Is freedom a Western concept? As a multifaceted human experience it seems fairly transcultural. Freedom is hardly a focus of philosophical discourses in China as it is in the West, and I suppose this partly accounts for the difficulty in tracking freedom and closely related notions of agency, choice, and autonomy in Chinese philosophy.Over four decades ago Herbert Fingarette raised the controversial idea about the absence of freedom in Confucian ethics. Although not intending to denigrate, Fingarette raised a polemic that (...) has lingered to the present.1 A. C. Graham noted the sour upshot of the issue when writing that "the claim that the concept of moral choice is foreign to Confucius has offended... (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)

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)

"I know of no safe repository of the utlimate power of society but the people. And if we think them not enlightened enough, the remedy is not to take power from them, but to inform them by education." Thomas Jefferson, 1820.

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)

ABSTRACTZhi is an important Chinese notion that conveys among other things human capacity to set aims, to determine a course of action, or to persist in a resolve. The term naturally turns up in Chinese contributions to Western Free Will debate. In this paper, I explain zhi by working out a comparison that goes from East to West. I do a three-fold textual analysis of zhi focusing on the Mencius. I outline different usages found in the text, examine a nuanced, (...) dominant meaning suggested in 2A.2, and discuss notional features based on language patterns. My analysis yields a more homegrown understanding of zhi which I shall compare with Western expressions of moral agency. (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)

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)

Nihilism has been a most characteristic feature of the psychology and world-view of several generations of young people in capitalist society. A rejection of traditional religion, of the dominant ideology and morality; a disdain for all authorities; a demand for total emancipation of the spirit, going so far as denial of cultural values and established life-style - all are to a greater or lesser extent characteristic of the outlook of both the "lost generation" that emerged from World War I with (...) the single conviction that it had been cruelly misled and of the "beatniks" of the 1950s, the followers of the apostles of "moral and sexual rebellion." An obvious lack of positive ideas and value orientations impels them to mass-scale "retreat from society," to suicide, to terrorist actions, or to demonstrations of a mutinous nature. Nihilism in all its manifestations of protest and desperation has become a cause of concern to governments and a source of stupid hatred on the part of Philistines, and is under serious discussion by figures in all political parties. Quests for a way out of the cul-de-sac of the nihilist outlook are the inspiration for the work of many twentieth-century writers and philosophers. (shrink)

Nietzsche dénonçait en 1887 les excitants qui ravageaient son temps : erotica, socialistica, pathologica. On y reconnaîtra les trois métaphores d'une même tendance à la régression : barbarica. La Barbarie éternelle, c'est l'informe, le matériau brut, la désolation qui crie la victoire du désert. Les Anciens avaient rejeté le Barbare aux confins de la civilisation - les Modernes ont choisi une stratégie plus subtile : pour la dissoudre, la Raison a intégré la Barbarie au fond d'elle-même. En se coupant de (...) la transcendance du sens, le Sujet contemporain a engendré les formes de fragmentation psychologique et sociale les plus aberrantes. Les effets de barbarie se manifestent par la dissolution de l'homme, l'effondrement de l'éducation, la destruction de la culture et l'abolition du politique. Cette barbarie intérieure signe la faillite de l'universel dans l'avènement de l'im-monde moderne. Et s'" il n'y a plus de déserts ", comme le regrettait Camus, c'est que le désert a délaissé les horizons lointains pour assécher la civilisation en ce qu'elle a de plus proche. Le désert est aujourd'hui au cœur de la cité parce que la barbarie est au cœur de la civilisation. (shrink)

Albert Camus is most famous for his engagement with the absurd. Both in his philosophical and literary works his main focus was on the nature and normative consequences of this idea. However, Camus was also concerned with what he referred to as the “feeling of the absurd”. Philosophers have so far paid little attention to Camus’ thoughts about the feeling of the absurd. In this paper I provide a detailed analysis of this feeling. It turns out that (...) the feeling of the absurd is not, strictly speaking, a feeling. It is rather a conjunction of a mood (feeling of the absurd in the narrow sense) and of emotions that this mood tends to give rise to (appearances of the feeling of the absurd). Moreover, both moods and emotions qualify as absurd in virtue of their promoting the discovery of the absurd; that is, the discovery that humans search for meaning, but the world does not answer this search. (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 wish to examine the position of Camus regarding social change, namely his concepts of rebellion and revolution. I in no way question his well-deserved status as a major twentieth-century French writer, nor do I wish to suggest that he may have been someone caught in a Sartrean notion of 'bad faith.' I am concerned with what one might call his theory of social action. I do wish to assert that Camus was a good man (...) who seriously wrestled with the events of his time. Yet his claims on behalf of suffering humanity, while honest, are not sufficient when faced with complex social issues. That his move toward the right that today might well be taken for a supposed liberalism was undoubtedly bound up with his continued misunderstanding of the dialectic of history. (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)

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)

By what incredible foresight did the most significant intellectual quarrel of the twentieth century anticipate the major issue of the twenty-first? When Camus and Sartre parted ways in 1952, the main question dividing them was political violence—specifically, that of communism. And as they continued to jibe at each other during the next decade, especially during the war in Algeria, one of the major issues between them became terrorism. The 1957 and 1964 Nobel Laureates were divided sharply over which violence (...) most urgently demanded to be addressed and attacked—the humiliations and oppressions, often masked, that Sartre described as systematically built into daily life under capitalism and colonialism, or the brutal and abstract calculus of murder seen by Camus as built into some of the movements that claimed to liberate people from capitalist and colonial oppression.The Sartre-Camus conflict remains, fifty years later, philosophically unresolved. And I would argue—against today's conventional wisdom so persistently asserted by Tony Judt—it is also historically unresolved, despite today. (shrink)

By what incredible foresight did the most significant intellectual quarrel of the twentieth century anticipate the major issue of the twenty-first? When Camus and Sartre parted ways in 1952, the main question dividing them was political violence—specifically, that of communism. And as they continued to jibe at each other during the next decade, especially during the war in Algeria, one of the major issues between them became terrorism. The 1957 and 1964 Nobel Laureates were divided sharply over which violence (...) most urgently demanded to be addressed and attacked—the humiliations and oppressions, often masked, that Sartre described as systematically built into daily life under capitalism and colonialism, or the brutal and abstract calculus of murder seen by Camus as built into some of the movements that claimed to liberate people from capitalist and colonial oppression.The Sartre-Camus conflict remains, fifty years later, philosophically unresolved. And I would argue—against today's conventional wisdom so persistently asserted by Tony Judt—it is also historically unresolved, despite today. (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)

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)

Many instances of art are valuable. Where is this value located? And how is it to be justified? In this paper I reconstruct and critically assess Albert Camus’ answers to these questions. Camus’ theory of the value of art is based on his “logic of the absurd”, i.e., the idea that the human condition is absurd and that we therefore ought to adopt an attitude of revolt. This idea entails that art lacks any intrinsic value. Rather, Camus (...) argues, art is valuable only insofar as it promotes creators’ or recipients’ awareness of the absurd and their attitude of revolt. The main problem with this theory is that it exaggerates the significance of the logic of the absurd for art. Even if the human condition is absurd and we ought to revolt, artistic value cannot plausibly be reduced to these facts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Camus’s Meursault and Sartrian IrresponsibilityDavid ShermanIn the wake of poststructuralism, with its glorification of the libidinal play of unaccountable, fragmented subjectivities, the concept of personal responsibility has been rehabilitated. From the French fascination with various forms of neo-Kantianism to the American interest in homey (albeit demagogic) books on the virtues, personal responsibility is regaining currency. But what, exactly, does it mean to be personally responsible? When Albert (...) class='Hi'>Camus suggested in “Neither Victims Nor Executioners” that non-violence was the “responsible” position for intellectuals to take on the Algerian crisis, he was reproached for legalistically evading responsibility by his erstwhile friend Jean-Paul Sartre. Sartre, who offered up the concept of “absolute responsibility,” and viewed any attempt to obscure the nature of this ontological burden for oneself as “bad faith,” regarded Camus’s position as just such an attempt: “If you’re not victims when the government which you voted for, when the army in which your younger brothers are serving... have undertaken race murder, you are, without a shadow of a doubt, executioners.” 1 For Sartre, who tentatively advocated revolutionary violence, taking responsibility meant acknowledging that “bloodying one’s hands” is unavoidable.The concept of personal responsibility is well considered within the context of French existentialism, which made it one of its hallmarks. In this essay, however, I shall approach personal responsibility from the vantage point of its opposite, personal irresponsibility. Towards this end, I shall consider Meursault, the protagonist in Camus’s The Stranger, whom I take to be one of the most irresponsible characters in literature. The depths of Meursault’s irresponsibility can best be appreciated, fittingly enough, within Sartre’s psychoanalytic framework. [End Page 60]IIn Being and Nothingness, Sartre offers up the ontologically rooted phenomenon of bad faith, which, for present purposes, can be explicated as follows: consciousness, which is intentional (nothing more than that which it is conscious of), reflectively reconstitutes the Self, which does not exist in consciousness but as an object in the external world. There is no intrinsic Self, and the Self that does exist is perpetually being transcended. Despite this state of unremitting transcendence, however, at any point in time there are the undeniable facts of our particular existences, which (however we choose to interpret them) define the range of our possible projects. These brute facts, which are inexorable, constitute our facticity. Thus, Sartre tells us, there is a “double property of the human being, who is at once a facticity and a transcendence” (B&N, p. 98). 2 It is in a person’s approach to the relationship between these two properties, which is marked by an irresolvable tension, that bad faith arises: “Bad faith does not wish either to coordinate them or to surmount them in a synthesis. Bad faith seeks to affirm their identity while preserving their differences. It must affirm facticity as being transcendence and transcendence as being facticity, in such a way that at the instant when a person apprehends the one, he can find himself abruptly faced with the other” (B&N, p. 98).Sartre provides numerous illustrations of individuals who flee from either their facticity or transcendence. For example, there is the homosexual and his interlocutor, the “champion of sincerity.” The former, despite repeated homosexual encounters, refuses to draw the conclusion that he is a homosexual; instead, he sees both his past behavior and his present inclinations as part of a “restless search.” Conversely, the latter demands that the homosexual sincerely avow what he is, “a homosexual.” Both are in bad faith. The homosexual denies responsibility for all that he has done by perpetually pushing his conception of Self into the future, and thus perpetually beyond the reach of his ability to make judgments about himself—he makes a mockery of his past and present choices. The champion of sincerity, on the other hand, pushes the homosexual’s conception of Self into the past in order to make it a thing—he denies the homosexual’s (and perhaps his own) freedom to make future choices, which is what enables us to transcend what we presently are. The former flees facticity; the latter, transcendence.All persons in bad faith fall... (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)

What does Le Premier Homme bring specifically to our understanding of Camus’s view of love? The novel allows us to understand love as love of specific human individuals, as well as love of life and the world, and a sense of the frailties of love. While many commentaries have touched on the idea of the importance of love in this work, they have tended to focus more on the disguised autobiographical elements concerning the people in Camus’s life. They (...) have also centred on the descriptive aspects of the work. What I would like to do is look at how love is presented in more depth, and show how specific kinds of love are valorized, and how these different kinds of love are all connected. (shrink)

In her 1988 paper, “Losing Your Concepts,” Cora Diamond explores the interplay and overlap among different forms of conceptual loss. Diamond’s discussion emphasizes the difficulty of measuring the effect of conceptual loss, owing in part to the difficulty of determining the extent of a concept’s entanglement with other aspects of the life where that concept has its home. Diamond’s remarks are instructive for gathering and assessing Wittgenstein’s scattered remarks on the concept of hope and the questions he raises regarding what (...) it would mean to lack the concept of hope altogether. The problem Wittgenstein’s remarks reveal is the instability between the notion of a life without hope and the putatively different notion of a life without the concept of hope. I argue in the paper that the case of Camus’ The Myth of Sisyphus provides a vivid illustration of this instability. (shrink)

I use the word Moralist, somewhat after the French fashion, in the sense of a commentator on the human scene. I apologize for Contemporary, but there was another Camus, way back in the seventeenth century, who is being resuscitated now and who, according to the new Encyclopaedia of Literature , “wrote besides theological works some fifty novels which make him a pioneer of religious edification through popular fiction.” Our Camus is very much of our century and is still (...) a comparatively young man. And he is contemporary not only in the accidental sense that he happens to be alive and writing in our generation. He has suffered in his own flesh with our generation. He is both of us and with us. Born to a working-class French Colonial family in 1913 he knew none of the douceurs de la vie which held the memory in the first World War; while in the second he took an active part in the French Resistance movement and after the liberation edited the periodical Combat . His novels- L'Étranger and La Peste -are not so much works of imaginative creation as fictional records of the events of our time. His plays- Le Malentendu , Caligula , L'État de siège , Les justes -are studies or allegories of moral and political collapse in its various and varying moods. Like Actuelles , a collection of his current writing from 1944 to 1948, both novels and plays are testimonies of the anxieties through which our generation has passed. (shrink)

On July 5, 2021, Algeria celebrated the fifty-ninth anniversary of her independence. The eight-year war, which broke out on November 1, 1954, cost the country much blood and resulted in 1.5 million deaths. This article looks at this page of history. My objective is to show why the Algerians took up arms, and to reexamine the conflict between the French philosopher Jean-Paul Sartre and the Algeria-born philosopher Albert Camus in light of the War of Independence. I argue that the (...) friendship between the two philosophers can be seen as one casualty of this war, a friendship that had no chance of surviving given their different approaches to justice. Whereas for Sartre, justice was in no manner exclusive of freedom; for Camus, it was all that the Arabs needed, any demand for freedom being solely the work of a few militants “without any political culture.”. (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)

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)

Camus’ early philosophy has been subject to various kinds of criticism. In this paper I address a problem that has not been noticed so far, namely that it appears to be essentially inconsistent. On the one hand, Camus explicitly denies the existence of moral values, and construes his central notion of the absurd in a way that presupposes this denial. On the other hand, he is also committed to the existence of certain values. Both in his literary and (...) philosophical works Camus is not so much interested in the absurd per se, but rather in how we ought to respond to it. In justifying his supposed normative conclusions, he tacitly, but crucially, relies on evaluative judgements. If all this is true, then prospects for defenders of absurdism seem bleak. In whichever way the inconsistency is resolved, they will have to give up or significantly modify central parts of Camus’ early philosophy. But things may not stand quite as bad. As I try to show, there is a route to consistency that preserves much of Camus’ early philosophy, and leaves it prima facie plausible. The key is to re-interpret its normative aspects. Stated a bit provocatively, we need to put Camus in the self-help genre. (shrink)

early march 2020: i'm in a french village on the Mediterranean near the Spanish border. The outdoor marché, thronged, is active twice a week. The cafés are crowded. On my morning walk, I am buoyed by the sounds of schoolchildren. The village's only grocery, a small outlet of a major chain, is well-stocked.Mid-March: pandemic. "Non-essential" vendors are banned from the marché. The cafés are shuttered. The school is closed. The little store has depleted shelves. There is a mandate to stay (...) home. Anyone venturing out must carry an attestation certifying the reason for being in public.Fortunately, there is the Internet. There are books. The local wine store offers home delivery. Fortunately, also, I'm in the final... (shrink)

The philosophies of Søren Kierkegaard and Albert Camus have typically been considered as inverted images of each other. Kierkegaard turns to faith in God as a path of redemption from meaninglessness while Camus rejects faith as a form of intellectual suicide and cowardice. I argue that an analysis of key terms of contest—faith and lucidity, revolt and suicide, Abraham and Sisyphus, despair and its overcoming—serves to blur the lines of contrast, making Kierkegaard and Camus much closer in (...) their views of what sort of life we should live in face of the forsakenness of our condition than they seem at first glance. (shrink)

Without the idea of God, and the moral values and law that derive from divine authority, how does Man determine the limits of his actions? Are moral values and principles of justice simply human constructs created to protect society that do not realistically reflect the truth about human nature? Without the concept of the sacred, where does authority reside and what constitutes the boundaries that humans must not transgress? In Caligula, Albert Camus confronts these questions and takes them to (...) their ultimate logical conclusions. The character he creates in order to do this, as I will seek to show, is the figurative equivalent of a system of thought most eminently articulated by the Marquis de Sade in his .. (shrink)

Over the last two decades, many philosophers have been increasingly inclined to consider science fiction films as philosophical exercises that center on the nature of human consciousness and existence. Albert Camus' philosophy of the absurd, however, has almost never been employed as a constructive perspective that can illumine unexplored aspects of these films. This is surprising, since science fiction films seem to be packed with visions and dialogues that echo the Sisyphean universe. Cosmos and Camus endeavors to set (...) foot on this uncharted terrain. Its first part aims to introduce the main components of Camus' absurdity in such a way that it can be easily applied to the analysis of the films later. Equipped with these Camusean essentials, it delves into an in-depth analysis of two first-encounter films (Contact and Arrival) and two AI films (A.I. and Her). These analyses yield more than an insightful reflection of the absurd contents in science-fiction film. Indeed, imaginative collisions with nonhumans seem to tell us a lot about the nature of the absurd in the human condition, as well as raising the question of whether absurdity is exclusively a human matter. Ultimately, the interpretation of the films illuminates the films themselves just as much as it illuminates, challenges, and expands Camus' concept of absurdity, thus contributing to our current understanding of what the absurd reality is and how we can either live with it or transcend it. (shrink)

Whether Albert Camus’s “existentialist” thought expresses an “ethics” is a subject of disagreement among commentators. Yet, there can be no reading of Camus’s philosophical and literary works without recognizing that he was engaged in the post-WW2 period with two basic questions: How must we think? What must we do? If his thought presents us with an ethics, even if not systematic, it seems to be present in his ideas of “remaking” both man and world that are central to (...) his The Myth of Sisyphus and The Rebel. Curiously, however, this apparent recommendation is ambiguous for the fact that while Camus proposes as much he does so “comme si,” i.e., form a perspective of “as if.” A clarification of this qualification is presented here in the light of the fact that Camus rejects any nihilist project that countenances either suicide or murder. Thereby one may argue that Camus indeed has an ethics that remains pertinent to today. (shrink)

: 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)

This paper pursues three goals: First, to develop a lateral reading of Camus’ Stranger. A lateral reading is characterized by the displacement of the central conflict. In the case of The Stranger, I argue that the central conflict in the novel lies in the relation between the author and the protagonist, not, as direct readings would have it, in the relation between the protagonist and his predicament. Second, to spell out more precisely why it should be read as an (...) anti-existentialist novel. Here I argue that a lateral reading shows that the foundational existentialist opposition between telling and living is ironically dismantled by the very lateral structure of the novel. Third, to develop the notion of a lateral reading with a view to its potential advantages. Here, I point out that literalism involves positionalism and dynamicism. Positionalism refers to the reduction of fictional entities to their role in relation to each other. Dynamicism refers to the resulting view that those roles are further reducible to forces. I conclude that the lateral reading, with its commitments to positionalism and dynamicism is a model generalizable to the analysis of other fictional works. (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 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)

In Barnett and Block (J Bus Ethics 88(4):711–716, 2009a), the present authors claim that borrowing short and lending long is fraudulent, and thus ought to be prohibited on legal grounds. Bagus and Howden (J Bus Ethics 90(3):399, 2009) take issue with our ethical analysis. The present paper is our response to these authors; it is an attempt to defend Barnett and Block (J Bus Ethics 88(4):711–716, 2009a) against the very interesting and important, although we believe, erroneous, criticisms of Bagus and (...) Howden (J Bus Ethics 90(3):399, 2009). (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)

I argue that David Oelhoffen's 2014 film Far From Men, while departing from the letter of Camus' 1957 story, “The Guest/Host”, does remarkable cinematic justice to its spirit. Oelhoffen's Daru and the Arab character Mohamed, it is suggested, represent embodiments of Camus’ idealised Algerian “first men”, in the vision Camus was developing in Le Premier Homme at the time of his death in January 1960. Part 1 frames the film in light of Camus’ “The Guest/Host”, and (...) Part 2 frames Camus’ story in light of Camus’ agnonised struggle to come to terms with the Algerian situation. Part 3 makes the case that Oelhoffen's departures from Camus’ original story present in cinematic form Camus’ ideal of a post-colonial, post-ethnic solidarity between people, predicated on the overcoming of all arche-ideological fantasies of untained prelapsarian community. (shrink)

This paper reconstructs Albert Camus's notion of the absurd in order to elucidate his critique of historical teleology. In his life and work, Camus endeavoured to develop a fallibilist historical sensibility suitable for a cosmos shorn of meaning, which led him to reject ideas of progress and their traces of messianism when elaborating his treatment of rebellion. By making use of Camus's ideas about the absurd and rebellion, I suggest that these two themes productively unsettle contemporary cosmopolitanism (...) as a teleological orthodoxy of human progress and fruitfully, if paradoxically, lie at the heart of a concept of cosmopolitanism “without hope.”. (shrink)

We stipulate, arguendo, that fractional-reserve-demand deposit banking is per se fraudulent. We ask whether or not time deposit banking can also be illicit, and answer in the positive, if there is a mismatch between the time dimensions of deposits and loans. To wit, if an intermediary borrows short and lends long.

Physician-assisted dying is currently an intensely discussed topic in several countries. Despite differences in legislation and application, countries with end-of-life laws have similar eligibility criteria for assistance in dying: individuals must be in a hopeless situation and experience unbearable suffering. Hopelessness, as a basic aspect of the human condition, is a central topic in Albert Camus’ philosophical work The Myth of Sisyphus, which addresses the question of suicide. Suffering in the face of a hopeless situation, and the way doctors (...) approach this suffering, is the topic of his novel The Plague, which describes the story of a city confronted with a plague epidemic. In this paper, I draw philosophical and ethical conclusions about physician-assisted dying based on an analysis of central concepts in the work of Camus—specifically, those treated in The Myth of Sisyphus and The Plague. On the basis of my interpretation of Camus’ work, I argue that hopelessness and unbearable suffering are useless as eligibility criteria for physician-assisted dying, given that they do not sufficiently elucidate where the line should be drawn between patients who should to be eligible for assistance and those who should not. (shrink)