By Mark Orme, Lissa Lincoln, Christine Margerrison
Within the first decade of a brand new century, this choice of bilingual essays examines Camus's carrying on with acceptance for a brand new iteration of readers. In the most important respects, the realm Camus knew has replaced past all acceptance: decolonization, the autumn of the Iron Curtain, a brand new period of globalization and the increase of recent kinds 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 obvious 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 as a result of his anti-Communist stance, Camus has been taken up via disaffected participants of the Left, confident that new sorts of totalitarianism are out of the country on this planet. This quantity, which levels from interpretations of Camus's literary works, his journalism and his political writings, may be of curiosity to all these trying to re-examine Camus's paintings within the gentle of moral and political concerns which are of constant relevance at the present time
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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
Avec ce mégaterrorisme on franchit un nouveau pas dans la rationalisation de la violence : au phénomène déjà existant de la guerre totale pourrait venir s’ajouter le terrorisme total20. Il est enfin un domaine où les considérations de Camus se sont actualisées, celui du rejet de la peine de mort. La condamnation de la peine capitale est une constante dans son œuvre et elle culmine dans Réflexions sur la guillotine. Dans ses excellents articles, Philippe Vanney a pu montrer combien cette vision de Camus s’est peu à peu imposée sur le plan français et européen, et comment elle gagne du 16 Walter Laqueur, Die globale Bedrohung.
PH, 129) The schoolmaster can “stand in for” the father not because they knew each other, but precisely because they had had an identical, and interchangeable, part to play in a collective, historical event. In the opening pages of La Mémoire, l’histoire, l’oubli, Ricoeur sets out the following distinction between imagination and memory, based on the notion of the intentionality guiding the two activities. Imagination, he writes, “est dirigée vers le fantastique, la fiction, l’irréel, le possible, l’utopique”; and memory, “vers la réalité anté- Camus, Memory and the Colonial Chronotope 53 rieure”.
That surface in Camus’s text, seeming to generate reiteration, digressions and the repeated need to reorient the narrative. 6 7 Cf. PH, 43, 51, 55, 213, 260. La Mémoire collective (Paris: PUF, 1967). Camus, Memory and the Colonial Chronotope 51 2) Narrated memory Where “la mémoire du corps” seems to trigger something essentially inarticulate, narrated memory, as the term indicates, is voiced, exchanged. In the case of Le Premier Homme, the memorial trajectory triggered by the disorientation experienced during the visit to the father’s grave begins, unsurprisingly, with the mother.