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Research on the unrepresentability of death in Samuel Beckett's oeuvre abound in Beckett scholarship, but little attention has been given to the artist's representation of caregiving to the dying in his plays. With reference to Martin Heidegger's concept of care and Albert Camus's idea of the absurd, this article analyzes Endgame (1957) and Footfalls (1976) by attending to Beckett's dramatic representation of caregiving as undergirded by a sense of its absurdity. The almost 20-year gap between the writing of both plays highlights the development of an understanding that this sense of absurdity is never about the caregiver's questioning of one's obligation to the dependent but about how one chooses to respond to caregiving as an absurd predicament. The pertinence of such a representation of caregiving by Beckett lies in its poignant articulation of a complex experience that is often left unexpressed by caregivers who prioritize their dependent loved ones over themselves. [ABSTRACT FROM AUTHOR]

When approaching the climate crisis, there appears to be a universal tendency towards philosophical suicide. When faced with the sheer scale of the problem at hand, falling for the façade of easy solutions seems to be an expected response. However, this tendency towards philosophical suicide may complicate the fight against the climate crisis by drawing attention away from the problem at hand. To approach this problem, the overarching purpose of this article is to determine how the change in the philosophical approach to the absurd may assist in framing the fight against climate change. During the investigation into this problem, it was found that philosophical suicide is a real problem that may be chosen when easy solutions are offered for a problem that sufficiently threatens the individual's state of existence. Furthermore, this philosophical suicide threatens the fight against climate change due to it leading individuals to believe lies perpetrated through strategies like greenwashing. This is of crucial importance since philosophical suicide threatens the fight against the climate crisis by not allowing individuals to consciously approach the problem. However, there does appear to be some hope. If the newer generations are sufficiently educated on the topic, there may be a chance that philosophical suicide, as well as the prevailing sense of dread that appears to be rampant in the younger generations, can be countered. In this way, educating individuals may enable them to consciously approach the absurdity of the climate crisis and, in doing so, revolt against it. [ABSTRACT FROM AUTHOR]

Nigerian-British writer and playwright Biyi Bandele Thomas' novel Burma Boy (2007) is inspired by his father's combat experience in the Burma Campaign of World War Two. This postmemorial re-enactment not only commemorates his father but also the marginalised black African soldiers who participated in that campaign. Critical attention paid to Bandele's work has noted his surrealistic and satirical style, usually in alignment with a post-colonial epistemology. This paper aims to show how the novel evokes the origins of a trauma and the futility of war within an African consciousness, alongside broader ontologies concerning the modern condition. I contend that through an aesthetics of the Absurd, as outlined by Albert Camus, Burma Boy not only evokes the absurdity of war but transcends its temporal wartime boundaries by offering a broad reflection on the fundamental cause of the author's father's wartime trauma: the divorce of humankind from the reality of existence. Thus, I conclude that this post-generational novel leverages an aesthetics of the Absurd to address contemporary political and environmental concerns. [ABSTRACT FROM AUTHOR]

The article offers a phenomenological study of the interpenetrating experiences of suffering and Godforsakenness from the perspective of 'the scourge of God', based on the works of Albert Camus. The study reveals the complexity and ambiguity of this experience and its transcendental significance as being 'without God', and invites eschatological and soteriological discussions. However, special attention is focused on understanding the suffering of humanity which manifests the quintessential experience of Godforsakenness. Suffering becomes a space of total vulnerability, not only before God but also before the neighbour and the Church. The experience of Godforsakenness also becomes a tool of apophatic theology and a sign of the reconciliation of suffering and God's love. In addition, the experience of Godforsakenness in suffering may produce original gifts: hope, solidarity, and faith as "confidence in what we hope for and assurance about what we do not see" (Hebrew 11, 1). [ABSTRACT FROM AUTHOR]

Rebellion is a behavior that has been known since the existence of man and is seen as a part of his nature. The behavior of rebellion is one of the first reactions of man against a ban in mythical narratives and holy books. Accordingly, in the traditional worldview, disobedience has always been considered an immoral behavior, and obedience has been seen as a virtue. However, in the world of psychology and philosophy, rebellion has often been interpreted as a behavior that people who have reached the stage of self-realization will dare. The phenomenon of "rebellion", which has been commented on many times, was handled with a philosophical orientation by Albert Camus. For Camus, who was also interested in existentialism, the basis of the rebellion is the questions about existence and existence, the answers that cannot be found exactly, and the sense of "absurd" that people feel in life that they remain unanswered. Camus considers life and the world as irrational and evaluates the way people view this irrationality, the way they feel and think, as "absurd". Most of the time, this becomes a problem that needs to be solved for the person. Rebellion is one way of solving this problem. For Camus, who divides the rebellious human types into four, it is the "artist" type who realizes the most moral and ideal rebellion. The artist accepts the absurd, but also rebels against its consequences. The artist accepts the absurd, but on the other hand, rebels against the results it has created, instead constructing a new form in own world. The rebellious artist type of Camus can be seen in Pir Sultan's poems in Turkish folklore. The rebellion of Pir Sultan, one of the most important representatives of the Alevi Bektashi poetry tradition, develops in the axis of the Alevi-Sunni, Ottoman-Safavid opposition, sometimes it turns into a general attitude towards life itself and is reflected in his poems. In many of his poems, he complains about the Ottoman sultan, beys, pashas, kadis, and replaces them with Iranian shahs, and sees them as a way to get rid of the feeling of absurdity that is growing day by day. The "ideal world" felt in the background of Pir Sultan's poems is a world where injustices are not experienced and where Hz. Muhammad, Hz. Ali and the Twelve Imams live. In his poems, he creates the representations of the figures in the present time, by bringing the figures he opposes with anger and the figures he longs for. How the sense of "nonsense" emerged in Pir Sultan, the social structure in which he lived, and the events he heard or witnessed becomes understandable when examined. How the sense of nonsense is reflected in his poems and how he copes with this emotion are questions that need to be answered. In this study, the sources of the sense of the absurd in Pir Sultan's poems, how they are reflected in his poems, and the codes of the rebellion of Pir Sultan, who chose art and rebellion to deal with the absurd, based on the examples of poetry. While the analysis was being conducted, the "Pir Sultans" discussions were kept out of the way, and independently of these discussions, considering that Pir Sultan is a tradition, the poems to be discussed in the study were chosen from among the poems published by İbrahim Aslanoğlu, Cahit Öztelli and Pertev Naili Boratav and Abdülbaki Gölpınarlı. [ABSTRACT FROM AUTHOR]

This study elucidates the process of Maria Casarès' identity construction in her correspondence with Albert Camus. I focus on how space and identity are entangled in their letters by zooming in on the correspondents' construction of a spatial identity through their epistolary dialogue. In their epistolary relationship, Casarès and Camus exchange depictions, feelings, drawings, and postcards of the places in their host country France—such as Paris, Ermenonville in Oise, Camaret-sur-Mer in Bretagne, Cabris in the Provence—, that define them not so much individually but mostly together, as a couple. The correspondents create in their letters places and metaphors that have significance for both of them and that they can share—through memory of the past, imagination at present, or plans for the future—. The analysis gives insight in how Casarès renegotiated her identity via the epistolary dialogue with Camus on the basis of the characteristics of exile and the search for silence, creativity and truth that they shared. The study illustrates the autobiographical character of the correspondence in its dialogical context: the strong bond between the sender and recipient of the letters plays a fundamental role in stimulating and facilitating possibilities for synergetic identity renegotiations. [ABSTRACT FROM AUTHOR]

The article observes the journalistic essayism of Albert Camus in order to understand and reflect on the author's conception regarding Journalism and journalistic practice. In order to do so, it was elaborated a contextualization of the period in which the Algerian writer was inserted during the publication of the texts, in an attempt to elucidate the temperature provided by the historical conditions. Then, an outline of the author's chronological line as part of the process of understanding his thought and his formation as a thinker. Finally, the study realizes that Camus had an aversion to newspapers financed by advertising and big capital, noting that, in the absence of independence, there is corruption of journalistic values. In his outlook, journalistic practice requires a doctrinal look at society, being, in general terms, an intellectualized profession. Journalism, in its turn, exceeds the purely practical character, as it requires ethical commitment from the individual to the collectivity, functioning above all as a moral beacon of the society in which it is inserted.c [ABSTRACT FROM AUTHOR]

This article explores how themes of birth, rebirth, genesis and coming into being are present in modern and contemporary Catalan art, focusing on the works of Eugènia Balcells (b. 1942), Xicu Cabanyes (b. 1946), Mari Chordà (b. 1942), Salvador Dalí (1904–1989), and Joan Miró (1893–1983). In particular, the article looks at how these themes emerged for the artists as a way of expressing Catalan identity in the wake of the Spanish Civil War (1936–1939) and the dictatorship of Francisco Franco in Spain (1939–1975), as well as following Catalonia's broader history as a nation without a state in Europe. In exploring the artists' lives and works, the article also considers the topics of rebirth and the eternal return as they occur in the philosophy and history of religion of Friedrich Nietzsche (1844–1900), Albert Camus (1913–1960) and Mircea Eliade (1907–1986). Ultimately, the author interprets the artworks of the study as physical representations of rebirth that relate in part to a longstanding Catalan sentiment of an eternal recurrence to life after destruction. [ABSTRACT FROM AUTHOR]

This study philosophically examines Albert Camus’ “The Renegade, or a Confused Spirit,” one of the short stories in Exile and the Kingdom. Despite previous scholarly interpretations of the story, the direct correlation between religion and mental health has not been explored sufficiently. In utilizing the theoretical framework of fiction as analogous to philosophical thought experiments, this article infers the pedagogical dimension of the short story, leading to the claim that “The Renegade” creates an aesthetic experience with the potential and risk to counter or reinforce the reader’s ideologies, including religious ones. In turn, the understanding concerning the interplay between religious identity-making and mental health is deepened. [ABSTRACT FROM AUTHOR]

This essay will explore and critically evaluate Camus' theory of the absurd and then discuss its relevance to the practice of existential psychotherapy. It is proposed that the concept of the absurd, whilst initially intimidating, can be beneficial to include in psychotherapeutic work. Helping others to move away from global concepts of meaning, to finding their own way through life, can initiate a process of experiential development, and ultimately liberation. [ABSTRACT FROM AUTHOR]

The study aimed at exploring the depths of the issue of raising the culture of resistance and its importance in building a free human being who resists various forms of oppression, injustice, tyranny and dependence that will kill human creativity and disrupt his mental abilities by falsifying his awareness and awareness and making him unable to bear responsibility and take decisions. In the light of that vision, the educational goal is directed to crystallizing parameters for educating the culture of resistance, as presented by the French writer and philosopher Albert Camus. The study used the descriptive analytical method activated by the method of content analysis qualitatively. The study reached several results, most notably: that there is a reciprocal relationship between literature, education and society. Several dimensions were also crystallized to educate the culture of resistance according to "Albert Camus" as mentioned in the analytical framework of the study, most notably: education for the development of human awareness and awareness of the limits of his freedom within the framework of awareness of the world and its challenges, education of human will and steadfastness and resistance to everything devoted to human slavery, development and promotion of values The nanny who represents the morals of resistance according to "Albert Camus". [ABSTRACT FROM AUTHOR]

Despite being generally recognised as Camus' most important philosophical essay, L'Homme révolté (1951;trans. The Rebel, 1953/1954, rev.1956) is rather neglected in the scholarship and enjoys a limited readership, especially among Anglophone critics and readers – a fact brightly reflected in the questionable quality of the only English translation, by Anthony Bower, and in the decision of Hamish Hamilton and Penguin, Camus' publishers in the UK, to cut about thirty pages of text from their edition, 'in the interests of economy.' (This startling admission, hidden in a footnote to Herbert Read's Introduction in 1953, disappeared from the Penguin edition in 2000, though the textual excisions remain). This essay examines one brief but crucially important section of L'Homme révolté concerned with Rousseau's Du contrat social (1762). It explores the centrality of Camus' analysis of Rousseau's essay and its influence on the French Revolution to the arguments of L'Homme révolté, especially as these pertain to political or revolutionary violence. It also examines in close detail some striking parallels between Camus' analysis of Rousseau and that found in essays by Isaiah Berlin (1952) and Philip Pettit (2016). [ABSTRACT FROM AUTHOR]

Albert Camus's The Plague has often been investigated as a moral deliberation on humans' responsibilities in the face of a deadly threat, be it as an allegory of World War Two or in a more general fashion. In this article, I argue that by looking at the pre‐reflective and embodied aspects of the interaction between the protagonists, the novel can be read in a new light. Seen from the perspective of contemporary cognitive science, especially what is known as "enactivism," I argue that central cognitive and interactive processes in the novel seem to be running below the level of explicit dialogue. Thus, we can understand the moral process of The Plague more accurately if we take into account new insights into the important role that the body, our surroundings, and the interaction itself play when humans come together and interact. Finally, I argue that an analysis of The Plague should pay special attention to how Rieux, the narrator and main protagonist, operationalizes these embodied and pre‐reflective mechanisms through his use of narrative techniques. [ABSTRACT FROM AUTHOR]

Several studies have been published on the recurring themes of death, revolt, and the absurdity of life in Albert Camus's literary works. These works mostly refer to ambiguity or contradiction regarding some of his ideologies of life. Camus's recognition of life's limitations while celebrating it to its fullness and his ambiguous attitudes towards the concept of death comes to mind. But little literature has been recorded of his mindset towards women. This study explores the evolution of Camus's multiple notions about women. It is an attempt to evaluate the ambiguity of perception inherent in his literary creation regarding his relationship with women. Camus's opus indicates that loving" at a distance" offers some advantages to men in pursuit of idealistic goals in life. An affirmation of the above statement is the blend of allegiance and disconnection which characterized Camus's relationship with his mother. Using Sigmund Freud's Psychoanalytic theory, the study posits that the disorienting or fluctuating limits in Camus's characters manifested through Meurseult and Jan, demonstrates lingering challenges of human existence and a critical post-modern account of the absurdity of human condition. The study maintains that Camus's loyalty and detachment from women can be regarded as the paradigm of the rapport between man and society. This study's endgame is to, first, expose new perspective in Camus's works, and then fill in the lacuna as well as to indicate a field of research of broader value in French literature. [ABSTRACT FROM AUTHOR]

In recent years, the electoral situation in Spain, has been marked by the issue of Catalan independence, which has conditioned the electoral agenda of all parties and the frames of political discourse. Against the idea of a violent movement that the Spanish nationalist parties and government want to transmit to Spanish society about the separatist movement, the nationalist parties' and Catalan government turn to nonviolent discourse and action. This nonviolent behavior is based on what in the past century was defended by some public intellectuals, such as Albert Camus. Indeed, Camus is our exemplar because he also raises issues that continue to be relevant, especially in advocating principles and methods of nonviolent political action. Furthermore, Camus did so in situations of war and injustice through tactics typical of political communication the of activist groups. This article wants to show how current and how effective the ideas of Camus are today, when it is 60 years since his death, in some national electoral discourses and actions, and serve for activism PR purposes in the political communication frame. [ABSTRACT FROM AUTHOR]

In this work, the novel Zama by Antonio Di Benedetto is related to the philosophical thought of Albert Camus and Jean-Paul Sartre. Firstly, the relevance of an existentialist reading of the author's so-called "trilogy of waiting", that is, his novels Zama, El silenciero and Los suicidas is justified. Subsequently, some keys are provided for reading each of the three novels in relation to three forms of escape from the feeling of the absurd that appear in Le Mythe de Sisiphe by Albert Camus: vain hope, worldly occupation and suicide. Finally, the case of Zama and its thematic affinity with the authors linked to the existentialism are analyzed in greater depth. [ABSTRACT FROM AUTHOR]

Based on the principle of the historicity of the production and reception of fictional works, this article recovers the figure of the writer Albert Camus, through the novel The Stranger, making considerations about the way that critic Edward Said treats work and author within the debate about culture and imperialism. It is important to point out that Said's interpretive basis, when including Camus in the discussions about imperialism, is different from that used by the writer, so we try to historicize the two readings, emphasizing the "place" where Camus produces his texts and the way that he deals with the Arab peoples in his best-known novel. [ABSTRACT FROM AUTHOR]

How can we define fictional worlds if we use the criteria of logic or ontology? Starting from this question, the current article deploys the possible worlds theory to examine the specifics of fictional worlds as opposed to that of the actual and the possible worlds. In conclusion, the article presents the viewpoint of aesthetic practice, as well as Albert Camus’ concept of the novel as an achieved unity and integrity in the understanding and comprehension of the world. [ABSTRACT FROM AUTHOR]

This paper proposes an analysis of the novel The Meursault investigation, by Kamel Daoud as a postcolonial appropriation of Albert Camus's The stranger. The objective is to investigate how Daoud fictionally reconstructs the Arab identity, invisible in The stranger. The Meursault investigation resignifies the literary canon by claiming an identity for the murdered Arab. The voice as a sign of humanization is denied to the deceased man in the Camusian text, while Daoud engages in a postcolonial enunciation to grant him a voice, family, history, and name: Moussa. The theoretical support is based on authors like Homi Bhabha (2014), Edward W. Said (2011), Frantz Fanon (2008), Gayatri Spivak (2010), Daniela Burksdorf (2015), and Ankhi Mukherjee (2014). It is concluded that Daoud's postcolonial appropriation reveals a rupture with the invisibility of the Camusian Arab character, at the same time that it revisits the recent past of French domination and colonial exploration in Algeria. [ABSTRACT FROM AUTHOR]

The epidemic theme is recurrent in Western literature, encompassing books that were written from antiquity to contemporary times. Based on this assumption, the objective of this article is to provide an overview of texts that address this issue and to study the representation of the epidemic outbreak that builds up the novel 'The plague', by the french writer Albert Camus, and it is structured based on the convergence of the stories of the adventures of Dr. Bernard Rieux, with personal stories of the following characters: Jean Tarrou, Joseph Grand, Raymond Rambert, priest Paneloux, judge Othon and the mercenary Cottard. The theoretical support for the analyzes is based on the texts by Araújo (2020), Benevides (2011), Develey (2020), Fritsch (2018), Martins (2011), Candido (2011), Marx (2020), Palud (2008), Pereira (1996), Phélip (2020), Ruffato (2020), Voisine-Jechova (2001). Drawing on the intertwining of the stories of various characters, the camusian book unveils the best and the worst in their actions, during an outbreak of bubonic plague in the city of Oran, and presents a sensitive and humanized narrative of the lives of its inhabitants immersed in a period of horror and suffering, marked by tragedy and the pain of family losses, exile and confinement at the borders of a space that is invaded by the disease, which persists over several months, and victimizes a large part of its population. [ABSTRACT FROM AUTHOR]

Concepts of race are deeply implicated in concepts of national borders, and inherent in those concepts are fear, aggression, and violence. Such concepts are historical and in no way natural. This history has been traced by Foucault and others. Derrida's "infinite hospitality" offers an alternative way of conceptualizing identity. He argues for a radical openness to the other. Camus's "L'hôte" problematizes the concepts of hospitality, freedom, and identity in the French colonial context. These are not fated or decreed. Like Daru and his prisoner in Camus, we have a choice. That choice is never outside of a context. And that context may pervert our intentions. But we do not have to choose the prison of the given; we can envision a world of infinite, nomadic hospitality, and of openness to the other, even as we acknowledge that such openness may mean that we, as we understand ourselves, no longer exist. [ABSTRACT FROM AUTHOR]

My article examines the relation between humanism and biopolitics in Albert Camus and Malika Mokkeddem, drawing upon Étienne Balibar's concept of 'civility' to show how Mokeddem sutures a divide that Camus establishes between human life and political life. For Balibar, civility postulates the inseparability of human and political belonging; the impossibility of dividing human existence into bare life and political life. Camus and Mokeddem delineate the space of politics as a sphere of appearance, where a subject makes itself visible and audible through speech. Mokeddem's literary civility inscribes a woman's right to partake of the affairs of a city, tracing an egalitarian community removed from the logic of biopolitics. 'Feminising' humanism, Mokeddem shows that it is a universally shared capacity to participate in political life that defines humanity. Camus and Mokeddem offer alternatives to the 'necropower' identified by Achille Mbembe as a defining trait of colonial and postcolonial regimes. [ABSTRACT FROM AUTHOR]

In their texts, Albert Camus and Justin Sullivan describe how rebels who get carried away with their revolutionary zeal lose touch with the original basis of their rebellion. They emphasize that a failure to achieve measure results in excess and disproportion, destroying the fields of tension upon which human existence and rebellion depend. Through their spirit of moderation and their critique of the hubristic narratives of European modernity and postmodernity, they offer a constructive view of human nature, a positive vision of dialogical life in communion and the alternative utopian energy needed to reinvent a human sociopolitical order. This article presents a comparative analysis of Albert Camus's philosophy and the ethos contained in Justin Sullivan's lyrics. In doing so, it suggests that these two writers embrace a coherent tradition of ethical thinking informed by anarchist philosophy. [ABSTRACT FROM AUTHOR]

This study argues that both Albert Camus's and Mouloud Feraoun's discourses on identity are distorted beyond recognition on account of interpretation of their achievements in political and polemical rather than literary critical terms and in disregard of their narratives. Recalling the precedence of literary discourse over the direct forms of discourse in terms of expressive power, this paper proposes a new interpretation of the two authors' concepts of identity based on their literary works. [ABSTRACT FROM AUTHOR]

This article seeks to draw attention to the work of Brice Parain, an under-examined figure in mid-twentieth-century French philosophy. It considers Parain's most influential work, Recherches sur la nature et les fonctions du langage (1942), through the lens of his contemporaries: the critical essays of Sartre and Camus, and the film representations of Godard and Rohmer. Parain's focus on the paradoxes of language, and on the ethical problem of lying, anticipate later criticisms of Sartrean existentialism, and his humanistic and historically sensitive approach to philosophizing render his a unique and powerful voice in modern intellectual life. [ABSTRACT FROM AUTHOR]

This article explores how a leading Korean literary critic, Kim Kirim (1908-?), understood the controversial term "fascism" in his writings. If we associate fascism with wartime Japanese totalitarianism, it is difficult to understand why and how he warned against fascism in liberated Korea. By interpreting his use of the term "fascism" from the colonial to the liberation period, we are able to gain a better understanding of the international relations between imperial Japan and colonial Korea, as well as of the internal relations between North and South Korea from 1945 to 1950. Such an approach allows us to see the struggle for mutual respect among Korean writers experiencing the ideological conflict and exclusive sectarianism immediately before the outbreak of the Korean War. [ABSTRACT FROM AUTHOR]

This essay takes a new look at the mid to late century monk-poet, Thomas Merton. A progressive Trappist with both Zen and Catholic convictions and a man whose life as a contemplative was offset by fame as a diarist and letter writer, Merton cuts an unusual, contradictory figure in the 1960s counterculture. I examine his works of modernist criticism and his 1941 novel, My Argument with the Gestapo, for evidence of a consistent moral aesthetic scheme. Merton's fiction and modernist criticism invoked an ironic 'aesthetic of deadness' yet at the same promoted the spiritual dignity of individuals against what Merton saw as the stultifying uniformity of post-war secular humanism. Writing on the cusp between late modernism and postmodernism, his final decade also saw him return to modernist literature, albeit largely 'late modernists' – from so-called absurdists like William Faulkner and above all, Albert Camus, in order to develop an approach to modernist art as revelatory and premonitory of modern man's increasing spiritual impoverishment. [ABSTRACT FROM AUTHOR]

Pandemics have adversely affected the lives of human beings throughout history. Particularly, outbreaks such as cholera, plague, yellow fever, HIV / AIDS, Spanish Flu, Sars and Ebola have killed millions of people to date. At the moment, the whole world is struggling with the Coronavirus epidemic, which has recently emerged in Wuhan, China, where more than 5.5 million people were infected with 350 thousand dead. Albert Camus' novel titled The Plague is among the prominent works regarding the pandemics and has been translated into many languages. Although this novel, written in the years of World War II, explains the effects of plague disease on the surface, the fiction in the novel evokes the concentration camps of Nazi Germany for the Poles and Jews, the torture of the French during the Algerian occupation. The author addresses the revolt of a person who is forced to live a ridiculous life in a ridiculous world on the axis of emotions such as despair, anxiety, and fear in the novel. This study aims to analyse how pandemics affect humans within the scope of COVID-19 based on the novel The Plague. [ABSTRACT FROM AUTHOR]

Albert Camus has repeatedly claimed the mythical dimension of his creative literary enterprise. The myth, as it is reinvested or created by the literary text, becomes, according to him, a means of decompartmentalizing the world, the privileged place where the real and the imaginary challenge and measure each other. This article aims to study the myth of Ulysses in Camus’ work. The haunting presence of certain mythical themes should demonstrate that the myth of Ulysses not only occupies a central place in Camus’ work, it also bears witness to an intense existential experience. [ABSTRACT FROM AUTHOR]

Shaun Tan's 2001 picture book The Red Tree features a nameless, redheaded protagonist wandering through a series of surreal, strange and overwhelmingly dark landscapes. Tan himself, together with his commentators, has characterised The Red Tree's contents as "absurd," yet this term has not been defined, nor have any connections been traced between the themes of the text and one of the most important thinkers of the absurd: the twentieth-century French philosopher Albert Camus, whose notion of the absurd is explicated in The Myth of Sisyphus. This article argues not only that Camus' notion of the absurd provides insights into Tan's The Red Tree, but also that Tan's work can help readers develop an understanding of Camus' philosophy. It focuses on three significant aspects of Camus' work that serve to unite these two writers, namely the journey of self-explication one undergoes after sensing the absurd, strangeness, and hope. [ABSTRACT FROM AUTHOR]

This essay seeks to introduce moral injury to the field of literary trauma studies. Moral injury, a term coined by Jonathan Shay and elaborated upon by Brett Litz, is best understood as the psychic pain that sometimes follows a perceived moral breach. It is related to but distinct from trauma, and it manifests with a unique set of symptoms. The essay goes on to identify salient examples of moral injury in Fyodor Dostoevsky's Crime and Punishment (1866), Albert Camus's The Fall (1957), and Kevin Powers's The Yellow Birds (2012), and to trace some of the ways manifestations of moral injury might affect the form and style of literary texts. [ABSTRACT FROM AUTHOR]

The struggle to become lucid is at the heart of The Myth of Sisyphus. To understand the absurd is to understand that the fit between our conception of the world and the world itself is fraught with uncertainty; lucidity is the elucidation of the absurd. To be lucid is to revolt against the type of certainty that leads to suffering; to revolt against philosophical suicide. Camus teaches us the intellectual humility that stays hands; there is no reasoning that justifies suffering. If it is granted that the ability to recognise and respond to our own and others suffering is an important part of being human, and the task of education is to develop humans, then lucidity, in so far as it holds promise for the development of such an ability, has the potential to contribute positively to education. [ABSTRACT FROM AUTHOR]

The article contributes to current theoretical debates about the political significance of narrative imagination by drawing on Camus's and Arendt's existential aesthetic judging sensibility. It seeks to displace the prevalent tendency to probe literature for its moral-philosophical insights, and instead delves into the experiential reality of our engagement with literary works. It starts from Martha Nussbaum's recognition of the literary ability to account for the fragility of human affairs, yet finds her reduction of narrative imagination to the role of furthering moral lessons wanting politically. Against this background, the article reclaims Camus's and Arendt's dialogical-representative judging orientation and its insight into the narrative ability to respond to the intersubjective character of politics. As such, their aesthetic sensibility reveals the potential political significance of literary imagination in its capacity to open a public space where the contradictions of our situated existence can be confronted through politics between plural equals. [ABSTRACT FROM AUTHOR]

The present study concentrates on the phenomenon of intertextuality in one of Bohumil Hrabal's key early works, namely, the "existential" short story entitled Kain. The author examines especially the intertextual resonances between Hrabal's work, Camus's The Stranger, Dante's Vita nuova and Goethe's Sufferings of Young Werther. [ABSTRACT FROM AUTHOR]

The early essays of Camus have been underexplored as educational texts. The discussion here introduces these texts for educational consideration. The analysis uncovers themes which link to existing educational research on Camus. As these are autobiographical texts they also provide new insight on the genesis of Camus’ thinking on subjects of interest to education, and Camus’ own educational journey into the absurd. The discussion here suggests the lyrical essays explore the connections between learning and the natural landscape, and as a result, they suggest a concept of education based around seeing the world a certain way; a communion with the natural world as a basis for understanding and happiness. [ABSTRACT FROM AUTHOR]

Maria Zambrano and Albert Camus had much in common, especially their sympathy for the Second Spanish Republic and their ethical vision. Both intellectuals employed literary forms to explore philosophical ideas allegorically, explicitly notions related to exile and solitude. Works included in the study are 'Delirio de Antigone,' La tumba de Antigone, and Delirio y destino [Delirum and Destiny] by Zambrano and The Plague and The Myth of Sysifus by Camus. Zambrano's works are interpreted as allegories of Franco's Spain, while Camus's novel and essay represent Vichy France under the Nazis. Like Camus, Zambrano was a master of blending political, philosophical, and literary themes and genres. [ABSTRACT FROM AUTHOR]

In this article I argue that Kamel Daoud's novel, The Meursault Investigation, demonstrates the power of narrative praxis when it comes to constructing and comprehending our notions of the self and other. This novel is in many ways a response to Albert Camus' The Outsider , as it is situated in the fictional world of Camus' own novel, and it holds Meursault, and French-Algeria more generally, accountable for their actions. Whilst Daoud's postcolonial critique of The Outsider is an important element of the novel, I suggest that there is an ethical venture at play here which has yet to be given credit: Daoud's novel investigates the ambiguous position of those that dwell on the borders between cultures, thereby demonstrating the necessity of learning to empathise with those we might otherwise consider our enemy. [ABSTRACT FROM AUTHOR]

Yusuf Atılgan’s novel called Aylak Adam deeply influenced many young Turkish intellectuals at the time it was published. The researchers generally focused on the main character of the novel as the determinative factor of the mentioned influence and they tried to identify him with such concepts as loiterer (flaneur) and Frankish (alafranga). In this article, the accuracy of epithets attributed to C. of Aylak Adam will be questioned and it will be claimed that both epithets are far from presenting the real quality of C. In order to reveal the original character of C., this article will make a comparison between C. and Meursault, who is the main character of Albert Camus’ L’Étranger and it will be argued that C. is an absurd character. Secondly, it will be shown that Istanbul where C. lives in is a metropolis. [ABSTRACT FROM AUTHOR]

When reading Suetonio'section dedicated to the Emperor in The Life of the Caesars, it can be affirmed that Albert Camus'Caligula is more than the portrait of a tyrant. It is a whole reflection about tyranny and power, about the relations of the State and Poetry; and in general, of culture with a State which had been dislocated by the machinery compliance between the privileged and the creators. [ABSTRACT FROM AUTHOR]

In 1943, Jean-Paul Sartre published several important articles of literary criticism on Blanchot, Camus and Bataille. In addition to propounding his own literary views, these articles functioned as a means of marking out his own version of existentialism, which risked being conflated with the Camusian absurd. Whereas Camus, according to Sartre, advocated a detached attitude in the face of the meaninglessness of existence, Sartre maintained that the subject cannot withdraw from the (historical) situation and that existence is ultimately meaningful. One author in particular, Franz Kafka, acts as the figurative 'prism' through which Sartre challenges rival versions of existential thinking. He does so by introducing the concept of le fantastique (the fantastic) on account of Kafka's work. In so doing, Sartre not only rebutted the dominant interpretation, according to which Kafka was an absurd author, but also uncovered a historical critique implicit in the Prague author's work. [ABSTRACT FROM AUTHOR]

This article offers a socio-historical approach to analyzing the genesis of the notion of "Algerian literature" and its structural relationship to "French literature"-- unstable notions that have been subject to fierce debate. I show how "Algerian literature" has been nationalized and ethnicized during the twentieth century. These transformations are linked to Algerian writers' literary and political struggles with one another. Their approaches to affirming or denying the very existence of "Algerian literature" during the colonial era, or its ethnic character after Algerian independence, depended on their political convictions, but also on their recognition within the French-Algerian literary space. A structural analysis of the kind offered here allows us to see new historical continuities and ruptures between French colonial literature and the literature of post-independence Algeria. It reveals too that the figure of Albert Camus has remained in the heart of the debates even to this day. [ABSTRACT FROM AUTHOR]

This text proposes an analysis of Camus' texts published in the newspaper Combat which privileges some aspects and articulates them with his last novel The first man in which he revisits his family origins in Algeria. The newspaper Combat, operating underground during the War, appeared publicly after Paris' liberation in August 1944 whereas The first man is an unfinished novel that would only be published in 1994. It was at this time that the author's image, which had suffered greatly during the Algerian war, began to improve in French political and cultural circles. It is an autobiographical novel that narrates his alter ego's life as well as the history of his parents and French colonization in general. [ABSTRACT FROM AUTHOR]

This article investigates the “something else” that underlies information-age boredom, according toThe Pale King’s “Author,” and analyzes the novel’s representations of boredom to that end. Wallace’s decade-long engagement with the problem of boredom, which ended with his suicide, andThe Pale King’s longest section, the story of “Irrelevant” Chris Fogle, are read in context with existentialist philosophies, particularly Viktor Frankl’s and Albert Camus’s contrasting treatments of boredom inMan’s Search for MeaningandThe Myth of Sisyphus, respectively. The “something” behind Fogle’s boredom appears in this light as an aimless, default, self-centered nihilism, which he overcomes temporarily by choosing to see meaning in a job that others might view as absurd: working for the IRS. The article concludes by noting that Fogle’s story andThe Pale Kingin general significantly resist closed interpretation due to the open-endedness of Fogle’s narrative, his ongoing drug dependency, and the recursive overall structure of Wallace’s unfinished novel. [ABSTRACT FROM PUBLISHER]

Contrary to the interpretations of Edward Said and other influential critics, this essay argues that Albert Camus, in his great novel L'Étranger, numerous journalistic essays over two decades, and an often overlooked short story, "Les Muets" (The Silent Men), sympathized with Arab grievances. He favored reconciliation based on equality and reciprocity between Algerian Muslims (predominantly Arabs but including a Kabylian Berber minority, whose suffering he described with great pathos) and pieds-noirs (European colonists). [ABSTRACT FROM AUTHOR]

Camus and Barrault collaborated in 1948 to create the ill-fated L'État de siège. The two theatrical figures had already crossed paths, however, at a different time and for different reasons, thanks to Faulkner's work and Maurice Edgar Coindreau's translations. Barrault chose As I lay Dying for his first production in 1935, and Camus opted for Requiem pour une nonne in 1956. This study analyses archival documents and press clippings about these two works in order to provide a deeper understanding of the adaptive process and the staging solutions adopted by Camus and Barrault in their respective productions. [ABSTRACT FROM AUTHOR]

This work deals with the main interests of William Faulkner and Albert Camus as far as modernity is concerned, and includes the problems of time, conscience and truth, as well as guilt and man's future. Through the reality of their individual experience, and facing the ethical demands of collective history, as well as the questioning of temporality, the American novelist and the French essayist have shown the dramatic contingencies of historical events. In the darkness of present times they searched for the hope for man to survive which lies in himself, in his capacity to transform the transient, ephemeral present into the capture of the possible by human conscience, and to leave the door open to the possibility of connecting the self to others. [ABSTRACT FROM AUTHOR]

This article links Camus's recurrent lyrical themes and motifs with those of Faulkner. The speeches delivered by the two authors on receiving the Nobel Prize clearly underpin their conception of the art of writing, torn between suffering and beauty. For them the landscape alone can serve as a generative core to reveal the country itself. This article questions the tension raised by the South (Algeria and the imaginary county of Yoknapatawpha) and the authors' aspiration for a lyrical prose liberated from the pressure of fiction writing. It outlines a parallel between their destiny and their accidental deaths. [ABSTRACT FROM AUTHOR]

Camus's interest in stage adaptations and mainly the problem of evil as it is raised in Faulkner's Requiem for a Nun tempted the French writer into adapting it for the stage. The reference found in this version to Dostoïevski's Brothers Karamazov is not meant to assert a Christian faith, but on the contrary to grow away from it. Hence Camus keeps his distance with the part played by Nancy. His adaptation of the Requiem breaks away from the religious interpretations it has been submitted to, so in reality Camus moves along the same line taken by Faulkner, when he was re-writing his first version of the Requiem for a Nun, as Noël Polk has shown. So Faulkner has structured a modern tragedy. The revolt against destiny finally makes it possible to compare the Requiem to Les Justes, making it possible to read it in the light of L'Homme Révolté. [ABSTRACT FROM AUTHOR]

His dislike for psychological analysis accompanied Albert Camus throughout his life and had a profound impact on his idea of theatre. Especially in his early years, he sees psychology as the antagonist of the kind of theater that he envisages, the "modern tragedy". In the last decade of his life, Camus worked on the novel "Requiem for a Nun" by William Faulkner, whom he greatly respected, in order to stage it. The confrontation with this work and its highly psychologically driven plot makes Camus virtually give up on his anti-psychological attitude. [ABSTRACT FROM AUTHOR]