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)

Europe's leading existential thinkers -- Jean-Paul Sartre, Simone de Beauvoir, and Albert Camus -- all felt that Americans were too self-confident and shallow to accept their philosophy of responsibility, choice, and the absurd. "There is no pessimism in America regarding human nature and social organization," Sartre remarked in 1950, while Beauvoir wrote that Americans had no "feeling for sin and for remorse" and Camus derided American materialism and optimism. Existentialism, however, enjoyed rapid, widespread, and enduring popularity among Americans. No less (...) than their European counterparts, American intellectuals participated in the conversation of existentialism. In Existential America , historian George Cotkin argues that the existential approach to life, marked by vexing despair and dauntless commitment in the face of uncertainty, has deep American roots and helps to define the United States in the twentieth-century in ways that have never been fully realized or appreciated. As Cotkin shows, not only did Americans readily take to existentialism, but they were already heirs to a rich tradition of thinkers -- from Jonathan Edwards and Herman Melville to Emily Dickinson and William James -- who had wrestled with the problems of existence and the contingency of the world long before Sartre and his colleagues. After introducing this concept of an American existential tradition, Cotkin examines how formal existentialism first arrived in America in the 1930s through discussion of Kierkegaard and the early vogue among New York intellectuals for the works of Sartre, Beauvoir, and Camus. Cotkin then traces the evolution of existentialism in America: its adoption by Richard Wright and Ralph Ellison to help articulate the African-American experience its expression in the works of Norman Mailer and photographer Robert Frank its incorporation into the tenets of the feminist and radical student movements of the 1960s and its lingering presence in contemporary American thought and popular culture, particularly in such films as Crimes and Misdemeanors , Fight Club and American Beauty . The only full-length study of existentialism in America, this highly engaging and original work provides an invaluable guide to the history of American culture since the end of the Second World War. (shrink)

Over the past thirty years, the disappearance, if not the death, of the intellectual in France has been the focus of significant conversation and debate. Yet a good bit earlier, two writers who epitomized that very figure of the intellectual, Jean-Paul Sartre and Albert Camus, in works written after their bitter break, seemed to have already sensed this decline. The present essay explores what Camus's novel La Chute [The fall] and Sartre's autobiography Les Mots [The words] share thematically and, in (...) particular, how both works anticipate the fall of the French intellectual. (shrink)

This paper attempts to explicate the philosophical and theological premisses involved in Fr. Paneloux’s second sermon in Camus’ The Plague. In that sermon Fr. Paneloux says that the suffering of children is our bread of affliction. The article shows where one must start in order to get to that point, and what follows from it. Whether or not the argument given should be called a theodicy or a reductio ad absurdum of religious belief is an open question for a philosopher, (...) but the argument is shown to cohere with the traditional belief in God’s omnipotent goodness. (shrink)

The fiftieth anniversary of Camus’ death in 2010 was largely ignored in his native Algeria, reflecting the critical response to Camus’ writings that regards him as a colonialist writer and apologist for the French domination of his native Algeria. This critique also claims that Camus’ colonial attitudes are hidden and reinforced by a European attitude that sees him as dealing first and foremost with universal questions about the human predicament and existential isolation. However, Camus’ journalism shows an Algerian closely identified (...) with the destiny of all the peoples of Algeria, and his novel The Outsider contains sufficient indications that, whatever its existential importance, in the concrete situation of Camus’ Algeria the Arab has the precise status of outsider. (shrink)

My thesis is that Albert Camus offers key elements of a viable nonmetaphysical, post-secular ethical and political anthropology and explanation of evil. Idefend my thesis in two parts. First, I explicate and analyze Camus’s remarks on human nature and injustice primarily in his political essay The Rebel (1951). Camus offers a nonmetaphysical picture of human nature, inspired by the Greeks, as that out of which rebellion to oppression springs but also as that which frustrates any final resolution to the problems (...) of history. Secondly, I offer a reading of The Fall (1956). I argue that Camus’s depiction of human nature in this work, contrary to typical readings, highlights his appreciation of the insight and pragmatically desirable consequences of the Christian concept of sin. I show thatCamus depicts the possibility of a “healthy” guilt, a guilt linked to the pursuit of freedom and a responsibility to self and to others. (shrink)

This paper examines the practical utility of Albert Camus’ existentialist philosophy, especially in the context of the contemporary effort to improve the condition of human life and existence in Africa. The paper is a departure from prevailing mindset among some scholars and people of Africa that nothing good can be derived from Camus’ philosophy. In particular, the paper argues that the task of socio-political and economic transformation in today’s Africa has a lot to benefit from a critical and pragmatic engagement (...) with the existentialist philosophy of Camus. The paper maintains that the practical benefit of Camus’ existentialist philosophy appears most clearly in the value it assigns to revolt/resistance, and ideals of friendship, commitment, solidarity and brotherhood to solve the cumulative problems of life. The obvious lack of all this has exasperated the human condition in modern African states. (shrink)

Spiritualist ethics: The problem of evil, by L. Lavelle. On conscience, or On the pain of having-done-it, by V. Jankélévitch. Value and immortality; and, Dangerous situation of ethical values, by G. Marcel. The concept of fallibility, by P. Ricoeur.--Axiological ethics: Ethics and metaphysics, by R. Le Senne. Good and evil, by H. Reiner. Values and truths, by R. Polin. Values as principles of action, by G. Gusdorf.--Three contemporary conceptions of humanism: Jean-Paul Sartre: Sartre on humanism, by J. J. Kockelmans. Moral (...) perspectives in Sartre's thought, by F. Jeanson. Ambiguity, by S. de Beauvoir. Albert Camus: Albert Camus and the ethic of absurdity, by H. Hochberg. On humanism, by M. Heidegger. Existentialism's basic ethical position, by O. Bollnow.--Situation ethics: Systematic essentialist ethics and existential situation ethics, by T. Steinbüchel. The question of the Single One, by M. Buber. What is a Christian ethic? By D. Bonhoeffer. Meaning and analysis of the borderline situation, by H. Thielicke. (shrink)

This paper compares Pierre Hadot’s work on the history of philosophy as a way of life to the work of Albert Camus. I will argue that in the early work of Camus, up to and including the publication of The Myth of Sisyphus , there is evidence to support the notions that, firstly, Camus also identified these historical moments as obstacles to the practice of ascesis, and secondly, that he proceeded by orienting his own work toward overcoming these obstacles, and (...) thus toward a modern rehabilitation of ascesis. Moreover, in contrast to Hadot’s Platonism, Camus located the source of this practice in the pre-philosophical stage of Athenian tragedy. This points to a further contrast between these two figures, which has historical and cultural precedents, in the distinction between this pre-Platonic form of ascesis - favoured by Camus - and the latter Christian form of asceticism - favoured by Hadot, with the status of Platonic ascesis rendered in terms of prefiguring this Christian form of asceticism. (shrink)

In reference to two central concepts of Albert Camus' philosophy, that is, the absurd and the rebellion, this article examines to what extent hisThe Plague is of interest to medical ethics. The interpretation of this novel put forward in this article focuses on the main character of the novel, the physician Dr. Rieux. For Rieux, the plague epidemic, as it is described in the novel, implies an unquestioning commitment to his patients and fellow men. According to Camus this epidemic has (...) to be understood as a symbol of the absurd. Unable to base his actions on a Christian, metaphysical value system, Rieux sees his commitment as a continuous rebellion against the fact of the absurd, which opposes him in the form of evil, suffering and death. As a physician, Rieux is therefore forced to adjust his actions to life in its immediacy, that is, the suffering of his patients. In this article, it will be shown that Rieux's attention to the immediate is of particular interest to medical ethics: Theother person in need, rather thanmy moral convictions, sets the norm. (shrink)

How best to introduce philosophical ideas? Is the best and only way by studying the history of philosophy and its rational arguments and discussions? But can literature, usually hived off from philosophy, be used instead and can this be as effective as rational argument? This paper explores these questions. First it considers a text which introduces philosophy through the analysis of literature, in particular James Joyce's 'Araby', arguing that the traditional analytic approach employed by the text, by concentrating on epistemology, (...) obscures other philosophical insights offered by Joyce. It then turns to French philosophy and literature and suggests that Sartre, Beauvoir and Camus by 'blurring' the analytic distinction between philosophy and literature have much to offer to the grasping and understanding of philosophical ideas and principles. (shrink)

The philosophical argument between Jean-Paul Sartre and Albert Camus can be summarised in their conflicting accounts of skiing and swimming. For Sartre skiing exemplifies the struggle of existence and the angst of the alienated ego. For Camus, swimming represents some glimmering of collective harmony, the possibility of transcendence. Sartre's thinking is inflected by quantum theory and the 'steady state', whereas Camus is more of a wave theorist, with a lingering nostalgia for the 'primeval atom' and a fondness for peak experiences. (...) Put together their separate ways of analysing consciousness suggest a two-phase account of cognition. (shrink)

Marking a major new reassessment of Camus' writing, this book investigates the nature and philosophical origins of Camus' thinking on "authenticity" and "the absurd" as these motions are expressed in "The Myth of Sisyphus" and "The Outsider", showing these books to be the product not only of a literary figure, but of a genuine philosopher as well. Moreover, the author provides a complete English-language translation of Camus' "Metaphysique Chretienne et Neoplatonisme" and underlines the importance of this study for the understanding (...) of the early Camus. The book also contains analyses of the influence of St Augustine and Nietzsche on Camus. (shrink)

Introduction: an 'untimely' political thought for serious times -- The twentieth-century politics of contempt -- 'Undisguised influences' -- Tragic beginnings mystic 'communion' with nature -- An artist's point of view -- Rethinking participation beyond 'romanticism' -- A stranger to the world of ressentiment -- Commencement of freedom -- Sisyphus or happiness in hell -- Nothing is possible, everything is permitted -- The absurd and power -- Combat with nihilism -- Between Sade and the Dandy -- Conclusion.

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’ (1942), 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)

Philosophy underwent a corresponding theatrical shift in the modern era, most importantly through the work of Kierkegaard, Nietzsche, Sartre, and Camus.

Both literature and philosophy, as genres of writing, can enable us to address important ontological, epistemological and ethical questions. One author who makes it possible for readers to bridge these two genres is Albert Camus. Nowhere is this more evident than in Camus' short novel, The Fall. The Fall, through the character and words of Jean-Baptiste Clamence, prompts readers to reflect deeply on themselves, their motivations and commitments, and their relations with others. This paper discusses the origin and structure of (...) the book, identifies some of its key philosophical themes, and explores some of its educational implications. (shrink)

Theorizing has been conceived historically in illuminative and ocular metaphors, and as an activity that occurs in a fixed and privileged relation to political society that permits a panoramic perspective. These elements of light, sight, and distance, are supportable existentially and ethically in post-war, post-Holocaust world. One of the first to explore the challenges to theorizing in this era was Albert Camus. He provided phenomenological and existential investigations of the obstacles to theorizing politics in his literary works, particularly his trilogy (...) of novels: The Stranger , The Plague , and The Fall . In this paper, I offer a reading of these novels that isolates theorizing as an activity performed not from a transcendent perceptual vantage of perfect light and vision, but from the immanent perspectives achieved in the city, among friends, or by exile. (shrink)

This paper demonstrates that L'Étranger , Camus's famous novel about an outsider, had by as early as 1946 become just as much of an 'insider' in terms of its affiliation to the Parisian literary tradition. More than an insider simply by virtue of its contemporary place in the French canon, then, the novel is also intertextually bound to a tradition of oxymoronic poetics dating back to Charles Baudelaire's Paris Spleen ( Les Petits poèmes en prose ). I shall examine the (...) way in which L'Étranger performs its prose poetics, thereby establishing it as exemplary of a Parisian model of modernity. Additionally, the famous scene on the beach will be considered as a liminal space and as a literary translation of Paris into the desert, which, once a joke for Paris's relationship to provincial France, became after the Second World War a new allegory for the capital's self-alterity. (shrink)

Camus and James are not often thought to have much in common. But both agree that “Is life worth living?” is a fundamental philosophical question, and an examination of the views of each as to what constitutes a life that is worth living reveals striking similarities. Although James freely uses the language of religion which Camus adamantly avoids, they agree that a life worth living is marked by a sense of intimacy and communion with others and with the world itself—and (...) by a resolve to fight against the evils that threaten well-being. (shrink)

What follows is a work of critical reconstruction of Camus' thought. It aims to answer to the wish Camus expressed in his later notebooks, that he at least be read closely. Specifically, I hope to do three things. In Part I, we will show how Camus' famous philosophy of the absurd represents a systematic scepticism whose closest philosophical predecessor is Descartes' method of doubt, and whose consequence, as in Descartes, is the discovery of a single, orienting certainty, on the basis (...) of which Camus would proceed to pass beyond the 'nihilism' that conservative critics continued to level against him (MS 34). Part II will unfold the central tenets of Camus' mature thought of rebellion, and show how Camus' central political claims follow from his para-Cartesian claim to have found an irreducible or 'invincible' basis for a post-metaphysical ethics, consistent with the most thoroughgoing epistemic scepticism. Part III then undertakes to show that the neoclassical rhetoric and positioning Camus claimed for his postwar thought—as a thought of moderation or mesure, and a renewed Greek or Mediterranean naturalism—is more than a stylistic pretension. It represents, so I argue, a singular amalgam of modern and philosophical classical motifs which makes Camus' voice nearly unique in twentieth century ideas, and all the more worth reconsidering today. So let us proceed. (shrink)

This paper looks at two 20th century theories of tragedy: those of Cornelius Castoriadis and Albert Camus. The theories that each proffer of this ancient cultural form are striking. Against more standard views, both theorists stress that tragedy is a cultural form that has only arisen historically in cultures whose forms of religious thought have been laid open to question. In this way, both argue that tragedy is an important democratic cultural form, which stages the confrontation between a no longer (...) unquestionable divine order, and human autonomy.The intent of the paper, from the start, is a political one. It wants to place Camus alongside Castoriadis as a 'post-Marxist' thinker, who belongs meaningfully to what Dick Howard has called 'the Marxian legacy'. More than this, it aims to do this by staging Camus' theorisation of tragedy, with Castoriadis', as a powerful riposte to the conservative criticism of democracy as a modern political form, that is, that it cannot muster sacral cultural forms forceful enough to meaningfully unite people beneath its banner. (shrink)

Camus’ central thesis in The Myth of Sisyphus is that suicide is not the proper response to, nor is it the solution of, the problem of absurdity. Yet many of his literary protagonists either commit suicide or are self-destructive in other ways. I argue that the protagonists that best live up to the characteristics of the absurd man that Camus outlines in the Myth uniformly either commit suicide or consent to their destruction by behaving in such a manner as to (...) invite death. It is my contention that this raises serious questions abuut the validity of Camus’ arguments that suicide is not the proper response to the recognition that life is absurd. (shrink)

Camus's life -- The absurd -- Life -- Scorn -- Solidarity -- Rebellion -- Realpolitik -- Exile and rebirth -- Epilogue.

Dark Feelings, Grim Thoughts is about the early work of Camus and Sartre, including Camus's The Stranger, The Myth of Sisyphus, The Plague, and Sartre's Nausea, No Exit and the concepts of Bad Faith and 'Being-for-Others'.

: What is Hell? Here is one answer: five straight days of conversation with a garrulous, narcissistic, rather depraved lawyer. This is the text, in fact the entire content, of Camus's brilliant quasi-religious novel, The Fall. The book has been read as a meditation on the "deadly" sin of pride, introducing a host of ethical and theological questions. I interpret the book as the story of a virtuous, contented, vulnerable man who is struck down by his own mistaken self-reflection and (...) then forced to re-establish his superiority by way of the resentment that replaces his pride. (shrink)

part 1: lecture 1. What is existentialism? ; lecture 2. Albert Camus : The stranger, part I ; lecture 3. Camus : The stranger, part II ; lecture 4. Camus : The myth of Sisyphus ; lecture 5. Camus : The plague and The fall ; lecture 6. Camus : The fall, part II ; lecture 7. Soren Kierkegaard : On becoming a Christian ; lecture 8. Kierkegaard on subjective truth ; lecture 9. Kierkegaard's existential dialectic ; lecture 10. Friedrich (...) Nietzsche on Nihilism and the death of God ; lecture 11. Nietzsche, the immortalist ; lecture 12. Neitzsche on freedom, fate and responsibility -- Part 2: lecture 1. Nietzsche, the Ubermensch and the will to power ; lecture 2. Three grand inquisitors, Dostoevsky, Kafka, Hesse ; lecture 3. Husserl, Heidegger and phenomenology ; lecture 4. Heidegger on the world and the self ; lecture 5. Heidegger on authenticity ; lecture 6. Jean-Paul Sartre at war ; lecture 7. Sartre on emotions and responsibility ; lecture 8. Sartre's phenomenology ; lecture 9. Satre on bad faith ; lecture 10. Sartre's Being-for-others and No exit ; lecture 11. Sartre on sex and love ; lecture 12. From existentialism to postmodernism. (shrink)

This paper uses Albert Camus to provide insight into understanding the New Left from an empirical psychological perspective and a normative ethical perspective. In the process we show how Students for a Democratic Society (SDS) moved from rebels to revolutionaries.

Since it gained currency at the end of the second world war, the term “existentialism” has mostly been associated with a cultural movement that grew out of the wartime intellectual atmosphere of the Left Bank in Paris and spread through fiction and art as much as philosophy. The theoretical and other writings of Jean-Paul Sartre, Simone de Beauvoir, Albert Camus, and Frantz Fanon in the 1940s and 1950s are usually taken as central to this movement, as are the sculptures of (...) Alberto Giacometti, the paintings of Jean Dubuffet, and the plays of Samuel Beckett from this time. Existentialism is frequently viewed, therefore, as an aesthetic movement rooted in certain philosophical thoughts and supplanting surrealism at the centre of European artistic fashion. This is the existentialism of black clothes and jazz clubs, coffee and cigarettes. (shrink)

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)