By Mark Orme, Lissa Lincoln, Christine Margerrison
Within the first decade of a brand new century, this selection of bilingual essays examines Camus's carrying on with attractiveness for a brand new new release of readers. In an important respects, the area Camus knew has replaced past all reputation: decolonization, the autumn of the Iron Curtain, a brand new period of globalization and the increase of recent types of terrorism have all provoked a reconsideration of Camus's writings. If the Absurd as soon as struck a selected chord, Meursault is as most probably now to be visible as a colonial determine who expresses the alienation of the settler from the land of his start. but this expanding orthodoxy should also take account of the explanations why a brand new neighborhood of Algerian readers have embraced Camus. both, as soon as remoted as a result of his anti-Communist stance, Camus has been taken up through disaffected individuals of the Left, confident that new sorts of totalitarianism are in a foreign country on the earth. This quantity, which levels from interpretations of Camus's literary works, his journalism and his political writings, can be of curiosity to all these looking to reconsider Camus's paintings within the gentle of moral and political matters which are of continuous relevance this present day
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Extra info for Albert Camus in the 21st century : a reassessment of his thinking at the dawn of the new millennium
I A successful conference is a conference that generates exchange, dialogue; hence a paper this early in the proceedings should open the door to questions for further discussion, rather than seek deceptive satisfaction in the closure provided by a format in which it asks the questions, and seeks to provide answers. In adopting such an approach, I feel I am adhering to the shape of the text I wish to take as a case study, Camus’s last text, Le Premier Homme: incomplete, disjointed even, because unfinishable.
Its importance, and its continued relevance, lie in the fact that it exemplifies the need to forget at the same time as it proposes (i) a meditation on the processes of both forgetting and remembering, and (ii) a reflection on the materials that memory and its companion, history, have access to. In other words, on their function and their interaction in a politically sensitive context. What is selected for narration in Camus’s evocation of the disadvantaged colonial under-class and a world on the threshold of its historical 50 Peter Dunwoodie disappearance (“l’histoire de la fin d’un monde” (PH, 282) ), just like what is “forgotten”, is thus an application of the alternative imperative driving that reflection: not merely conventional values like the “fidelity” of memory or the “truth” of history, but the issue of the use of that material within a specific political project.
Peut-être nous sommes-nous entre-temps, et ce serait là la différence, plus ou moins habitués à leur expérience et avons-nous appris à vivre avec elle, peut-être même acceptons-nous qu’elle est indépassable et qu’elle fait partie de notre réalité. Il est possible que nous la vivions moins intensément ou moins tragiquement, puisqu’elle est devenue partie de notre paysage. Peut-être est-elle moins difficile à supporter du fait précisément qu’elle a été formulée, mise en mots et, sinon domptée, du moins clarifiée.