Albert Camus

In this paper I explore the absurdity of Camus’s Sisyphus.

A presente pesquisa explora o ensaio de ontologia de Albert Camus (1913-1960), intitulado O mito de Sísifo (1942), no qual ele introduz sua teoria do absurdo, cujo propósito é questionar o sentido do mundo e da vida para o sujeito. Perguntando-se, o sujeito se depara com o sentimento de absurdo que manifesta o desejo de clareza frente a opacidade do mundo. Este sentimento é apresentado como uma experiência imediata frente ao não sentido do mundo e da vida. Uma das vias (...) que será analisada e tratada como uma resposta insuficiente para o sentimento de absurdo será o método fenomenológico proposto por Husserl que, através da intencionalidade - descrita como a experiência imediata do sujeito - é visto como uma medida que distancia o si de sua experiência. Distanciando-se da experiência, o método é compatível com uma das consequências do absurdo: a questão filosófica do suicídio. Outra consequência do absurdo será a revolta que é entendida como o que sustenta o sujeito a viver no desejo de clareza frente a irracionalidade do mundo que, posteriormente, resultará em uma Fenomenologia da Revolta. Para sustentar esta fenomenologia, será articulado a teoria do filósofo e fenomenólogo Michel Henry (1922-2002) através das suas obras L'essence de la manifestation (1963) e Fenomenología Material (1990). Nestas obras, Henry introduz o conceito de afetividade e páthos-com, que serão necessários para compreender o absurdo como uma afecção e condição de fragilidade que é compartilhada entre todos sujeitos resultando em uma intersubjetividade. Tanto a Revolta quanto o páthos-com revelam como o sujeito pode viver com o sentimento do absurdo e, desse modo, é possível afirmar a vida do si na solidão. Contudo, a conclusão presente nesta pesquisa constitui o argumento de que, pela Revolta enquanto coletividade que liga os sujeitos pela experiência absurda e pela essência constituinte da Vida, essa afirmação da vida de todos os sujeitos se torna mais forte. (shrink)

In January 1975, Michel Foucault contemplated the nature and formation of what in subsequent years he would come to know as governmentality. For Foucault, plague marks the rise of the invention of positive technologies of power, where these relations center around inclusion, multiplication, and security, rather than exclusion, negation, and rejection. In a point that might at first seem ancillary to his central argument, Foucault comments on stylized works about plague, such as those, according to the lecture series’ editors, exemplified (...) by Albert Camus. In footnote fifteen of the January 15, 1975 lecture, in reference to what Foucault deemed the “literary dream of” plagues, the editors list Camus’ 1947 novel La Peste, among other works, as representative of what Foucault described as “a kind of orgiastic dream in which plague is the moment when individuals come apart and when the law is forgotten.”. This article places Camus’ novel and other works in conversation with Foucault on governmentality, subjectivation, and truth to demonstrate the ways in which individualism itself can be viewed biopolitically. In so doing, it offers an urgent intervention that speaks powerfully to and is exemplified by the current global pandemic. Plague serves both as this literary dream and as a discursive mechanism engaged simultaneously with regimes of truth and the individuals constructing them. By pairing Foucault’s historical understanding of the invention of positive technologies of power with Camus’ treatment of “the absurd” in and out of the plague context, one uncovers the interrelation of governmentality, subjectivation, and truth. (shrink)

Im März 2020 änderte sich das Leben für viele (nicht nur in Deutschland) radikal. Das Virus SARS-CoV-2, besser bekannt als „COVID-19-“ oder „Corona-Virus“, breitete sich als Verursacher einer zwischenzeitlich global virulenten Pandemie in unvermuteter Geschwindigkeit aus. Es verwundert nicht, dass viele in dieser unsicheren Zeit auf der Suche nach Orientierung nach scheinbar bekannten Mustern fahnden. Ein solches Muster glaubten offenbar einige, in Camus’ Roman "Die Pest" finden zu können, ein Roman, der – dem Titel nach – auch von einer Seuche (...) zu erzählen scheint. Befasst man sich mit dem Werk von Albert Camus, dem Philosophen und Literaturnobelpreisträger, kommt man schwerlich umhin, eines der Grundprobleme der Philosophie als einer akademischen Disziplin zu thematisieren, an der zweifelsohne ein öffentliches Interesse besteht, die sich aber in der Rolle des Um-Rat-Gefragten notorisch unwohl zu fühlen scheint. In diesem Beitrag werden die Thesen Albert Camus’ zur Relevanz der Kunst, zu deren Spannungsverhältnis zur akademischen Philosophie und zur Rolle beider in unserer krisengeschüttelten Gesellschaft untersucht. (shrink)

Bernard Williams thought that philosophy should address real human concerns felt beyond academic philosophy. But what wider concerns are addressed by Ethics and the Limits of Philosophy, a book he introduces as being ‘principally about how things are in moral philosophy’? In this article, we argue that Williams responded to the concerns of his day indirectly, refraining from explicitly claiming wider cultural relevance, but hinting at it in the pair of epigraphs that opens the main text. This was Williams’s solution (...) to what he perceived as the stylistic problem of how to pursue philosophy as cultural critique. Taking the epigraphs as interpretative keys to the wider resonances of the book, we show how they reveal Williams’s philosophical concerns – with the primacy of character over method, the obligation to follow orders, and the possibility of combining truth, truthfulness, and a meaningful life in a disillusioned world – to be recognisably rooted in the cultural concerns of post-war Britain. In the light of its epigraphs, the book emerges as the critique of a philosophical tradition’s inadequacies to the special difficulties of its cultural moment. (shrink)

In the autumn of 430 BCE, the city of Athens was devastated by a plague, one chronicled by both the Athenian historian Thucydides and the Roman poet Lucretius. Albert Camus’ notebooks and novel The Plague (La peste) clearly show his interest in the plague of Athens and several scholars have detected comparisons between its narrator, Dr. Rieux, and the historian Thucydides. But a careful examination of what Rieux actually says about the plague of Athens complicates matters and suggests that Camus (...) in some sense rejects accounts of the plague of Athens as a model for his novel. Such a rejection seems confirmed by the novel’s identification of Joseph Grand as its hero, an example of decidedly non-Periclean virtue. I argue that although one can find comparisons within the Plague between Athens and Oran, more pronounced are their contrasts. (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)

Orwell wrote in the same 1930s Europe as existentialist philosophers: most notably, Albert Camus and Jean-Paul Sartre. We know, through his critique of Sartre’s “Portrait of an Antisemite” (Coombes 12), that Orwell was active in these circles, well enough to critically evaluate absurdist theories. As such, it’s long overdue to discuss how the concept of existentialism may have shaped Orwell’s beliefs, specifically in two of his contemporary novels, The Clergyman’s Daughter and Keep the Aspidistra Flying. The purpose of this paper (...) is to argue that existentialism, specifically the ideas of bad faith and absurdism, played a pivotal role for Orwell in how his characters interacted with a capitalist society. (shrink)

Kant’s critical philosophy represents a rudimentary existentialism, or a proto-existentialism, in the following respects: He emphasizes human finitude, limits our knowledge, and argues that human consciousness is characterized by mineness (Jemeinigkeit). He introduces the influential concept of autonomy, something that lead to controversies about constructivism and anti-realism in meta-ethics and anticipated problems concerning decisionism in Existentialism. Kant makes human freedom the central philosophical issue, arguing (in the incorporation thesis) that freedom is inescapable for human agents. He even holds that awareness (...) of freedom leads to anxiety (as opposed to fear), and that anxiety precedes the fall into evil. In the doctrine of radical evil, he argues that human agents are always already suffering from self-deception because of this fall. In order to overcome self-deception and evil, Kant proscribes a radical self-choice in which the agent takes over himself and society by thinking independently and consistently. However, this is not only a moral issue for Kant but also something that concerns religious faith and hope, since Kant argues that we need religion to overcome not only moral evil but also despair. Although he criticizes traditional natural theology, Kant develops a practical (moral) interpretation of religion that anticipates religious Existentialism. In this context, he developed an influential critique of philosophical theodicies and a notion of the hiddenness of God that emphasizes the importance and inscrutability of evil. By doing this, and by introducing philosophy of religion and philosophical anthropology as new disciplines, Kant prepared the ground for Existentialism. (shrink)

To what extent can humorism be a legitimate disposition toward the Absurd? The Absurd is born from the insurmountable contradiction between one’s ceaseless striving and the absence of an ultimate resolution – or, as I prefer to call it, the ‘dissolution of resolution’. Humoristic Absurdism is the commitment to a pattern of humorous responses to the Absurd, which regard this absurd condition, as well as its manifestation in absurd situations, as a comical phenomenon. Although the humoristic disposition seems promising, by (...) virtue of humor’s recognition of incongruity and its denial of an ultimate resolution, and succeeds in countering three major objections, it falls prey to the claim that comprehensive humorism portrays as frivolous what is earnest, thereby renouncing the gravity of the desire for ultimate resolution, which is fundamental to the notion of the Absurd. In an attempt to explore alternative roles for humor in a legitimate disposition toward the Absurd, Metamodern Absurdism is suggested, which revolves around a post-ironic oscillation between humor and earnestness. In short, only in a role limited to one pole of an oscillatory pattern of responses can humor be integrated in a legitimate disposition toward the Absurd. (shrink)

In this paper, I explored what Sartre referred to as Camus’ ‘most beautiful and least understood novel,’ The Fall. As a methodology, I applied textual hermeneutics to immerse in the text and got out of it what I deemed as the crux of its existentialism as founded in the two-in-one leitmotif of narration and hypocrisy. In Clamence, there was a profound need – a specter that lingered and haunted – to narrate his life, especially the fall that triggered it and (...) the judgment that allowed him to do it. I argued then that the nature of the text reflected a deep sense of narration that stemmed from hypocrisy, in which Clamence branded himself as ‘judge-penitent’ – what such a life entails, how it freed him, and how it mirrored life-callings or vocations in all walks of life. (shrink)

Absurdist accounts of life’s meaning posit that life is absurd because our pretensions regarding its meaning conflict with the actual or perceived reality of the situation. Relationary accounts posit that contingent things gain their meaning only from their relationship to other meaningful things. I take a detailed look at the two types of account, and, proceeding under the assumption that they are correct, combine them to see what the implications of such a combination might be. I conclude that another way (...) of looking at the absurdity of life is to see it as a conflict between our dual beliefs that there exist intrinsically meaningful contingent things, and that contingent things may only gain their meaning extrinsically through their relationships to other meaningful things. In this way, I provide another lens through which feelings of life’s absurdity may be interpreted and analysed: as the conflict between the simultaneous beliefs in both intrinsically and relationally meaningful contingent things. Looking through this lens gives us an entirely different framework for analysing life’s absurdity than that which Nagel described in 1971, providing opportunity for more potential avenues of analysis and discussion. (shrink)

This essay examines whether or not absurdity is intrinsic to human life. It takes Camus’ interpretation of ‘The Absurd’ as its conceptual starting point. It traces such thought back to Schopenhauer, whose work is then critically analysed. This analysis focuses primarily on happiness and meaning. This essay accepts some of Schopenhauer’s premises, but rejects his conclusions. Instead, it considers Nietzsche’s alternatives and the role of suffering in life. It posits that suffering may help people acquire meaning and escape absurdity. It (...) then analyses the role of compassion in absurdity, in reference to Nietzsche’s work and Buddhist teachings. Lastly, it examines absurdity in relation to death, rejecting the notion that death exacerbates absurdity. This paper understands absurdity to be a natural part of the human condition, as characterised by suffering, death and an absence of meaning. It concludes that although human life is absurd by nature, it need not remain so. (shrink)

Quantum Theory has created new perspectives on reality in the human mind. The fact that the micro-world has different identities than the macro-world, as it emerges with Quantum Theory, has made the subject of reality, which underlies everything, more complex. Quantum Theory has demolished the deterministic world view drawn by classical physics, revealing a reality of reality. In addition, it has brought up new questions about customary laws to date, including logic rules because of the peculiarities of the electrons, which (...) appear to have multiple characteristics at the same time. Absurdism is the philosophical view based on the confrontation between the human's aspirations and the desire for happiness and the indifference of the world. The absurdism considered in existentialism that emphasizes subjectivity, although it is based on Sören Kierkegaard, was identified with Albert Camus. The absurdity of Albert Camus was the basis of his philosophy. In this study, it will be examined whether the characteristics of quantum theory, which are evaluated as strange, support absurdity. For this purpose, firstly Quantum Theory and its scientific results, which were evaluated as strange, were revealed. Later, existentialism, absurdity of Albert Camus, and the absurdity of Jean Paul Sartre, explained the relationship of Quantum Theory with these views. (shrink)

When pessimists claim that human life is meaningless, they often also assert that the universe is “blind to good and evil” and “indifferent to us”. How, if it all, is the indifference of the universe relevant to whether life is meaningful? To answer this question, and to know whether we should be concerned that the universe is indifferent, we need a clearer and deeper understanding of the concept of “cosmic indifference”, which I will seek to provide. I will argue that (...) the lives of many individuals are meaningful and that human life, in general, is somewhat meaningful, despite the indifference of the universe. Furthermore, I will seek to demonstrate that even if the universe cared about us, or had preferences for how we live our lives, that this likely would not enhance the quality of our lives. (shrink)

This thesis aims to explain why art is the ideal agent for overcoming the absurdity and the meaninglessness of existence. The focus is Camus’ Rebellion in conjunction with Sartre’s notion of Authenticity. Together they provide an adequate answer to the fundamental questions of human existence. Together Camus’ rebellion and Sartre’s authenticity provide the necessary foundations for the overall authenticity of art, facilitating the emergence of purpose from the abyss of absurdity.

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)

Both current and past analyses and critiques of transhumanist and posthumanist theories have had a propensity to cite the Greek myth of Prometheus as a paradigmatic figure. Although stark differences exist amongst the token forms of posthumanist theories and transhumanism, both theoretical domains claim promethean theory as their own. There are numerous definitions of those two concepts: therefore, this article focuses on posthumanism thought. By first analyzing the appropriation of the myth in posthumanism, we show how the myth fails to (...) be foundational and how we need to rethink the posthumanist mythological framework. We then introduce Haldane’s Daedalus figure as a fruitful analogy to understand the demiurgic posture that critics mean to unveil by first using Prometheus. Daedalus embodies the artisan role, whose status as an inventor for the mighty preserves from the gods' direct opprobrium. Thereafter, we introduce the Camusian Myth of Sisyphus as a competing analogy that ultimately serves as a myth better suited to address the posthumanist position on an existential standpoint. we ultimately show that Sisyphus, as the ‘absurd man’ that Camus claims him to be, is himself the posthuman, thus serving as a more ideal foundational myth for posthumanism and preserving the importance of narrative in posthuman discourses. To conclude, we specifically show that the concept of Sisyphus as a posthuman icon has significance that reaches beyond narrative value to current ecological debates in posthumanism. (shrink)

This article examines Kamel Daoud’s treatment of solidarity and the absurd in Meursault, contre-enquête and posits that the question of how to live in solidarity with others is central to the novel, although the word ‘solidarity’ never appears in it. After recalling Camus’s discussion of the absurd in Le Mythe de Sisyphe and of solidarity in L’Homme révolté, the article examines the manner in which Haroun, Daoud’s narrator and the brother of the Arab Meursault killed in L’Étranger, reveals his own (...) failures of solidarity. He justly criticizes Meursault for privileging his confrontation with the absurd over the death of the Arab he did not even name, but Haroun too has killed. Haroun has, however, a greater understanding of solidarity than his fellows: he at least recognizes that murder is significant. He thus joins Meursault as an unworthy prophet who proclaims the absurd while surrounded by people who flee from it—and proclaiming the absurd can be a gesture of solidarity when one speaks for others, as Haroun speaks for his brother Moussa. Daoud’s novel reminds us that there are no final answers telling us how to live in solidarity with others and that we must do so all the same. (shrink)

Im Roman „Der Fremde“, dem Drama „Caligula“ und insbesondere dem Essay „Der Mythos des Sisyphos“ entwickelt Albert Camus eine erste Fassung einer „Logik des Absurden“. Die menschliche Existenz sei geprägt durch ein Spannungsverhältnis zwischen unserem Streben nach Sinn und einer dieses Streben fortwährend enttäuschenden Welt. Auf die Erkenntnis dieser Tatsache darf man Camus zufolge weder mit Selbstmord noch mit dem Aufgeben des Strebens nach Sinn reagieren. Vielmehr fordert er eine Haltung der beständigen Auflehnung. In meinem Artikel gehe ich der Frage (...) nach, wie schlüssig diese frühe „Logik des Absurden“ ist. Es wird sich zeigen, dass Camus’ Thesen in dem von ihm intendierten für alle Menschen gültigen und objektiven Sinn kaum haltbar sind. Ihr großes Potential entfalten sie erst, wenn man sie psychologisch wendet. Camus skizziert einen plausiblen Weg, wie wir trotz der beständigen Unerfülltheit unseres Strebens nach Sinn ein Leben in Glück und Würde führen können. (shrink)

The ecological crisis demonstrates the inadequacy of current modes of thought to grasp the nature of reality and to act accordingly. A more sophisticated metaphysical system is necessary. Arran Gare, a prominent Australian philosopher, has produced such a system, which takes into account the post modern sciences of non-linear thermodynamics, quantum mechanics, and complexity theory. The present article promotes a cosmology based on Gare's metaphysics. In contrast to modern science, the postmodern account offered here will come to terms with a (...) world governed by indifference, which is the same indifference that Albert Camus describes as "absurd". Camus will be interpreted in light of Gare's metaphysics. (shrink)

Beckett’s philosophical indebtedness has long been recognised – especially in conjunction with Dante, Descartes and Geulincx. In this article, I examine Beckettian universal values of Enlightenment, which will be exposed as self-serving mystifications that rationalize and instrumentalize the meaning of life. In this context, the awareness of the Enlightenment nature of Beckett’s writing in Waiting for Godot will be analysed along with the freedom appeal of his reader as he strives to attain the enlightenment.

"Sisifo e l'Assurdo, o della vita innocente", in AA. VV, Albert Camus. L'eredità di un pensatore scomodo, a cura di "Filosofia e Nuovi Sentieri".

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)

Les pensées de l’action de Weil et de Camus se heurtent à une même antinomie : la volonté d’agir raisonnablement implique à la fois de renoncer à toute action, car une action ne peut être efficace que si elle est potentiellement violente, et d’agir, car s’abstenir de toute action signifie accepter la violence présente. L’agent doit dès lors justifier la violence qu’il met en œuvre. En conséquence, cet article confronte la manière dont ces deux auteurs s’efforcent de résoudre cette difficulté. (...) Une telle confrontation nous permet, d’une part, de trouver chez Weil les fondements philosophiques qui manquent à la pensée camusienne. D’autre part, la lecture de Camus nous prémunit contre une interprétation erronée de la justification weilienne de moyens violents par une fin raisonnable. (shrink)

Desde as leituras que formaram seu pensamento até a sua última declaração pública, o filósofo franco-argelino e prêmio Nobel de literatura Albert Camus não deixou de expressar uma relação estreita com o pensamento do filósofo dinamarquês S. A. Kierkegaard. Desse modo, buscamos explicitar alguns elementos desta conexão que deverão contribuir não apenas para a melhor compreensão da relação mesma, mas para o próprio entendimento do pensamento camusiano que se inicia e se desenvolve a partir de uma concepção patética do problema (...) existencial, legatária de Kierkegaard. (shrink)

O percurso construído pelo pensamento de Albert Camus (1913-1960) perfaz uma unidade profunda entre Ética e Estética. Par- tindo de uma preocupação explicitamente ética, o autor acaba por ter de desenvolver uma antropologia filosófica, ou seja, um discurso sobre o homem que tem como núcleo um conceito que o reenvia àquilo que podemos chamar de dimensão estética para então, a partir daí, oferecer uma resposta àquele problema ético. Desse modo, pretendemos neste trabalho explicitar o caminho ao qual aludimos em três (...) momentos: (a) a existência humana como problema ético; (b) o discurso camusiano sobre o homem que tem como núcleo a noção de Passion e, por fim, (c) a elaboração de um novo éthos, partindo da noção de Paixão, como res- posta necessária ao problema existencial configurada como uma re-cri- ação ou correção permanente, à semelhança do ofício do Artista. (shrink)

This essay utilizes the work of the comedy group, Monty Python, as a means of introducing basic concepts in Existentialism, especially as it pertains to the writings of Nietzsche, Sartre, and Camus.

The theme of essential futility, absurdity, utter incomprehensibility of life and death is stressed in almost allthe writings of Albert Camus. Like Buddha he was shocked by the sight of human misery and mortality. Yet, paradoxically was attracted to the essential desirability of it. Although completely ruffled by the consciousness of an ambiguous and silent God, he was not unaware of “that strange joy that comes from a tranquil conscience”, a perfect inner harmony one experiences on attaining true knowledge. Upanishads (...) are a search for this very reality underlying the flux of things. Malraux, Sartre, and others had already developed this line of thought before Camus. What is essential and original in him is, firstly, that the world’s absurdity not a cause for despair, but on the contrary, a spur to happiness. And secondly, that , mortality and suffering actually enhance the value of life: they invite men to live more intensely. In addition to absurdity another subject the Upanishads insistently deal with is ethics, the purity of human conduct. Very much in the manner of the Existentialists, the Upanishads, aeons before, hold man himself responsible for his actions. Dr. Radhakrishnan, very aptly says that Existentialism is a new name for an ancient method. In Albert Camus and India Sharad Chandra has put forward a convincing comparative study of the two philosophies as expounded in their respective literatures. Her argument is that the parallel ideas found in the two views are not mere fortuitous conclusions but, either the result of seminal influence, or emanation of a common, deeper vision. Reading of the book will help the reader to form a firm opinion. Camus had read the Gita and had attended the lectures given by Swami Shraddhananda of the Ramakrishna Mission in Paris. (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)

I briefly discuss the issues with Aristotle's concept of balance and justice and contrast this with the concept of liberty argued by Camus.