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The focus of my thesis concerns what I refer to as Camus’s ‘philosophy of the body.’ This study in part addresses the scholarly debate about how his texts are related. Camus himself says of certain writers that their “books form a whole, ‘in which each is to be understood in relation to the others, and in which they are all interdependent.’” ' If this understanding of authorship equally applies to Camus’s works, the question concerns linkage. What underlies this wholeness? Broadly speaking, there are three approaches to understanding the relation between his texts: thematic, philosophic, and existential. None of these ways is truly independent of the other. Each emphasizes a different aspect of Camus’s project. He is an artist, thinker and man. Once again we are returned to the question of linkage. The thematic approach tends to absolutize one mood or insight, though Camus cautions against this. The philosophical approach generally reads the texts dialectically. But Camus’s interest is in our living experience, not in a flight of the intellect. An existential approach, understood correctly, concerns not a theory of but a meditation on our concrete existence. If Camus’s works are read together as a sustained meditation on existence, the integrity of the artist, thinker and man is preserved. Each facet - beauty, truth and life - is held in a working tension as opposed to absolutizing or subsuming any one aspect. Still the question remains. What underlies this integrity? Quite literally, the body. I argue that Camus’s life work evokes a new way of seeing, thinking and speaking about the body. In this dissertation, then, I look at various ways in which the body is manifested across a selection of his essays and novels. I also consider what might be some ofthe implications ofsuch manifestations. / Thesis / Doctor of Philosophy (PhD)

Cette thèse traite de la présence des textes religieux dans l'œuvre d'Albert Camus. Il s'agit de mettre en évidence l'intertextualité qui apparaît, sous différentes formes, dans les ouvrages romanesques et philosophiques de l'auteur. La thèse s'organise en deux axes parallèles et complémentaires, le premier est la mise en relief de la présence directe et effective de l'intertexte biblique dans les textes de Camus, qui s'effectue par l'emprunt directe au registre religieux ; le deuxième est la présence de l'intertexte religieux par le biais d'autres écrivains-philosophes, antérieurs ou contemporains de l'auteur (Saint Augustin, Pascale, Kierkegaard, Dostoïevski, Nietzsche, et Heidegger). Ainsi, l'intertextualité apparaît dans l'œuvre de Camus sous des formes explicites (déclarées) ou implicites (latentes ou suggérées.) La thèse se focalise, à chaque étape, sur les techniques intertextuelles utilisées, sur le rôle joué par l'intertexte dans l'analyse du texte camusien, et son action sur le lecteur sensibilisé à la perception de l'œuvre. En conclusion, l'implication systématique de l'œuvre de Camus dans un enjeu intertextuel progressif, depuis la forme simple du commentaire jusqu'aux formes plus élaborées d'une intertextualité devenue trame de l'œuvre. / This thesis deals with the occurrence of the religious texts in the works of Albert Camus. The point is to find out the different aspects of intertextuality embodied in the novels and the philosophical essays of the author. The thesis is organized around two axis. The first one has to do with the biblical intertext that is found in the texts of Camus. In fact, this process is done by the direct borrowing from the religious register. The second axis deals with the occurrence of the religious intertext linked to some previous and contemporary authors-philosophers : Saint Augustin, Pascal, Kierkegaard, Dostoïevski, Nietzsche or Heidegger. As a matter of fact, the intertextuality appears in the works of Camus in an explicit way or an implicit one. The thesis focuses, at each step, on the intertextual techniques that are used by Camus, on the role played by the intertext in the analysis of the camusian text, on the effect of the intertext on the reader and who is aware of the perception of the work. To conclude, this work shows the systematic implication of Camus’s masterpieces in a progressive intertextual process. It starts by the use of a simple form of commentary to a most complex form of intertextuality which becomes the framework of Albert Camus’s works.

Comment concilier le récit d’une expérience personnelle qui met le “moi” écrivain au coeur de l’entreprise auctoriale avec le désir d’intervenir dans la chose publique et politique ? Et comment réunir ces deux dimensions dans l’espace poétique de la fiction afin que ni la biographie ni l’idée ne prennent le pas sur le romanesque ? C’est ce que nous nous sommes proposé d’étudier à travers les exemples de cinq oeuvres : La Maison du peuple de Louis Guilloux, L’Espoir d'André Malraux, La Conspiration de Paul Nizan, Les Mandarins de Simone de Beauvoir et Le Premier Homme d’Albert Camus. Il est apparu que nos auteurs n’ont pas seulement leur amitié ou leurs conflits en commun, mais également une vision convergente sur la manière de conjuguer leur vécu et les causes de leur temps, avec çà et là, les particularités propres à chacun, que nous avons tenté de mettre en lumière. La période que couvre le corpus allant de la fin des années 1920 jusqu’à la fin des années 1950, sa confrontation avec des théories littéraires qui ont fleuri à partir des années 1970 manifeste la pertinence des questions que continue à soulever une littérature engagée dont on a sonné le glas, et pas seulement sur le plan formel. Prenant ce corpus pour matériau d’analyse sans nous y restreindre, nous détaillons les questions de poétique et de genres littéraires que soulève la désignation “roman autobiographique”, les techniques de représentation et de transposition ainsi que la part de subjectivité qui préside à une écriture en situation, afin de déterminer comment une expérience personnelle se transforme en exercice esthétique pour aboutir à une éthique de l’action. / How do authors reconcile the desire to share their personal experience — where the “I” is the heart of the work — with the desire to participate in public and political life ? And how can they bring together these two dimensions in the poetic space of fiction, so that neither their biography nor their main thesis end up of overshadowing the work’s novelistic qualities? These are the questions we proposed to examine through five novels: La Maison du Peuple by Louis Guilloux, L’Espoir (“Man’s Hope") by André Malraux, La Conspiration (“The Conspiracy”) by Paul Nizan, Les Mandarins (“The Mandarins”) by Simone de Beauvoir, and Le Premier Homme (“The First Man”) by Albert Camus. We found that, beyond their friendship and their shared battles, these authors also shared similar views on how to reconcile their personal experiences and the causes of their time — with, here and there, their own particularities, which we examined. The confrontation of these works, which range from the 1920s to the late 1950s, with the literary theories that emerged starting in the 1970s attests to the pertinence of questions raised by this socially-conscious literature (and not only on the formal level). Using this corpus for analysis, but without restricting ourselves to it, we examined the questions of poetics and genre raised by the term “autobiographical novel”, techniques of representation and transposition, and the subjectivity inherent to engaged writing. This will lead us to understand how a personal experience can be transformed into an aesthetic exercise and result in an ethics of praxis.

En commençant son étude critique sur Camus, Pierre de Boisdeffre,dans (Métamorphose de la littérature, Proust, Valéry, Cocteau, Anouilh, Camus, Sartre, Verviers, Marabout Université, 1974, p.309), fait le constat suivant:"l'Europe depuis Nietzsche, est à la recherche d'un cinquième Evangile. Qu'elle exalte les nourritures terrestres ou qu'elle communie à sa propre nausée, la littérature contemporaine n'a plus qu'une seule certitude: elle sait que Dieu est mort et s'efforce de le remplacer par l'Homme." En méditant la pensée de Camus à travers ses essais philosophiques, il semble que, même si dans un entretien sur la révolte, ce dernier déclare qu'"il n'est pas humaniste", la question du comment l'homme doit vivre avec ses semblables dans le monde et en société, est au centre de la réflexion philosophique camusienne. Car, l'époque de Camus fut celle où la vie humaine comme valeur et la dignité de l'être humain, furent soumises à une dure épreuve d'être respectées par chaque homme et en tout homme. D'où l'intérêt que l'oeuvre de Camus porte sur la question de la "vitalogie": L'homme peut-il vivre heureux sans le secours de Dieu? Oui ou non, l'homme, peut-il se tuer volontairement ou bien tuer les autres sans raison? L'homme peut-il détruire le monde qui le porte sans détruire sa propre vie? En effet, loin de voir dans la mort raisonnée et dans le suicide une valeur, Camus considère qu'ils sont plutôt un mal que les hommes doivent éviter et faire éviter les autres dans le "vivre-ensemble." C'est pour cette raison que la pensée philosophique chez Camus présente comme l'une des caractéristiques majeures, la "passion de vivre" de l'homme et pour l'homme, car la vie est, selon lui, une valeur cardinale qui doit être respectée en tout être humain dans la communauté qui voudrait être juste, paisible, libre, solidaire et unie. A cet effet, nous soutenons la thèse suivante: La pensée camusienne est une "vitalogie" paradoxale, c'est-à-dire qu'elle est debat philosophique sur la vie de l'être humain, en tant que valeur fondamentale, dans ses rapports avec Dieu, le monde et les autres. Par conséquent, une société dans laquelle les hommes sont habités par la passion de bien vivre et mieux vivre ensemble, il y a une exigence impérieuse pour eux de promouvoir et de crer les valeurs qui favorisent le respect de l'être humain et de sa vie. La vitaogie camuusienne est indissociable de la vision qu'on se fait sur l'homme ici et maintenant, en tenant compte des contradictions ou des antinomies du "oui" et du "non" de l'existence. Selon Camus, en effet, la mission principale de l'homme dans le monde est de vivre: "Oui, mais je n'aurai rien manqué de ce qui fait toute ma mission et c'est de vivre." (Carnets I.p.92). La pensée camusienne est donc une vitalogie. Mais comment l'homme doit-il vivre? Celui-ci, pense Camus, doit devenir "créateur" des valeurs de la justice, de la liberté, de la solidarité, de la paix, de l'amitié et de la fraternité entre les hommes et être courageux, pour assumer la responsabilité de sa vie et de son destin dans le monde, en évitant d'aliéner son esprit dans les illusions, dans quelque absolutisme qu'il soit ou dans un pessimisme tétanisant. Au total, l'homme doit prendre en main sa destinée, en vue de la "joie vivre", sans pour autant perdre de vue que celle-ci ne se sépare pas non plus du "désespoir de vivre." <p> / Doctorat en philosophie et lettres, Orientation philosophie / info:eu-repo/semantics/nonPublished

Nombreux sont les études consacrées ces dernières années au sujet de la réfutation. La plupart des ces études visent à remettre en lumière la réfutation dans sa structure logico-sémantique. Cette thèse tente par ailleurs à souligner que la réfutation est un art à part entier, au même titre que l’art d’argumenter, étant fondé sur la résistance aux paroles des autres interlocuteurs dans le dialogue théâtral où s’enchaînent les dimensions logique, dialogique, sémantique, rhétorique et pragmatique. L’analyse du texte théâtral nous a permis d’établir que la réfutation, malgré l’évolution sémantique du terme, est associée à la violation de la doxa sociale et son usage à travers les topoï, les figures et preuves du discours dérivé. Elle est également associée à la négation et appuyée par des connecteurs marquant l’opposition entre les points de vue du partenaire du dialogue. Cette étude aimerait donc à contribuer au débat actuel en proposant une piste de recherche dont nous avons la présomption de croire qu’elle est des plus fécondes. / Of the numerous studies devoted in recent years to the study of refutation, most have aimed to shed light on refutation in its logical-semantic structure. This thesis aims to show that refutation is a full-fledged art based, like the art of argumentation, on resistance to the words of other interlocutors in theatrical dialogue, in which the logical, dialogical, semantic, rhetorical and pragmatic dimensions combine. The analysis of theatre texts has allowed us to establish that refutation, in spite of the semantic evolution of the term, is associated with the violation of social doxa and its use via topoï, figures and proofs of derived discourse. It is also associated with negation and is supported by connectors that mark opposition among the points of view of the partners in dialogue. This study seeks to contribute to the current debate by proposing a research path that appears to have borne fruit.

This work is an effort to investigate the relationship between Albert Camus' philosophic concepts of the absurd presented in "The Myth of Sisyphus" and the Absurdist Theatre as defined by Martin Esslin. Included in this thesis is a discussion of each of the above concepts. Focus is placed upon the characteristics of the Absurdist Theatre which constitute the basis for the label "Absurdity." The conclusion indicates that while the playwright's personal experiences and philosophies correspond to Camus', their plays fail to communicate or express that concept of absurdity satisfactorily. The major emphasis is on the lack of concrete reality used to communicate a concept based upon concrete reality.

Made available in DSpace on 2016-04-28T19:58:54Z (GMT). No. of bitstreams: 1 Guilherme Sardas.pdf: 756009 bytes, checksum: 53ce6a4aaaedce44ff2bbdda33b56e3b (MD5) Previous issue date: 2014-10-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Many short stories of Murilo Rubião (1916-1991) bring actions and situations generally perceived as absurd, which analyzed thoroughly, can be considered representations of the feeling of estrangement of man in the world and the emptying of meaning of modern experience. The critics often associate the fantastic typical of the author to the category of absurd. But what characterizes the absurd universe created by Rubião? This research aims to investigate the construction of the absurd in work of Rubião, both thematically and discursive. The theoretical basis for this work is the absurd philosophy, present in the essay The myth of Sisyphus, by Albert Camus, and some ideas and concepts of Jean-Paul Sartre s existentialism. Considering this, we seek to demonstrate how is the dialogue between the short stories of Rubião and the absurd according thoughts of these philosophers of existence. Parallel to the study of this theme on construction of the absurd by Rubião, will seek to analyze the use of the tools of language to create this absurdity or, in other words, the creation of a poetic of the absurd in writing of the author. While the absurdity of Rubião dialogues with ideas of the philosophy of existence, it has also important differences in some points of the dramatic content of existential and existentialist literature, presenting ironic, comic and fantastic forms. Analyze how Murilo Rubião demarcates the peculiarities of its absurdity and the relations of this absurdity with the procedures of the modern fantastic are also motivations of this research / Muitos contos do escritor mineiro Murilo Rubião (1916-1991) trazem ações e situações entendidas, no geral, como absurdas que, analisadas de forma mais detida, são representações do sentimento de estranhamento do homem diante do mundo e do esvaziamento de sentido da experiência moderna. São narrativas que levam a crítica especializada a associar o fantástico típico do autor à adjetivação ou categoria do absurdo. Mas, o que caracteriza e para onde aponta o universo absurdo criado por Rubião? Esta dissertação visa investigar a construção do absurdo na obra muriliana, tanto no âmbito temático, quanto discursivo. Elegendo como base teórica a filosofia do absurdo de Albert Camus, presente no ensaio O mito de Sísifo, além de algumas ideias e conceitos existencialistas de Jean-Paul Sartre, buscaremos apontar um possível diálogo entre os contos de Rubião e o absurdo de Sartre. Paralelamente ao estudo dessa construção temática do absurdo em Rubião, realizamos uma análise da linguagem nesse processo criativo - ou, em outras palavras, como é construída uma poética do absurdo na escrita do autor. Ao mesmo tempo em que o absurdo de Rubião dialoga com ideias da filosofia da existência, também se afirma como componente de uma obra autêntica, que destoa em alguns pontos do teor dramático da literatura existencial e existencialista, apresentando-se como formas irônicas, cômicas e fantásticas. Analisar Murilo Rubião nas peculiaridades do absurdo poético bem como suas relações com os procedimentos do fantástico moderno serão também motivações de nossa pesquisa

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2018. / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES). / Este trabalho é um debruçar-se sobre a relação entre o texto camusiano, as ilustrações de José Muñoz e a edição de Didier Gonord, que fundem-se em um sentido próprio na obra híbrida O estrangeiro (2012), editada pela Futuropolis/Gallimard em ocasião do centenário de nascimento de Albert Camus. Ao leitor desta dissertação é apresentado um percurso analítico que abarca em si aspectos da sensibilidade, posto o objeto de trabalho ser de ordem estética – e portanto, do campo do sensível. Interessa-nos aqui uma investigação sobre os processos de construção de sentido que atravessam esta obra como um todo, tendo em vista, além da tríade texto verbal-imagem-edição, também as cruciais relações estabelecidas entre sujeito-leitor e a obra. Nosso objetivo é traçar uma análise de O estrangeiro (2012) enquanto obra híbrida, focando o olhar nas relações entre o texto literário e a imagem. A partir de Barthes, e seguindo uma perspectiva semiótica francesa greimasiana, trazemos à baila definições de Texto, obra e sentido. Buscamos em Merleau-Ponty um olhar sobre a noção relacional da construção de sentido de uma obra estética para discutirmos também os processos de vincuação que nela são postos. Em seguida, por uma via de análise discursiva apoiada em Fiorin, analisamos a composição e funcionamento do discurso posto em cena por meio do Percurso Gerativo de Sentido, ferramenta metodológica-discursiva que possibilita a decomposição da estrutura textual a fim de obter uma visão não só do todo, mas das partes em específico que o compõem. Apresentamos um caminho de análise que seguem por perspectivas relacionais e construímos esta investigação a partir das estruturas básicas de composição da obra, quais sejam: o fazer-se em preto e branco e o expressar-se em palavra e imagem. Por fim, examinamos nosso objeto enquanto forma no intuito de elucidarmos as diferenças entre obra ilustrada e obra com ilustração. Nosso último movimento de análise é evidenciar a expansão do texto verbal operada pelas imagens, ou seja, o modo como elas mostram aos olhos o teor, a idea de cada quadro, ou seja, de cada página dupla. / This dissertation looks over the relationship between the Camusian text, the illustrations of José Muñoz and the edition of Didier Gonord, which fuse in a proper sense in the hybrid work L’étranger (2012), edited by Futuropolis / Gallimard by the occasion of the centenary of Albert Camus's birth. To the reader of this dissertation is presented an analytical course that covers in itself aspects of the sensibility, since the work's object belongs to the aesthetic realm - and, therefore, to the realm of the sensible. We are interested in an investigation of the processes of construction of meaning that go through this work as a whole, in addition to the verbal text-image-editing triad, as well as the crucial relations established between subject-reader and the work. Our objective is to draw an analysis of L’étranger (2012) as a hybrid work, focusing on the relations between the literary text and the image. Starting from Barthes, and following a French Greimasian semiotic perspective, we bring definitions of Text, work and meaning. In Merleau-Ponty, we look at the relational notion of the construction of meaning in an aesthetic work to discuss also the relational processes that are put in it. Then, following a path of discursive analysis based on Fiorin, we work the composition and functioning of the discourse put on the scene through the Gerative Path of Sense, a methodological-discursive tool that enables the decomposition of the textual structure in order to obtain a vision not only of the whole, but of the specific parts that make it up. The ways of analysis follow relational ways, as we investigate the basic structures of composition of the work, namely: to be constructed in black and white and to be expressed in word and image. Finally, we examine our object as form to elucidate the differences between illustrated work and work with illustrations. Our last movement of analysis is to show the expansion of the verbal text operated by the images, the way they show to the eyes the content, the idea of each picture, that is, of each double page.

Made available in DSpace on 2016-04-27T17:27:27Z (GMT). No. of bitstreams: 1 Gabriel Ferreira da Silva.pdf: 726534 bytes, checksum: 92f9c566b8707004c645fea038abb51a (MD5) Previous issue date: 2009-04-16 / Coordenação 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