La Chute d’Albert Camus Hamano, Koichiro
Revue d'histoire littéraire de la France,
05/2022, Letnik:
122, Številka:
2
Journal Article
Recenzirano
Comprendre pourquoi la noyade d’une inconnue constitue l’épisode central de La Chute conduit à constater que les femmes désirables forment dans l’œuvre de Camus une sous-catégorie d’êtres féminins, ...eux-mêmes déjà relégués au second plan : le cri de la noyée allégorise ainsi celui d’une sous-humanité auquel l’écrivain moderne « embarqué » doit répondre. À la lumière des textes politiques contemporains, La Chute apparaît en outre comme un portrait de l’écrivain dévoyé face à la guerre d’Algérie.
Ancient tragedy itself is a highly contested and historically contingent term, both in the modernist period and now. Woolf sees Hardy as "the greatest tragic writer among English novelists" (5) and ...registers his characteristic settings of individual life within a vast natural chaos in her fiction, along with the influence of Janet Case and Jane Ellen Harrison, whose Themis (1912) is an important text here. At times, the explicit emphasis The Unnameable places on the struggles of the individual consciousness seems taken at its word, so to speak, without an inclusion of the implied tragic dyads and triads that are inescapable in dramatic form.
Vplivi narativnih elementov (predvsem pripovedovalca in vrst diskurza) na etični potencial literarnega dela so tolikšni in tako raznovrstni, da lahko glede nanje ločimo tri različne vrste etične ...komponente (odprto, usmerjajočo in tezno). Vsaki je lasten specifični pripovedni diskurz, ki vpliva na tri najpomembnejše komponente etičnega potenciala (čut za možno, oblikovanje in utrjevanje identitete ter čut za razumevanje in toleranco). Ta se uresničuje preko bralčevih etičnih sodb, ki se lahko pojavljajo na zunanji (povezane z avtorjem), posredovalni (povezane s pripovedovalcem) in notranji (povezane z literarnimi liki) ravni pripovednega procesa. Narativni vplivi na etični potencial in na bralčeve sodbe so v članku ilustrirani na primerih Camusovega Tujca in Zupanovega Klementa z ozirom na vse tri ravni pripovednega procesa in na odnose med avtorjem, pripovedovalcem, literarnim delom ter bralcem. Vloga bralca in vsakokratnega branja je za uresničitev etičnih vplivov ključna in zato lahko govorimo le o možnih, ne pa o gotovih vplivih določenega literarnega dela na bralca.
Vento ferido of Carlos Casares is ascribed to the canon of "Nova Narrativa Galega". However, although literary criticism often links Vento ferido with this group, we can see the influence of some ...Galician authors from the earlier tradition in the stories that make up this work. This article aims to investigate if Castelao and Dieste have influenced Carlos Casares' search for his own identity focusing on two works: Cousas and Dos arquivos do trasno.
Paul Archambault explores the evolution of Camus' attitude toward Hellenism and Christianity as seen through his writing. The author considers problems as disparate as Camus' use and misuse of ...Aeschylus and the Presocratics, his ambivalent appraisal of Socrates, the "Plotinian" nature of his aesthetics, his identification of Christianity with Augustinian theology, and the Gnostic resonance of his characteristic ideas.
Kamel Daoud’s debut novel
is a recasting of Camus’ seminal novel,
. Daoud creates an overt and deliberate set of intertextual references to Camus’ text by describing the same events from the point of ...view of the brother of the nameless ‘
’ murdered by Meursault in
Thus the differences in character and event presentation are defamiliarised and foregrounded. This article argues that such intertextual foregrounding and defamiliarisation has implications for reader identification with the characters and related empathetic responses. Using a corpus-assisted stylistic analysis of the original French texts, the article illustrates these implications by analysing the ways the language of Daoud’s novel may contribute to alternation between readers’ empathy and antipathy towards its characters.
This article studies the city spaces in Albert Camus’ “The Plague” and Jose Saramago’s “Blindness.” In light of COVID-19, the article reads these two literary texts in terms of their spatial settings ...that represent fictional microcosms of the real world engulfed in the COVID-19 pandemic. It also demonstrates how pandemics expose and exacerbate the flaws that are inherent in the social, ideological, and infrastructural dimensions of city spaces. The pandemics reshape Camus’ and Saramago’s cities, intensify human antagonism, and expose the fragility of the urban structure. We rely on George Simmel’s viewpoints of the city as a space of constant conflicts and antagonism, so one can understand the struggles that take place on the spaces of Camus’ Oran and Saramago’s blind city. The article also employs Julian Wolfreys’ concept of the urban uncanny to interpret the mystery and fear that accompany the emergence of diseases in cities. Finally, our experience with the COVID-19 pandemic provides new insights into Albert Camus’ “The Plague” and Jose Saramago’s “Blindness” as they become a fictional reflection of our own experience.
"Våra medborgare var inte mer skyldiga än andra, de glömde bara att vara ödmjuka, och de tänkte att allt fortfarande var möjligt för dem, vilket förutsatte att farsoterna var omöjliga. De fortsatte ...att göra affärer, de förberedde resor och hade åsikter. Hur hade de kunnat tänka på pesten som avskaffar framtid, förflyttningar och diskussioner? De trodde sig vara fria och ingen kommer någonsin att vara fri så länge det finns farsoter." Något av ett ödets ironi måste det vara, att Albert Camus moderna klassiker "Pesten" kom ut i ny svensk översättning i mitten av april 2020. Som många andra, läste jag den i gymnasiet. Jag fick då lära mig att det som Camus beskrev var tyskarnas ockupation av Frankrike och att pesten symboliserade den bruna farsoten, nationalsocialismen. Mitt motiv till att läsa "Pesten" var tvivelaktigt.
