Dissertations / Theses on the topic 'Albert'

This thesis examines Albert Speer, minister of armaments in Germany during World War II, and the charges against him during the trial of the major war criminals in Nuremberg, Germany, 1945-1946. This thesis portrays Albert Speer as a good man enticed by the power of his position and subsequently playing a role in the crimes of the Third Reich. Primary sources included the Nuremberg Trial proceedings published by the International Military Tribunal and Speer's books, Inside the Third Reich; Spandau: The Secret Diaries; and Infiltration. The thesis has six chapters: preface, biography, the charges against Speer, the verdict, the aftermath concerning his time in Spandau Prison, and a conclusion. Albert Speer accepted his guilt, yet came to resent his imprisonment and questioned the validity of the trial.

Cette thèse propose une lecture de la création de Camus sous l’angle démocratique et antitotalitaire pour démontrer l’aspect innovant de sa pensée qui est plus que jamais d’actualité. Cent ans après la naissance de l’écrivain prix Nobel de littérature, son œuvre ouvre de nouveaux axes de réflexion à mi-chemin entre la philosophie, la science-politique et la littérature. Après une introduction générale aux concepts de totalitarisme et de démocratie, nous passerons plus spécifiquement à l’étude de l’auteur. Nous esquisserons un portrait de Camus en tant que journaliste engagé dans les batailles de son temps et nous aborderons une analyse comparative entre Camus et les intellectuels ou penseurs qui ont influencé sa pensée démocratique et inspiré sa réflexion sur les totalitarismes. Ensuite, nous focaliserons l’analyse sur certaines œuvres : les essais journalistiques (Actuelles I, II, III) et philosophiques (L’Homme révolté) ; les œuvres de fiction, comme La Peste, ainsi que trois pièces de théâtre Caligula, Les Justes et L’État de siège. En nous basant sur ce choix d’œuvres, nous examineront la technique adoptée par Camus pour transférer dans la fiction le débat démocratique contre les totalitarismes de son époque. Enfin, nous étudierons du point de vue lexicologique les termes de totalitarisme et démocratie, ainsi que tous leurs synonymes entrant dans le champ sémantique du débat antitotalitaire
This thesis proposes a reading of Camus’ creation from the democratic and antitotalitarian perspective in order to demonstrate the innovative aspect of his thought, which is more actual than ever. One hundred years after the birth of the writer, Nobel Prize for literature, his work opens up new lines of thought halfway between philosophy, science, politics and literature. After a general introduction to the concepts of totalitarianism and democracy, we will proceed to the more specifically study of the author. We sketch a portrait of Camus as a committed journalist in the battles of his time and we will discuss a comparative analysis between Camus and intellectuals and thinkers who influenced his democratic thought and inspired his thinking on totalitarianism. Then, we will focus the analysis on certain works : journalistic (Actuelles I, II, III ) and philosophical essays (The Rebel), fictional works, such as The Plague, and three plays Caligula, The Just Assassins and The State of siege. Based on this selection of works, we will examine the technique adopted by Camus to transfer into the fictional the democratic debate against the totalitarianism of his era. Finally, we will study from a lexicological point of view the terms of totalitarianism and democracy, and all their synonyms within the semantic field of anti-totalitarian debate

This essay examines The Myth of Sisyphus (1942), The Plague (1947), and The Rebel (1951). I have chosen these three works in an effort to triangulate Camus' intellectual development, his persistent interest in literature, and the historical background against which these take place. Sisyphus and The Rebel are Camus' two major philosophical essays. The former belongs to Camus' "First Cycle" of writing, in which he focused on the concept of "the Absurd"; the latter belongs to Camus' "Second Cycle", in which he focused on the theme of "revolt." Camus wrote The Myth of Sisyphus during the Nazi occupation of Paris, an event which he witnessed and experienced and which also served as the inspiration for his novel The Plague. Though the two books are connected by this event, thematically The Plague belongs to Camus' Second Cycle. For this reason, it serves as an illuminating work, demonstrating the importance of fiction to Camus' intellectual process and his particular way of thinking. From Sisyphus to The Rebel, Camus' argument for fiction comes down to the opportunity it offers to describe life rather than explain it. In his opinion, the best novelists exhibit the very philosophy that should generally govern human behavior. These novelists limit themselves to what they can be sure of – namely, their personal experiences; they patiently explore what it is like to live on this earth – how human beings deal with each other, manage their environments, and cope with the often tremendous complexities of life. Not co-incidentally, Camus' fiction took special interest in death of all kinds – from murder to sickness to suicide – in order to remind his readers that life is finite. According to Camus, writing fiction is a way to keep the reader conscious of the human condition, because good fiction plainly exhibits life as it is and death as our common fate. By reflecting on good literature, readers may form their own life ethic.

Dissertação (mestrado)—Universidade de Brasília, Faculdade de Filosofia, 2010.
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Em nossa dissertação, procuramos pensar a ação a partir do itinerário filosófico de Albert Camus. A princípio, investigaremos as possibilidades da ação a partir da fratura entre o homem e o mundo, ao que Camus denomina absurdo. Ação que não pode redundar em suicídio filosófico ou físico, posto que esses são modos de trair a constatação da absurdidade da vida. A ação absurda não pode mais visar o absoluto e se fiar em valores transcendentes e absolutos. Ela tem que respeitar os limites agora descobertos: a relatividade e a ignorância humana frente ao futuro. Por isso, a atitude coerente ao absurdo é “viver mais”, “bater todos os recordes”, já que o homem tem apenas o presente. Mas tal atitude não pode fundamentar uma regra de conduta, não pode oferecer uma referência para a ação frente aos outros homens. A ação tem de ser pensada a partir da revolta, pois ela pode nos revela um valor, em nome do qual o homem pode agir. Pela revolta, o homem toma consciência de um valor comum a todos os homens; é a descoberta de uma natureza humana. É a fidelidade a essa natureza que deve conduzir e limitar a ação revoltada. ________________________________________________________________________________________ ABSTRACT
In this dissertation we try to think actions from the philosophic itinerary of Albert Camus. At first, we investigate the possibilities of actions from the rupture of man and the world, what Camus denominates 'absurd'. Actions that cannot end in some kind of philosophical ou physical suicide, given that those are ways of betraying the verification of the absurdity of life. The absurd action cannot look for the absolute nor trust transcendental and absolute values. It has to respect the limits now discovered: human relativity and ignorance in face of the future. As a result, a coherent attitude towards the absurd is to 'live more', 'brake all records', given that man has only the present. But such an attitude cannot found a rule of conduct, cannot offer a reference for an action with regard to other men. The action has to be thought from the revolt itself, since it can reveal us a value, in the name of which man can act. By the revolt man becomes aware of a common value to all men; and that is the discovery of a human nature. It is the fidelity with respect to that nature that has to conduct and limit the revolted action.

A revolta se situa no pensamento de Albert Camus como uma das atitudes fundamentais da existência humana. Do movimento de negação, com o qual a revolta é geralmente identificada, Camus resgata sua tensão regeneradora. Analisa o estabelecimento de limites às situações opressivas como um processo criador e ressalta, em tal conduta, o carater gerador de valores.

Habilitationsschrift--Fachbereich Kultur- und Geowissenschaften--Universität Osnabrück, 1994.
Contient une liste des oeuvres d'Albert Krantz, de leurs éditions et sources. Bibliogr. p. 542-334. Index.

Thesis advisor: Franklin Harkins
Thesis advisor: Stephen Brown
Thesis (STL) — Boston College, 2017
Submitted to: Boston College. School of Theology and Ministry
Discipline: Sacred Theology

Ce travail de recherche est centré sur une étude culturelle, thématique et linguistique des œuvres d'Albert Cossery afin de découvrir sa philosophie dans la vie et son idéologie bien qu'il se défende d'en avoir une. Cet écrivain égyptien a choisi de vivre à Paris et d'écrire en langue française, ce qui lui permet d'étendre son œuvre à un public plus large, car il cherche à comprendre l'homme universel et la vie dans l'univers. Nous découvrons pourquoi et comment Cossery met la paresse comme mode de vie qui, en fait, n'est qu'une forme d'oisiveté indispensable à la réflexion. La lecture de ces œuvres nous mène à dire que cet auteur n'a jamais écrit qu'un seul livre : des fables orientales, de petits manuels de savoir-vivre où des mendiants philosophes tournent en dérision l'absurdité du monde et la tyrannie des puissants. Son œuvre est donc une comédie humaine, ses personnages vivent dans un monde de violence et il les regarde avec dérision ; mais il les dépeint sans haine
This research task is centered on a cultural, thematic and linguistic study of Albert Cossery's novels in order to discover his philosophy in the life and his ideology although he denied to have one of them. This Egyptian writer chose to live in Paris and to write in French language what enables him to extend his novels to a larger audience because he seeks to understand the universal man and the life in the universe. We discover why and how Cossery puts the idleness like way of life which, in fact, is only one form of essential idleness to the reflexion. The reading of these novels carries out us to say that this author wrote only one book : Eastern fables, small handbooks of good manners where philosophical beggars turn in derision the nonsense of the world and the tyranny of the powerful ones. His novels is thus a human comedy, his characters live in a world of violence and he looks them with derision; but he depicts them without hatred

L’étude de l’itinéraire politique d’Albert Treint, membre du Comité pour l’adhésion à la troisième Internationale, dirigeant du PCF puis militant au sein de l’opposition communiste et de la gauche antistalinienne, apporte un éclairage nouveau sur l’histoire du mouvement ouvrier français de l’entre-deux guerres. Il participe à la création du parti communiste français et joue un rôle de premier plan dans la bolchevisation, période de l’histoire du parti qui apparaît à bien des égards constitutive de sa spécificité. Enfin, il intervient dans les polémiques et les luttes politiques qui caractérisent les premières années du mouvement trotskyste français. Son action politique a fréquemment été résumée aux trois années (1923-1925) au cours desquelles il exerce les plus hautes fonctions dans le PCF et applique la politique dictée par la direction de l’Internationale Communiste. Il laisse l’image d’un dirigeant autoritaire menant d’une main de fer la bolchevisation et la chasse aux opposants « trotskystes » et « droitiers ». Son engagement au sein de l’opposition de gauche et sa production militante consacrée à l’évolution du mouvement communiste et à la recherche d’une nouvelle voie révolutionnaire témoignent d’une réflexion novatrice et non-conformiste jusqu’ici méconnue. En raison de l’absence d’archives personnelles, notre démarche privilégie l’analyse du discours politique à travers notamment les articles et les brochures. Elle révèle une personnalité complexe et ambivalente, que l’on ne peut résumer par la caricature du « capitaine Treint », popularisée par ses détracteurs
The study of Albert Treint’s political career, member of the committee for the support of the third international, leader of the French Communist Party and militant of the communist opposition within the anti-stalinist left, brings a new light of the history of the French labour movement in the interval war period. He contributed to the creation of the French Communist Party and played a major role in its bolshevisation process, period of the history of that party which appears with many regards as a clear component of its specificity. He also played a prominent part in the controversies and the political struggles which characterize the first years of the French trotskyst movement. His political action was frequently reduced to the three years (1923-1925) during which he occupied the highest positions in the French Communist Party, applying the policy dictated by the direction of the Third international. He has left the image of an authoritative leader ruling his party with a iron hand according to that row model which was the Russian Communist Party, leading witch hunt campains against the “trotskyst” and “rightlys” opponents. His commitment to the opposition led by the left and its militant production devoted to both the evolution of the communist movement and the search of new revolutionary ways reflects an innovative and nonconformist thought ignored up to now. Our approach singles out the analysis of his political speeches particularly through articles and booklets because of the absence of personal archives. It reveals a complex and ambivalent personality, which cannot be summarized by the caricature of “capitain Treint”, popularized by its detractors

This dissertation catalogues and examines Albert Camus's thematic repetitiveness as seen in his fiction and in how this repetitiveness relates to the world view presented in the so-called guillotine passage in his novel The Plague: that the world consists of scourges, victims, and an elusive third domain. A scourge can be an aggressor. It causes suffering and even death. The plague and other infirmities, both physical and mental, are aggressors. They are indiscriminate, merciless, and oftentimes deadly. Tyrants, too, are aggressors, some of which cling to the arbitrary, while others have a considerably more formal agenda. An aggressor can be metaphysical: the inner plague. Some aggressors, Like poverty and the climate, can also have a positive side to them. A scourge can also be an aggression--what the aggressor causes. They usually cannot be justified (existential separation, death, murder, execution, suicide), but some aggressions lead to enlightenment or positive change (exile, imprisonment, separation from loved ones). Yet one aggression, solitude of a certain kind, can actually be a desired and pleasant experience. Victims are the second domain. Camus focuses primarily on children, artists, clergy, judges and lawyers. The first three groups are presented in a balanced fashion, with emphasis on both the positive and the negative. Judges and lawyers are presented in a negative light, with only slight deviations. The third domain consists of true doctors (true friends) and peace/happiness, with true doctors--who are not necessarily doctors--contributing to the attainment of happiness or at least an improvement in circumstances. Light, the sea, other aspects of nature and sensual pleasures can also contribute to finding peace/happiness.

The aim of this thesis is to introduce a renowned French author Albert Camus and subsequently develop my own conclusion on one of his major works - The Stranger (1942). In the first part I introduce the personality of Albert Camus's in the context of philosophical history, literature and drama. I aim to explain the background of his life in the first part of the 20th century, particularly the influence of his origin in Algiers, at that time politically and culturally dominated by the French, in contrast with later residence in France itself. These influences promoted the principle of individuality in the work of Albert Camus and clearly directed him to his own interpretation of literary expression and existentialism. Further I outline the basic principles of this philosophy and I present his most important literary and dramatic works. More specifically I deal with the analysis of the novel The Stranger itself. The topic of next chapter is the presentation of Camus's selected work on the Czech as well as international stages and their specifications. In brief mention I present film adaptations as well. The second part goes in to analysing my own conclusions of The Stranger with a particular attention to the set design. This is closely related to the practical work of the thesis - designs of chosen scenes and scale models are included in the photographic documentation. I aim to explain how I use the actual text of the novel whilst adjusting its structure in relation to the stage design. Then I analyze in detail the various dramatic situations and scenes in terms of set design solutions. In short I present technical and lighting solutions of this production. Conclusion of this thesis refers to the contribution of Camus's work and its influence on the art scene of the 20th century.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Curso de Pós-Graduação em Literatura
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Tese (doutorado)- Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura.
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A tese "Albert Camus e a revolta marginal" identifica relações e intersecções entre o pensamento do escritor Albert Camus (1913-1960), sobretudo quanto ao que denominou "movimento de revolta", e textos da ficção brasileira contemporânea, marcados por representações do cotidiano nas periferias de grandes cidades.

Thèse (Ph.D.)--Université de Montréal, 1999.
Mode d'accès : Web Genre de fichier informatique: Monographie électronique en format HTML. Titre de l'écran-titre (visionné le 5 nov. 2002) Disponible à partir du catalogue en ligne des thèses soutenues à l'Université de Montréal. CaQTU CaQTU

Natural Language Processing is a field of Artificial Intelligence referring to the ability of computers to understand human speech and language, often in a written form, mainly by using Machine Learning and Deep Learning methods to extract patterns. Languages are challenging by definition, because of their differences, their abstractions and their ambiguities; consequently, their processing is often very demanding, in terms of modelling the problem and resources. Retrieving all sentences in a given text is something that can be easily accomplished with just few lines of code, but what about checking whether a given sentence conveys a message with sarcasm or not? This is something difficult for humans too and therefore, it requires complex modelling mechanisms to be addressed. This kind of information, in fact, poses the problem of its encoding and representation in a meaningful way. The majority of research involves finding and understanding all characteristics of text, in order to develop sophisticated models to address tasks such as Machine Translation, Text Summarization and Question Answering. This work will focus on ALBERT, from Google Research, which is one of the recently released state-of-the-art models and investigate its performance on the Question Answering task. In addition, some ideas will be developed and experimented in order to improve model's performance on the Stanford Question Answering Dataset (SQuAD), after exploring breakthrough changes that made training and fine-tuning of huge language models possible.

La Memoria Doctoral, como su título indica, se centra en el estudio de la vida del relevante jurista y canónigo del siglo XIII Pere Albert, y en el estudio de la obra que tradicionalmente se le atribuye y conoce con el nombre de las Commemoracions de Pere Albert. La Memoria se compone de dos bloques bien diferenciados: por una parte la reconstrucción del itinerario vital de Pere Albert y por otra el estudio del pensamiento jurídico contenido en las Commemoracions. El planteamiento de la tesis y su estructura obedece a la necesidad de buscar puntos de conexión entre la actividad judicial de Pere Albert y las Commemoracions, motivada por el problema que existe sobre la autoría de esta obra, y sobre la que después del estudio de las fuentes manuscritas, éstas no nos dan una respuesta definitiva. La Memoria doctoral se estructura de las siguientes partes: a modo de introducción, el planteamiento historiográfico y el estado actual de los estudios existentes sobre la vida de Pere Albert y las Commemoracions. Sigue la reconstrucción del itinerario vital de Pere Albert, a partir de las fuentes manuscritas recogidas en diversos archivos y bibliotecas. Previamente, la escasez de noticias sobre la vida de Pere Albert nos ha llevado a tratar cuestiones como sus orígenes, el problema de la homonimia o su signum, hasta hoy inédito. El criterio cronológico nos ha servido para llevar a cabo el seguimiento biográfico de Pere Albert, el cual nos ha permitido destacar las diferentes actividades que desarrolló tanto en el ámbito civil donde despunta su fecunda actividad como juez de causas feudales y su intervención en importantes asuntos diplomáticos, con la confianza constante de Jaime I y Ramón de Penyafort, así como en el ámbito eclesiástico, como miembro destacado de la Canónica Barcelonesa. Todo ello nos acerca a su perfil humano y psicológico, al mismo tiempo que nos descubre un jurista plenamente integrado en la órbita del derecho en el Principado. A continuación estudiamos el marco ideológico de la Commemoracions. Este extenso apartado se centra en la cuestión esencial de la organización de poderes que vive la Cataluña Bajo Medieval, poniéndose de manifiesto las tensiones que vive la época entre el poder de los señores feudales, decididos a mantener sus prerrogativas y privilegios, y el poder centralizador e integrador de princeps térrea como señor superior de la pirámide feudal. En este bloque analizamos, a partir del vocabulario utilizado, diversas cuestiones como la reafirmación del poder del Conde-rey y dentro del mismo, diversos apartados como el ascenso de su poder sobre el de los señores feudales, la distinción entre poder dominical-poder económico y poder dominical-poder jurisdiccional; las relaciones feudales en el nuevo contexto de conciencia de patria, así como el paso de la relación personal a la territorial hacia una concepción que evoluciona de la feudal de siervo hacia la más moderna de súbdito. A continuación analizamos la regulación jurídica del feudo desde la óptica de las Commemoracions y dentro del mismo, la distinción sociopolítica y económica entre la Catalunya Vella i la Catalunya Nova; la relación de dependencia personal y la figura del siervo así como las posturas de algunos feudistas de la época en que fueron redactadas las Commemoracions, sobre esta temática; el territorio: su naturaleza feudal y alodial; el feudo como realidad política y como realidad política y como realidad patrimonial, etc. En el siguiente apartado analizamos la centralizad del Princeps terrae, haciendo hincapié en la herencia romanística, y en su configuración a través de los conceptos Ius iurisdictionis, jurisdicción natural y razón de pública utilidad. Acaba el primer volumen de la Memoria con las conclusiones de la temática tratada. En un segundo volumen aportamos la relación de fuentes manejadas (las biográficas y las de la obra), la edición de los documentos.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Humanas, Departamento de Filosofia, Programa de Pós-Graduação em Filosofia, 2013.
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No discurso que se seguiu o Prêmio Nobel de Literatura em 1957, Albert Camus (1913 – 1960) apresenta a ideia que então justificava seu ofício. Ao se perguntar não apenas como o escritor deve agir, mas em busca de uma razão de ser da arte mesma, ele apresenta o que ele chama, então, de “o papel do escritor” (CAMUS, 1957, p.14). Na busca de uma compreensão aprofundada dessa expressão e do discurso, desenvolvemos, na presente dissertação, a exploração de algumas obras com valor estratégico na elaboração de um panorama da obra camusiana como um todo e, mais precisamente, do lugar que ocupa a arte no pensamento que lhe dá origem. Nesse sentido, o estudo das três ideias centrais do pensamento camusiano – o absurdo, a revolta e a justiça – foram feitas através de seus ensaios, peças e romances indistintamente. Com isso, definimos uma interpretação que desafia a leitura tradicional de sua obra ficcional como simples ilustração da não ficcional ou, por outro lado, que tome a obra não ficcional como mera explicação da obra ficcional. Definimos essa perspectiva como o “pensamento em imagens” e a tomamos como base para todo o trabalho. Começamos então uma análise do conceito de absurdo, por meio das obras O estrangeiro (1942) e O mito de Sísifo (1942), e, nelas, estudamos o conflito fundamental entre a sensibilidade humana e a indiferença do mundo. Em seguida, tratamos da ideia de revolta em Calígula (1944) e O homem revoltado (1951), e da necessidade do reconhecimento do outro no enfrentamento da condição absurda da existência humana. E, por fim, buscamos na peça Os justos (1949), um elemento que regule a revolta, impedindo que a justiça que ela pretende estabelecer não se configure no seu oposto. Definidas as bases teóricas desse pensamento, buscamos então entender como Camus posiciona o artista em tempos de crise. Nesse ponto, adentramos o discurso mesmo e buscamos compreender que sentido ele dá para arte em um mundo absurdo, como ele justifica a escrita em função da solidariedade encontrada no outro e em função de que valores tal prática deve se estabelecer. Em seguida, procedemos a um estudo de caso, assumindo a possibilidade da exploração de um caso ficcional, que focalizou o conto Jonas ou o artista no trabalho (1957), com o objetivo de ilustrar a tensão dessa posição a partir da perspectiva do artista. E, por fim, retornamos ao Mito de Sísifo e de Calígula, em busca de uma comparação das ideias apresentadas nesse discurso, feito no final da vida do autor, com as primeiras ideias desenvolvidas por ele acerca da arte e do seu papel no mundo, expressas nas obras inicialmente investigadas. Com esse percurso, esperamos enfim estabelecer uma leitura que faça justiça ao equilíbrio delicado exigido por essa ideia que Camus fazia do “papel do escritor”, a forma e as razões de seu engajamento forçoso em seu tempo e as condições que esse impõe. _______________________________________________________________________________________ ABSTRACT
In the speech that followed the Nobel Prize in Literature in 1957, Albert Camus (1913 – 1960) presents the idea that then justified his craft. When asking not only how the writer should act, but searching for a reason of being for art itself, he presents what he then called "the role of the writer" (CAMUS, 1957, p.14). In search of a deeper understanding of this expression and of the speech, we developed, in the present master dissertation, the exploration of some works with strategic value in developing an overview of Camus’s works as a whole and, more precisely, of the place of art in this thought from which it originates. In this sense, the study of the three central ideas of Camus thought – absurdity, revolt and justice – were made through his essays, plays and novels alike. This way we define an interpretation that challenges the traditional reading of his fiction as a simple illustration of non-fictional works or, on the other hand, that takes his nonfiction as mere explanation of his fictional works. We define this approach as “images thought” and took it as the basis for the whole of the present work. We then began an analysis of the concept of absurdity, through the works The Stranger (1942) and The Myth of Sisyphus (1942) and there studied the fundamental conflict between the human sensibility and the indifference of the world. Then we worked on the idea of revolt in Caligula (1944) and The Rebel (1951), and the necessity of recognizing the other in confronting the absurd condition of human existence. Finally we seek, in the play The Just Assassins (1949), an element that could regulate the revolt, preventing the justice it seeks to establish not become its opposite. Having defined the theoretical basis of this way of thinking, we seek to understand how Camus then places the artist in times of crisis. At this point we enter the discourse itself and seek to understand which sense it gives to art in an absurd world, how he justifies writing according to the solidarity found in the other and in which values such practice should establish itself. We have performed a case study, assuming the possibility of the exploration of a fictional case that focused in the short-story Jonas or the artist at work (1957) with the objective of illustrating the tension present in this position from the perspective of the artist. And, finally, we will return to The Myth of Sisyphus and Caligula, in search of a comparison between the ideas presented in this speech, given at the end of his life, and the first ideas he developed about art and its role in the world. In taking this course, we ultimately hope to establish a reading that would do justice to the delicate balance demanded by this idea that Camus made of the “role of the writer”, the form and reasons for his forcible engagement in his time and the conditions that comes with it. _______________________________________________________________________________________ RÉSUMÉ
Dans le discours qui a suivi le Prix Nobel de Littérature en 1957, Albert Camus (1913 – 1960) a présentée l'idée que justifie alors son métier. Lors de se demander non seulement comment l'écrivain doit agir, mais étant aussi à la recherche d'une raison pour l’art même, il présente ce qu'il appelait alors «le rôle de l'écrivain » (CAMUS, 1957, p.14). À la recherche d'une meilleure compréhension de cette expression et du discours, on a développée, dans la présente dissertation de Master, l'exploration des oeuvres ayant une valeur stratégique dans l'élaboration d'un aperçu de l’oeuvre de Camus dans son ensemble et, plus précisément, de la place de l'art dans la pensée qui l’origine. En ce sens-là , l'étude des trois idées centrales de la pensée de Camus – l'absurdité, la révolte et de la justice – fut réalisé à travers ses essais, ses pièces de théâtre et ses romans indistinctement. Ainsi, nous définissons une interprétation qui conteste la lecture traditionnelle de sa fiction comme une simple illustration de sa non-fiction ou, d'autre part, qui prend ses non-fictions par simple explication de ses oeuvres de fiction. Nous définissons cette approche comme «penser en images» et nous l'avons pris pour base de tout ce travail. Nous avons, ensuite, réalisé une analyse de la notion d'absurdité, à travers les oeuvres L’étranger (1942) et Le Mythe de Sisyphe (1942) et nous y avons étudié le conflit fondamental entre la sensibilité humaine et l'indifférence du monde. Subséquemment, nous avons traité l'idée de révolte dans Caligula (1944) et L’Homme révolté (1951), et nous avons observé la nécessité de reconnaître l'autre face à la condition absurde de l'existence humaine. Après quoi, nous cherchons dans la pièce Les Justes (1949), un élément qui pourrait réguler la révolte, en empêchant la justice qu’elle cherche à établir de devenir son contraire. Ayant défini le fondement théorique de cette pensée, nous cherchons à comprendre comment Camus situe alors l'artiste en temps de crise. Ici, nous entrons dans le discours lui-même et cherchons à comprendre quel sens il donne à l'art dans un monde absurde, comme il justifie l'écriture sur la base de la solidarité trouve dans l'autre et en fonction de quelles valeurs telle pratique devrait être établi. Nous avons réalisé, donc, une étude de cas, en supposant la possibilité d'exploration d’un cas fictif, que a focalisé la nouvelle Jonas ou l'artiste au travail (1957), afin d’illustrer la tension de cette position du point de vue de l’artiste. Et, enfin, nous nous avons dédier au Mythe de Sisyphe et Caligula, à la recherche d'une comparaison entre les idées présentées dans ce discours, prononcé à la fin de la vie de l’auteur, les premières idées qu'il a développées à propos de l'art et de son rôle dans le monde, exprimée dans les oeuvres de l’enquête initiale. Avec cette route, nous chercions enfin d’établir une lecture qui rend justice à l’équilibre délicat nécessaire par cette idée que Camus fasait du « rôle de l’écrivain>, la forme et les raisons de leur engagement forcé dans son temps et les conditions que cela impose.

Mise en evidence d'analogies linguistiques, dramatiques et thématiques entre l'oeuvre d'Albert Camus et la bible, afin de montrer qu'en définitive l'auteur fut toujours préoccupé par une certaine forme de sacralite du monde et par un souci de redéfinir le rôle de l'écrivain en son époque : la quête de l'auteur s'organise dès ses premiers écrits et s'interrompt alors que l'oeuvre n'était pas achevée ; tout ceci contribue à former ce que nous appellerions les paraboles du secret d'Albert Camus
To bring to light linguistic, dramatic and thematic analogies between the works of Albert Camus and the bible, in order to show that eventually the writer was continually preoccupied by certain aspects of the sacred in the world, and by an eagerness to refefine the role of the writer in his own time. The author's search becomes apparent right from the first works and comes to a halt before the task was finished : this is what shapes what we would call " Albert Camus's parables of secret "

Pierre-Albert Jourdan (1924-1981), après dix ans d’une recherche plus strictement poétique, a essayé à partir de 1970, dans des fragments surtout, d’utiliser l’écriture pour se transformer intérieurement, et se rendre capable de rencontrer pleinement le réel. Il a alors multiplié les procédés pour agir sur soi, sur sa volonté, sa sensibilité, son intellect ou son affectivité. Des sentences, des injonctions à soi-même, lui servaient à se dissocier de comportements, de pensées, grâce à la vivacité ou à la violence de l’expression, et à l’ironie. Dans des passages d’aspect plus « poétique », le travail sur la langue creusait un état de dépossession et d’accueil face au monde, et à l’invisible – ou permettait de se mettre à l’école de la nature pour intérioriser ses suggestions éthiques. Jourdan usait aussi de l’écriture, à la façon du koan zen, pour se défaire des représentations mentales, faire vaciller l’intellect, et se précipiter dans l’épreuve des « choses telles qu’elles sont ». Ou, enfin, il s’appuyait sur elle pour se déprendre, par l’humour et le retrait, des émotions liées à l’échec et à la mort, et parvenir à l’accueil amoureux même de sa propre perte. Une tentative qui, même s’il a souvent répété son insuffisance, semble avoir permis la lumière, la sérénité de plus en plus sensibles dans ses derniers écrits, leur beauté, et leur utilité profonde pour le lecteur qui accepte de s’ouvrir à une expérience d’être
Pierre-Albert Jourdan (1924-1981), after ten years of a more strictly poetic quest, decided and tried, from 1970 to his death, to use writing, especially in fragments, as a way of transforming himself in order to wholly encounter reality. He resorted then to many methods to act on himself, his will, his sensibility, his intellect, or his affectivity. Aphorisms and self-injonctions helped him, with acuteness or even violence, and the use of irony, to get rid of some behaviours or thoughts. In more poetic-like texts, the working on language was intended to deepen a interior state of receptivity toward the natural world, the invisible that seems to underlie it, and the ethic suggestions that it offered. Jourdan tried also to direct writing against the intellect, to shake it, as the zen koan does, and make himself lose its representations and experiment « things as they are ». Or he relied on humor, on a withdrawing expression, to detach himself from emotions related to failure and death, and lovingly accept even his own ruin. An attempt that, even if he often repeated its insufficiency, seems to have permitted the light, the serenity, that can be felt more and more in his last writings, their beauty, and their deep utility for the reader who accepts to open himself to an experience of being