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Critiques such as Susan Sontag's Illness as Metaphor have encouraged the renunciation of metaphorical thinking about illness. This article suggests a level of discernment toward implicit interpretations of illness instead of an all-or-nothing removal of metaphor from the rhetoric surrounding illness. Rather than doing away with metaphorical thinking about illness in a total and absolute sense, the article reflects on illness metaphors to explore what insight they may have to impart about lived experiences of illness. With the help of literary expressions in Camus's The Plague, the article depicts ways that through a discerning attitude toward metaphorical thinking on illness, an elemental affirmation of being within the necessary limits on the human condition is given space to breathe. [ABSTRACT FROM AUTHOR]

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.

For Albert Camus, plague was both a fact of life and a powerful metaphor for the human condition. Camus engaged most explicitly and extensively with the subject of plague in his 1947 novel, The Plague (La peste), which chronicles an outbreak of what is presumably cholera in the French-Algerian city of Oran. I often thought of this novel—and what it might teach us—during the recent COVID-19 pandemic. In this article, I discuss seven important insights from The Plague about epidemics, public health and morality. [ABSTRACT FROM AUTHOR]

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.

Faced with the absurdity of continued climate inaction, more people are becoming morally outraged about the projections of human suffering and loss due to global warming impacts. This article draws from the work of Albert Camus to examine human responses to absurdity through rebellion and how this can be applied to understand the notion of climate rebellion. Focusing on Camus' works The Rebel and The Plague, as well as his speech "The Human Crisis", I examine the conditions of climate injustice that present the grounds for climate rebellion, what becoming a climate rebel might mean, the importance of solidarity in climate rebellion, and lastly how Camus' value of limitation might inform ethical responses to minimize climate-related harm. [ABSTRACT FROM AUTHOR]

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.)

Religious protest, such as the protest that Job expresses, reveals the manners in which believers experience the absurd while hanging on to God. The purpose of this article is to explore the "grammar" of this paradoxical faith stance by bringing Kierkegaard and Camus to bear upon it, and thereby to show the "family resemblance" between Job, Camus's "absurd man," and the Kierkegaardian believer. I begin with a discussion of experiences of the absurd that give rise to religious protest. I then turn to Kierkegaard to explore the manners in which "faith's thought" renders the "experience of the absurd" a religious one, while pushing the believer further into the absurd. I end with a discussion of Job as an absurd rebel in Camus's sense. [ABSTRACT FROM AUTHOR]

Albert Camus and Ernest Becker were both concerned with the effects of existential paradox (the paradox of the absurd) on human behavior and how the ability to accept this paradox may alleviate much individual, societal, and even planetary suffering. Their respective works focus on different aspects of existential paradox and I propose a comparison of their main themes leads to a deeper and more robust understanding of existential paradox and its effects. Thus, this article is an exploration of how a comparison of Camus and Becker's work may enrich our understanding of existential paradox, its effects on human behavior, and provide a way to live with it. I conclude from this comparison that the creation of absurd works of art may be integral for promoting the ability to live in existential paradox without appeal. [ABSTRACT FROM AUTHOR]

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

Albert Camus has been at the centre of a long and bitter controversy for his positions on the Algerian war. Accused of being a colonialist, marked by Eurocentrism and/or a de facto supporter of imperialism, he in fact joined the struggle for decolonization from his earliest steps in politics, untethering it, however, from any nationalist perspective. This essay delineates the formation of Camusian position on the Algerian crisis, its turning points and the path followed in this regard from the late 1930s to the late 1950s, seeking to reveal his perspective of a decolonial federalism that would simultaneously transform Europe and Africa in order to establish a political community in which there would be neither dominant nor dominated. [ABSTRACT FROM AUTHOR]

Just war theory appears ever more alienated from the practice it ostensibly regulates, warfare. An increasingly abstract and esoteric discourse, it can seem very remote from the mud-and-blood actualities of warfare. This is reflective of a broader disconnect between the study of, on the one hand, the ethics of war, and, on the other, the lived experience of war. Seeking to address this problem, this article asks: How can we recentre just war thinking as a 'lived' theory ? It proposes that we can reconnect just war theory to the lived experience of warfare by restoring its historical dialogue with existentialism. It develops this position by reading just war theory through the prism of Albert Camus's writings on political violence. It concludes that Camus's political thoughts provides a set of signposts for the development of a mode of just war theorising that places that the lived experience of warfare at the heart of our ethical thinking about war. [ABSTRACT FROM AUTHOR]

This essay is a reflection on Albert Camus's revival during the COVID-19 pandemic of the early 2020s. The popularity of Camus's novel, The Plague, is considered alongside his other writing as something that speaks to many throughout their lives. Such appraisal is interspersed with personal reflections on family life during pandemic lockdowns and the ways that Camus's thought resounds in our everyday selves. Written in two parts at different times – mainly in 2020 and with a 2023 afterthought – the essay critically acknowledges how Camus instructs us to live together with meaning and dignity in an age of catastrophe. [ABSTRACT FROM AUTHOR]

Vega Valladares, Salvador. The Fall. Camus and Boldness for the Other. In this study I attempt to relate Albert Camus's novel The Fall with the author's main philosophical notions, especially "the absurd," "rebellion" and his ethical stance. I also attempt to shed light on how this work lays bare one the leading critiques of Camus: his discovery of metaphysical rebellion and his subsequent disavowal. This rebellion is a profound encounter with himself and with the other, which makes it a co-generator of solidarity; without this, all rebellious clarity is lost. In this way I attempt to show how this philosophical novel ties different concepts proposed by the author to the plot and the main character's life, with the aim of opening up lines of reflection on the essence of the ethical. [ABSTRACT FROM AUTHOR]

The deepest and sharpest division of thought that a person has ever experienced is aimed at "existence". Because the meaning assigned to existence also determines the form and purpose of life. The creation of life on the side of a force gives it a metaphysical value. This situation imposes certain responsibilities on a person and gives metaphysical a meaning to his life. In an existential interrogation, -aside from an agnostic-based neutral approach- a person can either be subject to the divine will and try to rebel to live his life in this direction, or live his freedom in some way by rejecting the divine will. Theistic existentialist thought claims that the purpose of life cannot be understood without God. Atheistic existentialist thought opposes the existence of God rather than his authority. Because the use of authority does not accept common. Therefore, it must either be God who is the unconditional authority, the man who has no choice but to exist. Søren Kierkegaard and Albert Camus are important figures who have different approaches on both sides of existentialist thought. While Kierkegaard takes refuge in the feeling of "faith/acceptance" while making sense of life, Camus prioritizes the feeling of "rebellion/rejection" rather than denying the existence of God. A person should either taste the joy of life with a Kierkegaardian approach, prioritize suicide with a Camusian approach. If he does not commit suicide, he must accept an unknowable life. While Kierkegaar's faith addresses man to God, Camus' rebellion results in the declaration of man's divinity. This study aims to examine how Kierkegaard and Camus' assessment of existence reflects on a person's life and to what extent it contributes to his happiness. In the course of the study, Kierkegaard and Camu's ideas about existence were primarily determined. It has been found that Kierkegaard's ideas about existence are relatively more accurate to Camus. [ABSTRACT FROM AUTHOR]

This article locates a psychological mobilization of natural settings in the post-war Westerns Duel in the Sun, Lonely Are the Brave, and Man in the Wilderness, which I refer to as 'Sisyphean' landscape allegory. This narrative of inner conflict is not only expressed through an inhospitable terrain per se, but also through the protagonist's physical attempts to navigate and/or overcome it as a primary obstacle. I argue that the existential sense of futility these films invoke through their Sisyphean sequences serves to corroborate audience angst rather than to assuage it. At the same time, the larger therapeutic agenda of these films for American audiences varied according to their cultural milieu. [ABSTRACT FROM AUTHOR]

This article studies the city spaces in Albert Camus' "The Plague" and Jose Saramago's "Blindness." In light of COVID-19, the article reads these two literary texts in terms of their spatial settings that represent fictional microcosms of the real world engulfed in the COVID-19 pandemic. It also demonstrates how pandemics expose and exacerbate the flaws that are inherent in the social, ideological, and infrastructural dimensions of city spaces. The pandemics reshape Camus' and Saramago's cities, intensify human antagonism, and expose the fragility of the urban structure. We rely on George Simmel's viewpoints of the city as a space of constant conflicts and antagonism, so one can understand the struggles that take place on the spaces of Camus' Oran and Saramago's blind city. The article also employs Julian Wolfreys' concept of the urban uncanny to interpret the mystery and fear that accompany the emergence of diseases in cities. Finally, our experience with the COVID-19 pandemic provides new insights into Albert Camus' "The Plague" and Jose Saramago's "Blindness" as they become a fictional reflection of our own experience. [ABSTRACT FROM AUTHOR]

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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This article traces the formation of Hayden White's chapter on Hegel in Metahistory by comparing it with his earlier essay titled "Hegel: Historicism as Tragic Realism." It also analyzes White's review of George Armstrong Kelly's Idealism, Politics and History and White's well‐known essay titled "The Burden of History." This article argues that White's main concerns in his review essay and in Metahistory were (1) to respond to the existentialist challenge, posed especially by Camus, that history does not matter and (2) to use Hegel to articulate an answer regarding how historical consciousness and action can be combined. White created his version of Hegel early in "Hegel: Historicism as Tragic Realism" by absorbing (probably) Josiah Royce's interpretation of the Absolute and (more certainly) Erich Auerbach's idea of tragic realism. However, White's idea of tragedy, which focuses on the consequences of action, is not the same as Auerbach's idea, which concerns treating the psychological depth of characters seriously. In his review of Idealism, Politics and History and in Metahistory, White further injected the Kantian philosophy of history—as interpreted by Lucien Goldmann and Lewis White Beck—into Hegel's idea of tragedy and comedy. In doing so, White affirmed the philosophical activist's ability not only to recognize the tragic circumstance of the past and the present but also to hold on to the hope for a better, comic future. [ABSTRACT FROM AUTHOR]

Copyright of Felsefe ve Sosyal Bilimler Dergisi (FLSF) is the property of Felsefe ve Sosyal Bilimler Dergisi (FLSF) 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.)

Entrenched inequality within South African society has led to a notable focus within literary criticism on the subject of legitimacy. The perennial question of who has access to narrative representation and how this authority is wielded has informed literary production itself—with some writers, invariably emerging from the elite, attempting to circumvent or undermine the assumed claims of legitimacy which attend the novel. This article discusses how a particular modernist form, narratorial disidentification, coheres around this preoccupation with inequality and legitimacy, overturning idealist accounts of moral agency in history through an emphasis on the determination of the material environment. Narratorial disidentification subverts the normative structure of the novel, assuming that the legitimate subject of society is not narratable within the novel form. Drawing on the work of Warwick Research Collective (WReC), in particular their expanded sense of modernism, this article argues that experiences of social bifurcation in semi‐peripheral locations are translated into this form of narrative coldness which seeks to undermine readerly identification and emphasize externality. It indicates how Camus's The Stranger can be productively re‐read by considering the employment of this form by a number of South African novelists—from Nadine Gordimer's The Late Bourgeois World under apartheid, to postapartheid with Zoë Wicomb's Playing in The Light and Achmat Dangor's Bitter Fruit. This allows not only for formal continuities across apartheid‐postapartheid to be historicized, but offers a comparative lens for approaching novelistic form within global contexts of inequality. [ABSTRACT FROM AUTHOR]