There are striking differences between Camus’s early and late philosophical essays, but Camus often claimed that his works were part of one consistent project. This paper argues that, although Camus had a significant change in his views on the consequences of the absurd, throughout his life he also had a common concern with the relation of the absurd to morality. Showing this requires us to clarify what Camus meant by the “absurd,” and identify at least three different uses of the (...) term by Camus: lacking a purpose; lacking an explanation; and a tension between purpose and purposelessness. Clarifying the meaning of “absurd” allows one to show that Camus’s late argument against suicide, often dismissed as inadequate, is valid. This also illustrates the consistency of his concerns over time. (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)

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)

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)

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)

In Le mythe de Sisyphe Camus deals with the problem of suicide because of the absurdity of life. He sees people committing suicide because they think life, being absurd, is no longer worthwhile. But does the absurdity of life imply that life is not worthwhile? He argues this is not the case. The logic of the absurd leads to revolt, freedom and passion for life. These make life worthwhile. So suicide is not the conclusion of the logic of the absurd. (...) However, his argument, though inspiring, fails to recognize the problem of suicide. Why do people who commit suicide because of the absurd believe life is no longer worthwhile? In my article I try to answer this question. In L’homme révolté Camus states that revolt can be contaminated by ressentiment. I think this contamination can explain why people believe life in an absurd world is no longer worthwhile. Based on Scheler’s analysis of ressentiment in Das Ressentiment im Aufbau der Moralen I try to describe the process of this contamination. It is argued first that ressentiment is a consequence of the final impotence of revolt to protect what is valuable, second that revolt will not transform in ressentiment only when it is capable of overcoming itself in resignation. (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)

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)

Politically motivated attacks against civilians are typically evaluated by focusing on objective factors, such as the loss of innocent life, the justness of a rebel organization's political vision, and whether the attacks are successful in advancing that vision. Albert Camus' philosophy on rebellion provides an alternative approach that focuses on subject experience of the rebel. The rebel experiences a genuine moral dilemma created by the passionate desire to fight injustice and the feeling of universal solidarity that encompasses even those who (...) the rebel believes it is necessary to kill. From this standpoint, any action the rebel takes is immoral. Camus thus makes authenticity the focus of his analysis. Authentic rebels continue to value solidarity, which creates a limit on how violence can be used in rebellion. Drawing from The Rebel and The Just Assassins, this paper develops several criteria for immoral but authentic acts of political violence, which are then applied to suicide bomb attacks directed against civilians. (shrink)