In this thesis, I argue for the viability of Wilhelm Dilthey’s theory of world-views as a form of meta-philosophy by defending its response to the challenge of history that arose in Germany in the second half of the nineteenth century. I show that Dilthey’s account of philosophy as a universal activity that is rooted in our psychological need for stability successfully integrates history’s insight into the contingency and plurality of philosophical systems without abandoning their truthfulness or tradition. To demonstrate and qualify the success of Dilthey’s theory, I apply it to Albert Camus’ The Myth of Sisyphus which I argue fails to sufficiently address its own historical contingency when it presents its account of and response to the problem of absurdity as a descriptive fact of critical consciousness. I show that Dilthey’s concept of reflective historical consciousness has the necessary resources to overcome Camus’ lack of reflection upon historical contingency. I argue further that Camus’ work reveals the inadequacy of Dilthey’s typology of philosophical world-views by resisting classification by its categories. My thesis therefore contributes to contemporary work on meta-philosophy by showing that Dilthey’s theory of world-views, while limited by its typologies, offers its history of philosophy as a viable form of meta-philosophy. / Thesis / Master of Arts (MA) / In this thesis, I aim to clarify how philosophy should attune itself to historical knowledge by analyzing Wilhelm Dilthey’s theory of world-views. More specifically, I aim to investigate the utility of Dilthey’s theory as a response to history’s insight into the contingent nature of philosophy. I argue that Dilthey’s view of philosophy as a natural extension of our psychological need for stability is capable of accounting for the contingency and plurality of philosophical systems without sacrificing philosophy’s claim to a unique and universal essence. To support my argument, I use Albert Camus’ The Myth of Sisyphus as a characteristic case of philosophy failing to incorporate historical knowledge and show that Dilthey’s theory can overcome this failure through its account of reflective historical consciousness.

Despite the fact that they are both known as leading figures of existentialism, the relationship between 19th century Danish philosopher Soren Kierkegaard and 20th century French philosopher and novelist Albert Camus has largely gone unexplored in secondary scholarship. In the few times that their relationship is discussed, focus is heavily placed on the most obvious difference between the two thinkers: their religious orientations, which tends to prevent any further analysis or discussion. Furthermore, popular conceptions of each thinker-largely informed by their most popular works, arguably Fear and Trembling and The Myth of Sisyphus, respectively-tend to depict them as pessimistic and individualistic figures, the former basing his philosophy on an irrational leap of faith and the latter basing his own on the world's meaninglessness and absurdity. The purpose of this thesis is to provide an alternative, or rather a corrective, to these aforementioned views on the two thinkers. Through literary and philosophical analyses, I will attempt to demonstrate not only that there is a concrete, fecund relationship between Kierkegaard and Camus, but furthermore that this relationship is grounded in a practical, duty-based philosophy of love. The thesis will look at three concepts that play a key role in both philosophies: the absurd, love, and aesthetic creation. As the analysis progresses, it is repeatedly shown that the thinkers' opposing views on theology do not prevent us from finding similar conceptions and practical manifestations of selfhood, neighborly and romantic love, and the social role of the artist. Thus, I shall argue that they are most properly understood as philosophers of love who saw themselves as social critics whose main goal was to help eradicate the corrupting and dangerous nihilism of their respective eras rather than as traditional philosophers.

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O exílio é um tema recorrente, embora pouco explorado, em Albert Camus. Sua obra é organizada em dois ciclos de criação: o absurdo e a revolta. Apesar de situado pelo autor no ciclo da revolta, propõe-se neste trabalho uma nova leitura de La Peste, obra que permite captar em um único texto a multiplicidade da temática do exílio em Camus, caracterizando-a como livro de transição entre esses dois conceitos, com a lucidez como elemento comum. O homem absurdo se percebe como tal pela consciência que tem de seu universo. Para o homem revoltado, a lucidez permite o combate. Em La Peste, o exílio, sob três aspectos, físico-social, psicológico e metafísico, integra a condição humana metafísica, em contraponto à condição histórica, tornando possível compreender tanto sua perspectiva como a do reino neste autor. / Exile is a recurring subject, though little explored, in Albert Camus. His work is organized in two creation phases: absurdity and rebellion. Even though situated by the author in the rebellion phase, this work proposes a new reading of La Peste, which allows seizing in only one text the thematic multiplicity of exile in Camus, characterizing it as a book of transition between these two concepts, with lucidity as their common feature. The absurd man thus perceives himself by means of the conscience he has of its universe. For the rebellious man, lucidity allows struggle. In La Peste, exile, under three aspects, physical-social, psychological and metaphysical, integrates the metaphysical human condition, in counterpoint to the historical condition, making it possible to understand its perspective, as well as the perspective of the kingdom, in this author.

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Thèse de doctorat : Littérature : Paris 12 : 2005. / Version électronique uniquement consultable au sein de l'Université Paris 12 (Intranet). Titre provenant de l'écran-titre. Bibliogr. : 78 réf. Index.

La chute and the six short stories of L'exil et le royaume by Albert Camus constitute a sort of renewal of the author's art and thought. Having left the absurd behind, having experienced revolt, Camus now brings to the forefront a theme that underlies all his work, the essential solitude of human beings. / This thesis attempts to illustrate the various manifestations of this theme in the last works of the Algerian writer in order to underline the remarkable cohesion of these formally dissimilar texts.

Dans son livre Surprendre les voix Andre Belleau fait remarquer, entre autres, que les codes socio-culturels et les codes litteraires du Quebec et ceux de l a France s'amalgament dans la litterature quebecoise. Il affirme que la litterature quebecoise a emprunte les codes de la France et que cet acte a "doublement marginalise" cette litterature . Cette idee sert de base a ma these ou je considere deux romans: L'Etranqer d’Albert Camus et Poussiere sur la ville d'Andre Langevin. Commencant par une etude des protagonistes pour elucider comment Langevin a pu bien manipuler les codes socio-culturels et les codes litteraires des deux pays pour passer son message; je ferais ensuite une discussion des femmes fatales des romans de Langevin et Camus dans le deuxieme chapitre. Au coeur de cette discussion sont la couleur, la sensualite et la violence que les femmes fatales exhibent pour faire ce qu'elles desirent. Dans le dernier chapitre j'analyse les elements qui ont une influence sur les protagonistes. Le temps, la religion et le regard de la collectivite ont une puissance certaine a influer sur les agissements des protagonistes. En faisant cette etude j'affirme que Langevin a pu emprunter les codes sociaux et litteraires de Camus, comme Camus a pu les emprunter a d'autres. Les enonces et meme les mots qui nous parviennent ainsi ne sont pas inertes, neutres, sans attaches, comme le dit Bakhtine. Au contraire, ces enonces sont deja des fragments de discours existants, ils sont proprement des enonces de discours (Belleau 167). Dans cette these je demontrerai que justement, il existe plusieurs singularites entre Langevin et Camus et que c'est une chose qui suit la nature des choses.