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By David Sprintzen

All through his existence, Albert Camus faced the crucial dramas of our civilization: the existential nervousness over "the loss of life of God" and the absurdity of human lifestyles; the political struggles over social injustice, capital punishment, and nationwide liberation; and the foreign specialize in nuclear annihilation, violations of human rights, and torture. Addressing the West at its metaphysical and mythic roots, Camus sought to diagnose the inner forces that appeared to propel humanity towards self-destruction. David Sprintzen bargains the first unique and entire research in English of the idea of Albert Camus from a philosophical point of view. prior literary and psychoanalytical reports have awarded Camus’s existence and works biographically, yet philosophers have neither taken his proposal heavily nor tested his paintings as a complete. With analytical precision and philosophical intensity, Sprintzen confronts a corpus whose modern resonances in addition to Greco-Roman and Judeo-Christian origins dramatize the metaphysical foundations of Western adventure. during this seventy-fifth anniversary of the philosopher’s delivery, Camus: A serious exam exhibits how his research of political motion bargains a thorough and nondogmatic standpoint from which modern struggles can achieve major illumination.

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Camus: A Critical Examination

All through his existence, Albert Camus faced the important dramas of our civilization: the existential anxiousness over "the loss of life of God" and the absurdity of human lifestyles; the political struggles over social injustice, capital punishment, and nationwide liberation; and the foreign specialise in nuclear annihilation, violations of human rights, and torture.

Extra resources for Camus: A Critical Examination

Example text

Commenting on his intent in his preface, Camus observes: "My admiration for my heroes, Kaliayev and Dora, is complete, I merely wanted to show that action itself had limits, there is no good and just action but what recognizes those limits and, if it must go beyond them, at least accepts death" (CTOP, x). To which Dora may be heard to respond: "Sometimes when I hear what Stepan says, I fear for the future. Others, perhaps, will come who'll quote our authority for killing; and will not pay with their lives" (CTOP, 296).

But without maliciousness. He is merely doing what he knows best. He lives well, but is not without concern for the well-being of others. Perhaps he simply lacks the imagination to conceive of the consequences of his actions. Here he would not differ greatly from most of what could now be called his fellow citizens. The same is true for the authorities—a feeling that well represents Camus's sense that most collaborators in wartime France were primarily guilty, not so much of evil as of a failure of imagination.

We'll find you a job in our administration" (CTOP, 179). And what is that better way? "We start with the premises that you are guilty. But that's not enough; you must learn to feel yourselves, that you are guilty. And you won't feel guilty until you feel tired. So we wear you out, that's all. Once you are really tired, tired to death in fact, everything will run smoothly" (CTOP, 180). Revolt Emerges A basic theme of Camus's thought has thus been brought into relief, clearing the path that leads from the demand for total rationality to the denial of life.

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