Within the first decade of a brand new century, this number of bilingual essays examines Camus's carrying on with acceptance for a brand new iteration of readers. In an important respects, the realm Camus knew has replaced past all attractiveness: 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 specific chord, Meursault is as most likely 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 also needs to take account of the explanations why a brand new neighborhood of Algerian readers have embraced Camus. both, as soon as remoted due to his anti-Communist stance, Camus has been taken up via disaffected participants of the Left, confident that new varieties 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, should be of curiosity to all these looking to re-examine Camus's paintings within the mild of moral and political matters which are of continuous relevance this day.
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Additional info for Albert Camus in the 21st Century: A Reassessment of his Thinking at the Dawn of the New Millennium (Faux Titre, Volume 308)
Le chapitre “Révolte et art” dans L’Homme révolté le montre ; mais cette unité des personnages et du style, auxquels nous avons fait allusion antérieurement, demeure fictive : le destin auquel le roman aboutit est, dit Camus, “fabriqué”, il n’existe que par l’alchimie de l’écriture. Comme le formulait Thomas Mann, “La littérature est une douce vengeance exercée sur la vie” (“Literatur ist eine süße Rache am Leben”). Le deuxième point que je voudrais traiter est le problème du terrorisme. Je n’évoquerai ici que le terrorisme d’en bas, le terrorisme d’opposition aux régimes existants, et non le terrorisme d’en haut ou terrorisme d’État qui relève plus directement de la question de la totalité.
7 This memory is much less about fact and coherence than about reliving experiences and their impact in the present. This clearly calls for further exploration, but as the psychology of memory is not central to my propos here I would simply like to suggest that it may well be this memory, “la mémoire du corps”, that triggers the majority of the moments of angoisse, fièvre, etc. that surface in Camus’s text, seeming to generate reiteration, digressions and the repeated need to reorient the narrative.
Je donnerai pour l’essentiel deux éléments de réponse : le premier, la fiction camusienne réussit à créer des mythes et des personnages paradigmatiques ; le second, bien qu’elle soit écrite en prose, elle possède des qualités poétiques qui lui confèrent une vibration particulière. Pour en venir au premier point : la fiction raconte des histoires, des mythes au sens faible ; certains de ces mythes-histoires deviennent, par les mystères de l’écriture, des mythes au sens plein, ce qui confère à leurs personnages un caractère de modèle, une aura paradigmatique.