This essay examines The Myth of Sisyphus (1942), The Plague (1947), and The Rebel (1951). I have chosen these three works in an effort to triangulate Camus' intellectual development, his persistent interest in literature, and the historical background against which these take place. Sisyphus and The Rebel are Camus' two major philosophical essays. The former belongs to Camus' "First Cycle" of writing, in which he focused on the concept of "the Absurd"; the latter belongs to Camus' "Second Cycle", in which he focused on the theme of "revolt." Camus wrote The Myth of Sisyphus during the Nazi occupation of Paris, an event which he witnessed and experienced and which also served as the inspiration for his novel The Plague. Though the two books are connected by this event, thematically The Plague belongs to Camus' Second Cycle. For this reason, it serves as an illuminating work, demonstrating the importance of fiction to Camus' intellectual process and his particular way of thinking. From Sisyphus to The Rebel, Camus' argument for fiction comes down to the opportunity it offers to describe life rather than explain it. In his opinion, the best novelists exhibit the very philosophy that should generally govern human behavior. These novelists limit themselves to what they can be sure of – namely, their personal experiences; they patiently explore what it is like to live on this earth – how human beings deal with each other, manage their environments, and cope with the often tremendous complexities of life. Not co-incidentally, Camus' fiction took special interest in death of all kinds – from murder to sickness to suicide – in order to remind his readers that life is finite. According to Camus, writing fiction is a way to keep the reader conscious of the human condition, because good fiction plainly exhibits life as it is and death as our common fate. By reflecting on good literature, readers may form their own life ethic.

O tema desta dissertação é a história da edição de códigos no Brasil entre os anos de 1964 a 1974 durante a ditadura militar. A partir da narrativa da codificação neste período, oferece-se uma contribuição à história do conceito código tendo em vista o período analisado, como os juristas e políticos utilizaram estes conceitos em seus debates e como estes conceitos expressaram ou refletiram tensões políticas e transformações sociais. No primeiro capítulo apresentam-se os termos código e codificação como categorias, tendo-se em vista a obra de Reinhart Koselleck. No segundo capítulo são analisados debates parlamentares da época em que o conceito código aparece e nos quais ele foi utilizado pelos agentes para debater e fazer política. No terceiro capítulo as ideias em torno dos conceitos código e codificação são analisadas tendo em vista dois grandes temas, a ideologia de segurança nacional e a tentativa do governo da época de planejar e controlar o futuro. Ao final, apresenta-se uma conclusão que sumaria os achados e propõe um significado dos conceitos código e codificação para o período estudado. / The subject of the present dissertation is the history of the creation of codes in Brazil between the years of 1964 and 1974 during the military dictatorship. Starting from the narrative of the codification in this period, the dissertation offers a contribution of the history of the concept \"code\" taking in consideration the period and how the jurists and politicians utilized these concepts in their debates and how these concepts expressed or reflected political tensions and social transformations. In the first chapter the terms \"code\" and \"codification\" are presented as categories, having as reference the work of Reinhart Koselleck. In the second chapter the political debates of the legislators in which the concept \"code\" appears are analysed and it is discussed how it was used by the agents in their political struggle. In the third chapter the ideas that refer to \"code\" and \"codification\" are grouped in two subjects: national security as an ideology of the period and the government´s attempt to control and plan the future. In the end, the conclusion presents a summary of the findings and proposes a meaning for the concepts of \"code\" and \"codification\" that were analysed.

O tema desta dissertação é a história da edição de códigos no Brasil entre os anos de 1964 a 1974 durante a ditadura militar. A partir da narrativa da codificação neste período, oferece-se uma contribuição à história do conceito código tendo em vista o período analisado, como os juristas e políticos utilizaram estes conceitos em seus debates e como estes conceitos expressaram ou refletiram tensões políticas e transformações sociais. No primeiro capítulo apresentam-se os termos código e codificação como categorias, tendo-se em vista a obra de Reinhart Koselleck. No segundo capítulo são analisados debates parlamentares da época em que o conceito código aparece e nos quais ele foi utilizado pelos agentes para debater e fazer política. No terceiro capítulo as ideias em torno dos conceitos código e codificação são analisadas tendo em vista dois grandes temas, a ideologia de segurança nacional e a tentativa do governo da época de planejar e controlar o futuro. Ao final, apresenta-se uma conclusão que sumaria os achados e propõe um significado dos conceitos código e codificação para o período estudado. / The subject of the present dissertation is the history of the creation of codes in Brazil between the years of 1964 and 1974 during the military dictatorship. Starting from the narrative of the codification in this period, the dissertation offers a contribution of the history of the concept \"code\" taking in consideration the period and how the jurists and politicians utilized these concepts in their debates and how these concepts expressed or reflected political tensions and social transformations. In the first chapter the terms \"code\" and \"codification\" are presented as categories, having as reference the work of Reinhart Koselleck. In the second chapter the political debates of the legislators in which the concept \"code\" appears are analysed and it is discussed how it was used by the agents in their political struggle. In the third chapter the ideas that refer to \"code\" and \"codification\" are grouped in two subjects: national security as an ideology of the period and the government´s attempt to control and plan the future. In the end, the conclusion presents a summary of the findings and proposes a meaning for the concepts of \"code\" and \"codification\" that were analysed.

Zugl.: Bremen, Univ., Diss., 2004

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Using the vehicle of hand drawn animation, this is an ongoing reflection of instances that repeat themselves to a point beyond the humorous and back. The Myth of Sisyphus 'The Gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back on its own weight. They had thought with some reason that there was no more dreadful punishment than futile and hopeless labour.' Albert Camus- The Myth of Sisyphus By observing and illustrating assiduous daily gestures and events our absurd hero is revealed: this protagonist, be it object or human consciously and often unconsciously lives within a relentless finite experience. As the same moment is duplicated, the

This dissertation focuses on the reading of Lar, (2004 2009), by Armando Freitas Filho, a Brazilian poet, and it intends to investigate its composition, whose proposal is to conceive a lyrical autobiography. Author of many books, Armando, in his last work, seeks for the reading and the writing of himself, going through the past in order to review experiences and situations which give him ways of dealing with the present, enabling him to create reflections that concern time, poetry, life and death. The purpose of our study is the investigation of the contemporary poetry and also the questions that involves memory and subjectivity. Therefore, we analyze the three sections of the book: Primeira série , Formação and Numeral . Based on this work, we can propose a revision of the following notions: autobiography and memory, which enable the author to write about himself, who finds in the infinite the nonsense possibility to be and to live. / A presente dissertação investe na leitura de Lar, (2004 2009), do poeta carioca Armando Freitas Filho e pretende investigar o modo de composição do livro, cuja proposta é conceber uma autobiografia em versos. Dono de um extenso rol de publicações, Armando Freitas Filho, em seu último livro, busca a leitura e a escrita de si mesmo, vasculhando no tempo, episódios e experiências pretéritas que dão sentido ao agora, permitindo-lhe reflexões que tocam temas como o tempo, a poesia, a vida e a morte. Nosso estudo, portanto, concentra-se nessa obra, que permite uma investigação não só da poesia contemporânea como também de questões que dizem respeito à memória e a subjetividade. Assim, nosso método de trabalho é a análise dos poemas contidos nas três partes do livro: Primeira série , Formação e Numeral . A obra permite uma rediscussão das premissas da autobiografia e da memória, possibilitando ao poeta uma maneira de escrever sobre o próprio eu, que absurdamente encontra no infinito a possibilidade de ser e viver. / Mestre em Teoria Literária

The contemporary flâneur is confronted with a radically different world in comparison to the Parisian arcades of the nineteenth century during which the idea of the flâneur was conceptualised. The current urban milieu of the flâneur is dominated by consumerism, computer systems and surveillance, and the research posed here explores the flâneur within this environment. The flâneur was originally visualised on the streets and arcades of the city; however, cities do not only exist as buildings and streets and have become global entities that are constituted from the physical and the virtual. Throughout this study reference is primarily made to the work of Francis Alÿs to elucidate theoretical concepts. This study proposes that there is an absence of the teleological goal in the journey of the flâneur and as such, the flâneur wanders the streets without aim; however, in the process creates narratives and leaves traces of his journey. The ubiquity of surveillance in the contemporary metropolis complicates the flâneur's relationship with the latter. Consequently the impact of surveillance on the flâneur and the flâneur's daily wanderings are examined to ascertain its influence on the flâneur in a hyperreal society. In contemporary thinking, the traditional idea of the male flâneur requires reassessment and this research investigates the possibility of the female flâneur and women's presence in the public spaces of the city and the virtual realm of cyberspace. Furthermore, women are intricately linked to consumerism and their experience and position in the city are influenced by being seen as objects of the gaze. / Dissertation (MA)--University of Pretoria, 2011. / Visual Arts / unrestricted

This essay is an attempt to understand what Albert Camus philosophy of the absurd entails, using the figure of Sisyphus in The myth of Sisyphus as a reference. We all face the absurd: the discordance that results from the confrontation of the human longing for the absolute with the worlds non-absolute character. Camus illustrates this condition with Sisyphus among other “absurd heroes”. But what does he want to tell us about our existence with this metaphor? Is life a punishment? Or is it completely indifferent as Sisyphus improbable happiness might indicate? And how can Sisyphus represent us although he is not mortal in the original myth? In order to answer these questions, I investigate the following aspects of the absurd in this essay: what it tells us about the human condition or even the human nature; if it entails a life in indifference; how it is related to finitude; and finally in which sense Sisyphus is an adequate analogy for our existence. My analysis is a combination of an in-depth study of Camus book and a critical discussion of the commentaries of Robert C. Solomon, Arnaud Corbic, and Avi Sagi on The myth of Sisyphus. I conclude that the image of Sisyphus contains some inconsistencies, but that its main goal is to illustrate the constant act of balance, the conscious effort that never reaches its goal which life is for Camus. Such a life does however not need to be dark or indifferent, but rather on the contrary is an authentic life in knowledge of one’s boundaries and possibilities, a life where finitude highlights the value of what it restrains, a life worth living despite its difficulties. While arguing for this reading of Camus, I also attempt to show how this philosophy of the absurd already contains key elements of an ethical position which according to a common view on Camus only appears in his later works.