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)

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)

Δύο επίμονα θέματα ζωντανεύουν όλη τη γραφή του Αλμπέρ Καμύ και αποτελούν τη βάση του καλλιτεχνικού του οράματος: Το ένα είναι το αίνιγμα του σύμπαντος, το οποίο είναι εκπληκτικά όμορφο αλλά αδιάφορο για τη ζωή. Το άλλο είναι το αίνιγμα του ανθρώπου, του οποίου η λαχτάρα για ευτυχία και νόημα στη ζωή παραμένει άσβεστη από την πλήρη επίγνωση της δικής του θνητότητας και της κυρίαρχης αδιαφορίας του περιβάλλοντός του. Στη ρίζα κάθε μυθιστορήματος, κάθε θεατρικού έργου, κάθε δοκιμίου, ακόμη και κάθε (...) καταχώρησης στα τετράδιά του βρίσκεται η αδιάκοπη ανάγκη του Καμύ να διερευνήσει και να προβληματιστεί για τον ειρωνικό διπλό δεσμό που αντιλαμβανόταν ότι ήταν η ουσία της ανθρώπινης κατάστασης: Ο άνθρωπος είναι προικισμένος με τη φαντασία να συλλάβει μια ιδανική ύπαρξη, αλλά ούτε οι συνθήκες, ούτε οι δικές του δυνάμεις επιτρέπουν την επίτευξή της. Η αντίληψη αυτού του απελπιστικού διπλού δεσμού έκανε αναπόφευκτη στον Καμύ την υποχρέωση να αντιμετωπίσει ένα κυρίαρχο ηθικό ζήτημα για τον άνθρωπο: Δεδομένης της περιορισμένης κατάστασης του ανθρώπου, υπάρχουν έντιμοι όροι με τους οποίους μπορεί να ζήσει τη ζωή του;. (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)

Albert Camus, a French-Algerian writer and philosopher, is renowned for his unique contribution to the philosophical realm, particularly through his exploration of the Absurd. His philosophy is often associated with existentialism, despite his own rejection of the label. Camus’ works delve into the human condition and the search for meaning in a seemingly indifferent universe. The Absurd and the Search for Meaning At the heart of Camus’ philosophy is the concept of the Absurd, which arises from (...) the conflict between the human desire for significance, order, and clarity on one hand, and the silent, irrational, and indifferent world on the other1. This tension is a fundamental aspect of the human experience, as individuals continually seek purpose in life despite the universe’s lack of inherent meaning. Revolt as a Response to the Absurd Camus argues that the appropriate response to the Absurd is not suicide or despair, but rather revolt. This revolt is a persistent and courageous confrontation with the Absurd, and it involves a refusal to succumb to nihilism, a rejection of false hopes, and the continuous quest for meaning1. It is through this act of revolt that individuals affirm their own existence and derive a sense of personal freedom and identity. Camus’ Literary Expression of Philosophy Camus’ philosophical ideas are intricately woven into his literary works. Novels such as “The Stranger” (L’Étranger), “The Plague” (La Peste), and “The Fall” (La Chute) not only tell compelling stories but also serve as vehicles for his philosophical thought. In “The Myth of Sisyphus,” Camus uses the Greek mythological figure Sisyphus, condemned to eternally roll a boulder up a hill only for it to roll back down, as a metaphor for the human condition. Sisyphus, aware of his futile task, chooses to embrace his labor, thus embodying the spirit of revolt and finding happiness in the struggle itself. -/- . (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)

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)

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)

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)

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)

The Introduction provides a historical and literary context for the examination of Albert Camus’s 1947 fictional novel, The Plague, to suggest its relevance to our own lived experiences of the 2021 Covid-19 pandemic that brought the routines and expectations of our normal, daily lives to an unprecedented halt. Details of Camus’s life and work inform our reading of the narrative that give rise to multiple interpretations as well as intriguing questions of scholarly inquiry: How realistic are the (...) characters? Does solidarity eventually triumph over isolation? Does the popular novel inspire social change or fail in its aspirations? Facing the absurdity of a similarly unwelcome and unpredictable disease, have we managed our fear of death more successfully than the citizens of Oran? An overview of authors’ contributions sets the stage for new and unique perspectives: an invitation for readers to reflect upon our communal experience of immense grief. (shrink)

_La Peste_, originally published in 1947 by the Nobel Prize-winning writer Albert Camus, chronicles the progression of deadly bubonic plague as it spreads through the quarantined Algerian city of Oran. While most discussions of fictional examples within aesthetics are either historical or hypothetical, Camus offers an example of "pestilence fiction." Camus chose fiction to convey facts--about plagues in the past, his own bout with tuberculosis at age seventeen, living under quarantine away from home for several years, (...) and forced separation from his wife who remained in Algiers while he was abroad in Nazi-occupied France. His own lived experiences undergird an imaginative account of shared human realities with which we can identify: vulnerability to the disease, isolation, fear, and finally humanitarianism. _The Plague_ teaches us to neither covet nor expect what we so casually took for granted. This collection of original essays on philosophical themes in _The Plague_ is of special relevance during and in the aftermath of Covid-19 but also provides reflections that will be of lasting value to those interested in this classic work of literature. The novel explores questions of enduring importance. Do we collectively meet the threshold of ethical behavior posed by Camus who wrote, "What's true of all the evils in the world is true of plague as well. It helps men to rise above themselves"? Or does the absurd undermine the compassionate? Do "heroes" dutifully fight a plague with "common decency," or does human nature resign itself to the normalization of uncontrollable suffering and death? There are myriad ways to approach the novel and this volume encourages readers to ponder human dilemmas in fictional Oran informed by our current pandemic. Series editor forward by Richard Eldridge. List of Contributors includes Steven G. Kellman, Jane E. Schultz, Andrew Edgar, Kathleen Higgins, Edward B. Weiser, Cynthia A. Freeland, and Margaret E. Gray; see "Introduction" by Peg Brand Weiser below. (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)

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)

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)

In this paper we will explore how Albert Camus has much to offer philosophers of education. Although a number of educationalists have attempted to explicate the educational implications of Camus’ literary works (Denton, 1964; Oliver, 1965; Götz, 1987; Curzon-Hobson, 2003; Marshall, 2007, 2008; Weddington, 2007; Roberts, 2008, 2013; Gibbons, 2013; Heraud, 2013; Roberts, Gibbons & Heraud, 2013) these analyses have not attempted to extrapolate pedagogical guidelines to develop an educational framework for children’s philosophical practice in the way (...) Matthew Lipman did from John Dewey’s philosophy of education, which informed his philosophy for children curriculum and pedagogy. To this end we offer comparisons and contrasts between Camus and the pragmatist educational discourse centred on communities of philosophical inquiry (or, more broadly, collaborative philosophical inquiry). In particular we focus on the phenomenology of inquiry, namely, that “inquiry must begin with a problem, question, or doubt and must aim at a solution or resolution, both of which are genuinely felt—something in which the inquirer actually has a stake” (Gregory & Granger, 2012: 13). We conclude that what Camus calls lucidity has implications for the notion of reconstruction, prominent in Dewey’s thoughts on education, and central to Lipman’s focus on philosophy functioning educationally. (shrink)

Poet and philosopher Fernando Pessoa (1888-1935) described himself as someone who is an “exile from the country of which he had always considered himself a citizen…” Is it apposite to associate exile with someone who — apart from spending nine years in South Africa during his youth — essentially never stirred out of his native Portugal? This essay examines this question by comparing Pessoa to another famous exile, Albert Camus.

This article aims to understand the views of three prominent figures in existential literature and philosophy: Albert Camus, Søren Kierkegaard, and Fyodor Dostoevsky. The analysis focuses on exploring and explaining fundamental concepts of their philosophies, such as morality, the meaning of life, and the relationship with the divine, in order to establish a dialogue among these three authors. The underlying thread connecting these thinkers is the Socratic figure of speech, irony. Through the examination of contradictions and ironic elements (...) present in their works, the article highlights the significance of irony as a central core in their ideas, encompassing both academic discourse and the realms of literature and symbolism. The comparative method employed goes beyond contrasts, also emphasizing points of contact between the ideas expressed through the stages of existence and the personalities of the protagonists in their novels. The initial sections for each author introduce the basic concepts for general understanding. Subsequently, the main ideas are explored through analysis of their masterpieces, leading to a comparative dialogue among them. Contrasts involve the perspectives embodied by characters like Alyosha Karamazov, Meursault, and Zosima, showcasing the authors' opinions, reflecting the zeitgeist, and highlighting their divergences, ultimately providing a comprehensive view of how they influenced and criticized each other within the philosophical tradition. (shrink)

This article aims to understand the views of three prominent figures in existential literature and philosophy: Albert Camus, Søren Kierkegaard, and Fyodor Dostoevsky. The analysis focuses on exploring and explaining fundamental concepts of their philosophies, such as morality, the meaning of life, and the relationship with the divine, in order to establish a dialogue among these three authors. The underlying thread connecting these thinkers is the Socratic figure of speech, irony. Through the examination of contradictions and ironic elements (...) present in their works, the article highlights the significance of irony as a central core in their ideas, encompassing both academic discourse and the realms of literature and symbolism. The comparative method employed goes beyond contrasts, also emphasizing points of contact between the ideas expressed through the stages of existence and the personalities of the protagonists in their novels. The initial sections for each author introduce the basic concepts for general understanding. Subsequently, the main ideas are explored through analysis of their masterpieces, leading to a comparative dialogue among them. Contrasts involve the perspectives embodied by characters like Alyosha Karamazov, Meursault, and Zosima, showcasing the authors' opinions, reflecting the zeitgeist, and highlighting their divergences, ultimately providing a comprehensive view of how they influenced and criticized each other within the philosophical tradition. (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)

Philip Villamor rethinks Albert Camus’ famous rock’n’roll parable. Pointing out that Camus' "The Myth of Sisyphus" is a sort of intellectual dishonesty designed to support the idea that one can be happy without the hope of something more than existence, Villamor challenges the idea that "the struggle itself" is enough to make one "happy." Villamor concludes that we must imagine Sisyphus as "hopeful" and "more human.".

Value pluralists see themselves as philosophical grown-ups. They profess to face reality as it is and accept resultant pessimism, while criticising their monist rivals for holding on to the naïve idea that the right, the good and the beautiful are ultimately harmonisable with each other. The aim of this essay is to challenge this self-image of value pluralists. Notwithstanding its usefulness as a means of subverting monist dominance, I argue that the self-image has the downside of obscuring various theoretical positions (...) that do not fall into either the pluralist or monist camp. Yet such positions do exist, as shown by my discussion of Albert Camus and Hannah Arendt. Near contemporaries of the pioneering value pluralist Isaiah Berlin, the pair, just like him, sought to be realistic about the lived experiences of political disasters and moral disorientation in the twentieth century. Moreover, they shared with Berlin a keen interest in real-world moral dilemmas, which seemed to them to have made traditional morality obsolete. But the three thinkers’ perspectives on ‘reality’ hardly converged, and neither Camus nor Arendt became a value pluralist as a result of their reflections on moral dilemmas. This, however, by no means indicates the pair’s immaturity. Rather, it shows that there is more than one way of observing fidelity to our actual experience and that value pluralists’ commitment to realism and resultant pessimism is not as uniquely mature as they would have us believe. (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)

"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".

Since Friedrich Nietzsche, philosophers have grappled with the question of how to respond to nihilism. Nihilism, often seen as a derogative term for a ‘life-denying’, destructive and perhaps most of all depressive philosophy is what drove existentialists to write about the right response to a meaningless universe devoid of purpose. This latter diagnosis is what I shall refer to as existential nihilism, the denial of meaning and purpose, a view that not only existentialists but also a long line of philosophers (...) in the empiricist tradition ascribe to. The absurd stems from the fact that though life is without meaning and the universe devoid of purpose, man still longs for meaning, significance and purpose. Inspired by Bojack Horseman and Rick and Morty, two modern existentialist masterpieces, this paper explores the various alternatives that have been offered in how to respond to the absurd, or as Albert Camus puts it; the only “really serious philosophical problem” and concludes that the problem is compatible with a naturalistic world-view, thereby genuine and transcending existentialism. (shrink)

De la existențialismul lui Albert Camus și Sartre, la înlocuirea ritualului de excludere cu mecanismul disciplinar al lui Michel Foucault, o formă ideală de control al autorităților statului a tuturor formelor de ”dezordine”, și modernitatea virală și bioinformaționalism. Și despre ipoteza Gaia, dezvoltată de James Lovelock și susținută în actuala pandemie de Bruno Latour. DOI: 10.13140/RG.2.2.31276.49284.

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)

From the existentialism of Albert Camus and Sartre, to the replacement of the exclusion ritual with the disciplinary mechanism of Michel Foucault, an ideal form of control of state authorities of all forms of "disorder", and viral modernity and bioinformationalism. And about the Gaia hypothesis, developed by James Lovelock and supported in the current pandemic by Bruno Latour. DOI: 10.13140/RG.2.2.34967.80801.

What are we to make of works of art whose apparent point is to convince us of the meaninglessness and absurdity of human existence? I examine, in this paper, the attempt of Albert Camus to provide philosophical justification of art in the face of the supposed fact of absurdity and note its failure as such with specific reference to Sartre’s criticism. Despite other superficial similarities, I contrast Camus’s concept of the absurd with that of his ‘existentialist’ colleagues, (...) including Sartre, and suggest that the latter concept is more philosophically viable. I conclude that existential phenomenology consequently provides a more promising philosophical justification for artistic creation in the light of the more viable conception of absurdity. (shrink)

We provide a Camusian/Peircean notion of inquiry that emphasises an attitude of fallibilism and sustained epistemic dissonance as a conceptual framework for a theory of classroom practice founded on Deep Reflective Thinking (DTR), in which the cultivation of collective doubt, reflective evaluation and how these relate to the phenomenological aspects of inquiry are central to communities of inquiry. In a study by Fynes-Clinton, preliminary evidence demonstrates that if students engage in DRT, they more frequently experience cognitive dissonance and as a (...) result improve their ability to engage in further and more frequent DRT. Sustained intellectual progress occurs when the inquiry reaches a point whereby students can thoughtfully move between the position of disequilibrium (doubt) and equilibrium (belief) whilst understanding the impermanency of any fixed belief, which, in turn, enables reconstruction of thinking and appropriation of learning in the context of collaborative philosophical inquiry. (shrink)

De l'existentialisme d'Albert Camus et Sartre, au remplacement du rituel d'exclusion par le mécanisme disciplinaire de Michel Foucault, forme idéale de contrôle des autorités étatiques de toutes les formes de « désordre », et à la modernité virale et au bioinformationalisme. Et à propos de l'hypothèse Gaia, développée par James Lovelock et soutenue dans la pandémie actuelle par Bruno Latour. DOI: 10.13140/RG.2.2.20639.18089.

The question I seek to answer is what the relationship is between judgments of people’s lives as meaningful, on the one hand, and as worth living, on the other. Several in the analytic and Continental literature, including the likes of Albert Camus and Ludwig Wittgenstein, and more recently, Robert Solomon and Julian Baggini, have maintained that the two words mean the same thing, in that they have the same referents or even the same sense. My primary aim is (...) to refute such a position, and instead to provide conclusive reason to believe that, while a meaningful life shares many properties with a worthwhile one, they are not one and the same thing. Differentiating the meaningful from the worthwhile is essential for making accurate and complete appraisals of the value of people’s lives; they are distinct aspects of a good life, with both being necessary for the best one. (shrink)

Abstract The purpose of this article is to analyze how the objects relations in an object-oriented ontology of Graham Harman occur and go on. We believe that the Harman concept is one of the main achievements of modern philosophy, it is allows us to get a keys to solve the problem of objectivity as such, to gain access to an object uncorrelated by the subject of knowledge. Basing on the presented scheme of the object, the author postulates the absence of (...) the subject and subject-object relations based on correlations, thereby solving the problem of objectivity in a radical way. However, Harman's object-oriented ontology does not explain how the relationship between uncorrelated objects occurs. To solve this problem, it is necessary to find a description of the mechanism of interaction between objects in which the object remains real, i.e. uncorrelated, and at the same time sensual - accessible to perception and interaction. To describe the mechanism of objects interaction we turn to the concept of deconstruction of Jacques Derrida. The application of deconstruction to the analysis of the relationships between objects in Graham Harman`s object-oriented ontology allows us to “deabsolute” correlationism in its status as the only possible way of relations between objects and, at the same time, keep it as a mean of how objects interact. To explain how such objects exist, we have developed our own method for describing these relationships. We have developed a method that allows us to substantiate how the accessible-not accessible nature of the object is possible. We find a logical explanation of the nature of the relationship between objects in the Albert Camus`s philosophy, who, in turn, builds his own method on one of Aristotle`s aporias. Using this method, we came to the conclusion that correlations necessarily arise during the objects interactions, which allows them to manifest themselves as accessible. But at the same time, the existence of objects by themselves is carried out without correlations. Correlations are the condition for the appearance of a sensual object, but with the existence of real objects "in themselves", correlations are not possible. The method we propose shows that the relationship of objects is an inextricable duality of the sensual and real object, which manifests itself in their knowable-not knowable nature. Using this method in the study of nature of interaction between objects in an Harman`s object-oriented ontology gives an opportunity for a more profound understanding of the problem of objectivity as such. This issue requires more further work and discussion. It is worth mentioning that neither Harman, nor Derrida, nor Camus gave an explanation of how accessible-not accessible, that is, nondual objects, are possible. Their ideas postulated the need for such nature of objects (or knowledge about them, in the case of Camus), however, we have no mechanism explaining how such objects should exist, move, and function. So we made this mechanism. Its creation finally allowed not only to postulate non-duality, but also to explain how it is possible. (shrink)

In this essay, I will look closer at the death of the French philosopher Gilles Deleuze, who committed suicide in 1995. I will scrutinize his death in concordance with his philosophical thoughts, but frame my gaze within Albert Camus’ well-known opening- question from The Myth of Sisyphus: “Judging whether life is worth living amounts to answering the fundamental question of philosophy” (Camus, 2005:1).

This paper will address René Girard’s critique of the “humanization of nothingness” in modern Western philosophy. I will first explain how the “desire for death” is related to a phenomenon that Girard refers to as “obstacle addiction.” Second, I will point out how mankind’s desire for death and illusory will to self-divinization gradually tend to converge within the history of modern Western humanism. In particular, I will show how this convergence between self-destruction and self-divinization gradually takes shape through the evolution (...) of the concept of “the negative” from Hegel to Kojève, Sartre and Camus. Finally, we shall come to see that in Girard’s view “the negative” has tended to become an ever-preoccupying and unacknowledged symptom of mankind’s addiction to “model/obstacles” of desire. (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)

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)

O scurtă retrospectivă a virusul COVID-19 care a cauzat actuala pandemie, a cilului său de viață și a istoriei sale. Reacții, măsuri și efecte ale pandemiei COVID-19. O prezentare a diverselor abordări filosofice, cu accent pe filosofia morții, ecopsihanaliză, și apel la filosofiile lui Sigmund Freud și Albert Camus. DOI: 10.13140/RG.2.2.17900.59528.

Lucrarea debutează cu o retrospectivă a dezbaterilor privind originea vieții: virusul sau celula? Virusul are nevoie de celulă pentru replicare, în schimb celula este o formă mai evoluată pe scara evoluționistă a vieții. În plus, studiul virușilor ridică întrebări conceptuale și filozofice presante despre natura lor, clasificarea lor, și locul lor în lumea biologică. Subiectul pandemiilor este abordat pornind de la existențialismul lui Albert Camus și Sartre, înlocuirea ritualului de excludere cu mecanismul disciplinar al lui Michel Foucault, și (...) despre ipoteza Gaia, dezvoltată de James Lovelock și susținută în actuala pandemie de Bruno Latour. În continuare sunt evidențiate dimensiunile sociale ale pandemiilor, legătura lor cu încălzirea globală care a dus la o creștere a bolilor infecțioase, și despădurirea unor zone întinse, care au determinat virușii să migreze din zona lor nativă („rezervorul” lor). Etica pandemiilor este abordată din mai multe puncte de vedere filosofice, din care cel mai important într-o criză de asemenea dimensiuni globale este utilitarismul care presupune maximizarea beneficiilor pentru societate în conflict direct cu viziunea obișnuită (kantiană) privind respectul față de persoane ca indivizi. După o retrospectivă a virusul COVID-19 care a cauzat actuala pandemie, a ciclului său de viață și a istoriei sale, cu accent pe filosofia morții, este discutat conceptul de bioputere dezvoltat inițial de Foucault, cu referire la practica statelor naționale moderne de control al populațiilor și dezbaterea generată de Giorgio Agamben care afirmă că ceea ce se manifestă în această pandemie este tendința crescândă de a folosi starea de excepție ca o paradigmă normală de guvernare. O altă abordare de interes și foarte dezbătută este cea generată de lucrările lui Slavoj Žižek, care afirmă că actuala pandemie a dus la falimentul actualului capitalism ”barbar”, întrebându-se dacă nu cumva drumul pe care îl va lua omenirea este un neo-comunism. Un alt efect negativ important este desocializarea, cu concluzia unor filosofi că nu putem exista independent de relațiile noastre cu ceilalți, că umanitatea unei persoane depinde de umanitatea celor din jurul ei. Ultima secțiune este dedicată previziunilor despre cum va arăta lumea după pandemie, existând deja semne ale unei schimbări de paradigmă, inclusiv dispariția bruscă a ideologiei legate de „ziduri”: o tuse a fost suficientă pentru a face dintr-o dată imposibilă evitarea responsabilității pe care fiecare individ o are față de toate ființele vii pentru simplul fapt că este parte a acestei lumi, și a dorinței de a fi parte a ei. Întregul este întotdeauna implicat în parte, pentru că totul este, într-un anumit sens, în tot și în natură nu există regiuni autonome care să constituie o excepție. Pandemia COVID-19 pare să restabilească supremația care a aparținut cândva politicii. Una din virtuțile virusului este capacitatea acestuia de a genera o idee mai sobră de libertate: a fi liber înseamnă a face ceea ce trebuie făcut într-o situație specifică. -/- CUPRINS: -/- Abstract Introducere 1 Viruși 1.1 Ontologia 2 Pandemii 2.1 Dimensiuni sociale 2.2 Etica 3 COVID-19 3.1 Biopolitica 3.2 Neocomunism 3.3 Desocializarea 4 Previziuni Bibliografie -/- DOI: 10.13140/RG.2.2.27611.39205 . (shrink)

"I tried to find out for myself, from the start, when I was a child, what was right and what was wrong-because no one around me could tell me. And now that everything is leaving me I realize I need someone to show me the way and to blame me and praise me, by right not ofp ower but ofa uthority, I need my father." -Albert Camus, The First Man.

A brief retrospective of the COVID-19 virus that caused the current pandemic, its life cycle and its history. Reactions, measures and effects of the COVID-19 pandemic. A presentation of various philosophical approaches, with an emphasis on the philosophy of death, eco-psychoanalysis, and appeal to the philosophies of Sigmund Freud and Albert Camus. DOI: 10.13140/RG.2.2.14848.25608.

Dylan Dog, l’Indagatore dell’Incubo (the nightmare investigator), lives and works at 7 Craven Road in London. The comic book character is English, but he was created in Italy by Tiziano Sclavi in 1986, and it is still published today monthly. Dylan had enormous success, not only in Italy but worldwide. His job is to investigate, together with his assistant, Groucho, the paranormal, the irrational, the nightmare that can assume different forms and aspects. Dylan fights against all types of monsters: vampires, (...) zombies, werewolves, witches, even against Death itself. However, the horror that he faces is not always paranormal. The monsters are often extremely human. Maybe that is the reason why Dylan remains extremely skeptical and rational. Everything in Dylan Dog’s world revolves around the absurd, the chaos without explanation, without sense, and the need to find meaning in it. This chaos can take different forms: the horror that Dylan fights, but also the satirical and nonsense humor of Groucho. This irrational dimension manifests itself also through Dylan’s love and sexual life: in almost every story, Dylan falls in love with a different woman, who usually will die or will break his heart. Love and sex are strongly connected with horror and death in Dylan Dog’s narrative: they are irrational forces, from which it is not possible to escape. The purpose of this essay is to analyze the irrational and fearful dimension in Dylan Dog: l’orrore, as he calls it, but also its connection to sexuality and the comic relief provided by Groucho. This chaotic and monstrous reality will be analyzed mainly—but not only—through the Nietzschean concepts of Apollonian and Dionysian related to the concept of absurd as described by Albert Camus. In this frame, the analysis of René Girard’s Violence and the Sacred will also be helpful. Violence is an irrational and uncontrollable force, and its manifestation is tightly linked with the horror and the monstrous reality that it unveils. (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)

In his 1968 poetry collection „Fadensonnen“, Paul Celan offers a hermetic blend of existentialism and mysticism, which is unusual in two respects. Firstly, the European philosophy of existence, especially with its proponents Jean-Paul Sartre, Albert Camus and Martin Heidegger, had gone to great lengths to criticize and delegitimize the Abrahametic religions, for the concept of god seemed to be an obstacle to humanity in pursuit of its own humanization. Secondly, in the aftermath of the holocaust, the idea of (...) man wanting to merge with a god that had not prevented this cruelty from happening had lost much of its plausibility. Despite these two objections, Celan's poems address the struggle of togetherness in a world that negates the mere possibility of otherness, trying to salvage the unique identity and dignity of the other. With this in mind, the modus operandi of his poems is that of a butcher: Whatever has previously been alive – before the Shoah – now has to be stripped bare of its layers of individual and collective history, has to become less than body and flesh. In this way, the poems' inherent pain and misery transform the reader into a nobody, for only a nobody has got the prerequisites to encounter other people unbiasedly in their unique wholeness. Within this space of encounter, only the reminiscence of body and sexuality exists, commemorating the other, so that radical corporeality seems to be the prerequisite for togetherness. In this ahistorical sphere there is no room for a god that permitted the holocaust, redefining mysticism as the connection between men instead of one between man and god. Celan's poems act as a catalyst, for they exclude god from the spheres of man, making poetry a memorial site to the dead and the ones living in pain. This way, the poems are trying to save Eros (in the sense of creaturely love) from being mutilated by the crimes of European history while at the same time aiming at rehabilitating mankind in a post-holocaust world. (shrink)

Une brève rétrospective du virus COVID-19 qui a causé la pandémie actuelle, son cycle de vie et son histoire. Réactions, mesures et effets de la pandémie COVID-19. Une présentation des diverses approches philosophiques, avec un accent sur la philosophie de la mort, l'écopsychanalyse, et un appel aux philosophies de Sigmund Freud et Albert Camus. DOI: 10.13140/RG.2.2.35853.36328 .

Throughout the course of this paper I build upon the foundations of William Desmond’s philosophy in order to develop a rebuttal towards the nihilistic consequences brought about by many modern thinkers, for example: Albert Camus. These nihilistic consequences seem to play a significant role in the drastic increase of anxiety and depression seen throughout our current epoch. Ultimately, philosophies such as that of Camus cannot avoid this fall into nihilism. Nevertheless, these ramifications seem to stem from a (...) misinterpretation of Camus’ notion of the ‘Absurd’. Thus, this confrontation with the absurd determines whether or not we can escape the consequences of nihilism that can be found throughout modernity. (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)

Evil is an unpleasant reality which every cultural civilization grapples with. It is at the centre of the existentialist discourse, due to the fact that, in their view, it causes meaninglessness in human existence. In Yorùbá intellectual tradition, there are prescribed ways by which evil can be suppressed, including sacrifice (ẹbọ), good character (ìwà pẹ ̀lẹ ́) and inner head (Ori). However, these measures have certain fundamental implications when considered critically through the lens of existentialism. This is because, on a (...) closer examination, they are ultimately ineffective in the light of the reality of some higher forces, namely the Ajogun, headed by the Witches. These forces are believed to be irredeemably evil, because they have the power to render any of those measures impotent. This power, however, is believed to have been given to them by Olodumare. Accordingly, evil becomes what human beings cannot conquer, but have to live with. Consequently, we recommend, following Albert Camus, that human beings learn to live with the reality of evil, like the stone of Sisyphus. This is because any human attempt to take evil out of existence, by appealing to those measures, amounts only to Kierkegaardian “leap of faith”, which Albert Camus describes as a “philosophical suicide.” We substantiate the above claims by critically engaging some verses of Ifá which is believed to be the backdrop of Yorùbá philosophy. (shrink)

The paper begins with a retrospective of the debates on the origin of life: the virus or the cell? The virus needs a cell for replication, instead the cell is a more evolved form on the evolutionary scale of life. In addition, the study of viruses raises pressing conceptual and philosophical questions about their nature, their classification, and their place in the biological world. The subject of pandemics is approached starting from the existentialism of Albert Camus and Sartre, (...) the replacement of the exclusion ritual with the disciplinary mechanism of Michel Foucault, and about the Gaia hypothesis, developed by James Lovelock and supported in the current pandemic by Bruno Latour. The social dimensions of pandemics, their connection to global warming, which has led to an increase in infectious diseases, and the deforestation of large areas, which have caused viruses to migrate from their native area (their "reservoir") are highlighted below. The ethics of pandemics is approached from several philosophical points of view, of which the most important in a crisis of such global dimensions is utilitarianism which involves maximizing benefits for society in direct conflict with the usual (Kantian) view of respect for people as individuals. After a retrospective of the COVID-19 virus that caused the current pandemic, its life cycle and its history, with an emphasis on the philosophy of death, the concept of biopower initially developed by Foucault is discussed, with reference to the practice of modern states of control of the populations and the debate generated by Giorgio Agamben who states that what is manifested in this pandemic is the growing tendency to use the state of emergency as a normal paradigm of government. An interesting and much debated approach is the one generated by the works of Slavoj Žižek, who states that the current pandemic has led to the bankruptcy of the current "barbaric" capitalism, wondering if the path that humanity will take is a neo-communism. Another important negative effect is desocialization, with the conclusion of some philosophers that we cannot exist independently of our relationships with others, that a person's humanity depends on the humanity of those around him. The last section is dedicated to forecasting what the world will look like after the pandemic, and there are already signs of a paradigm shift, including the sudden disappearance of the "wall" ideology: a cough was enough to make it suddenly impossible to avoid the responsibility that every individual has it towards all living beings for the simple fact that he is part of this world, and of the desire to be part of it. The whole is always involved in part, because everything is, in a sense, in everything and in nature there are no autonomous regions that are an exception. The COVID-19 pandemic seems to restore the supremacy that once belonged to politics. One of the virtues of the virus is its ability to generate a more sober idea of ​​freedom: to be free means to do what needs to be done in a specific situation. -/- CONTENTS: -/- Abstract Introduction 1 Viruses 1.1 Ontology 2 Pandemics 2.1 Social dimensions 2.2 Ethics 3 COVID-19 3.1 Biopolitics 3.2 Neocommunism 3.3 Desocialising 4 Forecasting Bibliography -/- DOI: 10.13140/RG.2.2.31039.74405/1. (shrink)