duńskim badaczem gier Jesperem Juulem w kontekście zjawiska porażki w grach cyfrowych. Analizując dwie różne wersje francuskiej gry Infernal Runner (stworzone w 1985 roku zarówno przez Yves'a Kortę i Michela Koella, jak i Erica Chahiego), autor próbuje poddać analizie zupełnie odmienne wizje świata przedstawione w różnych odmianach gry. Jedna (Chahiego) kładzie nacisk bardziej na motywy ludyczne, posługując się modelem porażki tymczasowej obliczonej na ustawiczne dążenie ku zwycięstwu. Druga natomiast (Korty i Koella) przesycona jest nihilizmem utrzymanym w tonie pism filozoficznych Alberta Camus, reprezentując motyw porażki permanentnej. W konsekwencji strategie odbiorcze obu wersji tej samej gry różnią się diametralnie.

- by Filip Jankowski
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- Video Games, Video Game Design, Video Game Theory, Video Game History

Resumo: Este artigo procura apresentar inicialmente o conceito de Absurdo, tal como expresso no pensamento de Albert Camus, para em seguida apontar sua relação com o Niilismo problematizado na filosofia de Nietzsche. Para estabelecer essa relação, a noção da "morte de Deus" é sugerida como ponto de articulação entre os dois conceitos. Procuramos apontar ainda uma outra aproximação entre os pensadores no que concerne ao "niilismo ativo" nietzschiano e o conceito de Revolta formulado por Camus. Palavras chave: Absurdo; Niilismo; Morte de Deus; Revolta. Abstract: This paper aims firstly to present the concept of Absurd, such as expressed on Camus's thinking, then point to its relationship with the Nihilism treated in the Nietzsche's philosophy. In order to establish that relationship, the notion of "death of God" is suggested as a point of articulation between those concepts. We aim also to show another link between those thinkers in concerning about Nietzsche's "active nihilism" and the concept of Revolt formulated by Camus. A produção intelectual de Albert Camus situa-se não só cronologicamente como também tematicamente junto à corrente filosófica conhecida como "existencialismo francês". Autor de obras que alcançaram amplo reconhecimento, tais como O estrangeiro, O mito de Sísifo e O Homem Revoltado, Camus apresenta numa linguagem lúcida e cortante a condição do homem perante a experiência do absurdo, inserindo esse tema no bojo da análise filosófica da existência. Em linhas gerais, podemos dizer que o existencialismo é uma corrente filosófica que surge numa época de crise: as duas guerras mundiais, os intensos conflitos políticos e sociais e as atrocidades cometidas em massa por governos tanto de direita quanto de esquerda representaram um duro golpe no otimismo romântico que alimentava a crença em grandes ideais, tais como "Razão" e "Humanidade", assim como puseram em xeque filosofias que almejavam um progresso na história do homem. É no seio desse clima tenso e conflituoso que o existencialismo, enquanto corrente literária e filosófica, traduzirá "a estrutura e a angústia do mundo moderno", para usar uma expressão de Lévinas, e é no mesmo contexto crítico que Camus reflete sobre o sofrimento injustificado que se dissemina na experiência humana, particularmente em uma época de barbáries institucionalizadas. Diante dessa crise, o existencialismo voltará seu olhar para o homem concreto e finito, para aquele ser "lançado" no mundo, que se depara constantemente com problemas e enfrenta atribulações que o dilaceram e o obrigam a escolher. Camus, em termos mais específicos, irá se debruçar sobre o "que ele considera como uma família de espíritos acometidos de angústia diante de um universo onde reinam a contradição e as 1 Mestrando em Filosofia pela UFPI. Ex-bolsista do PET-Filosofia da UFPI.

- by Esteban Ramírez
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- International Relations, Political Philosophy, Political Science, Isaiah Berlin
- by Christopher Wright
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- Mental Health, Sociology of Mental Health & Illness, Suicide, Capitalism

Esse artigo tem como objetivo esclarecer uma dúvida recorrente do artigo sobre Deus e o Diabo na Terra do Sol, uma análise anti-dialética, no que diz respeito à Nietzsche. Tentarei aprofundar, com mais liberdade, o que Camus crítica no... more

- by Luca Szaniecki Cocco
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- Political Philosophy, Friedrich Nietzsche, Philosophy of History, Nihilism
- by Federica Castelli
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- Political Philosophy, Revolutions, French Revolution, Feminism
- by Tamás Hankovszky
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- Camus, Albert Camus, Pilinszky
- by חנוך בן-פזי Hanoch Ben-Pazi
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- Ethics, Jewish Studies, Jewish Philosophy, Albert Camus
- by Alexander DeTillio
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- Philosophy, Pacifism, 20th Century French Literature, Camus

Peça em um ato de Albert Camus

- by Walter Lima TORRES NETO
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- Albert Camus, Dramaturgia, Teatro francês

Compte rendu du livre d'Alain Finkielkraut

- by Henri LEWI
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- Literature, Albert Camus, Alain Finkielkraut
- by Adam Renner
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- Friedrich Nietzsche, Nihilism, Albert Camus
- by Samantha Novello
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- Max Scheler, Friedrich Nietzsche, Nihilism, Albert Camus
- by Ilja Karenovics
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- French Literature, Philosophy, Contemporary French Philosophy, Albert Camus

Based on some literary extracts (autobiographical prose and poetry) of the Valencian writer Josep Piera, the relationship
between the experience of the journey and the writing that comes along as a result of it is analyzed. Three key concepts
are discussed : the journey, the Mediterranean and literature. As we will see, the Mediterranean is understood here as a
close and familiar world : a mythical, historical, cultural and vital geographical space. The places visited (Greece, Naples,
Sicily, etc.) interact and produce a dialogue with the geographical space and the notion of human time.

- by Alexandre Bataller
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- Mediterranean, Travel Literature, Albert Camus, Literatura catalana

This chapter in an edited collection, published by the CNRS, seeks to establish a new critical approach in Beat Studies; taking the form of a conceptual framework foregrounded in the ontological that intermingles French Existentialist theory with the American philosophical and cultural rationale of Beat writing.
In Part 1, the chapter elucidates the great range of definitions for Existentialism in mid-20th century and proceeds by shaping a version of Existentialism that takes into consideration the variety of cultural and literary legacies referenced in Beat texts. Part 2 explores how the American Romantic tradition in particular – heavily referenced in the writings – may be combined with this ontological model; bringing a vertical and transcendental dimension into the conception of a ‘Beat’ Existentialism.

- by Tanguy Harma
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- Ontology, Aesthetics, Performativity, Intuition

1. Justification of the universe (rationality and the value of the universe). 2. Nihilistic variant of "redemption" (Mainländer, Nietzsche, Heidegger, Camus, Sartre). 3. Gnostic-idealistic variant of "redemption" (Hegel, Martinetti). 4. Gnostic-syncretic variant of "redemption" in the New Age. 5. Philosophical aspirations and theology of cosmic redemption.

- by Krzysztof Zenon Wisniewski
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- Religion, Gnosticism, Anthropology, Philosophy

Le roman Corniche Kennedy de Maylis de Kerangal se prête à une
lecture méditerranéenne sous le patronage d’Albert Camus et de Paul
Valéry. L’écrivaine déploie une philosophie du midi qui affirme
l’importance du sensible et de la présence au monde, autant de motifs
qui irriguent « la pensée de midi ». L’imaginaire hellénique côtoie
phénoménologie et humanisme pour fonder une métaphysique propre à
la Méditerranée. Corniche Kennedy se définit ainsi comme une tragédie
solaire qui représente l’intensité et l’acceptation de la finitude comme les
deux versants du monde méditerranéen.

- by Marion Brun
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- Phenomenology, Mediterranean Studies, Humanism, Albert Camus

Johnson 1960's History has established itself as the final arbiter of the value of the life the artist lives and the art they produce. Having navigated the art scene for over forty years , I have observed that the current manifestation of History's evolution and the fear of not being part of it has been the cudgel that has been wielded by the arbiters of taste over the head of any poor fool who dares enter the arena of art.

- by Martin Mugar
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- T.S. Eliot, Jean Paul Sartre, Albert Camus, Clement Greenberg

Dans cet article, nous présenterons les résultats d’un test de perception où 28 informateurs finnophones ayant un niveau avancé en français ont entendu les cinq premières pages de L’étranger d’Albert Camus. Leur tâche a consisté à ajouter tous les points et les virgules au texte écrit correspondant sur la base des indices prosodiques. Les résultats montrent qu’un contour intonatif descendant, où l’intonation baisse jusqu’au plancher de la tessiture du locuteur, est fortement associé à la présence d’un point ; un contour descendant moins profond n’est pas aussi fortement associé au point. Les virgules sont performées des manières différentes, et elles sont interprétées en perception comme des virgules ou comme des continuatifs sans ponctuation.

- by Mari Wiklund
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- Speech Prosody, French language, Intonation, Albert Camus
- by Alessandro Alfieri
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- Theodor Adorno, Suicide, Jean Paul Sartre, Albert Camus
- by Samantha Novello
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- Albert Camus, The French Resistance, Andrea Caffi, Nicola Chiaromonte

Go to tobybetenson.com for my recent work. I argue that the problem of evil can be a moral objection to theistic belief. The thesis has three broad sections, each establishing an element in this argument. Section one establishes the logically binding nature of the problem of evil: The problem of evil must be solved, if you are to believe in God. And yet, I borrow from J. L. Mackie’s criticisms of the moral argument for the existence of God, and argue that the fundamentally evaluative nature of the premises within the problem of evil entails that it cannot be used to argue for the non-existence of God. Section two establishes the moral objectionability of many responses to the problem of evil (theodicies). I discuss the work of the moral ‘anti-theodicists’, and support some of the key premises within their arguments via appeal to the moral philosophy of Raimond Gaita. I combine the claims of section one and section two, and conclude that theism inherits the moral objectionability of theodicy. In section three, I establish the...

- by Toby Betenson
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- Philosophy, Ethics, Philosophy Of Religion, Atheism

Dès le commencement de son analyse, Guy Samama écrit : « Les dates parlent d'elles-mêmes : deux existences brèves, inachevées en tout cas, interrompues par une mort brutale, plus ou moins volontaire pour l'une, accidentelle pour l'autre. Mais une oeuvre longue, qui se prolonge bien au-delà.3*** Simone Weil et Albert Camus ne se sont pas croisés. Ils ne se sont pas connus. Elle ne l'a pas lu. » Ensuite, nous abordons la première des 12 parties de son texte, partie intitulée Une rencontre d'âmes. C'est là l'occasion pour Samama de nous expliquer que « Simone Weil et Camus se seraient rencontrés malgré tout. Peut-être en terre de beauté : l'Italie, plus spécialement Florence, Fiesole et leurs environs. » Aussitôt nous passons à la deuxième partie : En miroir : les Justes et Venise sauvée. Dans cette partie de son développement, Samama précise ainsi sa pensée : « Peut-être se seraient-ils aussi rejoints au théâtre, passion commune : les deux pièces, l'une en cinq actes, les Justes (1949), l'autre en trois actes, mais inachevée, Venise sauvée (1940), offrent d'étranges résonances bien que Simone Weil ne connût pas la longue expérience de metteur en scène, d'acteur, d'auteur dramatique qui fut celle de Camus. Samama résume ces deux pièces ainsi : « liées au contexte historique de la guerre et de la Résistance, [elles] mettent en jeu un complot destiné à combattre, et à abattre, une tyrannie […] Mais surtout les deux drames ont un même enjeu, le droit de tuer. […] Le devoir de tuer au nom d'une Organisation, par une nécessité extérieure, trouve chez Simone Weil comme chez Camus sa limite dans le droit de tuer […] Dans la troisième partie, La Grèce : source spirituelle pour l'Europe, Samama nous apprend que c'est en juin 1946 que Camus découvre le travail de Simone Weil. « En juin 1949, dans le Bulletin de la NRF, il présente l'Enracinement comme l'un des livres « les plus importants qui ait paru depuis la guerre », jetant « une lumière puissante sur l'abandon où se débat l'Europe ». Il faut toujours revenir à la Grèce pour y trouver la source de la spiritualité qui manque à l'Europe. Camus partage avec elle cette inspiration. » Albert Camus et Simone Weil, Compte rendu de François Bélanger https://esprit.presse.fr/article/

- by FRANÇOIS BÉLANGER-Québec
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- Simone Weil, Albert Camus

Albeit growing interest in the “postwar” era, its cultural characteristics of the period after World War Two and its historical scope are still largely underdetermined. The purpose of this article is to offer a more nuanced use of the term ‘postwar’ and first insights into the cultural landscape of this enormously significant moment in the history of the West. In order to do so, it examines three major works of what is termed here the “immediate postwar.” These works are fundamentally dissimilar and yet, it is argued, share an emotional disposition. As shown, all three works exhibit complex dialectical coupling of horror and anticipation. In other words, this article demonstrates that the cultural production of the postwar period (in the exact sense of the word) is characterized, on the one hand, by a sincere depiction of suffering and depravity, but on the other by an intense engagement with questions about the moral and social future.

- by Amir Engel
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- Albert Camus, W.G. Sebald (Area Studies), Postwar Italian Culture, Postwar Germany

O objetivo do trabalho é investigar aspectos da noção de absurdo em trechos de obras de Camus e de Kierkegaard, centrando nosso interesse sobre o que chamaremos aqui de limite em face do absurdo para ambos os pensadores. Iniciaremos nossa leitura sobre Camus em O mito de Sísifo (2017) e dedicaremos especial atenção ao capítulo “O suicídio filosófico”. Aqui o pensador franco-argelino se remete a Kierkegaard, incluindo-o entre os pensadores que efetuaram, de um modo específico, o suicídio filosófico. A partir daí, investigaremos a noção de absurdo em Kierkegaard, especialmente em sua obra Temor e Tremor (1843), onde o autor nos apresenta a noção do duplo movimento da fé em virtude do absurdo. Como conclusão, pretendemos mostrar a diferença de perspectivas sobre esse limite em face do absurdo e como as alternativas de ação propostas por ambos não são contraditórias entre si, embora Camus seja crítico de Kierkegaard.
Palavras-chave: Camus, Kierkegaard, limite extremo, absurdo, fé.

- by Carlos Campelo da Silva
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- Albert Camus, Teologia, Filosofía, Søren Kierkegaard
- by Lorenzo Adler
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- Friedrich Nietzsche, Suicide, Nihilism, Kierkegaard

Camus’ Meursault and Sophocles’ Antigone are both characters in literature who act in ways that require them to deliberately confront their own mortality. In both cases, their actions lead to their executions, requiring that they struggle with the meaning and fear of death. ese two cases raise issues of hope, acceptance of the truth of the human condition, and the question of what di erence human action can make given the inevitability of death. I propose to examine both examples as a way of working through two possible stories of death. To set a frame, I begin with Hannah Arendt’s description of the fundamental levels of human activity and the di erent relation each activity has to death.

- by Kieran Bonner
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- Hans-Georg Gadamer, Albert Camus, Antigone, Meursault
- by Éric Delassus
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- Albert Camus, Liberté, Journalisme, Presse

ספר זה הוא ניסיון לתאר את פניה המגוונות של הטראומה ואת האופן שבו היא מפרקת ומעצבת את התרבות: מעקדת יצחק ועד מלחמת וייטנאם, משֹרה אימנו ועד מרגריטה של בולגקוב, מהנס של תומאס מאן ועד דניאל של מישל וולבק, מקפקא ועד מאיר אריאל, מניטשה ועד מועדון קרב. הספר מציע אפוא קריאה חדשה בטקסטים קנוניים וזאת במטרה לחשוף את הממד הטראומטי והפוסט-טראומטי בתרבות: ספרות, קולנוע ומוסיקה עומדים בלב הדיון. בספר שמונה מסות, בכול אחת נחשף צד הקושר בין תרבות לטראומה: ההשתוקקות לעקוד ולהיעקד, המסלול האפוקליפטי של האדם הפוסט-טראומטי, הצורך לרצוח על מנת ליצור היסטוריה חדשה, תחושת הזוהמה והזרות הטוטאלית, הגוף הדחוי שהטראומה מקועקעת בו, העדר האֵם, הקשר הייחודי בין לוחמים שיצאו מדעתם, מוסיקת טכנו כשפת הטראומה וכדרך לריפוי, רוק ישראלי כביטוי של הציוני שמצא עצמו בשדות זרים. המסקנה בספר מזעזעת אפילו את הכותב עצמו: אנחנו חיים בסוף עידן; האנושיות, על החולי שבה, תמה. בקרוב, ילדינו לא יעברו את מבחן טיורינג.

- by Yochai Ataria
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- Religion, Posttraumatic Stress Disorder (PTSD), Thomas Mann, Phenomenology

Présentation de l'éditeur :
« Aujourd’hui, maman est morte. »
« DOUKIPUDDONKTAN, se demanda Gabriel, excédé. »
Voilà deux célèbres premières phrases de livres ô combien célèbres. Elles ouvrent L’Étranger et Zazie dans le métro. Ce livre en contient quinze autres (plus deux interludes) que Laurent Nunez examine mot après mot. Tout ce que l’on peut deviner d’une œuvre, et de son auteur, n’est-il pas contenu dans « sa » première phrase ?
Aussi instructif qu’ironique, aussi passionnant que savant, ce livre nous parle plus que des livres, il nous parle de l’amour, de la séparation, de la perte, de la vie même. Italo Calvino avait écrit Pourquoi lire les classiques ?, voici le « comment (re)lire les classiques ? » des temps nouveaux.

- by Giangiacomo Vale
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- Albert Camus

Sinal de menos, 11, vo.I, 2015. SINAL_DE_MENOS_11_1, 2015, p.202-224.

- by Asmus Trautsch
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- Philosophy, Greek Tragedy, Friedrich Nietzsche, Schopenhauer