Works, such as the novels The Stranger (1942) and The Plague (1947), of Algerian-born French writer and philosopher Albert Camus concern the absurdity of the human condition; he won the Nobel Prize of 1957 for literature.
Origin and his experiences of this representative of non-metropolitan literature in the 1930s dominated influences in his thought and work.
Of semi-proletarian parents, early attached to intellectual circles of strongly revolutionary tendencies, with a deep interest, he came at the age of 25 years in 1938; only chance prevented him from pursuing a university career in that field. The man and the times met: Camus joined the resistance movement during the occupation and after the liberation served as a columnist for the newspaper Combat.
The essay Le Mythe de Sisyphe (The Myth of Sisyphus), 1942, expounds notion of acceptance of the absurd of Camus with "the total absence of hope, which has nothing to do with despair, a continual refusal, which must not be confused with renouncement - and a conscious dissatisfaction." Meursault, central character of L'?tranger (The Stranger), 1942, illustrates much of this essay: man as the nauseated victim of the absurd orthodoxy of habit, later - when the young killer faces execution - tempted by despair, hope, and salvation.
Besides his fiction and essays, Camus very actively produced plays in the theater (e.g., Caligula, 1944).
The time demanded his response, chiefly in his activities, but in 1947, Camus retired from political journalism.
Doctor Rieux of La Peste (The Plague), 1947, who tirelessly attends the plague-stricken citizens of Oran, enacts the revolt against a world of the absurd and of injustice, and confirms words: "We refuse to despair of mankind. Without having the unreasonable ambition to save men, we still want to serve them."
People also well know La Chute (The Fall), work of Camus in 1956.
Camus authored L'Exil et le royaume (Exile and the Kingdom) in 1957. His austere search for moral order found its aesthetic correlative in the classicism of his art. He styled of great purity, intense concentration, and rationality.
Camus died at the age of 46 years in a car accident near Sens in le Grand Fossard in the small town of Villeblevin.
Ceea ce vreau s? spun: C? po?i avea – f?r? a fi romantic – nostalgia unei s?r?cii pierdute. Un num?r de ani tr?i?i ?n mizerie s?nt suficien?i ca s? construiasc? o sensibilitate. ?n acest caz anume, sentimentul bizar pe care-l are fiul fa?? de mama sa constituie ?ntreaga lui sensibilitate. Manifest?rile acestei sensibilit??i ?n cele mai diferite domenii se explic? ?ndeajuns prin amintirea latent?, material al copil?riei (un clei care se lipe?te de suflet). De aici, pentru cel care-?i d? seama, provine recuno?tin?a ?i, deci, con?tiin?a ?nc?rcat?. Tot de aici, ?i prin compara?ie, dac? mediul e altul, provine ?i sim??m?ntul bog??iilor pierdute. Celor boga?i, cerul, d?ruit ?n plus fa?? de ceea ce au, li se pare un dar firesc. Pentru s?raci, cerul ??i recap?t? caracterul de har infinit. Con?tiin?a ?nc?rcat? impune m?rturisirea. Opera e o m?rturisire, trebuie s? depun m?rturie. N-am dec?t un lucru de spus, dac? m? uit bine. ?n aceast? via?? de s?r?cie, printre oameni umili sau vanito?i, am atins mai mult ca sigur ceea ce mi se pare a fi sensul adev?rat al vie?ii. Operele de art? nu vor fi niciodat? suficiente. Arta nu e totul pentru mine. M?car de ar fi un mijloc.
"Quale altro significato si può dare ai nostri giorni, se non questo […]: una nascita e una morte, e fra le due la bellezza e la melanconia." (p. 158, vol. I)
"L’uomo di per sé non è nulla. ? solo una possibilità infinita. Ma è il responsabile infinito di questa possibilità." (p. 131, vol. II)
"Nel giorno breve che ti è concesso, riscalda e illumina, senza deviare dalla tua rotta." (p. 291, vol. III)
XVI.Louis’nin ?lümü. Kendisini idama g?türen adamdan kar?s?na bir mektup teslim etmesini rica eder. Cevap: “Benim g?revim sizin i?lerinize ko?mak de?il. Benim g?revim sizi idama g?türmek.”
Albert Camus -Günlükler 1935-1959 ( Carnets I-II-III )
Recopilación dos diarios de Camus. Moi interesante ver como vai desenvolvendo algunhas das súas grandes obras: O extranxeiro, A peste, Un hombre rebelde... Tamén hai opinións persoais, proxectos de novelas, comentarios sobre outros escritores (como Dostoievski, Joyce, Proust...) e momentos da súa vida persoal. Ao lelo, dan ganas de ler obras que aínda non lin del e reler outras.
El acercamiento a la filosofía desde los cuadernos, los diarios y las cartas siempre me es interesante. Se nota que eran un material de trabajo -por la cantidad de fragmentos que hay de su obra narrativa y teatral-, un cuaderno para hacer filosofía -por la recopilación de citas, referencias y menciones a otros autores de la tradición-, y un diario personal en el último de los casos -por los pasajes donde anotaba sus viajes, vivencias, e intercambios-. En general, no podía no leer los Carnets, no quería que se acabaran, y volveré sobre ellos.
Bedste godnatl?sning, s? meget modl?shed og samtidig s? meget livsgnist! Evigt sympatisk og eftert?nksom
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“Er jeg lykkelig eller ulykkelig? Sp?rgsm?let har kun ringe betydning. Jeg lever med s?dan en iver.”
“Den st?rste besparelse, man kan foretage sig inden for t?nkningen, er at acceptere verdens uforst?elighed - og at interessere sig for mennesket.”
“Der ligger et svagt lys over vandets overflade, men man fornemmer det m?rke dyb. S?dan er havet, og derfor elsker jeg det! En appel om liv og en opfordring til d?d.”
“Om morgenen i Tipasa duggen over ruinerne. Verdens yngste friskhed over det ?ldste den har. Deri ligger min tro og efter min mening kunstens og livets princip.”
c'est un ensemble d'ouvrages qui se rapprochent parfois du journal intime, surtout le dernier tome. Apportant des éléments bien précieux pour conna?tre encore mieux cet écrivain, il parle de son entourage, sa vie autant qu'ecrivain qui a aussi une ville de famille... On peut sentire la présence de son ésprit, plus précisément l'état de son esprit. On y trouve beaucoup de réflexions tant?t optimistes, tant?t amères. ? Si l'homme échoue à concilier la justice et la liberté, alors il échoue à tout, ?