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<p>The aim of my study of Camus is twofold. The first aspect concerns the content of his books, the second their formal structure or organization. In contrast to much current scholarship, which interprets Camus' primary concerns as modern and even post-modern, I argue that his ambition runs in the opposite direction historically: Camus' principal aim is to articulate a Greek anthropology and political philosophy. This positive ambition has a critical component as well. Camus's Hellenism is formulated in part through a critical engagement with modernity and an exploration of its Christian origins.</p> <p>The second aim of my study is to explore the structure of Camus' corpus. The fact that Camus organized his books into several different stages or "cycles" is well known and often discussed by commentators in the context of other interpretive matters. However, it is rarely examined in its own right and almost never interpreted in detail. The most common way that it is understood is as straight autobiography. In this view the absurd, rebellion, and love - the guiding themes of the three principal cycles of Camus' books - are understood as stages in his personal philosophical development. The account contradicts Camus' own explicit statements about the allegedly autobiographical character of his work and skirts the fundamental question of interpretation by assuming that it has already been answered. Contrary to this account I argue that the organization of Camus' books is an intentional literary device that contributes significantly to our understanding of the content of his work.</p> <p>My study amounts to new interpretation of Camus that hopefully will open up new and fruitful avenues of research regarding his accomplishments as a philosopher and writer. </p> / Thesis / Doctor of Philosophy (PhD)

Syftet med denna undersökning är dels att undersöka existentialistiska och absurdistiska drag i Albert Camus romaner Främlingen och Pesten, dels undersöka hur Camus väljer att beskriva och framställa huvudkaraktärerna i respektive roman, dels analysera existentialismen och absurdismen i anslutning till de båda verken och hur dessa kan användas som redskap för att belysa problematiken kring psykisk ohälsa bland unga. En textanalys tillämpades på två romaner av Albert Camus Främlingen och Pesten. Resultaten visar att romanerna innehåller tankemotiv/drag av existentialismen och absurdismen och att dessa ismer återspeglas i relation till karaktärerna i romanerna. I Pesten skapas i existentialistiska termer en subjektiv och kollektiv mening i meningslösheten, vilket saknas i Främlingen. I Pesten skildras ett positivt exempel på hur man kan hantera livets meningslöshet medan i Främlingen revolterar människan mot det absurda, vilket i sin tur blir en revolt mot samhället, världen och skildras således som något negativt. Därav visar resultatet sammantaget att Pesten i större utsträckning lutar åt existentialismen och att existentialismen i Främlingen hamnar i skuggan av absurdismen. Resultatet visar även att Camus romaner i anslutning till den teoretiska utgångspunkten och skolans breda uppdrag i form av hälsan kan användas didaktiskt som underlag för samtal om psykisk ohälsa.

The purpose of this study is to analyze why The Plague of Albert Camus sparked the interest of readers after the beginning of COVID-19 pandemic. The study first shows that this renewed interest is detectable in various statistics that show a correlation with the actual health situation. In order to reflect upon whether this phenomenon could be linked to this novel’s status as a “classic”, the classification of Italo Calvino of a classic work serves as a reading grid to explore articles and scientific studies about The Plague. Following this method, the study suggests that there is likely a link between the rise of interest for this novel during the COVID-19 pandemic and its canonical status.

In recent cinematic history, films have often expressed through the experiences of characters an 'existential moment' in which fundamental assumptions about life are questioned and potentially rendered meaningless. The purpose of this project is to follow two accounts of this expressed moment in the 1999 films American Beauty and Fight Club, understanding them as such through particular readings of the philosophical articulations of Albert Camus. I analyze the social climates of liberalism and consumerism that might account for these expressions of discontent and anxiety at the same time I evaluate the validity of existential thought in the contemporary social world. Ultimately, I question what kinds of political qualms absurdity might render, using film experience as a venue to understand and evaluate these questions. / Master of Arts

As an advanced society of industrialized capitalism has an ever-tighter grip on our everyday lives, I ask if rebellion is possible in the current context. To this end, I formulate a model of rebellion based on my readings of Marcuse and Camus; from Marcuse, the idea that a person can formulate a rebellious subjectivity through the consumption of art in the creation of the aesthetic dimension, and from Camus, an individual placing limits on what oppression he will take from an existing order and at what point she will say "no" to that order and giving a concurrent "yes" by acting in such a way that fosters Camus' human community. I argue after the Cold War especially, the bureaucratic society of controlled consumption closes down spaces for meaningful rebellion. As we have moved from hip consumerism to market populism, the goal of the existing order is for the citizens thereof to legitimate the order. I analyze various groups to see if they are engaging in rebellion, such as Al Qaeda, Hamas, the Earth and Animal Liberation Fronts, and analyze their methods. I find that instead of labeling as terrorist or rebel, we should let the rebellious subjectivity guide our judgment of their actions. Ultimately, I conclude that rebellion is still a possibility even in the encroaching totality of the bureaucratic society of controlled consumption, and that a preservation of the rebellious subjectivity can provide a basis for formulating a rebellious praxis not yet called into being. / Master of Arts

La manipulation est présente au cœur de l’œuvre d’Albert Camus. Elle s’exerce tant au niveau des personnages qu’au niveau du lecteur. Jean-Baptiste Clamence, dans La Chute, est un personnage extrêmement manipulateur. A la fin de son discours, il énonce ce que furent ses techniques de manipulation. A la lumière de La Chute, on découvre une nouvelle facette de l’œuvre d’Albert Camus, celle de la manipulation.Il existe différents manipulateurs. Il y a ceux qui le font avec un immense plaisir ou ceux qui manipulent pour le bien d’autrui. La manipulation s’exerce parfois au service d’un autre manipulateur. Des événements historiques peuvent être générateurs de manipulation en mettant ces personnages en action.Les personnages manipulés réagissent aussi de différentes manières. On peut dissocier les inconscients des conscients non consentants qui se battent pour s’en libérer. Il existe aussi des personnages conscients de leur manipulation et consentants de l’être.A l’adresse du lecteur, Albert Camus utilise différentes techniques comme le jeu sur les duos, les références à la Bible ou à ses différents écrits. Albert Camus met en place un processus nécessaire de compréhension qui rend le jugement impossible. La Chute apparaît comme le mode d’emploi de la manipulation. A travers les techniques de Jean-Baptiste Clamence, on découvre donc celles d’Albert Camus. Le premier Homme est d’ailleurs la seule œuvre exempte de manipulation et marque un tournant dans l’œuvre d’Albert Camus. / Manipulation is present in Albert Camus’s work. It acts at the level of both the characters and the reader. Jean-Baptiste Clamence, from The Fall, is an extremely manipulative character. At the end of his speech, he lists and describes his manipulation techniques. The Fall reveals a new aspect of Albert Camus’s work : manipulation.There are several kinds of manipulator: those who find personal pleasure in such behaviours, and those who act for the good of others. Manipulation may sometimes benefit another manipulator. Historical events may generate manipulation; they activate Camus’s characters.Manipulated characters also react in different ways. Some are unaware, others may be aware but are non-consenting and fight to free themselves, and other characters are aware of being manipulated and accept it.At the reader’s level, Albert Camus uses different techniques such as the play between duos, references to the Holy Bible or tho his own writings. Albert Camus creates an understanding which makes judgement impossible. The Fall almost resembles an instruction manual for manipulation. Through Jean-Baptiste Clamence’s techniques, we discover those of Camus himself. The First Man is the only one of Camus’s books that is free of manipulation, and in this respect represents a turning-point in his work.

Dentre os planos que Albert Camus estabeleceu para a sua obra, prevaleceu nos seus escritos e declarações a tríplice que incluía os ciclos do absurdo, da revolta e do amor. Cada um dos ciclos seria composto de pelo menos uma peça de teatro, um romance e um ensaio, além de também ser acompanhado de um mito central, sendo respectivamente Sísifo, Prometeu e Nêmesis. Com a sua morte súbita em acidente de carro aos 46 anos, o escritor deixou alguns vestígios do que viria a compor o seu terceiro ciclo: o romance inacabado O primeiro homem, anotações sobre a peça Don Fausto e elementos para o ensaio O mito de Nêmesis. A presente pesquisa reúne e contextualiza os rastros deixados por Camus em torno da sua relação com o mito de Nêmesis a fim de oferecer uma chave de leitura para a sua obra e expor um panorama formal, temático e filosófico de um dos seus últimos projetos de ensaio. / Among the plans that Albert Camus has established to his work it has prevailed, in his writings and declarations, the triple that includes cycles of absurd, revolt and love. Each one of the cycles would be composed at least of a theater play, a novel and an essay. Besides, they are also followed by a central myth, being Sisyphus, Prometheus and Nemesis. After Camus sudden death at age 46, he left some traces of what would it be consisted his third cycle: the unfinished novel The first man, notes about the play Don Faust and elements for the essay The myth of Nemesis. The presented research reunites and contextualizes the traces let by Camus around his relationship with the myth of Nemesis in order to offer a reading key to his work and to expose a formal, thematic and philosophical overview of this essay project.