The Nobel Prize winner's most influential and enduring lectures and speeches, newly translated by Quintin Hoare, in what is the first English language publication of this collection. Albert Camus (1913-1960) is unsurpassed among writers for a body of work that animates the wonder and absurdity of existence. Speaking Out: Lectures and Speeches, 1938-1958 brings together, for the first time, thirty-four public statements from across Camus's career that reveal his radical commitment to justice around the world and his role as (...) a public intellectual. From his 1946 lecture at Columbia University about humanity's moral decline, his 1951 BBC broadcast commenting on Britain's general election, and his strident appeal during the Algerian conflict for a civilian truce between Algeria and France, to his speeches on Dostoevsky and Don Quixote, this crucial new collection reflects the scope of Camus's political and cultural influence. (shrink)

In this review, I highlight the valuable contributions of Wendy Wolford’s latest book, which rest on her extensive understanding of the diversity of the Brazilian countryside and her acute ability to weave together the impact that land-tenure patterns, labour regimes and regional cultures have had upon settlers of the Landless Rural Workers’ Movement. It also assesses the central claim of the book which suggests that the MST is often unable to retain its membership because the leadership reproduces an understanding of (...) peasant agriculture that is specific to the South of Brazil. The review argues that Wolford’s main argument falls foul of four shortcomings related to her methodology, her understanding of the MST’s ideology, her choice of not including the process of encampment and the MST’s commitment to radical social change in her analysis, and finally her problematic interpretation of the relationship between the grassroots membership and the leadership of the movement. (shrink)

To what extent can humorism be a legitimate disposition toward the Absurd? The Absurd is born from the insurmountable contradiction between one’s ceaseless striving and the absence of an ultimate resolution – or, as I prefer to call it, the ‘dissolution of resolution’. Humoristic Absurdism is the commitment to a pattern of humorous responses to the Absurd, which regard this absurd condition, as well as its manifestation in absurd situations, as a comical phenomenon. Although the (...) humoristic disposition seems promising, by virtue of humor’s recognition of incongruity and its denial of an ultimate resolution, and succeeds in countering three major objections, it falls prey to the claim that comprehensive humorism portrays as frivolous what is earnest, thereby renouncing the gravity of the desire for ultimate resolution, which is fundamental to the notion of the Absurd. In an attempt to explore alternative roles for humor in a legitimate disposition toward the Absurd, Metamodern Absurdism is suggested, which revolves around a post-ironic oscillation between humor and earnestness. In short, only in a role limited to one pole of an oscillatory pattern of responses can humor be integrated in a legitimate disposition toward the Absurd. (shrink)

There are striking differences between Camus’s early and late philosophical essays, but Camus often claimed that his works were part of one consistent project. This paper argues that, although Camus had a significant change in his views on the consequences of the absurd, throughout his life he also had a common concern with the relation of the absurd to morality. Showing this requires us to clarify what Camus meant by the “absurd,” and identify at least three different (...) uses of the term by Camus: lacking a purpose; lacking an explanation; and a tension between purpose and purposelessness. Clarifying the meaning of “absurd” allows one to show that Camus’s late argument against suicide, often dismissed as inadequate, is valid. This also illustrates the consistency of his concerns over time. (shrink)

In this review, I highlight the valuable contributions of Wendy Wolford’s latest book, which rest on her extensive understanding of the diversity of the Brazilian countryside and her acute ability to weave together the impact that land-tenure patterns, labour regimes and regional cultures have had upon settlers of the Landless Rural Workers’ Movement. It also assesses the central claim of the book which suggests that the MST is often unable to retain its membership because the leadership reproduces an understanding of (...) peasant agriculture that is specific to the South of Brazil. The review argues that Wolford’s main argument falls foul of four shortcomings related to her methodology, her understanding of the MST’s ideology, her choice of not including the process of encampment and the MST’s commitment to radical social change in her analysis, and finally her problematic interpretation of the relationship between the grassroots membership and the leadership of the movement. (shrink)

This chapter contains sections titled: Life Before the Fall A Short Pre‐History of the Absurd Camus's Absurd Problematic One Giant Leap Back, One Small Step Forward: the Problem of Meaning Camus's Existential Phenomenology Camus's Sisyphean Ethics The Myth of Sisyphus notes further reading.

The Existentialist Reader is a comprehensive anthology of classic philosophical writings from eight key existentialist thinkers: Sartre, Camus, Heidegger, de Beauvoir, Jaspers, Marcel, Merleau-Ponty, and Ortega y Gasset. These substantial and carefully selected readings consider the distinctive concerns of existentialism: absurdity, anxiety, alienation, death. A comprehensive introduction by Paul S. MacDonald illuminates the existentialist quest for individual freedom and authentic human experience with insight into the historical and intellectual background of these major figures. The Existentialist Reader is a valuable guide (...) to the provocative theories that shook the philosophical world in the 1930s and continue to profoundly shape the way we think about ourselves. (shrink)

Dem Absurden ins Auge sehen - das ist eine Herausforderung, die mit Entzweiung, Entfremdung und demzufolge mit großer Anspannung und Anstrengung einhergeht. In solchen Momenten entgleitet uns die Welt und wir stehen, so Albert Camus, vor der alles entscheidenden Frage: Selbstmord oder Freiheit. Der vorliegende Band verhandelt Bedrohungen und Gefahren ebenso wie Potenziale und Freiheiten des Absurden. Stimmen aus Philosophie, Erziehungswissenschaft, Literatur, Kunst, Medizin und Wirtschaftswissenschaft machen dabei deutlich: Das Absurde betrifft uns alle.

Camus published an essay entitled ‘Nietzsche and Nihilism,’ which was later incorporated into The Rebel . Camus' aim was to assess Nietzsche's response to the problem of nihilism. My aim is to do the same with Camus. The paper explores Camus' engagement with nihilism through its two major modalities: with respect to the individual and the question of suicide in The Myth of Sisyphus , and with respect to the collective and the question of murder in The Rebel . While (...) a Nietzschean influence thoroughly suffuses both books, it is in the second that Camus' most explicit, and most critical, engagement with the German philosopher takes place. The crux of Camus' critique of Nietzsche is that the absolute affirmation of existence he proposes as a response to nihilism cannot say ‘no’ to murder. In the terms of Camus' discussion in The Rebel , Nietzsche's philosophy is thus culpable in the straying of rebellion from its own foundations and its slide into bloody revolution. First, the paper argues that Camus' criticisms of Nietzsche are misplaced. Camus focuses his analysis on sections of the problematic text The Will to Power and misses important sections of Nietzsche's published texts which in fact support the condemnation of revolution which is the project of The Rebel . However, the paper argues that Camus moves beyond Nietzsche in radically democratizing the response to nihilism. While Nietzsche's hopes for the creation of meaning are focused on exceptional individuals, Camus insists that any response to nihilism needs to be accessible to the average person. Such a move is laudable, but it raises a number of questions and challenges regarding the type of problem nihilism is, and how these might be addressed. (shrink)

This paper critically discusses an argument that is sometimes pressed into service in the ethical debate about the use of assisted reproduction. The argument runs roughly as follows: we should prevent women from using assisted reproduction techniques, because women who want to use the technology have been socially coerced into desiring children - and indeed have thereby been harmed by the patriarchal society in which they live. I call this the argument from coercion. Having clarified this argument, I conclude that (...) although it addresses important issues, it is highly problematic for the following reasons. First, if women are being coerced to desire to use AR, we should eradicate the coercive elements in pro-natalist ideology, not access to AR. Second, the argument seems to have the absurd implication that we should prevent all woman, whether fertile or not, to try to have children. Third, it seems probable that women's welfare will be greater if we let well informed and decision-competent women decide for themselves whether they want to use AR. (shrink)

Coming Back to the Absurd is a celebration of the enduring significance and impact of Albert Camus's first philosophical essay The Myth of Sisyphus. This collection of essays, from some of the world's leading Camus scholars, examines Camus's unique contribution to philosophy through The Myth since its publication.

_La Peste_, originally published in 1947 by the Nobel Prize-winning writer Albert Camus, chronicles the progression of deadly bubonic plague as it spreads through the quarantined Algerian city of Oran. While most discussions of fictional examples within aesthetics are either historical or hypothetical, Camus offers an example of "pestilence fiction." Camus chose fiction to convey facts--about plagues in the past, his own bout with tuberculosis at age seventeen, living under quarantine away from home for several years, and forced separation from (...) his wife who remained in Algiers while he was abroad in Nazi-occupied France. His own lived experiences undergird an imaginative account of shared human realities with which we can identify: vulnerability to the disease, isolation, fear, and finally humanitarianism. _The Plague_ teaches us to neither covet nor expect what we so casually took for granted. This collection of original essays on philosophical themes in _The Plague_ is of special relevance during and in the aftermath of Covid-19 but also provides reflections that will be of lasting value to those interested in this classic work of literature. The novel explores questions of enduring importance. Do we collectively meet the threshold of ethical behavior posed by Camus who wrote, "What's true of all the evils in the world is true of plague as well. It helps men to rise above themselves"? Or does the absurd undermine the compassionate? Do "heroes" dutifully fight a plague with "common decency," or does human nature resign itself to the normalization of uncontrollable suffering and death? There are myriad ways to approach the novel and this volume encourages readers to ponder human dilemmas in fictional Oran informed by our current pandemic. Series editor forward by Richard Eldridge. List of Contributors includes Steven G. Kellman, Jane E. Schultz, Andrew Edgar, Kathleen Higgins, Edward B. Weiser, Cynthia A. Freeland, and Margaret E. Gray; see "Introduction" by Peg Brand Weiser below. (shrink)

The Introduction provides a historical and literary context for the examination of Albert Camus’s 1947 fictional novel, The Plague, to suggest its relevance to our own lived experiences of the 2021 Covid-19 pandemic that brought the routines and expectations of our normal, daily lives to an unprecedented halt. Details of Camus’s life and work inform our reading of the narrative that give rise to multiple interpretations as well as intriguing questions of scholarly inquiry: How realistic are the characters? Does solidarity (...) eventually triumph over isolation? Does the popular novel inspire social change or fail in its aspirations? Facing the absurdity of a similarly unwelcome and unpredictable disease, have we managed our fear of death more successfully than the citizens of Oran? An overview of authors’ contributions sets the stage for new and unique perspectives: an invitation for readers to reflect upon our communal experience of immense grief. (shrink)

L'absurde, le suicide, etc. Premier essai philosophique (1942) de l'auteur. Indispensable (ou presque) à tout apprenti philosophe.

In “On the Necessity and Impossibility of Being a Jew,” Jean Améry admits that in Europe, “the degradation of the Jews was...identical with the death threat long before Auschwitz. In this regard, Jean- Paul Sartre, already in...his book Anti-Semite and Jew, offered a few perceptions that are still valid today.” In no uncertain terms, Améry aligns his own project to “describe the...unchanging...condition” of the Reich’s victims with Sartre’s 1946 book on anti-Semitism, a philosophical gesture that was not uncommon for left- (...) leaning Jewish intellectuals after the war. According to Robert Misrahi, who discusses at length what he calls Sartre’s “evident good will,” “his manifest care to render justice, and his desire, in the face of the Jews’ great suffering, to address himself to them,” Anti-Semite and Jew was primarily a “powerful affirmation of sympathy” for European Jews and, moreover, “an effective weapon against anti- Semitism.” Misrahi insists that French Jews were “astonished, even stunned for what we were used to was hatred and contempt.” Sartre’s repeated assertions that the suffering of European Jewry was undeserved and unwarranted, are underscored by his declaration that Euro pe’s problem was not, after all, ‘the Jew’ but the anti -Semite, whose sadistic Manichaeism and profound fear of himself and his own instincts and responsibilities, had inverted European values so profoundly as to make genocide ethical. And although Sartre repeatedly emphasizes his intention to analyze primarily the situation of French Jews, he does not fail to connect European anti- Semitism with other forms of racialized hatred; ‘the Jew’ is only a “pretext,” since “elsewhere [the anti-Semite’s] counterpart will make use of the Negro or the man of yellow skin” because anti-Semitism, “in short, is fear of the human condition.” Given the profound radicalism of such declarations at the time, it is not a surprise that Améry confessed and enacted a deep affinity for Sartrean existentialism. And yet, despite Améry’s understandable eagerness to wave the Sartrean flag, Améry’s existentialism is less like Sartre’s, and, consciously or unconsciously, far more like that of Albert Camus. Although Améry never mentions Camus in At the Mind’s Limits, Améry shares Camus’ reverence for rigorous analysis that simultaneously resists the kind of moral and political rigidity that often leads to a falsification of human experience and history. This is perhaps most evident in their overlapping treatments and understandings of human dignity and its solitary champion, the absurdist ‘rebel.’. (shrink)

Camus’ early “logic of the absurd” has been interpreted and assessed differently. In this article I do two things: First, I outline what I take to be the most adequate interpretation. Second, I discuss three challenges defenders of the “logic of the absurd” may be said to face (given that my interpretation in the first part is correct). My approach is rather unorthodox. Although Camus explicitly refused to be seen as a philosopher, and although if one sees him (...) as a philosopher, he certainly has to be seen as belonging to the tradition of continental (as opposed to analytic) philosophy, I look at him from the perspective of analytic philosophy. It appears, first, that Camus conceives of the absurd as a relation between man’s search for meaning and the world which is not answering this search for meaning, and that he takes the fact of there being this absurd relation to imply proscriptions of both physical and philosophical suicide and an obligation to revolt. And it appears, second, that beliefs in the existence of the absurd can not be shown false by reference to their causal history (genetic challenge) and that Camus is not violating Hume’s law (is-ought challenge), but that the early philosophy of the absurd is inconsistent (consistency challenge). (shrink)

In this paper, I highlight the philosophical differences between Camus’s and Sartre’s notions of the absurd. “The absurd” is a technical term for both philosophers, and they mean different things by it. The Camusian absurd is a mismatch between theoretical reasoning and practical reasoning. The Sartrean absurd, in contrast, is our theoretical inability to explain contingency or existence. For Sartre, there is only relative, local absurdity; for Camus, the absurd is universal and absolute. I show (...) how their different understandings of the absurd led to Sartre’s misreading of The Stranger; he misses its main mechanism for generating the feeling of the absurd because he reads the novel through his own conception. In order to draw out their philosophical differences, I will provide a reading of the novel that contrasts with Sartre’s. (shrink)

One of the most influential works of this century, The Myth of Sisyphus and Other Essays is a crucial exposition of existentialist thought. Influenced by works such as Don Juan and the novels of Kafka, these essays begin with a meditation on suicide; the question of living or not living in a universe devoid of order or meaning. With lyric eloquence, Albert Camus brilliantly posits a way out of despair, reaffirming the value of personal existence, and the possibility of life (...) lived with dignity and authenticity. (shrink)

Throughout his relatively short life, Albert Camus struggled with nihilism and the absurd nature of human existence. Indeed, many of his writings deal with the problem of nihilism and with the issues of suicide, murder, suffering, and mass death. Always serious in his writings yet never resorting to cynicism or despair, Camus advocated rebellion as a response to nihilism. The choice of rebellion as a response to the absurdity of human existence makes sense when one realizes that his life (...) spanned the two world wars, the horrors of the concentration camps, and the repression of innocent civilians all over the world, from South America to Algeria. Perhaps Camus’s tumultuous background helps to explain why his writings.. (shrink)

This article examines the concept of the stranger and the experience of strangeness in Albert Camus’s The stranger. These themes have a range of synergies with educational thought. They also lead us to other concepts that may have a place in educational debate, in particular the concepts of the absurd and rebellion. This train of thought also has potential for educational practice. If we accept that strangeness has a positive place in education, Camus is insightful in allowing us to (...) examine its pedagogical foundations and the wider conditions necessary to give rise to the experience of strangeness. (shrink)

This article examines the significance of Friedrich Nietzsche to Albert Camus’ concepts of absurdity and revolt. It rests on three related claims. First, that Nietzsche’s critique of metaphysics is the point of departure for Camus’ absurdist inquiries. Second, that Camus’ philosophy of revolt is informed in crucial ways by Nietzsche’s views on the sources of moral and intellectual authority in the modern world. Finally, that Camusian revolt is an attempt to deal with the political crisis of foundationalism in a way (...) that preserves Nietzsche’s anti-essentialism while also avoiding the excesses of absolutist politics. Ultimately, I suggest that the origins and implications of Camus’ project cannot be grasped apart from an account of its engagement with Nietzsche. (shrink)

Translated by Anthony Bower With an Introduction by Oliver Todd 'A conscience with style' V.S. Pritchett The Rebel (1951) is Camus's 'attempt to understand the time I live in' and a brilliant essay on the nature of human revolt. Here he makes a daring critique of communism - how it had gone wrong behind the Iron Curtain and the resulting totalitarian regimes. And he questions two events held sacred by the left wing - the French Revolution of 1789 and (...) the Russian Revolution of 1917 - that had resulted, he believed, in the use of terrorism as a political instrument. In this towering intellectual document, Camus argues that hope for the future lies in revolt with revolution - a chance to achieve change without losing our freedom. 'The last French intellectual to take the side of humanity and talk its language... a figure of immense moral stature' Sunday Times Winner of the Nobel Prize for Literature. (shrink)

This essay is a critique of Derrida's ethical works, using Camus's last novella The Fall as a critical sounding board. It argues that a danger pertains to any such highly self-reflexive position as Derrida's: a danger that Camus identified in The Fall, and staged in his character, Jean-Baptiste Clamence. Clamence is a successful Parisian lawyer, on top of his personal and professional life, whose equanimity is troubled after he is the unwitting passer-by as a young woman suicides one night (...) on the Seine. After this time, he comes to consider all his former virtues as concealed vices. He also becomes acutely aware of what he terms the 'duplicity' of human beings as such. In Part I, I consider how Clamence's fall from innocence can be read 'with' Derrida's deconstructive registration of a 'double bind' pertaining to our standing vis-á-vis what he terms 'logocentrism'. I argue that Derrida's is a post-lapsarian philosophy, which challenges all attempts to construct closed conceptual systems that would confer an epistemic and/or moral certitude upon their expositors. In Part II, I then enter into a more detailed exposition of Derrida's 'later' works broaching friendship, the invitation, the gift, and other 'matters moral'. I read these texts in the light of an examination of what is involved, for Camus, in being a 'judge-penitent' (what Clamence in The Fall calls his profession). I suggest that Derrida runs the risk of a certain 'puritanism of difference' in his moral reflections, which defend the aporetic formulation: 'tout autre est tout autre' [every other is every bit other] (The Gift of Death). The problem is that, while Derrida's position allows one (everywhere) to say what one is against, it problematizes any affirmative moral stance. Like Clamence, who assumes the right to judge everyone else because he has subjected himself to a severe penitence, I suggest that we have a right to wonder whether Derrida's deconstructive critique of metaphysics can validate only endless repetitions of itself. Key Words: Camus • Derrida • ethics • The Fall • innocence • 'puritanism of difference. (shrink)

This article examines the significance of Friedrich Nietzsche to Albert Camus’ concepts of absurdity and revolt. It rests on three related claims. First, that Nietzsche’s critique of metaphysics is the point of departure for Camus’ absurdist inquiries. Second, that Camus’ philosophy of revolt is informed in crucial ways by Nietzsche’s views on the sources of moral and intellectual authority in the modern world. Finally, that Camusian revolt is an attempt to deal with the political crisis of foundationalism in a way (...) that preserves Nietzsche’s anti-essentialism while also avoiding the excesses of absolutist politics. Ultimately, I suggest that the origins and implications of Camus’ project cannot be grasped apart from an account of its engagement with Nietzsche. (shrink)

« Qu'est-ce qu'un homme révolté? Un homme qui dit non. Mais s'il refuse, il ne renonce pas : c'est aussi un homme qui dit oui, dès son premier mouvement. »[réf. nécessaire] D'apparence, il existe une limite à la révolte. Cependant, la révolte est un droit. La révolte naît de la perte de patience. Elle est un mouvement et se situe donc dans l'agir. Elle se définit par le « Tout ou Rien », le « Tous ou Personne ». En premier, (...) elle soumet l'idée d'égalité : position d'égal à égal entre le maître et l'esclave. Mais le révolté finit par imposer cette égalité qui se traduit souvent par une inversion des rôles (dialectique hégélienne). Suivant le raisonnement de Scheler, l'homme révolté n'est pas l'homme du ressentiment, c'est-à-dire qu'il ne baigne ni dans la haine ni dans le mépris. La révolte enfante des valeurs. De fait, « pour être, l'homme doit se révolter ». La révolte extirpe l'homme de la solitude puisqu'elle est collective, c'est l'« aventure de tous ». Néanmoins, faire l'expérience de la révolte, c'est faire l'expérience de l'ascèse. Les mythes de Prométhée, d'Achille (avec Patrocle), d'OEdipe et d'Antigone, sont des archétypes de révoltes antiques au même titre que la révolte de Spartacus. La révolte est souvent légitime, elle est l'expression la plus pure de la liberté et semble revêtir le visage de l'espoir. De surcroît, la révolte impose une tension, elle refuse donc formellement le confort de la tyrannie ou de la servitude. Le révolutionnaire a la volonté de « transformer le monde » (Marx) alors que le révolté veut « changer la vie » (Rimbaud). (shrink)

Metaphor study is a promising trend in present-day academia. Scholars of antiquity are already profiting from it in their study of early texts. We have yet, however, to harness the potentials of metaphor in East-West comparison. The article discusses what literary metaphors are, in particular how they generate images and perspectives that call into play a broad range of extra-textual information about the speaker and his milieu. Shared metaphors are doubly advantageous: they serve as hermeneutic tools for reading early texts (...) and are fulcrums for comparing views of different traditions. Archery is an example of a shared metaphor in the Confucian Analects and Aristotle’s Nicomachean Ethics. It seems that while both texts employ images that are close together, their meanings are far apart. (shrink)

Metaphors have long been valued as powerful literary devices. Lately however the discovery of the cognitive content of metaphors is drawing the attention of contemporary scholars. For those of us engaged in comparative philosophy, metaphors seem to promise to be a much-needed hermeneutic tool for understanding independent traditions and working out balanced comparisons. In this paper, I shall examine two metaphors for virtue that are used in both the Confucian Analects and Aristotle’s Nicomachean Ethics. These common metaphors are archery and (...) the middle, or mean. If Confucius and Aristotle use similar images to speak of moral virtue, do they make the same claims about virtue? In other words, do these images convey the same meaning? My paper attempts to unpack the referential meanings of these metaphors by first contextualizing them and then by tracing the associated ideas and structures behind the images. (shrink)

The first English translation of Albert Camus' "Preface" to Albert Memmi's first book, La Statue de Sel (The Pillar of Salt). Translated with permission by Scott Davidson.

For the want of something better to do, I sometimes reflect on democracy (in the Paris subway, of course). As you know, there is confusion in people's minds about that useful notion. And since I like to side with the greatest number of people possible, I look for definitions that might be acceptable to the largest number. That's not easy, and I don't pretend to have succeeded. But it seems to me that certain useful approximations are possible. To be brief, (...) here is one of them: democracy is the social and political exercice of modesty. Let me explain that. (shrink)

For the want of something better to do, I sometimes reflect on democracy. As you know, there is confusion in people's minds about that useful notion. And since I like to side with the greatest number of people possible, I look for definitions that might be acceptable to the largest number. That's not easy, and I don't pretend to have succeeded. But it seems to me that certain useful approximations are possible. To be brief, here is one of them: democracy (...) is the social and political exercice of modesty. Let me explain that. (shrink)

Camus's description of the French hotel argues that architecture should please the senses and the mind.

Perhaps the most important philosopher of the twentieth century, Albert Camus (1913-1960), winner of the Nobel Prize in Literature, is more relevant today than ever before. Personal Writing brings together, for the first time, thematically-linked essays from across Camus's writing career that reflect the scope of his personal preoccupations. Featuring a foreword by acclaimed Camus scholar Alice Kaplan (author of Looking for the Stranger), this volume will introduce a new generation of readers to a cultural icon.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Fabuler la fin du monde: La puissance critique des fictions d’apocalypse by Jean-Paul EngélibertCyril CamusJean-Paul Engélibert. Fabuler la fin du monde: La puissance critique des fictions d’apocalypse [Fabulating the end of the world: The critical power of apocalypse fiction]. Paris: Éditions La Découverte, 2019. 239 pp. Print. 20€. ISBN 978-2-348-03719-1.Jean-Paul Engélibert is a well-established expert on apocalyptic and postapocalyptic fiction. His exploration of the genre thus far includes (...) the monograph Apocalypses sans royaume: Politique des fictions de la fin du monde, XX–XXIe siècles (2013), numerous articles, as well as the essay collection L’Apocalypse: Une imagination politique, XIXe–XXIe siècles (2018), which he co-edited. In his latest book, Fabuler la fin du monde, he returns to several texts and aspects of the genre previously covered, delving deeper into what he calls “fictions of the end of the world.” In the ten chapters, gathered in five parts, he approaches his subject as a seasoned scholar in the field of comparative literature, and his analysis draws from comparisons between modern fiction’s representation of apocalypse and biblical literature’s visions of apocalypse and messianism. The book also offers ecocritical insights into the specter of Anthropocenic manifestations in fiction, with reflections on the interrelated genres of utopia and dystopia, theories of cinema, and philosophical writings on the catastrophic history of the twentieth and twenty-first centuries.The range of fictional works discussed is wide, including Jean-Baptiste Cousin de Grainville’s Le dernier homme (1805); Mary Shelley’s Frankenstein (1818); Émile Souvestre’s Le monde tel qu’il sera (1846); Didier de Chousy’s Ignis (1883); Robert Merle’s Malevil (1972); José Saramago’s Blindness (1995); Antoine Volodine’s Minor Angels (1999); Don DeLillo’s Cosmopolis (2003); Cormac McCarthy’s The Road (2006); Céline Minard’s Le dernier monde (2007); Davide [End Page 163] Longo’s The Last Man Standing (2010); and Margaret Atwood’s MaddAddam trilogy (Oryx and Crake [2003], The Year of the Flood [2009], and MaddAddam [2013]). Engélibert also touches on feature-length movies such as Stanley Kramer’s On the Beach (1959), Lars von Trier’s Melancholia (2011), Abel Ferrara’s 4:44 Last Day on Earth (2012), and Mamoru Oshii’s Ghost in the Shell (1995), as well as on other literary and audiovisual fictions, such as E. M. Forster’s short story “The Machine Stops” (1909), Edward Bond’s dramatic trilogy The War Plays (1985), and the first season (2014) of Damon Lindelof and Tom Perrotta’s TV series The Leftovers (2014–17).Engélibert’s exegeses of the genre build around two aspects of the evolving relationship of apocalyptic narratives to the context of their production. Apocalypse (in the sense of “the end of the world” rather than the etymological sense of “revelation”) is no longer primarily a religious myth: the creation and use of the atomic bomb during the Second World War, the theorization of the Anthropocene, and the mainstreaming of concerns over climate change have made the term “apocalypse” a very real, tangible prospect for the future. Engélibert relies on Günther Anders’s Die atomare Drohung (1981) to highlight the importance of the A-bomb in bringing home the reality of potential annihilation to people’s collective consciousness. Yet his second contextual/historical point is that the Anthropocene (albeit unnamed at the time) actually started with the Industrial Revolution, and that thinkers and polemicists such as Charles Fourier or Eugène Huzar, as well as contemporary fiction writers, were already acknowledging the environmental impact of humans and their economic/industrial/technological activity as threats to human and nonhuman life, and to the health of the planetary system itself.1Citing the work of Jean-Baptiste Fressoz and Christophe Bonneuil on the history of climate science, Engélibert analyzes in detail several nineteenth-century novels (namely Le Dernier homme, Frankenstein, Le monde tel qu’il sera, and Ignis) and one early-twentieth-century story (Forster’s “The Machine Stops”) that denounce the harm that the idol of the time, Progress, was already wreaking on nature and human life... (shrink)

Cet article s’interroge sur le lien réflexif entre la temporalité d’une rencontre sportive et celle de sa diffusion à la télévision en direct. À partir d’une enquête vidéo-ethnographique menée en régie auprès de techniciens de l’audiovisuel qui réalisent des matches de football, cet article propose d’étudier les pratiques professionnelles par lesquelles sont traitées les pauses d’une rencontre sportive. Nous montrons comment ces pauses, pour la plupart initiées par un coup de sifflet de l’arbitre, posent un problème pratique pour la télévision. (...) Quand le jeu est arrêté, les actions qui se déroulent ne sont plus directement orientées par la normativité propre au jeu. Or pendant ces pauses, les techniciens en régie doivent continuer à donner quelque chose à voir du match aux téléspectateurs. Grâce à une micro-analyse de l’interaction, on montre comment le coup de sifflet de l’arbitre constitue un point de transition pour l’insertion de ralentis, c’est-à-dire des séquences enregistrées donnant à revoir un phénomène de la partie sous un angle alternatif. Cela nous permet de montrer comment un élément propre au déroulement du jeu est réutilisé comme une ressource temporelle et descriptive pour l’activité de mise en images. (shrink)

Inspired by Camus’ portrayal of Sisyphus, this essay examines the act of teaching as an absurd profession, one that faces numerous obstacles and challenges and continually falls short of its intended goals. I begin my analysis by demonstrating that Camus’ understanding of the absurd was heavily influenced by Nietzsche’s conception of nihilism. I argue that for Camus the sense of absurdity comes from the conflict between humans’ longing for order and meaning and the disorder and meaninglessness that we (...) experience in our daily lives. Next, I show that Camus’ understanding of absurdity can help us make sense of the recent wave of educational reform. More fundamentally, I argue that that the existential conditions of schooling that many teachers have to negotiate daily are themselves absurd in Camus’ sense of the term. In the last part of this article, I take a close look at how a number of teachers are attempting to resist and even rebel against the new educational mandates. (shrink)

This book is an attempt to read the totality of Camus’s oeuvre as a voyage, in which Camus approaches the fundamental questions of human existence: What is the meaning of life? Can ultimate values be grounded without metaphysical presuppositions? Can the pain of the other penetrate the thick shield of human narcissism and self-interest? Solipsism and solidarity are among the destinations Camus reaches in the course of this journey. This book is a new reading of one of the towering humanists (...) of the twentieth century, and sheds new light on his spiritual world. (shrink)

Predictive genetic testing may confront those affected with difficult life situations that they have not experienced before. These life situations may be interpreted as ‘absurd’. In this paper we present a case study of a predictive test situation, showing the perspective of a woman going through the process of deciding for or against taking the test, and struggling with feelings of alienation. To interpret her experiences, we refer to the concept of absurdity, developed by the French Philosopher Albert Camus. (...) Camus' writings on absurdity appear to resonate with patients' stories when they talk about their body and experiences of illness. In this paper we draw on Camus' philosophical essay ‘The Myth of Sisyphus’, and compare the absurd experiences of Sisyphus with the interviewee's story. This comparison opens up a field of ethical reflection. We demonstrate that Camus' concept of absurdity offers a new and promising approach to understanding the fragility of patients' situations, especially in the field of predictive testing. We show that people affected might find new meaning through narratives that help them to reconstruct the absurd without totally overcoming it. In conclusion, we will draw out some normative consequences of our narrative approach. (shrink)

This book is an attempt to read the totality of Camus’s oeuvre as a voyage, in which Camus approaches the fundamental questions of human existence: What is the meaning of life? Can ultimate values be grounded without metaphysical presuppositions? Can the pain of the other penetrate the thick shield of human narcissism and self-interest? Solipsism and solidarity are among the destinations Camus reaches in the course of this journey. This book is a new reading of one of the towering humanists (...) of the twentieth century, and sheds new light on his spiritual world. (shrink)

L’absurdité du monde et l’inquiétude face au sens de l’existence semblent être des affects négatifs. Par un dialogue entre Albert Camus et Jacques Lavigne, nous tenterons d’explorer le caractère créatif de ces affects. Camus et Lavigne partent d’une critique du matérialisme et de l’idéalisme afin d’ancrer leur théorie dans l’existence , en pensant conjointement les idées et la matérialité. Ils découvrent le rôle précieux de l’absurde et de l’inquiétude. Ces affects agissent comme vecteurs de l’action humaine et permettent d’initier le (...) sujet à la solidarité. Néanmoins, la société est organisée de telle manière que le sujet doit constamment s’opposer à la possibilité d’une neutralisation de ses affects. En ce sens, rester inquiet et conscient de l’absurdité de l’existence appelle une résistance du sujet. (shrink)

Contemporary scholarship tends to view Albert Camus as a modern, but he himself was conscious of the past and called the transition from Hellenism to Christianity “the true and only turning point in history.” For Camus, modernity was not fully comprehensible without an examination of the aspirations that were first articulated in antiquity and that later received their clearest expression in Christianity. These aspirations amounted to a fundamental reorientation of human life in politics, religion, science, and philosophy. Understanding the nature (...) and achievement of that reorientation became the central task of _Christian Metaphysics and Neoplatonism_. Primarily known through its inclusion in a French omnibus edition, it_ _has remained one of Camus’ least-read works, yet it marks his first attempt to understand the relationship between Greek philosophy and Christianity as he charted the movement from the Gospels through Gnosticism and Plotinus to what he calls Augustine’s “second revelation” of the Christian faith. Ronald Srigley’s translation of this seminal document helps illuminate these aspects of Camus’ work. His freestanding English edition exposes readers to an important part of Camus’ thought that is often overlooked by those concerned primarily with the book’s literary value and supersedes the extant McBride translation by retaining a greater degree of literalness. Srigley has fully annotated _Christian Metaphysics_ to include nearly all of Camus’ original citations and has tracked down many poorly identified sources. When Camus cites an ancient primary source, whether in French translation or in the original language, Srigley substitutes a standard English translation in the interest of making his edition accessible to a wider range of readers. His introduction places the text in the context of Camus’ better-known later work, explicating its relationship to those mature writings and exploring how its themes were reworked in subsequent books. Arguing that Camus was one of the great critics of modernity through his attempt to disentangle the Greeks from the Christians, Srigley clearly demonstrates the place of _Christian Metaphysics_ in Camus’ oeuvre. As the only stand-alone English version of this important work—and a long-overdue critical edition—his fluent translation is an essential benchmark in our understanding of Camus and his place in modern thought. (shrink)

S’appuyant sur trois enquêtes de terrain qui portent sur le façonnage d’êtres numériques, le présent article traite des relectures méthodologiques que l’on peut faire de trois contributions de Latour à l’enquête ethnographique. 1. Il montre que l’accent mis sur les séquences d’action permet d’engager une enquête systématique qui rend compte de trajectoires. 2. Il avance que le concept d’actant sensibilise à l’éventail des entités agissantes qui infléchissent ces trajectoires, de même qu’au peuplement de situations apparemment inoccupées. 3. Il soutient que (...) les concepts d’association, de traduction et de médiation permettent de connecter différentes situations et actions localisées. Ultimement, ces trois apports éclairent les agencements et les réagencements.Rooted in three fieldwork studies that examine the shaping of digital information, this article discusses new methodological readings of three of Latour’s contributions to ethnographic inquiry. 1. It shows that focusing on sequences of action allows one to engage in a systematic investigation that accounts for trajectories. 2. It proposes that the concept of actant makes one aware of the whole set of active entities that influence these trajectories on the one hand, and the populating of apparently empty situations on the other. 3. It maintains that the concepts of association, translation, and mediation make it possible to connect various localized situations and actions. Ultimately, these three contributions shed light on arrangements and rearrangements. (shrink)

Camus’ notions of absurdity and revolt remain relevant today, especially with respect to very recent developments in the growing role of electronic and digital mass media. Cormac McCarthy’s 2006 novel The Road , describing a father and child’s journey after the world as we know it has been destroyed, is used to highlight the nature of absurdity and revolt in their updated early 21 st century version.

This article examines Kamel Daoud’s treatment of solidarity and the absurd in Meursault, contre-enquête and posits that the question of how to live in solidarity with others is central to the novel, although the word ‘solidarity’ never appears in it. After recalling Camus’s discussion of the absurd in Le Mythe de Sisyphe and of solidarity in L’Homme révolté, the article examines the manner in which Haroun, Daoud’s narrator and the brother of the Arab Meursault killed in L’Étranger, reveals (...) his own failures of solidarity. He justly criticizes Meursault for privileging his confrontation with the absurd over the death of the Arab he did not even name, but Haroun too has killed. Haroun has, however, a greater understanding of solidarity than his fellows: he at least recognizes that murder is significant. He thus joins Meursault as an unworthy prophet who proclaims the absurd while surrounded by people who flee from it—and proclaiming the absurd can be a gesture of solidarity when one speaks for others, as Haroun speaks for his brother Moussa. Daoud’s novel reminds us that there are no final answers telling us how to live in solidarity with others and that we must do so all the same. (shrink)

21세기는 ‘분노의 시대’이다. 현대 자본주의 사회에서 개인의 높아진 기대를 충족시킬 수 없는 냉혹한 현실로 인해 좌절하는 사람들의 분노 지수가 증가하고 있다. 이러한 경향은 1980년대부터 2000년대 초반 출생한 ‘한국의 MZ세대’에게서 극명하게 나타난다. 이에 본 논문은 분노가 한국 사회의 고질적인 문제이겠지만 유독 MZ세대에게 두드러진 현상임에 주목하고, 그 원인이 무엇인지 살펴본 뒤, 분노를 넘어선 새로운 삶의 시작이 어떻게 가능한지에 대해 논의한다. 이를 위해 본 논문은 부조리의 문제에 천착했던 알베르 카뮈(A. Camus)의 철학을 통해 ‘부조리’가 무엇인지 그 핵심적 논의를 먼저 고찰하고, 부조리를 경험하는 MZ세대가 왜 (...) 분노하는지 그들이 처한 경제·사회·문화적 환경과 그들만의 의식 구조를 통해 그 원인을 간단히 규명한다. 이러한 규명을 바탕으로 본 논문은 어떻게 그들이 부조리로 인한 분노를 감당할 수 있는지, 그 내면의 힘을 강화할 수 있는 철학상담의 방법을 카뮈 철학의 주요 개념인 자유, 열정, 사랑을 포괄하는 ‘반항’ 개념을 통해 제시하고 있다. (shrink)

Albert Camus's existential thinking has been the object of renewed interest over the past decade. Political theorists have looked to his work to shed light on the contradictions and violence of modernity and the dynamics of postcolonial justice. This article contends that Camus's account of the modern human condition provides a means of engaging critically with one of the most compelling ideas linked to thinking about global politics today: cosmopolitanism. By developing Camus's position on absurdity and rebellion, (...) it suggests that the idea of cosmopolitanism should be situated in a post-foundationalist and post-teleological nexus to prevent it becoming a new political ideology of immutable truth. In order to make this argument, the article focuses on how Camus's thinking supports a rebellious cosmopolitan disposition towards global transformations. In so doing, it shows that cosmopolitanism must strive against the injustices of a deeply divided world, yet at the same time accept theoretical, factual and moral limits on its vision and actions. (shrink)

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. (shrink)