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It doesn't say anything. It could have been yesterday.

Tuberculosis and the Absurdity of Life While in his early teens, Camus was an active sports enthusiast. He swam often and was an avid soccer player. However, Camus's sports activities came to a halt when, at seventeen, he contracted tuberculosis in his right lung. The disease eventually spread to his left lung as well.

With no method yet discovered of destroying the tubercle bacilli, Camus was to be afflicted with bouts of active tuberculosis on and off for the remainder of his life, making him a target for depression and respiratory illnesses. What emerged from Camus's struggle with tuberculosis was his development of his theory of the absurd. For Camus, the word absurd described the disparity between a young consciousness, hungry for experience and crying out for meaning, and a body condemned to illness. Camus found it absurd that he should be so full of life and curiosity while knowing that his life could soon end.

As an adult, Camus would explore the absurdity of life in such novels as The Stranger and The Fall The Nazi Army had marched into Paris in the summer of after easily overwhelming the French military. He was writing The Plague and The Rebel , while simultaneously writing anti-Nazi pieces for the underground newspaper Combat at night. At Combat , Camus wrote clandestinely under various pseudonyms. Despite his precautions, Camus barely escaped being caught by the Nazi Gestapo the internal security organization of the Nazi regime at least once.

In The Plague , Camus deals with the theme of revolt. Complementing his concept of the absurd, Camus believed in the necessity of each person to revolt against the common fate of humanity by seeking personal freedom. Rieux, the protagonist of The Plague , narrates the story of several men in the plague-ridden Algerian city of Oran. Throughout the novel, Camus parallels the conflicting philosophies of Rieux and Father Paneloux over how to deal with the plague: Rieux, a compassionate humanist who repudiates conventional religion, maintains that human action can best combat the disease; Paneloux, a Jesuit priest who views the plague as God's retribution on the sinful people of Oran, holds that only through faith and divine intervention can the city be salvaged.

Ultimately, the characters overcome their differences and unite to defeat the plague, at least temporarily, through scientific means. Nobel Prize Amidst Algerian Independence Controversy Following the release of The Fall in , Camus's standing as a writer received a welcome boost when he was awarded the Nobel Prize in , especially since it came in the midst of the battle over his refusal to publicly take a side in Algeria's war for independence from France.

Algeria's struggle against colonial control by France was part of a widespread independence movement in Africa and Asia. This is why true artists scorn nothing. They force themselves to understand instead of judging. Death in an Automobile Accident Camus had just emerged from a long-lasting writer's block, full of ideas for future writings, when he died suddenly. On January 4, , Camus was killed upon impact in an automobile crash.

Existentialism and the Absurd One of Camus's most famous concepts is the idea that life is absurd, an idea that one can see prominently in The Stranger and The Myth of Sisyphus. Existentialism is basically the belief that life in itself is meaningless and that it is only as valuable or meaningful as one makes it. Although Camus became known as an existentialist and as a philosopher, he himself rejected both labels. It is a means of moving the greatest number of men by offering them a privileged image of common sufferings and common joys.

Camus was widely acclaimed in his short lifetime, and almost all of his work—especially The Stranger and The Plague received critical praise. His philosophical work The Myth of Sisyphus was dismissed as amateurish by some critics, but it remains popular with readers. But the young Camus had thus to begin by setting himself against the world as he found it; before he could discover how to change it or how to rethink it, he had to depict it as unsatisfactory. Event succeeds event, perception replaces perception, without any values by which the process may be interpreted.

Jean-Paul Sartre — : Camus's friendship with this French Existentialist philosopher and novelist ended over political differences. Samuel Beckett — : The work of this Irish playwright and poet continued and enhanced Camus's concept of the absurd. The Myth of Sisyphus While many readers who first encounter The Myth of Sisyphus Le Mythe de Sisyphe are impressed by Camus as a thinker, his standing among professional philosophers and intellectuals was from the beginning much lower than his reputation among literary critics.

Disparaging remarks made by Sartre and Simone de Beauvoir—the chief proponents of French existentialism— later contributed to the trend. Perhaps anticipating future criticism as well as defending himself against contemporary attacks, Camus often said that he was an artist or a moralist, not a philosopher.

What does it mean to be human? These questions have always plagued writers. Thinkers from the world's leading religions try to answer them, often asserting that the meaning of life has to do with one's faith, with one's religion. Other secular writers have also tried to answer such questions in these works:. The Republic b. Plato recounts the pursuit of the good life according to Socrates, particularly as it relates to rationality and the joy one can experience by living a rational life. Beyond Good and Evil , by Friedrich Nietzsche. Nietzsche attempts to establish the meaning of life outside of the realm of traditional, religious morality.

The Pursuit of Happiness , by Bertrand Russell. Russell, like Socrates, tries to introduce a way of making one's life meaningful by following reason; however, the two thinkers reach very different conclusions.


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Akeroyd, Richard H. Camus and Sartre: Crisis and Commitment. Tuscaloosa, Ala. Bloom, Harold, ed. Albert Camus. New York : Chelsea House, Bronner, Stephen Eric. New York: Franklin Watts, Judt, Tony. Chicago: University of Chicago Press, Nationality: French. Born Mondovi, Algeria, 7 November Education: University of Algiers, graduated Reader and editor of Espoir series, Gallimard Publishers, Paris, Co-founding editor, Combat, Awards: Critics prize France , ; Nobel prize for literature, Died: 4 January Le Malentendu produced Published with Caligula, ; translated as Cross Purpose and published with Caligula, Caligula produced Les Justes produced Requiem pour une nonne, adaptation of a work by William Faulkner produced Le Chevalier d'Olmedo, adaptation of the play by Lope de Vega produced Carnets: Mai fevrier Camus: A Bibliography by Robert F.

Roeming, Born in Algeria of a French father and a Spanish mother, Albert Camus grew up in a working-class suburb of Algiers, in relative poverty and without his father, killed in World War I when Albert was a year old. The tuberculosis Camus contracted at 17 affected his health permanently yet also heightened his pleasure in nature—the sun, sand, and sea—and strengthened his will to live.

The scholarship that enabled him to study at the University of Algiers literally changed his life by inspiring his passion for moral philosophy. That passion issued in a didactic impulse to include a humane moral wisdom in everything he ever wrote, whether fiction, drama, essay, or political journalism. In his early twenties Camus the polemical journalist espoused radical politics, demanding justice for the poor and politically oppressed. Camus the budding author and moralist, on the other hand, emphasized an existential dilemma: the tragic paradox that humans have the capacity to imagine an ideal life but are thwarted in achieving their ideal by their inherently limited powers and their mortality.

This dilemma constituted the most bleakly pessimistic moral philosophy Camus ever adopted, since it expressed resignation both to human frailty and to the chilling indifference of the universe to human concerns. Not surprisingly, the novel Camus worked on in those years, but never published, depicted the hero's search for a happy death rather than a happy life. The outbreak of World War II in September had the unexpected effect of turning Camus's attention from death to life. In he left Algeria to work for a Paris newspaper, and a year later, back in Algeria, he totally recast that early novel about death, turning it instead into a morality tale confronting conventional and unconventional life views.

Suggestively renamed The Stranger, it appeared in and quickly became Camus's first literary success. Late in Camus decided that, with his worsening tuberculosis, he would fare better in the healthy mountain air of central France, which was then unoccupied territory. He worked there in quiet isolation, undisturbed by the war, except for one anxious period when he was cut off from all communication with his family because North Africa had been successfully invaded by the Allies.

Before long he began to make trips to Paris to maintain contact with his publisher and with friends, especially those involved in the resistance. Out of sympathy with their cause, he joined the resistance himself and began to contribute inspirational articles to the resistance newspaper, Combat. As the war wound down, he decided he must take his place in the Paris literary world, and he arranged for his wife and children in Algeria to join him in Paris. His new life in the capital began auspiciously, with the acclaimed publication, in , of what is still regarded as his finest novel, The Plague.

Its success, however, left him totally unprepared for the hard times ahead. When two of his plays, staged in and , and a political tract called The Rebel, published in , were all poorly received by the critics, the vulnerably sensitive Camus became depressed and spent the next three years trying to break a severe case of writer's block. During those three bleak years he made an ill-advised journalistic attempt to intervene in the violent civil war in Algeria, which had begun in Adopting the moral high ground, he urged calm, reason, and conciliation, but his words fell on deaf ears.

Both sides had already hardened their positions and become hopelessly polarized. Valiantly struggling for self-renewal and vindication, Camus first vented his anger against his critics in with a witty, but ambiguous, satirical novel called The Fall. He then restored his dignity, with respect to the Algerian tragedy, in , with a volume of six exemplary short stories under the title Exile and the Kingdom.

He was rewarded with the Nobel Prize for Literature later that same year. No one could have suspected at the time, however, that the honor would mark the end of his literary career. On 4 January the mortality Camus had long decried caught up with him in the absurd form of a fatal automobile accident, of which he was an innocent victim. Camus was perhaps the most impressive French literary talent of his generation, widely admired in the s and s as a hero of the resistance, a model for the younger generation, an outspoken defender of the oppressed, and a guardian of the moral conscience of Europe.

See the essays on The Fall and The Plague. Born: Mondovi, Algeria, 7 November Education: The University of Algiers, graduated With Caligula, ; as Cross Purpose, with Caligula, With Le Malentendu, ; version produced , ; translated as Caligula, with Cross Purpose, Requiem pour une nonne, from a work by William Faulkner produced Le Chevalier d'Olmedo, from the play by Lope de Vega produced Carnets: Janvier mars Roeming, ; and subsequent editions by R. Albert Camus was deeply attached to both his French and his Algerian origins. Generally left-wing, although he had been a member of the Communist party only from to , he had run a magazine, Combat, for the Resistance towards the end of World War II.

By , the year he received the Nobel prize, Camus had become virtually apolitical, and there had been a long-running public and private quarrel with Sartre, who was slowly jettisoning his existentialist philosophical reflections for hard-line Stalinist Marxism.

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Another is his willingness to change his mind while others stood unyielding. For these matters, and for his late silence on Algeria, Camus remains a contentious figure. Although Camus spent most of his adult life in France, in his own world Algeria remained the major reference point. Only one of his novels, The Fall, is set outside of Algeria. He was a pied-noir, his father a descendant of the first generation of Frenchmen to settle in the country, his mother an illiterate washerwoman. But in the 53 years since his death, these starting points have continued to make his work accessible for each new generation.

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The sea, rains, necessity, desire, the struggle against death … these are things that unite us all. Judging whether life is or is not worth living amounts to answering the fundamental question of philosophy.

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All the rest afterwards. For much of the past century, he has continued to bestow readers with his own world and its singular message. Kevin Rabalai s is a writer and critic. Het laatste Eutopia nummer zal als thema De Agenda van de Toekomst hebben. As anti-immigrant sentiment erupts i Though bookstore cafes in Europe, or even in most Arab countries, are by no means a revolutionary idea by now, one little establishment named Book Caf Eutopia is geared in particular — but not exclusively — towards dialog between North and South, as well as between Europe and the Islamic world.

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I have several friends that I will be recommending you to. In addition, the hero of the tragedy cannot realize his fault at all or does not realize it for a long time. He can act, according to the predestinations of heaven e. Our company also has examples of samples on our site. According to his words, humanity, which did not manage to curb the passions with the help of mind and live happily, did not have to increase own sufferings with the representation of the tragedy on the stage.

Tragedy did not pleasure and was disaster and scourge for people. Plato refused to accept tragic muse into the state. Alternatively, that would mean reign of suffering instead of wise legislation. This opinion appropriates to the leading position, which tragedy had in antique artistic literature. Tragedy is imitation of essential finished action, which has certain amount.

Imitation happens thanks to style of speaking, whose parts are differently arrayed with the help of action instead of story. Aristotle put up moral and esthetic sense in definition of catharsis. Tragedy had cognitive significance and did educative moral and esthetic influence kalokagathia. The hero of the tragedy can also be a trivial person. According to Lessing, tragic component is transient moment of the world, which does not exclude harmony and justice.

Our site also offers you also interesting information about one of the founders of the USA, which you can read here: Also in this section: The Tragedy of King Creon As Bright Example Of Genre Tragedy Tragic hero is supporter of principle drawing out of individual being: some worldwide historical idea. Every epoch brings in tragedy own features and detects certain sides of its essence.

One should talk about the essence of antique tragedy in this essay. Heroes often received knowledge of future thanks to divination of oracles, prophetic dreams or warning of gods in antique tragedy. Choir in Greek tragedy occasionally informed both actors and viewers the will of gods or predicted further events. Moreover, viewers knew well the plots of myths on the base of which tragedies were created. Curiosity of Greek tragedy builds not only on cliffhangers, but also on the logic of action. The essence of tragedy is not in fatal outcome, but in behavior of main character.

He acts according to necessity and is not in power to prevent unavoidably. However, necessity itself does not lead to outcome: he gives effect to his tragic fate thanks to his dynamic actions. Hero of antique tragedy acts freely even when he realizes inevitability of death. Antique tragedy contains in itself heroic conception of person and purifies viewer.

Conflict between King Creon and his niece Antigone is shown in the tragedy. New king orders to bury nephew Eteocles — defender of the Thebes with honors and left his brother Polynices as invader without interment. Antigone violates an order of Creon and buries his brother according to the divine laws. One may again make sure, that heroes of antique tragedies themselves choose decisions, which lead them to tragic outcome.

Antigone buries Polynices and does not accept that she violates the rules. Creon chooses order and city and looses his sense of life — his family. Therefore, are there two tragic heroes in the composition? From one side, one may agree that both characters are tragic. Nevertheless, Antigone understands the consequences of her decision while King Creon does not. Personal responsibility essay reflects very well the essence of making right decisions. Our team also prepared at least interesting and useful information about earthquakes, which you can learn here: One may consider that genre of tragedy has brought many valuable settings to the art.

Majority of scientists thought that tragedy described all moments of human life. Heroes of Greek tragedies realize their outcome but continue stepping against their fate. If you like this essay, place order on any other topic of paper you need. Services of provide qualitative writing of qualitative academic content. Our company is always ready to aid you in solution of your issues. If you are interested in our company, read the best information about us on. We're sorry, this computer has been flagged for suspicious activity.

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