Dissertations / Theses on the topic 'Camus, Albert'
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Baciu, Virginia. "Albert Camus in Rumänien." Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/2951/.
Full textReif, Anne-Kathrin. ""Die Welt bietet nicht Wahrheiten sondern Liebesmöglichkeiten" zur Bedeutung der Liebe im Werk von Albert Camus /." [S.l. : s.n.], 1999. http://deposit.ddb.de/cgi-bin/dokserv?idn=964176254.
Full textAlbes, Wolf-Dietrich. "Albert Camus und der Algerienkrieg : die Auseinandersetzung der algerienfranzösischen Schriftsteller mit dem "directeur de conscience" im Algerienkrieg, 1954-1962 /." Tübingen : M. Niemeyer, 1990. http://catalogue.bnf.fr/ark:/12148/cb354551724.
Full textCelotto, Emanuela. "Albert Camus : démocratie et totalitarisme." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030038.
Full textThis 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
Ballard, Lauren. "Albert Camus: A Conscientious Witness." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/458.
Full textMachado, Patrícia de Oliveira. "Absurdo, revolta, ação : Albert Camus." reponame:Repositório Institucional da UnB, 2010. http://repositorio.unb.br/handle/10482/8387.
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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.
Oliveira, Bernardo Jefferson de. "A revolta em Albert Camus." Universidade Federal de Minas Gerais, 1988. http://hdl.handle.net/1843/BUBD-9W9JCP.
Full textHaouet, Mohamed-Kameleddine. "Les objets dans l'oeuvre narrative d'Albert Camus /." Tunis : Faculté des sciences humaines et sociales : ALIF, Éd. de la Méditerranée, 1994. http://catalogue.bnf.fr/ark:/12148/cb37040978k.
Full textCielens, Isabelle. "Die Rezeption Albert Camus’ in Lettland." Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/2952/.
Full textSoubeyran, Pierre. "Albert Camus, un humanisme pour l'Europe." Lyon 3, 1991. http://www.theses.fr/1991LYO3A005.
Full textStrmisková, Denisa. "Albert Camus - Cizinec komplexní scénografický projekt." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-155952.
Full textBürger, Juliane. "Albert Camus, um estrangeiro no Brasil." Florianópolis, SC, 2001. http://repositorio.ufsc.br/xmlui/handle/123456789/82128.
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Bürger, Juliane. "Albert Camus e a revolta marginal." Florianópolis, SC, 2006. http://repositorio.ufsc.br/xmlui/handle/123456789/88713.
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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.
Bastien, Sophie. "Folie, théâtre et politique dans Caligula d'Albert Camus." [Montréal] : Université de Montréal, 2002. http://wwwlib.umi.com/cr/umontreal/fullcit?pNQ75892.
Full text"NQ-75892." "Thèse présentée à la faculté des études supérieures en vue de l'obtention du grade de doctorat (Ph. D.) en études françaises." Version électronique également disponible sur Internet.
Lévi-Valensi, Jacqueline Spiquel Agnès. "Albert Camus ou La naissance d'un romancier : 1930-1942 /." [Paris] : Gallimard, 2006. http://catalogue.bnf.fr/ark:/12148/cb40152644f.
Full textAraújo, Pedro Gabriel de Pinho. "O papel do escritor em Albert Camus." reponame:Repositório Institucional da UnB, 2013. http://repositorio.unb.br/handle/10482/14337.
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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.
Conrard, Martine. "Les paraboles du secret chez Albert Camus." Amiens, 1991. http://www.theses.fr/1991AMIE0003.
Full textTo 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 "
Purdue, Zachary James. "Albert Camus and the Phenomenon of Solidarity." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1305753098.
Full textRichardson, L. C. "Camus the Athenian : antiquity and identity in the literature of Albert Camus." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1443242/.
Full textCardozo, Elloit. "‘That rug really tied the room together’: Knitting Dudeism and Camusian Philosophy into a Larger Tapestry." Thesis, University of Mumbai, 2017. http://hdl.handle.net/10919/94575.
Full textM.A. Honours with Research in English
Thierion, Chantal. "L'Oeuvre lyrique d'Albert Camus." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376188837.
Full textSouabni, Senda. "Le "journalisme moral" d'Albert Camus." Paris 4, 1994. http://www.theses.fr/1994PA040183.
Full textChatzipetrou, Sofia. "Conscience tragique grecque et conscience humaniste chez Albert Camus." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030144.
Full textThis thesis examines Albert Camus’ work, both fictional and dramatic, in its reception of conscience’s primary concepts as introduced by the Greek tragedy. The point is to find out how these concepts are received, transformed and finally incorporated in Camus’ literary and philosophic world.Conscience meaning the knowledge that everyone has of himself (thumós), it aims at a knowledge supposed to be shared with the others. Around the desire of existence therefore, feelings of unity and coherence, autonomy and heteronomy set up. Between introspection on one hand and opening to the world on the other, the conscience figures as a key theme for both tragic and camusian reflection. At the heart of enduring oppositions, the person must transform Destiny’s and Absurd’s blow into a productive range: thus, Requisition and Rebellion trace the way to go in order to be and remain human. From tragic « self » affirmation to the « human vocation » required by the author, conscience and identity interact and indicate the individual as the creator of meaning. Through Greek tragedy’s essential principles, Camus aims thereby at an identity which, aware of its contradictions, its rights and duties, remains consistent: the rebel’s identity
Takashima, Miho. "George Orwell and Albert Camus : a comparative study." Thesis, University of Essex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361017.
Full textNdiaye, Falilou. "Camus, l'africain." Paris 4, 1985. http://www.theses.fr/1985PA040067.
Full textOuingnon, Hyacinthe. "Une écriture de l'urgence : poétique et pragmatique de Camus journaliste." Thesis, Limoges, 2015. http://www.theses.fr/2015LIMO0078.
Full textOnes does not take often measurement of it, Albert Camus is at the same time a work and a control. In the construction of the identity of the writer-polygraph, the scene of the periodical was a matric experiment. Far from being reduced to the double paradigm absurdity and revolt, one sees stinging the figure of a writing intellectual, anchored in the battle of the ideas of his time, and whose specular game applies one “to act by saying it.” Our study, constructed in three phases, initially tries to determine the auctorial models which nourish its civic commitment like its hobby horses in the middle of the XX ème century in crisis. Secondly tries to clarify the modulations, the enunciative strategies by which structure the poetic one of a writing of combat closely related to the urgencies of the context, and in constant adjustment with the generic constraints; is profiled who makes in filigree of it, the way in which the writer-journalist manages the constitutive tension with any committed journalistic speech: to inform with objectivity/impossibility of saying without coming out. Lastly, the analysis attempts to examine by which scenography auctorial the journalist-rhetor, whose word, in catch on an audience at the same time located and virtual, applies a rhetoric effectiveness, finds its way in the discursive polyphony of the cotexte. By rediscovering a canonical author beyond the constrained framework of the “literary and intellectual field” of the “black years”, one measures not only what the writer owes to the journalist, but especially in what its experiment of the periodical concentrates all work under the feather, and clarifies at the same time the heterodox and singular posture of one of the last heirs to the “time of the prophets”
Kouchkine, Eugène. "Camus im Land der Sowjets." Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/2954/.
Full textAndo, Tomoko. "La nostalgie dans l'œuvre d'Albert Camus." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040071.
Full textIn the beginning of Carnets, Albert Camus mentions “the nostalgia for a lost poverty” as he expresses what drives him to create. Ambiguous nostalgia, which does not mean a simple regret of lost time, concerns the “strange feeling” that the son carries toward his silent mother. In reality, it consists in the painful aspiration for tenderness, which is intrinsically bound up with the misery that the author has experienced in his childhood. In order to tell his past, he elaborates his nostalgia as the essence of his sensitivity. And as a signof its complexity, such captivity includes a regret and a sense of guilt towards the poor environment which he left behind. Despite its ambiguity, the name of nostalgia is just because it concerns the quest for identity: in the torn sensitivity, there is an insatiable quest for a true source of being. Therefore, in the existential context, the concept of the absurd is established upon the nostalgic sensibility: human beings are torn between their limited condition and their desire for a full life. They choose to hold their torn nostalgia astheir existential foundation, their life axis and their raison d’être. For the absurd man, literary creation is not an option. It embodies the will of lucidity and liberty, in order to “give power of expressing vacuum to colors”. The dialectic of presence and absence is represented in the novels of Camus in various ways. In his later years, Camus expresses nostalgia for the homeland, consciously searching for his origin; the quest after his “buried sun”. He has always known this “buried sun” which had been attracting him as his guidance
Yao, Jie. "La réception de l'oeuvre d'Albert Camus en Chine." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30021.
Full textThis thesis aims at retracing the history of the reception of the work of Albert Camus in China and exposing the influence it has on Chinese writers. The process of the reception of Camus' work in China is inseparable from the process of Chinese political and cultural evolution and is examined from the angle of sociology, political history, comparative literature, and Translatology. The study highlights the historical, social, cultural and political circumstances of the different periods during which Camus's work has been received, translated, published and criticized in China
Ismé, Jean-Joseph J. "La figure du juste chez Camus /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63797.
Full textMartinelli, Bruno Oliveira. "A filosofia camuflada de Jean-Paul Sartre e Albert Camus." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-15122011-162509/.
Full textWe intend demonstrate the ethics fondations of Albert Camus and Jean-Paul Sartre, as we can perceive it dans the beginning of both authors . We start with an analisys of the historic situation at the time of de composition of L\'Être et le Néant , Le Mithe de Sysiphe and, after, we intend to show that the dramaturgie works, Les Mouches and Le Malentendu, maintain fidelity to the test works. We note that in dramatic discussion of the ideas there is a significate continuity in the ethic opposition and in the recomendations appeared in 1940. We think that fondamentals differences between the authours remain hidden until the polemic that ocurred in 1950. We pretend to present the inconciliable notion that appeared in the ethic dramas conceived during the Secon War; we also pretend to analyse their littéraire and philosofic journey at the moment of the controverse and rupture, and at this moment we\'ll may show that camouflage was temporary and theirs philosophies had, since Les Mouches et Le Malentendu, a contradictory destination.
Lameirinha, Cristianne Aparecida de Brito. "O sentido do exílio em \'La Peste\' de Albert Camus." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-08112007-144148/.
Full textExile is a recurring subject, though little explored, in Albert Camus. His work is organized in two creation phases: absurdity and rebellion. Even though situated by the author in the rebellion phase, this work proposes a new reading of La Peste, which allows seizing in only one text the thematic multiplicity of exile in Camus, characterizing it as a book of transition between these two concepts, with lucidity as their common feature. The absurd man thus perceives himself by means of the conscience he has of its universe. For the rebellious man, lucidity allows struggle. In La Peste, exile, under three aspects, physical-social, psychological and metaphysical, integrates the metaphysical human condition, in counterpoint to the historical condition, making it possible to understand its perspective, as well as the perspective of the kingdom, in this author.
Chebchoub, Zahida Claudon Francis. "La poésie méditerranéenne chez Camus, étude thématique et stylistique." Créteil : Université de Paris-Val-de-Marne, 2005. http://doxa.scd.univ-paris12.fr:8080/theses-npd/th0252195.pdf.
Full textVersion électronique uniquement consultable au sein de l'Université Paris 12 (Intranet). Titre provenant de l'écran-titre. Bibliogr. : 78 réf. Index.
Sampaio, Leandson Vasconcelos. "Filosofia, jornalismo e dramaturgia: Ãtica, engajamento e responsabilidade em Albert Camus." Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=16900.
Full textO trabalho consiste em fazer a reflexÃo Ãtico-polÃtica nas obras do escritor franco-argelino Albert Camus (1913-1960) a partir de seus textos jornalÃsticos, dramatÃrgicos e ensaios filosÃficos. Em primeiro lugar, hà a reflexÃo sobre Ãtica, engajamento e a responsabilidade do escritor e a recusa do silÃncio como forma de rompimento com a resignaÃÃo e a passividade, evocando a responsabilidade Ãtica dos intelectuais no enfrentamento das questÃes decisivas, utilizando os Discursos da SuÃcia (1957). Em seguida, o trabalho trata dos temas da recusa do assassinato legitimado como crÃtica aos totalitarismos diante do diagnÃstico de seu tempo, com a crÃtica tambÃm ao progresso cientÃfico-bÃlico, que colocou a CiÃncia a serviÃo da morte como nunca antes na HistÃria, como forma de enfrentamento do medo que se encarnou no sÃculo XX, utilizando os Editoriais jornalÃsticos do jornal Combat (Combate) intitulados Nem VÃtimas, Nem Verdugos (1948). Hà em seguida a reflexÃo Ãtico-polÃtica do engajamento a partir da peÃa de teatro Os Justos (1949), escrita no perÃodo do pÃs-guerra, abordando a questÃo do assassinato do ponto de vista do engajamento terrorista revolucionÃrio, utilizando tambÃm as reflexÃes presentes no ensaio O Homem Revoltado (1951).
Nguema, Nnang Jean Robert. "L'Étranger et La Peste d'Albert Camus : l'écriture et la vie au risque de la sainteté." Paris 7, 2002. http://www.theses.fr/2002PA070026.
Full textSaintliness, it said, the authenticity to be and to act, the propensity to do good, is practised by Camus across his works and in the life of the "commited man". Thus in "l'étranger" (the foreigner), it is marked by "neutral write", writing, rather confined to an accuracy that is visible to a certain justice. In "La Peste" (the Plague), saintliness is characterised by "objective", "impartial style", producing an effect of truth, authenticity and of saintliness. Write in the practical life of Camus, saintliness seems to have his origins in the childhood of Camus notably to leave his practical journalistic objective, his inflexible denunciation of injustice and violence of any sort. Given that Camus considered writing as an account of a lived experience, as it happens to be his, it seems in the last analysis, that saintliness of Camus renders reason to a just way to live in the world
Patocková, Jana. "Albert Camus auf den tschechischen Bühnen der sechziger Jahre." Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/2956/.
Full textBerankova, Eva. "La face cachée, dostoïevskienne d'Albert Camus." Paris 4, 2002. http://www.theses.fr/2001PA040203.
Full textDesigned to study the profound influence of Dostoevsky on Camus and the dynamism of the fictitious polemics conducted by the French writer against his Russian predecessor, this thesis is constructed along three fundamental lines. Its first part is dedicated to the progressive crystallization of the «myth of the north ", the region of Camus’s mental geography which determines the horizon of expectation within the framework of which Camus interpreted Dostoevsky’s work. Camus's passionate reaction to the two major ideological components of this myth (" temptation of revolt ", “temptation of sanctity " ) is examined in the two other parts of the thesis. In analyzing the manifestations of this typically dostoevskian oscillation between revolt and sanctity that animates Camus’s poetic universe, i hope to introduce a new view of this «hidden, northern face” of the writer which French literary critics tend to neglect
Machowska, Aleksandra. "Sein und Nichtsein Camus‘ in Polen." Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/2955/.
Full textEspitalier, Paulette. "Amour, solidarité, amitié dans l'oeuvre d'Albert Camus." Montpellier 3, 1986. http://www.theses.fr/1986MON30040.
Full textValorous "little prince" in contact with misery, cultured artist, in love with sun, with sea and mediterranean splendour. Poverty doesn't reach him; but he fights against illness and pain all his life. Thought is a compensation for him and ethics an existence revalorization. In the last war time, this young humanist voice goes up to support love, solidarity and friendship. The foreign readers borrows him so much favourably he gets the literature nobel prize. His production remains unfinished but "sisyphe is dead happy, andre maurois writes, and left his rock perched high up
Silva, Gabriel Ferreira da. ""Esculpir em argila": Albert Camus uma estética da existência." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/11802.
Full textCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
The present study aims to reveal the existential analysis undertaken by Albert Camus in sight of the constitution, in his thought, of an éthos that corresponds to the therms of the human demand for sense that is recognized as frustrated. Since his essay Le Mythe de Sisyphe posits as its fundamental problem the suicide as a possible action originated from the question for the sense of the existence, we must follow the development of the camusian construction of his anthropological discourse which has as its centre the notion of Passion in its three expressions -, as well as on the human condition that shows itself as opposite to the complete achievement of the human desire, featuring human experience as Absurd. Therefore, the question for the legitimacy of the suicide becomes even more radical. However, the distinguishing mark of the camusian thought is exactly the disbelief towards the human condition but an affirmation of the human desire for sense. Thus, after the invalidation of the suicide as a correlative práxis to the observation of the existential absurdity, it is necessary to develop an ethos of simultaneously confrontation of the human condition based on a deep acceptance of the Passion. Therefore, we follow the analysis of the three types or figures that express such attitude towards that one which, for Camus, properly embodies all the demands and limits of human Revolt: The Artist-Creator whose actions identifies fully with the revolted one s in the task of assynthotically modeling his existential experience intending to correct, within its own limits, the absurd condition, making the proposed camusian éthos for excelence an authentic aesthetic of the existence
Este trabalho tem por objetivo explicitar a análise existencial empreendida por Albert Camus em vista da constituição, em seu pensamento, de um éthos que seja correspondente aos termos da demanda humana por sentido que se reconhece como frustrada. Dado que seu ensaio Le mythe de Sisyphe postula como problema fundamental o suicídio como possível atitude derivada da pergunta pelo sentido da existência, devemos acompanhar o desenvolvimento da construção do discurso antropológico camusiano que possui como seu centro a noção de Passion em suas três manifestações , bem como sobre a condição humana que se mostra oposta à efetivação completa do desejo humano, configurando a experiência do homem como Absurda. Assim, a pergunta pela legitimidade do suicídio se radicaliza ainda mais. Entretanto, a marca do pensamento camusiano é justamente a descrença para com a condição do homem mas uma afirmação do valor do desejo humano por sentido. Dessa forma, após a refutação do suicídio como práxis correlata à constatação de absurdidade existencial, há a necessidade de se elaborar um éthos de simultâneo enfrentamento da condição humana a partir de uma aceitação profunda da Passion. Com isso, seguimos as análises dos tipos ou figuras que manifestam tal postura até aquela que para Camus encarna propriamente todas as exigências e limites da Revolta humana: o Artista-Criador cujo fazer se identifica plenamente com o do revoltado na tarefa de modelar assintoticamente sua experiência existencial a fim de corrigir, dentro de seu limites próprios, a condição absurda, fazendo da proposta de éthos camusiana por excelência uma autêntica estética da existência
Hernández, Garduño Victor Hugo. "Albert Camus: Sísifo, entre el absurdo y el suicidio." Tesis de Licenciatura, Universidad Autonoma del Estado de México, 2018. http://hdl.handle.net/20.500.11799/80370.
Full textSulic, Dijana. "Deux visages du mal : Hermann Melville et Albert Camus." Paris 4, 1996. http://www.theses.fr/1995PA040174.
Full textThis study proposes to demonstrate, in light of the theme of evil, a correspondence between Herman Melville and Albert Camus. Both were obsessed by the problem of evil, and each found a way of expressing that obsession. In spite of their many differences, the comparison between the two is not only possible, but invited by the many parallels in their life and work. This entails a comparative analysis on several levels: formal, literary and philosophical. There follows a comparison of selected works from the authors respective oeuvres. The theme of evil is shown to be present in the early works (Typee, Omoo, Mardi, Redburn, White jacket, L'Envers et l'endroit, and Noces). An analysis of evil in Moby Dick and La Peste is the main focus of the study. The subject is then examined as it is manifested in the characters of Achab and Caligula, and pursued in the correspondences between Bartelby, L'Étranger and Billy Budd. The final section is devoted to the confidence man and la chute, followed by a conclusion asserting the omnipresence of evil in both authors' work
Bowker, Matthew Hamilton. "Albert Camus and the political philosophy of the absurd." College Park, Md. : University of Maryland, 2008. http://hdl.handle.net/1903/8255.
Full textThesis research directed by: Dept. of Government and Politics. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
Magnuson, Hanna. "Pest och pina : En undersökning av livsåskådningar och möten med lidande i romanen Pesten av Albert Camus." Thesis, Uppsala universitet, Systematisk teologi med livsåskådningsforskning, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-201656.
Full textLincoln, Lissa. "Le juste chez Camus /." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38224.
Full textThrough the theme of "le juste", or more specifically the question of how we know what is just, Camus challenges this idea of literature and the act of writing. By exposing the mechanisms of self-justification underlying all universal values (and hence of all transcendental "truths" upon which they are necessarily based) the writer reveals them to be social and discursive constructs which permit and perpetuate the imposition of norms in a given domaine, including that of literature. This study proposes to examine Camus' rapport with this element of self-justification in literature, and the ways in which he calls the latter into question.
Wachenfeldt, Paula von. "Le paradis perdu et retrouvé : étude de l'innocence et de la culpabilité dans l'oeuvre d'Albert Camus /." Stockholm : Universitet Stockholms, Institutionen för franska och italienska, 2003. http://catalogue.bnf.fr/ark:/12148/cb40185045g.
Full textLavoie, Frank. "Vie, existence et dignité humaine, recontre entre Albert Camus, l'écrivain, et Albert Jacquard, le généticien." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65218.pdf.
Full textLavoie, Frank. "Vie, existence et dignité humaine : "rencontre" entre Albert Camus, l'écrivain, et Albert Jacquard, le généticien /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2001. http://theses.uqac.ca.
Full textHorváth, Andor. "“Gott sich selbst zurückgeben” : ungarische Lesarten Camus‘." Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/2953/.
Full textSyrovatko, Lada V. "Gibt es eine Camus-Rezeption in Rußland?" Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/2958/.
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