Search

Copyright of Jiaoyu Kexue Wenxian is the property of Educational Science Literature (Chinese) Editorial Office 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 article presents an analysis of the embodiment of existentialist ideas in the cinematic work of the 1940s — 1960s of the Italian director Luchino Visconti. The main attention is paid to the screen adaptation of the novel The Stranger (1942) by the French existentialist philosopher Albert Camus in the 1967 Visconti’s film of the same name. The text of the novel The Stranger reflects the main existentialist ideas of Camus during the period of the ‘philosophy of the absurd’, including the concepts that became philosophical categories of the non-classical aesthetics of the 20th century: ‘boredom’, ‘fatigue’, ‘care’, ‘abandonment’, ‘alienation’, ‘hostility of the world’, and ‘alienation of the world’. In this series, perhaps, in the first place is the problem of the meaning of human existence in the face of inevitable death, which is sometimes sudden, violent and unfair. In modern theoretical discourse, as a rule, this problem is considered at the intersection of a number of areas in the humanities — philosophical anthropology, sociology, cultural studies, art criticism, etc. Given the great role of visuality in the media space of the 21st century, screen forms of understanding the ‘eternal questions’ of human existence are of great importance. In this perspective, the appeal to film adaptations of outstanding philosophical and literary works is relevant, suggesting the use of interdisciplinary approaches in the process of their theoretical analysis. At the same time, the intertextual and contextual approaches to Visconti’s work allow us to identify new important details in the evolution of the artistic style, the visual, sound and editing techniques of the director in the aspect of existentialist issues.

This article evaluates the place of The Plague in the emergent cultural memory of the COVID-19 pandemic, a time when the novel was said to have "gone viral" in popular culture. I ask what it means to reread The Plague in the current moment, a time characterized not just by a pandemic but by widespread unrest and social movements on both ends of the political spectrum. While rereadings of Camus in light of COVID-19 seem predicated on a turn away from the novel's allegorical dimension, The Plague has taken on new metaphorical meanings in its Covid-era reception. Examining the proliferation of "readings" of the pandemic, in which the virus has been understood as a figure for collective social ills, this article highlights the place of Camus's novel in the cultural memory of the crisis and proposes that it can illuminate some of the complex entanglements of our present. [ABSTRACT FROM AUTHOR]

"Selvmord og suicidal overlevelse", dette spesialnummeret av Nordlit, undersøker fremstillinger av den menneskelige eksistensens ytterpunkter, hovedsakelig i litteratur, men også i popmusikk, en TV-serie og en grafisk roman. Hvorfor tar enkelte mennesker livet sitt mens de fleste fortsetter å leve? Hva er selvmord og suicidalitet? Hvorfor presenterer litteratur og kunst en særegen mulighet til refleksjon og tolkning over selvmords- og overlevelsesproblematikk, og et alternativ til sosiologiske, filosofiske og psykologiske tilnærminger? Hva er en selvmordsroman? Denne introduksjonen og de tolv artiklene mediterer over slike spørsmål, og hvordan de kan formidles med kreativ utfoldelse og estetisk bevissthet.

Cormac McCarthy’s novel The Road (2006) and Albert Camus’ The Myth of Sisyphus (1942), grapple with the choice of suicide versus struggle when meaning is exposed as socially fabricated. McCarthy declares, “there is no god and we are his prophets”, a dismal idea if one is searching for external meaning but conversely an empowering permission to create. McCarthy juxtaposes a father who chooses to produce absurd meaning with a mother who rationally commits suicide. Using Jean Baudrillard’s philosophical lens to read The Road, forces the reader to walk through a world of simulacra where floating signifiers are detached from meaning. Combining The Road, Simulacra and Simulation, and The Myth of Sisyphus, exposes that living is irrational because the simulation we have incarcerated ourselves within is absurd; however, McCarthy shows that in embracing the artistic struggle of creating a personal construct we feel most alive.

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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.)

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.

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]

Building on findings presented in the radio documentary Brendan Behan in Paris (RTÉ, 2019) about Behan’s time spent in the city during the late 1940s and early 1950s, this article explores the relationships that Behan forged in Paris, including with Albert Camus and the literary magazine publisher Sindbad Vail, who would become the first to publish Behan’s work internationally. It further explores the significance of the timing of Behan’s arrival into postwar Paris, and his affinity with the philosophical ideas that were circulating there at the time. The article illustrates how Behan’s literary engagement with the city and its intellectuals in the postwar period is both anticipated and reflected in his work, including the vigorous debate between Sartre and Camus on the meaning of freedom, justice, and the nature of violence and revolution. Through this we see Behan as a writer immersed in and familiar with the dominant trends in European, and especially French, writing. [ABSTRACT FROM AUTHOR]

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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.)

Hastalık nedeniyle çekilen bedensel acılar duygulara da yansımaktadır. Öznel varsaydığımız duygularımız bir yandan da kolektivite içerisinde oluşmaktadır. Albert Camus’nün 1940’lı yıllarda Cezayir’de geçen \textit{Veba} adlı romanında salgın hastalık nedeniyle Oran kentinin dış dünyaya kapanması, doktor Rieux ve arkadaşlarının salgın hastalığa karşı mücadeleleri anlatılmaktadır. Romanda yaşanan toplumsal, siyasi ve medikal/tıbbi durumlara yönelik bireylerin tepkilerinde farklılıklar görüldüğü gibi toplumsal olarak öne çıkan bir takım duygusal ortaklıklar da bulunmaktadır. Veba nedeniyle bir felaket yaşanmıştır ve bunun duyguları etkilememesi mümkün değildir. Duygular, düşünce ve mantığın karşıtı pozisyonda yer almadığı kabulüyle, bedenleri de bir yandan şekillendirmektedir. Romanda ‘başkalarının acısına’ tanık olmak ve hastalığa dair önlemler neticesinde karantinalar, kentin kapanması hatta enfeksiyon bulaşır endişesiyle mektup gönderememek bireylerin kolektif birtakım duygularını tetiklemiştir. Bu duygulardan özellikle özgürlük, sürgün ve nostalji üzerinde durulacaktır. Edebiyatta veba ve hastalık nedeniyle hissedilen acının metinlerarası \textit{(intertextuality)} bir şekilde ve Bakhtin’in diyaloji kavramı temel alınarak özneler arasında dolaşımına da imkan verdiği tartışılmaktadır. Salgın bir hastalık belirli bir yer ve mekânda oluşsa da bu hastalığın temsille sınırlan(a)mayan acısının edebiyat ve gerçek hayat arasındaki keskin sınırları bozduğu görülmektedir.

Was Ricci actually an ‘existentialist architect’? And if so, was he existentialist ‘in the manner of whom’? Was his thinking influenced by the phenomenological approach? And in particular, how and why his research dealt with the key theme of the ‘architectural form’? This essay focuses specifically on Ricci’s theoretical attitude, with the aim to contextualize it in its contemporary philosophical currents. His writings are compared with some of the most important texts of French existentialism, that influenced him during his stay in Paris in the early fifties, in particular those of Jean-Paul Sartre and Albert Camus, especially focusing on his idea of ‘the absurd’. In addition, a particular consideration is given to the affinities between the thought of Ricci and that of Enzo Paci, the Italian philosopher who, perhaps more than any other at that moment, dealt with the themes of architecture in his articles published on the magazine Casabella-Continuità: Paci’s ‘positive existentialism’ develops concepts such as ‘relationality of experience’, ‘permanence and emergence of forms’ and considers architecture as a ‘relational field’ continuously mutable in a temporal evolvement. Those ideas are particularly relevant if confronted with Ricci’s way of looking at the architectural form as a consequence of the ‘potential for vitality’ inherent within the object designed, that should respond to the basic needs, or acts, of the users, which must be re-examined case by case to understand the ‘existential’ reasons of the project. The analysis of those theoretic themes, if considered in addition to the exceptional results of Ricci’s architectural practice, seem to give other compelling grounds for his reinstatement as a central figure in the architectural context after Second World War, and precisely in the present moment, when a re-foundation of the architectural discipline is needed as a consequence of environmental and social urgency.

Albert Camus acknowledges absurdity and the only way to rebel against the fundamental emptiness of existence is to reach freedom and self-awareness. This transition would include two types: passive nihilist and active nihilist. The purpose of this paper is to examine the concept of the rebel in Camus’ philosophy and its representation in Samuel Beckett’s plays. To do so, two of Beckett’s plays, Waiting for Godot and Endgame are examined. The findings reveal a new reading of the ‘Camusian Rebel’. Contrary to Camus’ philosophy, the characters in these works have the courage to commit suicide and do not even try to create meaning out of their lives. They are castrated in speech and communication with the other, contradicting the Camusian definition of absurdity. They parody all Camus’ philosophical assumptions about the meaning of life and nihilism.

El presente artículo elucida la figura y el lugar del mar en parte de la obra literaria de Camus, en particular, La peste, El estado de sitio y El primer hombre. Para ello se toman como punto de partida dos posibles interpretaciones. En primer lugar, se aborda al mar como reflejo del estado vital de la existencia humana y, más precisamente, de los ciudadanos de Orán y de Cádiz, y de los niños de Argel. En segundo lugar, se intenta entender a la existencia humana como reflejo de la libertad y la vitalidad del mar, deidad indiferente que acompaña y protege al hombre. A partir del análisis de dichas interpretaciones, se intenta demostrar como el mar es, para Camus, un medio para simbolizar y encontrar el valor de la vida.

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]

In January 1975, Michel Foucault contemplated the nature and formation of what in subsequent years he would come to know as governmentality. For Foucault, plague marks the rise of the invention of positive technologies of power, where these relations center around inclusion, multiplication, and security, rather than exclusion, negation, and rejection. In a point that might at first seem ancillary to his central argument, Foucault comments on stylized works about plague, such as those, according to the lecture series' editors, exemplified by Albert Camus. In footnote fifteen of the January 15, 1975 lecture, in reference to what Foucault deemed the "literary dream of" plagues, the editors list Camus' 1947 novel La Peste, among other works, as representative of what Foucault described as "a kind of orgiastic dream in which plague is the moment when individuals come apart and when the law is forgotten.". This article places Camus' novel and other works in conversation with Foucault on governmentality, subjectivation, and truth to demonstrate the ways in which individualism itself can be viewed biopolitically. In so doing, it offers an urgent intervention that speaks powerfully to and is exemplified by the current global pandemic. Plague serves both as this literary dream and as a discursive mechanism engaged simultaneously with regimes of truth and the individuals constructing them. By pairing Foucault's historical understanding of the invention of positive technologies of power with Camus' treatment of "the absurd" in and out of the plague context, one uncovers the interrelation of governmentality, subjectivation, and truth. [ABSTRACT FROM AUTHOR]

Copyright of Universal Journal of History & Culture is the property of Universal Journal of History & Culture 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.)

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

Albert Camus acknowledges absurdity and the only way to rebel against the fundamental emptiness of existence is to reach freedom and selfawareness. This transition would include two types: passive nihilist and active nihilist. The purpose of this paper is to examine the concept of the rebel in Camus' philosophy and its representation in Samuel Beckett's plays. To do so, two of Beckett's plays, Waiting for Godot and Endgame are examined. The findings reveal a new reading of the 'Camusian Rebel'. Contrary to Camus' philosophy, the characters in these works have the courage to commit suicide and do not even try to create meaning out of their lives. They are castrated in speech and communication with the other, contradicting the Camusian definition of absurdity. They parody all Camus' philosophical assumptions about the meaning of life and nihilism. [ABSTRACT FROM AUTHOR]

Comparison of two works benefits the understanding of both of them. The comparison finds the overlap between the works along with the standpoints that distinguish them. The interpretation of these works is broadened and also more distinctly delimited. The article examines the films of Estonia’s most accomplished animation director Priit Pärn for signs of existentialist thought, based on Albert Camus’s The Myth of Sisyphus. Close textual analysis was used to answer the research question: which existentialist traits appear in Priit Pärn’s films, and how they resemble and differ from Albert Camus’s view of existentialism. The research found numerous parallels between Priit Pärn’s filmography and Camus’s existentialist thought. One of the leitmotifs of Pärn’s films is the prevalence of preposterous totalitarian systems, where the prevailing situation is nearly identical to one in which the absurd man would discover the absurd. Various characters from these worlds have lost their human shape in a way that causes discomforting alienation in the viewer, which is one of the absurd discoveries mentioned by Camus. Though many of Pärn’s characters are similar to the absurd man, only in one of the films are they able to free themselves from the rigid routine conclusively. However, none of the characters recognize the absurdity of the system around them: they either live under its hardship or those who free themselves resemble the absurd man only in their actions, not in their mentality, because they do not act upon a logical discussion. Distinctive to Pärn’s style, the unrestricted approach to reality aligns with Camus’s reluctance about the mindset that treats humans and everything else as if they had a definite place and purpose in the world. Priit Pärn’s films have many similarities with Albert Camus’ existentialism. Although juxtaposing them reveals that while Camus concentrates on a mentality on how to interpret and embrace the absurd, Pärn’s films focus on the absurd and the absurd systems themselves, along with describing the burdens they bring about. Additionally, often in Priit Pärn’s films, the oppressive plight of the characters remains persistent. In contrast, Camus ends his essay in faith that even in a world burdened with absurd one may be happy.

In January 1975, Michel Foucault contemplated the nature and formation of what in subsequent years he would come to know as governmentality. For Foucault, plague marks the rise of the invention of positive technologies of power, where these relations center around inclusion, multiplication, and security, rather than exclusion, negation, and rejection. In a point that might at first seem ancillary to his central argument, Foucault comments on stylized works about plague, such as those, according to the lecture series’ editors, exemplified by Albert Camus. In footnote fifteen of the January 15, 1975 lecture, in reference to what Foucault deemed the “literary dream of” plagues, the editors list Camus’ 1947 novel La Peste, among other works, as representative of what Foucault described as “a kind of orgiastic dream in which plague is the moment when individuals come apart and when the law is forgotten.”. This article places Camus’ novel and other works in conversation with Foucault on governmentality, subjectivation, and truth to demonstrate the ways in which individualism itself can be viewed biopolitically. In so doing, it offers an urgent intervention that speaks powerfully to and is exemplified by the current global pandemic. Plague serves both as this literary dream and as a discursive mechanism engaged simultaneously with regimes of truth and the individuals constructing them. By pairing Foucault’s historical understanding of the invention of positive technologies of power with Camus’ treatment of “the absurd” in and out of the plague context, one uncovers the interrelation of governmentality, subjectivation, and truth.

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]

With the introduction to existentialist philosophy in China, the study of Camus' plays in China has gradually deepened. In the study of the characters and imagery in his plays, "resisting absurdity" has always been an important starting point. Critics have extended the concept of "resisting absurdity" to the author's philosophical thinking, which has become common in the academic world. However, the basis and method of "resistance" need to be explored in depth. "Resisting absurdity" is generated and developed through the interaction between the protagonist and the "mirrored" other in the dramatic situation; the way of "resisting absurdity" is often manifested as a reaction against the "mirrored" other. Few scholars are aware of the mirroring relationship between the characters. By probing into the intersection and confrontation between the protagonist and the "mirrored" other in the dramatic text based on Lacan's psychoanalytic theory, the personality construction process of Camus' protagonist in the tragedy can be thoroughly explored. The "mirroring image" is not only reflected in the text between the characters, but also between the playwright of the text and the image portrayed in the text, and it is even formed between the playwright and his stylistically similar contemporaries. Exploring the manifestation, origin, development and significance of the sense of "mirroring" provides another path to appreciate the depth of Camus' artistic world. [ABSTRACT FROM AUTHOR]

Copyright of Social Sciences Studies is the property of Social Sciences Studies 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.)

This paper focuses on the John Hough film Dirty Mary, Crazy Larry (1974). Using the work of Sabina Spielrein, this paper situates the car chase in the film as allegorical and as representing a desire for economic and social rebirth for its titular characters. However, the economic, political, and social upheaval of the period means that such desire is impossible to fulfill. Contextually, the promise of systemic change, so potent in 1960s America, had not fully materialized. The car chase that makes up much of the film then becomes a death drive for the characters. This positions the titular characters as variations on the absurd hero that Albert Camus articulates in The Myth of Sisyphus. They flee from institutional authority with little hope of escape, yet they flee anyway, finding meaning in the rebellion. Dirty Mary, Crazy Larry differs thematically from the car chase films of the late 1970s and early 1980s. These later incarnations reappropriated the car chase to mute the genre's capacity to provide a critique of dominant social and political discourses. Dirty Mary, Crazy Larry is underrepresented in critical writing, and this paper seeks to redress this underrepresentation. [ABSTRACT FROM AUTHOR]

U radu se prikazuje Girardovo tumačenja Camusova Stranca. Girard nastoji pokazati da je Camusov prvi roman napisan sa sasvim određenim ciljem: izazvati simpatiju prema običnom čovjeku i mržnju prema sustavu, »sucima«. Glavni lik, Mersault nije tek utjelovljenje apsurda, kako se obično misli, već odraz određenog autorova angažmana. Skrivena pozadina Stranca, prema Girardu, izlazi na vidjelo u Padu, trećem Camusovu romanu u kojem se pisac kritički osvrće na svoje dotadašnje stvaralaštvo i prepoznaje pristranost prijašnjih djela. U obliku alegorije Pad otkriva naličje Stranca, tj. dobro prikrivenu želju da se kao »sudac sudaca« bude iznad sviju, u poziciji moralne superiornosti. Girard smatra da se analizom narativnog toka Stranca upotpunjuju navedena zapažanja. Kritička analiza ukazuje na naracijsku nedosljednost u Strancu koja se najbolje ogleda u »nedužnom ubojstvu«. Ta osebujna zamisao ne može prikriti središnje proturječje radnje, odnosno ne uspijeva mirnog solipsista iz prvog dijela romana preobraziti u mučenika društva, iz drugog. Solipsizam Camusova junaka nadovezuje se na baštinu romantizma. Kao izdanak kasnog romantizma, Mersault nosi u sebi središnju proturječnost romantičkog junaka: unutarnju podijeljenost žudnje tj. istodobnu želju da se bude osamljen i društveno priznat. Prema Girardu, romantičarska ambivalentnost nalikuje neurotičnom i nezrelom ponašanju.

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]

Copyright of Gruppe. Interaktion. Organisation: Zeitschrift für Angewandte Organisationspsychologie (GIO) is the property of Springer Nature 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.)

This paper examines the various representations of magical realism in Rawi Hage's Carnival (2012). It investigates the portrayal of the fictionalized imaginative situations in the novel. Further, it discusses Fly as an exilic individual who attempts to escape his chaotic and disordered society. Through his flying carpet, Fly overcomes his hardship and produces a new space for his own in order to realize what he desires. Besides, among the serious problems that face the exilic individual is the absurdist existential life in exile. Thereby, this research article explores how Fly uses a magical realist element to escape the absurdity of his existence in the diaspora. Hence, Albert Camus' writings on absurdism and the absurdity of human existence are paramount in analyzing this character. [ABSTRACT FROM AUTHOR]

This essay examines two crucial examples of twentieth-century plague writing through a psychoanalytic and political lens, arguing that psychic repression lies at the heart of both Karel Čapek's play The White Sickness , written on the eve of the Nazi invasion of Czechoslovakia, and Albert Camus's novel The Plague , published ten years later in 1947 but begun in 1942 during the German occupation of France. I shall argue that the nature of the calamity in both cases is political rather than biomedical: how could fascism triumph in an apparently stable democracy like interwar France or Czechoslovakia? [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]

Albert Camus se consagrou pelo mundo afora como escritor e ensaísta, mas foi também intelectual público e homem de imprensa. Nosso trabalho foca no segundo aspecto, sublinhando alguns termos do que seria seu pensamento jornalístico. Repórter de jornais em seu país natal, a Argélia, Camus foi, na França, figura maior do Combate, ao final da II Guerra. O presente ensaio considera a trajetória, para esclarecer as concepções jornalísticas subjacentes, desde o ponto de vista doutrinário e histórico. A tese é a de que, anacrônica e utópica à luz das tendências em curso na sua época, a perspectiva camusiana representou em seu país ao mesmo tempo auge e crepúsculo do liberalismo tardio europeu.

Este estudo se dedica a esmiuçar o pensamento jornalístico de Albert Camus sobre a questão argelina. Leva-se em consideração que, durante a Guerra da Argélia, Camus foi imputado como uma figura que defendia a política colonial (ou acusado de não ter capacidade de assumir uma posição), enquanto, conforme descoberto no exame, durante a década de 1940, em certa medida, jornalistas franceses o taxaram de ser conivente diante dos atentados de grupos nacionalistas. Lastreado em uma metodologia baseada, em especial, nos escritos de Pocock (2013), foi observado que a preocupação primordial de Camus foi a garantia de um estado democrático. O argelino alertava sobre a ascensão nacionalista enquanto demandava uma reparação histórica por parte da França e sublinhava a responsabilidade dos franceses no que se refere ao status quo da época na região do Norte do continente africano.

La muerte resulta problemática para la contemporaneidad. El existencialismo es una corriente filosófica que presenta la facticidad de la mortalidad como propia de la vida. El pensador Albert Camus articula los pilares fundamentales de su filosofía en torno a la experiencia de la muerte, que lleva al absurdo, del que debe partir la acción rebelde. En esta investigación se analizan algunas dinámicas que, pretendiendo huir de la muerte, solo han conseguido hacernos débiles frente a ella. Presentaremos a Sísifo y Rieux, dos de los personajes de sus escritos, como aquellos paradigmas de conducta que pueden contribuir a hacernos más conscientes del absurdo y poder, de este modo, vivir, amar y luchar.