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Fifty years after Camus's untimely death, his work still has a tremendous impact on literature. From a twenty-first century vantage point, he offers us coexisting ideas and principles by which we can read and understand the other and ourselves. Yet Camus seems to guide us without directing us strictly; his fictions do not offer clear-cut solutions or doctrines to follow. This complexity is what demands that the oeuvre be read, and reread. The wide-ranging articles in this volume shed light, concentrate on the original aspects of Camus' writings, and explore how and why they are still relevant for us today.
The standard interpretation keeps repeating that Camus is the prototypical “absurdist” thinker. Such a reading freezes Camus at the stage at which he wrote The Stranger and The Myth of Sisyphus. By taking seriously how (1) Camus was always searching and (2) the rest of his corpus, Albert Camus and the Philosophy of the Ordinary corrects the one-sided, and thus faulty, depiction of Camus as committed to a philosophy of absurdism. His guiding project, which he explicitly acknowledged, was an attempt to get beyond nihilism, the general dismissal of value and meaning in ordinary life. Tracing this project via Camus's works, Albert Camus and the Philosophy of the Ordinary, offers a new lens for thinking about the well-known author.
Fifty years after Camus's untimely death, his work still has a tremendous impact on literature. From a twenty-first century vantage point, his work offer us coexisting ideas and principles by which we can read and understand the other and ourselves. Yet Camus seems to guide us without directing us strictly; his fictions do not offer clear-cut solutions or doctrines to follow. This complexity is what demands that the oeuvre be read, and reread. The wide-ranging articles in this volume shed light, concentrate on the original aspects of Camus' writings and explore how and why they are still relevant for us today.
The Journal of Camus Studies is published annually and is available in print and ebook formats. 2013 Contributors: KIMBERLY BALTZER-JARAY, ERIC B. BERG, KURT BLANKSCHAEN, PETER FRANCEV, GIOVANNI GAETANI, GEORGE HEFFERNAN, SIMON LEA, BENEDICT O'DONOHOE, RON SRIGLEY, and SYLVIA CROWHURST.
This book continues the story about education and the absurd. Its specific focus is on the work of Albert Camus. It tries to summarise the ways in which his writing has already inspired and influenced educational thinking and practice, and it offers a new set of educational interpretations of six of his major works. These set out the exciting challenge about how we might think about the purposes and practices of education in the future, how to talk about these, plan and deliver. Using the work of Albert Camus in this way is an attempt to bring him and his ideas closer to educational discussions. This is a deliberate attempt to show the synergy between some of his major concepts and those that are already cornerstones of educational discourses. Read from an educational perspective the work of Albert Camus also provides guidance and invigorates the imagination as to how education can respond to those increasingly complex, existential crises it finds itself connected to. For educational people interested in these questions this book will hopefully motivate a re-reading of Camus and a brave, new lens on practice.
This accessible Introduction provides an in-depth overview of absurdism and its key figures in theatre and literature, from Samuel Beckett and Harold Pinter to Tom Stoppard. Essential reading for students, this book provides the necessary tools to develop the study of some of the twentieth century's most influential works.
Camus, Philosophe: To Return to our Beginnings is the first book on Camus to read Camus in light of, and critical dialogue with, subsequent French and European philosophy. It argues that, while not an academic philosopher, Albert Camus was a philosophe in more profound senses looking back to classical precedents, and the engaged French lumières of the 18th century. Aiming his essays and literary writings at the wider reading public, Camus’ criticism of the forms of ‘political theology’ enshrined in fascist and Stalinist regimes singles him out markedly from more recent theological and messianic turns in French thought. His defense of classical thought, turning around the notions of natural beauty, a limit, and mesure makes him a singularly relevant figure given today’s continuing debates about climate change, as well as the way forward for the post-Marxian Left.
This book explores modern representations of the Black Death, a medieval pandemic. The concept of cultural memory is used to examine the ways in which journalists, writers of fiction, scholars and others referred to, described and explained the Black Death from around 1800 onwards. The distant medieval past was often used to make sense of aspects of the present, from the cholera pandemics of the nineteenth-century to the climate crisis of the early twenty-first century. A series of overlapping myths related to the Black Death emerged based only in part on historical evidence. Cultural memory circulates in a variety of media from the scholarly article to the video game and online video clip, and the connections and differences between mediated representations of the Black Death are considered. The Black Death is one of the most well-known aspects of the medieval world, and this study of its associated memories and myths reveals the depth and complexity of interactions between the distant and recent past.
This book is the first English-language collection of essays by leading Camus scholars from around the world to focus on Albert Camus’ place and status as a philosopher amongst philosophers. After a thematic introduction, the dedicated chapters of Part 1 address Camus’ relations with leading philosophers, from the ancient Greeks to Jean-Paul Sartre (Augustine, Hume, Kant, Diderot, Nietzsche, Kierkegaard, Husserl, Hegel, Marx, Sartre). Part 2 contains pieces considering philosophical themes in Camus’ works, from the absurd in The Myth of Sisyphus to love in The First Man (the absurd, psychoanalysis, justice, Algeria, solidarity and solitude, revolution and revolt, art, asceticism, love).