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En este artículo postulamos que en los sistemas filosóficos de Jean-Paul Sartre y Albert Camus se observa un reconocimiento del existir humano como absurdo, entendido en el primero como una condición ontológica del para-sí, y en el segundo como el divorcio entre nuestra pretensión de sentido en el mundo y la indiferencia de este. Mediante una hermenéutica comparativa de textos de ambos autores, concluiremos que el absurdo en Sartre nos aboca a crear nuestra esencia conforme existimos y puede trascenderse, mientras que, en Camus, el absurdo es insuperable, pero aprehenderlo es nuestra única vía para convivir con dicha condición.

In this paper, I propose an account of Camus's ethics in which violent revolutions are never morally permissible but nonetheless acceptable or necessary. My main thesis in this paper is that Camus's ethics of revolution and my defence of it, particularly the non-moral account of the permissibility of violent revolutions it comprises, can shed light on the reasonableness of participating in and supporting violent revolutions to some Catholics and the broader Christian community. My account of Camus's ethics of revolution and argument for its tenability will be compelling to some Catholics because they affirm their intuition that violent revolutions are morally untenable and show why it is nevertheless reasonable. [ABSTRACT FROM AUTHOR]

In this paper, the author analyzes Woody Allen's film Vicky Cristina Barcelona through an existential lens, drawing parallels with the philosophies of Jean-Paul Sartre and Albert Camus. The characters Vicky, Cristina, Juan Antonio, and María Elena embody existential dilemmas, exploring themes of individual freedom, choice, and the search for meaning in an indifferent world. The analysis delves into Sartrean concepts of bad faith and radical freedom, contrasting Vicky's societal conformity with Cristina's Camusian pursuit of meaning through experiences. The characters' interactions reflect the unpredictable and absurd nature of human relationships, echoing Camus's exploration of the absurdity of emotions. The non-linear narrative structure aligns with existential themes, emphasizing life's unpredictability, and Barcelona serves as a metaphor for the complexities of existence. Woody Allen's narrative and artistic choices invite viewers to reflect on the intricate interplay of love, desire, and chance encounters in the context of existentialism. [ABSTRACT FROM AUTHOR]

In this paper, the author analyzes Woody Allen's film Vicky Cristina Barcelona through an existential lens, drawing parallels with the philosophies of Jean-Paul Sartre and Albert Camus. The characters Vicky, Cristina, Juan Antonio, and María Elena embody existential dilemmas, exploring themes of individual freedom, choice, and the search for meaning in an indifferent world. The analysis delves into Sartrean concepts of bad faith and radical freedom, contrasting Vicky's societal conformity with Cristina's Camusian pursuit of meaning through experiences. The characters' interactions reflect the unpredictable and absurd nature of human relationships, echoing Camus's exploration of the absurdity of emotions. The non-linear narrative structure aligns with existential themes, emphasizing life's unpredictability, and Barcelona serves as a metaphor for the complexities of existence. Woody Allen's narrative and artistic choices invite viewers to reflect on the intricate interplay of love, desire, and chance encounters in the context of existentialism.

The relevance of the proposed research is determined by the reviving the interest of modern literary studies of the figure of Volodymyr Vynnychenko, determining the place of his creativity in the context of European modernism, the ambiguity of assessments of this phenomenon in the context of Ukrainian fine literature. The article examines Volodymyr Vynnychenko’s novels in the discourse of French Existentialism. Attention is focused on outlining the similarities and differences between J.-P. Sartre, A. Camus and V. Vynnychenko’s worldviews and aesthetic views. The origins of the existentialist method in the work of the Ukrainian émigré writer and its inclusion in the discourse of French atheistic of Existentialism are also analysed, and some conclusions of the “Mougins” cycle of Vynnychenko’s works are investigated using summarized prospects for its study in a broad and its European context is also outlined. The authors examine the forms and methods of aesthetic refraction of the basic concepts of existentialism (absurdity, rebellion, freedom, choice, and relationships at the level “I – the Other”). The purpose of the work and the tasks involve analyzing the philosophical and artistic texts of Vynychenko in the discourse of French existentialism, as well as revealing the main philosophical ideas and functions of the novels of the Ukrainian writer, consistent with the creative guidelines of J.-P. Sartre and A. Camus. The set of goals determines the need for the use of hermeneutic (analysis of artistic texts), historical-literary, comparative-typological (posing and solving a number of literary problems in the context of equal national literature, and biographical (using diary entries) research methods. The problem is determining the place of ideology in the context of French existentialism and the “Mougins’” cycle of Vynnychenko’s works, was raised in literary studies as early as the 70s of the last century, in particular by diaspora researchers S. Naumovych and L. Zaleska-Onyshkevych, who tried to show the priority of Vynnychenko’s writing compared to Sartre and Camus. The problem of existentialism as a philosophical direction was considered in the late 1940s among the members of the Artistic Ukrainian Movement, attempting to formulate the concept of “Ukrainian existentialism”. The Ukrainian researcher Ya. Kotets includes diaspora representatives 70 years later in the article “The Formula of Ukrainian Existentialism” (2021). There are several Ukrainian and Soviet writers who produce some existential ideas and elements of existential interpretation of human life, but they should not be called conscious writers-existentialists. Among modern Ukrainian works need to name “Existentialist philosophy. Traditions and perspectives” by S. Raida (2009), as well as the comparative study “Ukrainian version of artistic existentialism: B.I. Antonych, V. Svidzinsky, T. Osmachka in the European context” (2020) by H. Tokman, where is introduced the concept of “artistic existentialism”. The critical optics of the research make it possible to combine the historical and philosophical specificity of the interwar twenty years and the post-war period, on which are built the works of Vynnychenko, Sartre and Camus. It is an attempt to show the originality of the philosophical and aesthetic views of the emigrant Vynnychenko in the paradigm of French existentialism, to demonstrate the similarity of the Ukrainian type of philosophizing (from Skovoroda, Franko, Lesya Ukrainka to Vynnychenko), to analyze his characteristic orientation towards a person who faces the eternal problems of life, death, and evil. Such non-scientific philosophizing gave birth to special genre forms: essay, aphorism, portrait, dialogue, drama, and novel, which can be found in V.Vynnychenko’s literary work. Vynnychenko belongs to those thinkers who went beyond the boundaries of traditional philosophy in order to comprehend the broader meaning of the entire spiritual culture, developing the ideas of A. Schopenhauer, F. Nietzsche, A. Bergson, the theosophical theory of R. Steiner, in their writings. Vynnychenko set himself the goal of revealing prospects for further development to man, to give meaning to its existence, to point it to certain positive values, that is, to overcome the extremes of German and French existentialism and develop a positive philosophical platform.

Albert Camus and Rachel Bespaloff had an undeniable influence on the existential thought of the twentieth century. The former, by claiming the world to be silent to our search for meaning, based the concept of happiness in the inherent value of life. The latter grounded her happiness in music and transcendence rather than in the acceptance of the absurd human condition, though the two thinkers seem to agree on the importance of subjective contemplation. In this article, I will offer a reading of Camus’s works that emphasizes his view of happiness in awareness of the absurd. I will then argue for the ethical and political challenges that such happiness causes. Finally, by putting into dialogue the philosophies of Camus and Bespaloff, I wish to show that the two thinkers advocate for the possibility of happiness despite the suffering of the world, and show that this concept, understood as contemplation, can be rooted in the absurd as well as in transcendence.

Copyright of Ideas y Valores is the property of Universidad Nacional de Colombia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The relevance of the proposed research is determined by the reviving the interest of modern literary studies of the figure of Volodymyr Vynnychenko, determining the place of his creativity in the context of European modernism, the ambiguity of assessments of this phenomenon in the context of Ukrainian fine literature. The article examines Volodymyr Vynnychenko’s novels in the discourse of French Existentialism. Attention is focused on outlining the similarities and differences between J.-P. Sartre, A. Camus and V. Vynnychenko’s worldviews and aesthetic views. The origins of the existentialist method in the work of the Ukrainian émigré writer and its inclusion in the discourse of French atheistic of Existentialism are also analysed, and some conclusions of the “Mougins” cycle of Vynnychenko’s works are investigated using summarized prospects for its study in a broad and its European context is also outlined. The authors examine the forms and methods of aesthetic refraction of the basic concepts of existentialism (absurdity, rebellion, freedom, choice, and relationships at the level “I – the Other”). The purpose of the work and the tasks involve analyzing the philosophical and artistic texts of Vynychenko in the discourse of French existentialism, as well as revealing the main philosophical ideas and functions of the novels of the Ukrainian writer, consistent with the creative guidelines of J.-P. Sartre and A. Camus. The set of goals determines the need for the use of hermeneutic (analysis of artistic texts), historical-literary, comparative-typological (posing and solving a number of literary problems in the context of equal national literature, and biographical (using diary entries) research methods. The problem is determining the place of ideology in the context of French existentialism and the “Mougins’” cycle of Vynnychenko’s works, was raised in literary studies as early as the 70s of the last century, in particular by diaspora researchers S. Naumovych and L. Zaleska-Onyshkevych, who tried to show the priority of Vynnychenko’s writing compared to Sartre and Camus. The problem of existentialism as a philosophical direction was considered in the late 1940s among the members of the Artistic Ukrainian Movement, attempting to formulate the concept of “Ukrainian existentialism”. The Ukrainian researcher Ya. Kotets includes diaspora representatives 70 years later in the article “The Formula of Ukrainian Existentialism” (2021). There are several Ukrainian and Soviet writers who produce some existential ideas and elements of existential interpretation of human life, but they should not be called conscious writers-existentialists. Among modern Ukrainian works need to name “Existentialist philosophy. Traditions and perspectives” by S. Raida (2009), as well as the comparative study “Ukrainian version of artistic existentialism: B.I. Antonych, V. Svidzinsky, T. Osmachka in the European context” (2020) by H. Tokman, where is introduced the concept of “artistic existentialism”. The critical optics of the research make it possible to combine the historical and philosophical specificity of the interwar twenty years and the post-war period, on which are built the works of Vynnychenko, Sartre and Camus. It is an attempt to show the originality of the philosophical and aesthetic views of the emigrant Vynnychenko in the paradigm of French existentialism, to demonstrate the similarity of the Ukrainian type of philosophizing (from Skovoroda, Franko, Lesya Ukrainka to Vynnychenko), to analyze his characteristic orientation towards a person who faces the eternal problems of life, death, and evil. Such non-scientific philosophizing gave birth to special genre forms: essay, aphorism, portrait, dialogue, drama, and novel, which can be found in V.Vynnychenko’s literary work. Vynnychenko belongs to those thinkers who went beyond the boundaries of traditional philosophy in order to comprehend the broader meaning of the entire spiritual culture, developing the ideas of A. Schopenhauer, F. Nietzsche, A. Bergson, the theosophical theory of R. Steiner, in their writings. Vynnychenko set himself the goal of revealing prospects for further development to man, to give meaning to its existence, to point it to certain positive values, that is, to overcome the extremes of German and French existentialism and develop a positive philosophical platform. [ABSTRACT FROM AUTHOR]

The history of humanity is littered with upsetting events among which we find epidemics. The latter generate social, economic, political, cultural disorder, modify mentalities and reveal the cultural patterns in force in the societies they affect. This reflection aims to read the mentalities that emerged in front of the viral disaster in the novels La Peste by Albert Camus and Le Hussard sur le toit by Jean Giono. In the light of archaeological criticism, the analysis shed light on the mental predispositions that justify the ways of interpreting and address the epidemic. At the end of the analysis, two opposing theses emerge from the meaning given to illness. The first spiritualized it by passing it off as a celestial damnation, while the second considers it as an emanation of infectious agents living in the nature. In a bid to ward off the disease, characters opt for prayer, occult prophylaxis, isolation, when they do not apply rigorous hygiene practices.

RESUMO O presente artigo tem por objetivo analisar as teses de Albert Camus sobre os movimentos gnósticos de grande influência sobre o cristianismo primitivo. Para tanto, parte-se de um exame da relação entre gnosticismo e modernidade, para, então, demonstrar como, segundo o pensador francoargelino, as seitas gnósticas representam o fil rouge que liga a tradição grega (da racionalidade) às perspectivas cristãs (principalmente a ideia de redenção). Além disso, a análise pretende demonstrar como, para Camus, o gnosticismo e a modernidade mantêm laços estreitos, principalmente pelo conceito de exílio do homem no mundo. Com isso, compreende-se como Camus se apropria desse sentimento para formular a sua própria obra filosófica e literária, articulando o niilismo gnóstico e o niilismo contemporâneo.

In this paper, I propose an account of Camus’s ethics in which violent revolutions are never morally permissible but nonetheless acceptable or necessary. My main thesis in this paper is that Camus’s ethics of revolution and my defence of it, particularly the non-moral account of the permissibility of violent revolutions it comprises, can shed light on the reasonableness of participating in and supporting violent revolutions to some Catholics and the broader Christian community. My account of Camus’s ethics of revolution and argument for its tenability will be compelling to some Catholics because they affirm their intuition that violent revolutions are morally untenable and show why it is nevertheless reasonable.

Writer, poet and translator Liliana Cora Foşalău is Professor of Literature at the «Alexandru Ioan Cuza» University in Iaşi, Romania. She writes and publishes texts in Romanian and French. Her poetic works include: Déshistoires (2014), Poeme de vreme şi vin. Le Vin. Le Temps (2015), Les Épreuves nécessaires (2019), and Pandelirice (2021). This interview, initiated by Armel Jovensel Ngamaleu, focuses on the latter collection of poems and is structured in four parts: « Écrire dans la crise… », « Au seuil du recueil, des paratextes », « Structure et réseaux thématiques », and « Esthétique et traduction ». Résumé Écrivaine, poétesse et traductrice, Liliana Cora Foşalău est professeure de littérature à l’Université « Alexandru Ioan Cuza » de Iaşi, en Roumanie. Elle écrit et publie des textes en roumain et en français. Parmi ses œuvres poétiques figurent : Déshistoires (2014), Poeme de vreme şi vin. Le Vin. Le Temps (2015), Les Épreuves nécessaires (2019) et Pandelirice (2021). Cet entretien, réalisé à l’initiative d’Armel Jovensel Ngamaleu, porte sur ce dernier recueil de poèmes et est structuré en quatre parties : « Écrire dans la crise… », « Au seuil du recueil, des paratextes », « Structure et réseaux thématiques » et « Esthétique et traduction ». Mots-Clés: Baudelaire; Camus; mal; pandémie; poésie; temps

Claims (or the implicit assumption) of the inherent worth of life are pervasive and remain virtually unchallenged. I have already argued that these outright moral dictates are thinly veiled vestiges of theological ethics which, following the removal of their theological foundations, remain little more than nebulous claims supported only by fear of the consequences of a challenge. In my previous work, I rejected an a priori claim of an objective life's worth, which is the worth that we should assign to others' lives, and elucidated a principled framework that gives rise to the said worth immediately, as a consequence of the experiences of its sentient environment. Herein, I address the complementary question of the value of one's own life, which is the subjective value of life and, thus, Camus's (in)famous view that "there is but one truly serious philosophical problem, and that is suicide". As before, I rejected the inherency of a life's worth, showing it to be contradictio in adjecto, and instead show how this worth too can in large part be seen to emerge from sentient experiences of the subject. Many of these are innately linked to experiences of other sentient beings as objects, thus erecting a framework that is both principled and thoroughly humane with Schopenhauer's 'loving kindness' running through it. Practically, my framework illuminates an understanding of suicide as a real-world phenomenon, helping those who remain living to understand a deceased one's decision, and paving the way to answering questions, such as when there should be an attempt to prevent suicide, and what means of suicide prevention are ethically permissible. [ABSTRACT FROM AUTHOR]

The current article - focused on two plays about the killing of a son by his family - has a double objective: firstly, it questions the probable source of a folkloric story of the prodigal son, and secondly, it places side by side theater plays based on a legendary theme. After presenting the playwrights, Karol Hubert Rostworowski and Albert Camus, as well as the terminological propositions of Eric Durnez, the article analyses the convergences and divergences that we find in using the subjects from chronicles quasi mythical. [ABSTRACT FROM AUTHOR]

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Para comprender a Albert Camus hay que escuchar su voz y dejarlo hablar en sus textos. En ellos nos habla de una humanidad común, de una naturaleza humana compuesta de anhelos de belleza y sufrimientos. Nos dice que no hay vida sin diálogo, y que en la mayor parte del mundo ese diálogo ha sido sustituido por la polémica, y que la guerra, la violencia nos ha educado, como lo hizo con la generación de la cual él mismo formó parte. Este texto trata de pensar algunas de las ideas de Camus y volver a considerar su tesis de que nuestra supervivencia como humanidad depende de que mantengamos encendido una especie de fuego interior, que está compuesto de las historias que nos contamos, de los libros que podemos seguir leyendo junto a otros, en fin, de una cultura puesta al servicio de nuestra humanidad común. Esas historias, esos libros, esa cultura que hoy, lo sabemos bien, ya no ocupan un lugar destacado en nuestras universidades. Desgraciadamente.

Algerian born French writers Albert Camus and Assia Djebar both employ their memories and experiences, and those of their family and friends, within French-Algerian landscapes, to construct travel narratives that blend myth with reality. Albert Camus’ Le Premier Homme, published posthumously in 1994, is a blend of fiction and non-fiction that can be described as a semi-autobiographical novel. Le Blanc de l’Algérie, published in 1995 by Assia Djebar, is a memoire on loss. Although written four decades apart and published one year apart, together their descriptions of physical and mental voyages demonstrate their unique representations of Algeria pre and post independence.For Camus, writing during the colonial period, his Algerian journey is both literal and imaginary. For Djebar, having published before and after independence, this particular journey of the nineties describes Islamist conflict and civic turmoil and is predominantly political. In Le Premier Homme Camus, a pied-noir of French and Spanish ancestry talks about his impoverished childhood but he specifically contrasts his early travels in Algeria with his later travels from France to his former Algerian homeland in a deliberate attempt to trace his roots and visit his father’s grave. In Le Blanc de l’Algérie Djebar, of Arab and berber origin, discusses the final journeys of her fellow Algerian friends and writers who lost their lives during the Algerian Civil War.Travel within Algeria and between Algeria and France enables Camus and Djebar to discuss the effects of colonization and decolonization on their lives and the lives of their friends and families. I will demonstrate how travel facilitates their narratives to and from the Algerian nation as they expose the hybrid identities that exist in French-Algeria. Indeed, their travelling through Algerian space and time allows them to re-appropriate Algeria and overcome identity crises and displacement associated with their homeland.

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O filósofo franco-argelino Albert Camus (1913-1960) critica em seu ensaio O Homem Revoltado (1951) as filosofias políticas totalitárias que tentavam justificar os crimes de Estado em nome de sociedades perfeitas no futuro. O trabalho busca analisar em que sentido o diagnóstico camusiano de sua época tem como consequência a recusa do assassinato legitimado pela filosofia. O horizonte ético-político camusiano contrapõe-se às tentativas de justificação teórica do assassinato através de filosofias totalitárias. Este tema foi tratado anteriormente em seus Editoriais presentes em Nem Vítimas, Nem Carrascos (1948), entretanto, o trabalho visa mostrar estas questões a partir apenas de O Homem Revoltado.

U radu se analiziraju srodnosti između romana Vladana Desnice Proljeća Ivana Galeba i Camusovih djela, napose lirskih eseja (Pirovanje, Ljeto) te romana Sretna smrt. Autor izdvaja dva zadnja poglavlja Desničina romana kao ključ za razumijevanje njegove egzistencijalističke filozofije (to se pak tumači referirajući se na Camusov Mit o Sizifu). Strukturni se problemi analiziraju kao izraz dubinskih semantičkih i filozofskih odrednica. Odnos Desnice i Camusa nije postavljen s ciljem da se dokaže posuđivanje ili imitacija nekih literarnih koncepata, nego da se naglase izvori zajedničkih preokupacija koje se referiraju na mediteranske idiome, napose na tzv. sunčanu misao.

Copyright of Revista Perseitas is the property of Revista Perseitas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Claims (or the implicit assumption) of the inherent worth of life are pervasive and remain virtually unchallenged. I have already argued that these outright moral dictates are thinly veiled vestiges of theological ethics which, following the removal of their theological foundations, remain little more than nebulous claims supported only by fear of the consequences of a challenge. In my previous work, I rejected an a priori claim of an objective life’s worth, which is the worth that we should assign to others’ lives, and elucidated a principled framework that gives rise to the said worth immediately, as a consequence of the experiences of its sentient environment. Herein, I address the complementary question of the value of one’s own life, which is the subjective value of life and, thus, Camus’s (in)famous view that “there is but one truly serious philosophical problem, and that is suicide”. As before, I rejected the inherency of a life’s worth, showing it to be contradictio in adjecto, and instead show how this worth too can in large part be seen to emerge from sentient experiences of the subject. Many of these are innately linked to experiences of other sentient beings as objects, thus erecting a framework that is both principled and thoroughly humane with Schopenhauer’s ‘loving kindness’ running through it. Practically, my framework illuminates an understanding of suicide as a real-world phenomenon, helping those who remain living to understand a deceased one’s decision, and paving the way to answering questions, such as when there should be an attempt to prevent suicide, and what means of suicide prevention are ethically permissible.

Recensione di Bartolo Anglani «Sans issue». Commento all’«Étranger» di Camus.

Este artigo é uma análise estética de como o absurdo é apresentado na dramaturgia Calígula de Albert Camus. Examino aqui como o autor franco-argelino discute esse tema numa composição artística e como suas teses filosóficas se articulam na estrutura de uma peça de teatro. O fio condutor da análise é o problema da negação, um problema que ocupou o filósofo-artista por todo o seu primeiro ciclo de obras e que encontra em Calígula a sua expressão mais significativa. Também apresento neste artigo algumas considerações a respeito dos recursos literários e dramáticos presentes na peça de Camus, elementos que a fazem se distanciar do típico Teatro do Absurdo.

The paper attempts to situate the work of Fyodor Dostoevsky in the tradition of Russian existentialism, and to indicate his influence on the subsequent development of existentialism in its ontological or ethical guise. In fact, Dostoevsky may be seen as the originator of a tradition which will later on influence and be taken up, via Nietzsche and Shestov, by the figures like Emanuel Levinas, Albert Camus or Maurice Blanchot, all explicitly concerned with existentialist questions of debt, guilt or suicide (Kirilov). Dostoevsky's writings are also interpreted in relation to Russian nationalism, and the sense of Russian Messianic election, which at the end of Crime and Punishment coalesce in another destination for Raskolnikov, launching him towards a Messianic future prior to the Abrahamic time and monotheistic sacrificiality. The end of Crime and Punishment imagines another existence for Raskolnikov, before the religious history, or the history tout court, has taken place or time. That time space is akin to something that Jacques Derrida formulated as an advent of an event to-come, a-venir. Dostoevsky is thus, in our interpretation, both a progenitor of the important strains of existentialism, but also a writer returning his hero's existence to an advent of a completely other, time before time, yet to come.

Mostro, neste artigo, como o problema da alteridade se apresenta na obra de Sartre e Camus e as reflexões que ambos desenvolvem sobre este tema. Acrescente-se que é perceptível o distanciamento entre o pensamento de Sartre e Camus.

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Introduction: The main objective of this study is to understand how the novel can be read against psychological reality. As a case study, this paper addresses the stranger by Camus. Embedded in Kundera's reading on the linkage between psychology on novel and psychology, the main question here is that how this novel can be read as what acts against psychology. Historically, how to address "characters or personages" has been obvious as a recent issue in novel studies. The main issue in psychology as a science is also "personage". Unlike enjoying the same unit of analysis, the main objective of this study is to highlight the possible boundaries between novel approaches to the personages versus psychological approaches to the same issue. The stranger by Albert Camus, an existentialist philosopher is viewed as a good and precise example to disclose such boundaries made. Not only in its form but also in its content, this novel avoids any psychological analysis. This paper hence attempts to show this as its main issue. The current study is theoretically embedded in Kundera's concepts. In kundera's reading, at an early age novelists intentionally avoid being linked with psychology. The nineteenth-century was the only era when the novel was dominated by psychology. In Kundera's reading, this era was read as a kind of misleading in its path. Kundera reckoned that exis tentialism could bring philosophy much closer to novels and coin a new paradigm in the novel world. Indeed, this paradigmatic shift was a kind of transition from "so-called psychological reality". This study is to explain how Camus as an exis tentialist thinker could make a distance from what is called a "Psychologizing novel". The main question in this study is to disclose how The s tranger by Camus made the longest distance from psychological reality. To answer such a question, it is needed to compare and contrast the concept of "reality" in a novel with psychological readings on it. In addition, unveiling Camus'stake on the possibility of "realism" and an answer to the question that art in general and novel in specific can be read based on a realistic framework is of significance in this study. As a result, the main issue here is that how a novel's take on reality can give rise to making reforms in "narrative forms" and going beyond classic plot as conceptualized in Camus's existentialis tic stance. In encountering such unaddressed issues in novel studies, we can find possible answers on how existentialism could pave some innovative ways in the novel world. Findings Some of the main findings of the study are the same as follows: Meursault, the main character or protagonist of the novel is faced with some psychological questions in court. These questions are to find out the psychological aspects of the personalities and disclose the most private issues in relationships. Meursault's resistance against the court is a kind of resistance against the interwoven linkage between the judiciary system and the psychology world. This contrast is another interpretation for a contrast between the novel and the case worlds. The world of the case is the world of clarity. It is a world that makes a linkage among the events in a causal relationship. It is to discover meaning in any event. Rather, Meursault, one belonging to the ontology of the novel, is the protagonist of the world of null. This under questions the main trend of the case i.e. making linkages among the unrelated affairs. It believes what leads the world has randomly occurred, nonsense, and meaningless issues. There exist no intersection among them. In fact, they make no monolithic and solid end and destiny. One of the main results of such an approach is to under question the "classic plot". Aristotle argues that a plot should not be shaped in a set of unjustifiable events. The Stranger cannot be classified in a classic plot-oriented taxonomy. In a sense that there exists a new concept of "reality" in this novel. Notably, not only is not able to understand the internal world but also fails to comprehend the internal worlds(identity of people). Unlike psychological reality which emphasizes a unified and fixed plot, in Camus' reading, we are faced with a set of "I" s rather than a monolithic identity or "I". "My or I destiny" has been shaped not in a monolithic and linear plot but in multiple and contradictory lines which are not supposed to meet each other in an intersected place and there is no end to it. No plot can narrate this destiny fully and comprehensively. Indeed, the discovered "I" in Mary's reading on Meursault is fully different from the "I" in the judge's eye. Which chain of events and possibilities is meaningless and meaningful in Meursault's life is still a challenging debate. Mary talks about some micro-narratives which are viewed as unrelated and insignificant in so-called macro and main narratives of the court. The main Mary's challenge with the court is on which narratives and criticize the classic plot. Conclusion. The current study showed that how the novel i.e. the stranger resists against psychological realities in its form and content. Unlike psychology which isto find out the main causes and motivations behind actions, the novel is to discover how life is a set of unrelated and unreasonable events. Embedded in such "non-ontological" knowledge, there exists a kind of freedom and agency as it sets the events free from what the past imposed on. This disclosure means understanding unpredictable aspects of life which are ignored as it was dominated by casual determinism. The present study showed how existentialism made new possibilities for Camus's narratives. Different forms of narrative are not possible regardless of philosophical and paradigmatic shifts. Indeed, forms of narrative are not "technique". Rather, they are "ontological". If reality is seen as something random and unreasonable, then the analysis of characters will be useless if it occurs based on psychological causes. As a result, what leads narratives is "unjustifiable action", this is exactly what the novel discovered. [ABSTRACT FROM AUTHOR]

Emotional detachment is positive when it is done intentionally for the sake of achieving happiness. Meursault, the protagonist in Albert Camus’ The Stranger, is fully aware that his emotional detachment brings him happiness and peace of mind, that is why it is considered a positive type of detachment, but he loses that peace of mind the day this detachment turns into emotional involvement. He holds the belief that emotions are no source of pleasure, but rather a source of trouble. He also regards all emotional expressions as absurd and meaningless. He chooses to be emotionally detached of his own free will, but he is unconsciously enforced to get emotionally involved with people. His emotional aloofness has made him tend to satisfy his physical needs. Thus, he sharpens his physical senses through focusing on their satisfaction. The article discusses how Meursault deliberately detaches himself emotionally from people to gain happiness, but this happiness turns into utter misery when, unaware, he is drawn into emotional involvement with others.

The aim of the article is to investigate the issue of freedom as a political value, its relationship to the so-called reflexive freedom and its two historical forms: freedom as autonomy and freedom as authenticity. The introduction examines the problem of whether freedom belongs more to the domain of metaphysics or political philosophy, and discusses the ideas of existentialist understanding of freedom. The idea of negative liberty as the core of the liberal conception of justice is critically examined against the background of a summary of Honneth's ideas on reflexive, negative, and social freedom and its historical protagonists. The author emphasizes the weaknesses and the inability of the liberal concept of freedom and justice to solve mainly the problem of people with disabilities, global justice and issues related to species specificity. [ABSTRACT FROM AUTHOR]

The article presents the concept of evil, as developed in the literary as well as philosophical works of Albert Camus. After a short, preliminary notice on the relationship between literature and evil, the article presents two spheres, in which the problem of evil was grasped by the author of The Rebel. In the main part of the article, the complexity of the problem of evil, as represented by Jean-Baptiste Clamence from The Fall is shown. It is seen as a development of the concept of evil from The Plague, with the potency to disseminate onto others. It is also perceived, as something resulting from severe trauma of the main character. In conclusion, I claim, that the problem of evil, as experienced by Clamence may be understood as a still relevant metaphor of contemporary culture, struggling with passivity against the rise of social evil.

During the COVID-19 pandemic of 2020, one is drawn to engage with texts that deal with the topic of human suffering. Two texts will be considered in this article. The first is the novel The Plague by Albert Camus, and the second is the Bible. Two characters in Camus’ work will be discussed as representatives of different theological and scriptural responses to the issue of widespread human suffering. Following a literary analysis research methodology, this article argues that Christian responses to the COVID-19 pandemic are not dissimilar to the perspectives held by Dr Rieux and Fr Paneloux. Theodicy is engaged with either a perspective that questions the Divine in the light of the suffering of the innocent or a perspective that subjects itself to a state of surrender to ‘the God who knows best’. The article then offers a third perspective, one held by Camus himself, suggesting that the question of theodicy could be reimagined from the notion of the absurdity of life. Contribution: This article provides a theological reflection on common Christian responses to the COVID-19 pandemic. It uses Camus’ novel, “The Plague” as a backdrop to differentiate between a deistic and a science-faith approach to suffering.

El mito de Sísifo es el acta fundacional de la Filosofía del absurdo de Albert Camus. Sigue siendo frecuente que se lea para hacer valer su actualidad. En esta línea, en este trabajo se propone una interpretación estética de la obra del filósofo argelino. Si se entiende estética, en primer lugar, como saber de la sensibilidad, y, en segundo, como teoría de lo bello y filosofía del arte, El mito de Sísifo es el punto de partida de una estética como saber de una sensibilidad del absurdo. Se sugiere, a partir de la contextuación de la obra y sus tesis, que la sensibilidad del absurdo que plantea este autor es, pues, una sensibilidad estética y por tanto un saber de la ella.

My paper documents the textual dialogue between Elytis and Camus and analyses their common literary, philosophical, and ethical preoccupations. Although they shared a number of literary motifs and interests, including the space of the Mediterranean and the modernist attraction to ancient Hellenic philosophical traditions, I argue that they approached these interests from fundamentally different perspectives: while Camus' knowledge of ancient Greek thought was based on second-hand scholastic interpretations, Elytis' reading of ancient philosophical texts provided him with an original, intimate understanding of their literary and discursive qualities. I have also included original archival material which shows that Elytis was in an immediate literary dialogue with Camus during his writing of The Axion Esti.

No intenso agora é uma meditação sobre o suicídio baseada em uma perspectiva anti-psicológica, de fortes tintas existencialistas. O mito de Sísifo, de Camus, é a obra filosófica com a qual o filme dialoga mais diretamente. Para defender esta tese, o filme de João Moreira Salles é inserido no contexto de um debate cinematográfico sobre as relações entre o suicídio e a política que inclui uma breve análise dos seguintes filmes: Trinta anos esta noite, de Louis Malle; O inquilino, de Roman Polanski; Os amantes constantes, de Phillipe Garrel; e Morrer aos trinta anos, de Romain Goupil, filme preferido de Salles sobre o período.

O intento deste artigo é pensar a relação que o ensaio O mito de Sísifo – publicado em 1942 por Albert Camus – e o disco Sambas do Absurdo – lançado em 2017 pelo trio: Rodrigo Campos, Juçara Marçal e Gui Amabis – mantém com o absurdo. A fim de iluminar essa relação, buscaremos apresentar, em primeiro lugar, o que seria o absurdo para Camus; para isso, percorreremos, principalmente, o caminho traçado pelo autor em O mito de Sísifo. Em seguida, tentaremos mostrar como essa teoria do absurdo ecoa nas mais diversas camadas de Sambas do Absurdo. Por fim, gostaríamos ainda de ressaltar como o disco não é uma tentativa de “musicar a teoria”, quer dizer, ele não tenta simplesmente oferecer ao ouvinte um comentário, uma exegese da teoria do absurdo, ao invés disso, Sambas do Absurdo se afirma enquanto obra, construindo absurdos próprios.

Sam Shuster Department of Dermatology, University of Newcastle, Newcastle upon Tyne, UKAbstract: The continued discussion about the meaning of Camus’s famous novel, L’étranger, provoked a re-reading, and this, in turn, led to its clinical analysis and further investigation. The book rests entirely on the thoughts, words and actions of its central character, Meursault, and these were found to show impairment of social relationships, communication and interaction, with other traits diagnostic of the Asperger’s subgroup of the autism spectrum disorder. It was then found that Camus had based Meursault on his close friend Galindo, and a search was therefore made for evidence of Galindo’s character; this revealed him to be an intelligent but odd person, who exhibited the characteristic impairment of social and personal behavior of Asperger’s syndrome. Thus, Camus had recognized and understood his friend’s strange behavior before Asperger’s syndrome had been defined; his use of it for the creation of Meursault is therefore the first published account of a man with this disorder. Many of the interpretations and ideas developed from Meursault’s words, thoughts and actions must now be reconsidered, as they are a misreading of the words and behavior of a man with Asperger’s syndrome. The outcome of this clinical examination of L’étranger is unique; it shows that a precise account of a person with a neurobehavioral disorder was made by a novelist before the disorder had been clinically defined.Keywords: Asperger’s syndrome, Camus, Meursault, L’étranger

Utilizando, principalmente, as noções de Absurdo, Revolta e Limite, este trabalho procura construir uma noção de Direito a partir do pensamento de Albert Camus. Para tanto, o primeiro passo será, com o autor, identificar e criticar um tipo de Direito que, apresentando-se ainda hoje influente, mimetiza o Absurdo para intensificar o exílio do indivíduo no mundo. Em seguida, buscaremos construir uma noção de Direito que, mantendo intensa articulação com as ideias de Revolta e Limite, constitua-se, simultânea e inseparavelmente, em afirmação radical da vida humana e em expressão do agenciamento coletivo da Revolta. [Using, mainly, the notions of Absurd, Rebellion and Limit, this work aims to build a notion of Law based on the thought of Albert Camus. In order to do so, the first step is to, along with Camus, identify and criticize a kind of Law that, still today, very influential, mimics the Absurd in a way to intensify the individual’s exile in the world. Next, we build a notion of Law that, maintaining an intense connection with the ideas of Rebellion and Limit, represents, simultaneously, a radical affirmation of human life and an expression of the collective agency of Rebellion.]

During the COVID-19 pandemic of 2020, one is drawn to engage with texts that deal with the topic of human suffering. Two texts will be considered in this article. The first is the novel The Plague by Albert Camus, and the second is the Bible. Two characters in Camus' work will be discussed as representatives of different theological and scriptural responses to the issue of widespread human suffering. Following a literary analysis research methodology, this article argues that Christian responses to the COVID-19 pandemic are not dissimilar to the perspectives held by Dr Rieux and Fr Paneloux. Theodicy is engaged with either a perspective that questions the Divine in the light of the suffering of the innocent or a perspective that subjects itself to a state of surrender to 'the God who knows best'. The article then offers a third perspective, one held by Camus himself, suggesting that the question of theodicy could be reimagined from the notion of the absurdity of life. Contribution: This article provides a theological reflection on common Christian responses to the COVID-19 pandemic. It uses Camus' novel, "The Plague" as a backdrop to differentiate between a deistic and a science-faith approach to suffering. [ABSTRACT FROM AUTHOR]

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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In this paper, I explored what Sartre referred to as Camus' 'most beautiful and least understood novel,' The Fall. As a methodology, I applied textual hermeneutics to immerse in the text and got out of it what I deemed as the crux of its existentialism as founded in the two-in-one leitmotif of narration and hypocrisy. In Clamence, there was a profound need - a specter that lingered and haunted - to narrate his life, especially the fall that triggered it and the judgment that allowed him to do it. I argued then that the nature of the text reflected a deep sense of narration that stemmed from hypocrisy, in which Clamence branded himself as 'judge-penitent' - what such a life entails, how it freed him, and how it mirrored life-callings or vocations in all walks of life. [ABSTRACT FROM AUTHOR]

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A global pandemic such as that of the 2020 Covid-19 corona virus, causing great suffering and loss of life, brings home the difficult conditions that make for our fragile human life. But the question that religious belief poses, about "natural evil" in a world created by a loving God, satirised by Voltaire in the 18th century, masks the more existential problem, the possibility of greater human solidarity. In the background is the Deist view of God complementing the "polite society" of mutual benefit and guaranteeing the latter's benevolent outcome. It is a worldview, as Charles Taylor (2007) explains, that has put aside the premodern idea of human transformation, that was symbolised by religious virtuosi, saints, theophanies, and so on, now looked upon with suspicion by modernity. But the possibility of transformation, of a generous human response to suffering, is what is called for in a pandemic. In Camus' novel, The Plague, we see the more authentic response that resists being boxed in by religious enthusiasts to a constricted and ideological affirmation of a cosmic picture that obscures the fault-lines of bourgeois society. [ABSTRACT FROM AUTHOR]

I argue that David Oelhoffen's 2014 film Far From Men (Loin des Hommes), while departing from the letter of Camus' 1957 story, “The Guest/Host”, does remarkable cinematic justice to its spirit. Oelhoffen's Daru and the Arab character Mohamed, it is suggested, represent embodiments of Camus’ idealised Algerian “first men”, in the vision Camus was developing in Le Premier Homme at the time of his death in January 1960. Part 1 frames the film in light of Camus’ “The Guest/Host”, and Part 2 frames Camus’ story in light of Camus’ agnonised struggle to come to terms with the Algerian situation. Part 3 makes the case that Oelhoffen's departures from Camus’ original story present in cinematic form Camus’ ideal of a post-colonial, post-ethnic solidarity between people, predicated on the overcoming of all arche-ideological fantasies of untained prelapsarian community.