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

Cette étude tente d’apporter une analyse comparée et détaillée des réflexions d’Albert Camus et d’Arthur Koestler ayant un rapport avec cette volonté de défendre l’homme oppressé. Notre apport littéraire à travers cette analyse est de travailler en profondeur sur les textes de Koestler, d’en dégager les particularités lexiques et stylistiques, de les rapprocher de celles de Camus, d’en tirer une analyse subtile et minutieuse de la pensée de l’auteur hongrois, déplorablement méconnu, et de montrer comment deux intellectuels d’origines différentes et de langues d’expression différentes peuvent mener un même combat, avoir les mêmes influences littéraires, les mêmes « ennemis », les mêmes doutes et la même passion. / This study tries to bring a comparative and detailed analysis of the reflections of Albert Camus and Arthur Koestler having a relation with this will to defend the oppressed man. Our literary contribution through this analysis is to work in depth on Koestler 's texts, to identify its lexical and stylistic peculiarities, to bring them closer to those of Camus, to draw from them a subtle and minute analysis of the thought of the " A Hungarian author, deplorably misunderstood, and to show how two intellectuals of different origins and different languages of expression can lead the same struggle, have the same literary influences, the same "enemies", the same doubts and the same passion.

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2018-12-03T13:10:26Z No. of bitstreams: 2 Dissertação - Anna Behatriz Alves de Azevêdo - 2018.pdf: 5630849 bytes, checksum: ce662d49b584fdbad8948383034da855 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-12-03T13:21:59Z (GMT) No. of bitstreams: 2 Dissertação - Anna Behatriz Alves de Azevêdo - 2018.pdf: 5630849 bytes, checksum: ce662d49b584fdbad8948383034da855 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-12-03T13:21:59Z (GMT). No. of bitstreams: 2 Dissertação - Anna Behatriz Alves de Azevêdo - 2018.pdf: 5630849 bytes, checksum: ce662d49b584fdbad8948383034da855 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-09-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The following dissertation aims to reflect on the body through the perspective of the relationship in which bodies are able to affect and be affected by the bias of perception and sensation which comprise the vibrating body. The methodological path of this research is divided into three chapters that contaminate each other and the chosen method is Cartography. It is to lead the discussions through text in which images, conversations and, especially the performance / program created by me in 2015 titled Abduction for small revolutions, are triggers for the development of essays that permeate report of experience and academic writing. The ideas of absurdity, the paradoxical latency of the living (tangles of life and death), relations of domination and submission, are part of the scope of the discussions, and hair, be it in the head or outside it, is the main element for triggering affairs. Together and through the images and conversations, I articulate reflections and self-reflections about and with such an element chained in experiences, both in the artistic production bias as in the daily life. In the first chapter I started with the image of a photograph of Ana (my mother), together and through conversations with her in everyday life, we come to the idea of ​​the Lost Braid which is the return to aspects of her history. This braid is a force that opens the door to questions about absences generated by naturalizations that actions and segregating discourses form in our bodies, such as those generated by symbolic violence, linked to the androcentric and phlogologocentric logics, The Lost Braid is a force that rubs image, conversation and written, in the midst of the narrated memories of picking nits and lice as activators of affections. In the second chapter Screaming Hooks, I work with the logic of sensation and the concept of "body-vibrating." In relationships created by the gestures of scratching and shaving the head, I also come to the experience of a vertiginous and reeling body that can be restored or not, such sensations are potentialized from the "affects of vitality." In addition, I outline situations and experiences about and with the hair and the maintenance of the shaved head, presenting some examples of images of women who had their hair shaved and reports of artists, mostly women, in which the hair element or the absence of it in the head is present in his works. Finally I enter the third chapter entitled Body-Hair in which the performance / program Abduction for small revolutions is field of study. I present this work to 12 people and I develop a dialogue with them about the event of the action and the elements (especially the hair and the absence of it in the head) and gestures that compose it. So to speak, I start from the assumption that the body in performance / artistic program is a body that acts in relation to other bodies. Since then, the performance / Abduction program for small revolutions is revealed from this encounter, thus creating perspectives around the absurd, the paradoxical latency of the living that can define a set of affections, which move the body from the place of mere instrument and artistic tool for the place of experience and re-existence. / A dissertação a seguir, tem como objetivo refletir sobre o corpo através da perspectiva da relação, em que corpos são capazes de afetarem e serem afetados, pelo viés da percepção e sensação as quais compreendem o “corpo-vibrátil”. O percurso metodológico desta pesquisa está dividido em três capítulos que se contaminam entre si e o método escolhido é a Cartografia. Trata-se de conduzir as discussões através de texto em que imagens, conversas e, sobretudo a performance/programa criada por mim em 2015 intitulada Abdução para pequenas revoluções, são gatilhos para o desenvolvimento de ensaios que permeiam relato de experiência e escrita acadêmica. As ideias de absurdo, latência paradoxal do vivo (emaranhados de vida e morte), relações de dominação e submissão, são parte do escopo das discussões e o cabelo, seja ele na cabeça ou fora dela, constitui o elemento principal para deflagrar os assuntos. Junto e através das imagens e conversas, articulo reflexões e autorreflexões sobre e com tal elemento encadeado em experiências, tanto no viés de produção artística quanto no cotidiano. No primeiro capítulo parto da imagem de uma fotografia de Ana (minha mãe), junto e através de conversas realizadas com ela no dia-a-dia, chegamos à ideia da Trança Perdida que é o retorno a aspectos da história dela. Esta trança é força que dá abertura para questionamentos sobre ausências geradas por naturalizações que ações e discursos segregadores formam em nossos corpos, como os gerados por violência simbólica, atreladas à lógicas androcêntricas e falologocêntricas. A Trança Perdida é uma força que fricciona imagem, conversa e escrita, em meio à memórias narradas de catar lêndeas e piolhos como ativadoras de afetos. No segundo capítulo Madeixas que Gritam, trabalho com a lógica da sensação e o conceito de “corpo-vibrátil”. Em relações criadas pelos gestos de coçar e raspar a cabeça, chego também à experiência de um corpo vertiginoso e cambaleante que pode se restabelecer ou não, tais sensações são potencializadas a partir dos “afetos de vitalidade”. Além disso, delineio situações e experiências sobre e com o cabelo e a manutenção da cabeça raspada, apresentando alguns exemplos de imagens de mulheres que tiveram suas cabeças tosquiadas e relatos de artistas, em sua maioria mulheres, em que o elemento cabelo ou a ausência dele na cabeça está presente em seus trabalhos. Por fim entro no terceiro capítulo intitulado Corpo-Cabelo em que a performance/programa Abdução para pequenas revoluções é campo de estudo. Apresento este trabalho para 12 pessoas e desenvolvo um diálogo com elas sobre o acontecimento da ação e os elementos (sobretudo o cabelo e a ausência dele na cabeça) e gestos que a compõem. Por assim dizer, parto da suposição de que o corpo em performance/programa artística/o é um corpo que atua em relação a outros corpos. Desde então, a performance/programa Abdução para pequenas revoluções se revela a partir deste encontro, criando assim perspectivas em torno do absurdo, da latência paradoxal do vivo que podem definir um conjunto de afetos, os quais deslocam o corpo do lugar de mero instrumento e ferramenta artística para o lugar da experiência e re-existência.

Made available in DSpace on 2017-07-10T18:26:04Z (GMT). No. of bitstreams: 1 Ricardo Fabricio Feltrin.pdf: 1176989 bytes, checksum: 57c8963905f9e3b4f2ffe1928012352a (MD5) Previous issue date: 2013-07-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The intent of this dissertation is to analyze the transition from philosophy to philosophy of praxis in Jean-Paul Sartre. It is proposed to analyze the speculative ancestry between these two periods in order to show the possibility of being-for-itself to be guided by a profile more optimistic, one can find the ontological project articulated the theory of engagement. The starting point is the contingency, we launched-in-world, everything is contingent, this notion opposes the inflection of necessity in which the world can only be originated by consciousness. The phenomenal world is there before our eyes to be discovered, to be intended by consciousness. In Sartre, it does not put the primacy of being teleological knowing, in the sense that there is no essence fanning existence, consciousness occurs through a process of emptying the "decompression" of being; solved if the ground under the bias is essentialist " kicked out "of consciousness, then, at least, Sartre would be proposing a kind of fundamental crisis and this criticism culminated with what he calls ontological anguish or despair. There is no reason to live, life would refer to total failure, to nothing, its absurdity. With the reality of the world, the circumstances, the facticity and contingency, after all, always precede the existence of the essence. Philosophically arises existence in terms of subjectivity and great thinkers have proposed to articulate precisely the way in which we can know not only the world, but the man in his ontological context and, in the case of Sartre's thought, this occurs in his ontology for the rule of existential phenomenological actualism, which will always answer the fundamental design of the evidence to choose life in the form of free project while not the world be made of other consciousnesses, each subject does not act in your project solitarily, and questioning the intersubjectivity, of being-for-another, in his presence, leads to the action conflicted because the being-for-another aims the restriction of freedom that does not belong. Note also sharp distinction as the author think the conception of subjectivity in the ancestry of his works (Being and Nothingness and Critique of Dialectical Reason). Although talk of radical change, the route undertaken by Sartre is nothing more than the necessary maturity and convergent adaptation his existentialism, pouring for some optimism, which can only be understood in terms of engagement. This innovative concept goes beyond a design centered on sympathy or antipathy to targeting policy, but the final understanding of Sartre is the resumption of authenticity and its confluence ethics, intending to blame the individual in recognition of their project. Optimism is not lyrical, much less prosaic, is immanent and present, the being-for-itself is coated this "power" to transgress the cases put, resigned to any attempt to dogmatize or substantiate the reality of human hampering their freedom first to make yourself as being-possible. / O intento desta dissertação consiste em analisar a passagem da filosofia do nada à filosofia da práxis em Jean-Paul Sartre. Propõe-se analisar a ascendência especulativa entre os dois períodos, procurando evidenciar a possibilidade de o ser-Para-si orientar-se por um perfil mais otimista, um encontro possível do projeto ontológico articulado pela teoria do engajamento. O ponto de partida é a contingência, estamos lançados-no-mundo, tudo é contingencial, esta noção contrapõe-se à inflexão da necessidade na qual o mundo só pode ser originado pela consciência. O mundo fenomênico está aí diante de nossos olhos para ser descoberto, para ser intencionado pela consciência. Em Sartre ela não se reveste pela primazia teleológica de ser cognoscente, no sentido de não haver nenhuma essência ventilando a existência, a consciência ocorre por um processo de esvaziamento, de descompressão do ser; se o fundamento equacionado sob o viés essencialista é expulso da consciência, então, no mínimo, Sartre estaria propondo uma espécie de crise fundamental e tal crítica culminaria com aquilo que ele chama de angústia ontológica ou desespero não havendo razão para viver, a vida remeteria ao fracasso total, a nada, a sua absurdidade. Com a realidade do mundo, das circunstâncias, da facticidade e da contingência, a existência sempre precederá a essência. Filosoficamente se coloca e existência em termos de subjetividade e os grandes pensadores se propuseram a articular rigorosamente a maneira pela qual poderemos conhecer, não somente o mundo, mas o homem em seu contexto ontológico e, no caso do pensamento sartriano, isto ocorre de sua ontologia para o primado do atualismo fenomenológico existencial, que sempre atenderá ao projeto fundamental na evidência de a vida escolher-se em forma de projeto livre. Não obstando o mundo ser constituído por outras consciências; cada sujeito não age no seu projeto solitariamente, e a problematização da intersubjetividade, do ser-Para-outro, na sua presença, desemboca na ação conflituosa porque o ser-Para-outro tem por finalidade o cerceamento da liberdade que não lhe pertence. Nota-se ainda distinção acentuada na forma de o autor pensar a concepção da subjetividade na ascendência de suas obras (O ser e o nada e a Crítica da razão dialética). Embora se fale em mudança radical, o percurso empreendido por Sartre nada mais é que o amadurecimento necessário e convergente da adaptação de seu existencialismo, vertendo para certo otimismo, o qual só pode ser compreendido em termos de engajamento. Este conceito inovador vai além de uma concepção centrada na simpatia ou antipatia à segmentação política, mas o entendimento final de Sartre é a retomada da autenticidade e de sua confluência ética, tencionando responsabilizar cada indivíduo no reconhecimento de seu projeto. O otimismo não é lírico, muito menos prosaico, é imanente e atual, o ser-Para-si está revestido deste poder de transgredir as situações postas, resignadas a toda tentativa de dogmatizar ou fundamentar a realidade humana obstando de sua liberdade primeira, de fazer-se enquanto ser-possível.

LÉtranger e Le Mythe de Sisyphe fazem parte do que Camus nomeou de ciclo do absurdo,no qual se unem sob esse mesmo tema a escrita literária e a reflexão filosófica. O absurdo é essencialmente definido como um divórcio do homem com o mundo, mas encontramos no percurso filosófico do autor uma noção anterior a essa, as núpcias. A análise de todos os textos anteriores ao ciclo do absurdo nos mostra, porém, que núpcias e absurdo sempre fizeram parte da reflexão camusiana. Essas duas noções opostas sempre conviveram juntas, formando o que chamamos de o avesso e o direito, ideia que se reflete no título da primeira recolha de ensaios do autor. O objetivo dessa dissertação é, através de todos os escritos anteriores à narrativa, definir o avesso e o direito como um tema fundamental para a escritura de LÉtranger, onde se conjugam as núpcias e o absurdo, a literatura e a filosofia. / LÉtranger and Le Myth de Sisyphe make part of what Camus named as the absurd cycle, where the literary writing and the philosophical reflection are joined together under the same theme. The absurd is essentially definite as a divorce of man with the world, but we meet in the authors philosophical course a previous notion to it, the nuptials. The analysis of all former texts to the absurd cycle, show us, nevertheless, that nuptials and absurd always were part of camusian reflection. These two opposite notions always lived together, shaping what we call the wrong side and the right side, the title of the authors first reunion of essays. The purpose of this dissertation is, through the all writings written before the narrative, definite the wrong side and the right side as a fundamental theme to the scripture of LÉtranger, where the nuptials and the absurd, the literature and philosophy are joined together.

(English) The aim of this work is to compare the features of the theatre of the absurd of three hispanoamerican works, Falsa Alarma by Virgilio Piñera, Los Siameses by Griselda Gambaro and La noche de los asesinos by José Triana. First, the theoretical introduction focuses on the origins of the so called theatre of the absurd and its main sources, its main characteristics and finally its extension throughout the Latin America. Furthemore, the principal part of this work deals with the concrete analysis of the three theatre works mentioned above, and slightly discusses lifes and works of its authors. Individual chapters aim as at the typical absurd elements, as at those that are in some way original within the theatre of the absurd paradigm. The main help for each analysis are three principal features of this movement: denial of the plot, violation of the communicative function of the language and even systematical rupture of characters. The final part focuses as on the mutual comparison of the three hispanoamerican works, as their likening to the european theatre of the absurd works.

Albert Camus a lui-même distingué trois phases dans son Œuvre : celle de l’absurde : (la prise de conscience du non-sens de la vie conduit Camus à l’idée que l’homme est « libre de vivre sans appel », « quitte à payer les consciences de ses erreurs » et doit épuiser les joies de cette terre. La vie accepte le non-sens du monde et trouve le bonheur au sein même de l’absurde. Camus affirme que l’absurde n’est ni dans l’homme ni dans le monde, mais dans leurs présences communes, dans leur « confrontations » et le définit comme « l’indifférence à l’avenir et la passion d’épuiser tout ce qui est donné »), celle de la révolte : (la révolte est considérée par lui comme la seule position tenable face à l’absurde. Elle figure avec la liberté et la passion, comme une solution valable et capable d’assurer la justice. Elle seule peut assurer une action affective capable de dépasser la stérilité et l’angoisse créées par l’absurde), celle de l’amour : (Camus entend par là, l’amour de l’homme, tel qu’il est, avec ses forces et son intelligence et aussi avec ses limites et ses faiblesses. Camus exprime son affection et sa solidarité envers l’homme. Ce n’est plus seulement un humanisme classique qui s’affirme, plus seulement une position morale, mais une position d’homme sensible. Camus recherche encore à s’approcher de ces « quelques choses », de cette « part obscure » qui est en tout homme, et en lui-même en particulier). Cette étude interroge sur la remarquable prose camusienne qui touche au premier plan la question de l’Homme qui progresse et modifie au fil des années ; l’attachement au service d’une justice relative aux hommes dont l’idée n’est pas séparable de celle du bonheur ; l’adhésion à une éthique humaine et humaniste qui n’est que pour pousser l’esprit humaine à la perfection. Son art n’est pas « une réjouissance solitaire ». Camus formule son exigence envers l’Homme car l’art est le moyen de l’expression d’une communion entre les hommes. / Albert Camus himself distinguished three phases in his work: that of the absurd (awareness of non-meaning of life led Camus to the idea that man is ‘’ free to live without appeal’’, take a risk to pay the consciences of his errors and must exhaust the joys of this earth. Life accepts the non-sense of the world and finds happiness in even the absurd. Camus says that the absurd is not in man nor in the world, but in their common presences, in their ‘’ confrontation’’ and defines it as ‘’ indifference to the future and the passion to exhaust all that is given’’), that of the revolt: (revolt is considered by him as the only tenable position to face the absurd. It appears with the freedom and passion, as a valid solution and capable of ensuring justice. It alone can assure emotional action capable of overcoming unproductiveness and anxiety created by the absurd), that of the love (Camus meant here the love of man as he is, with its forces and intelligence as well as its limitations and weaknesses. Camus expresses his affection and solidarity towards man. This is not only a classical humanism which expresses itself, not just a moral position, but the position of a sensitive man. Camus still tries to approach these ‘’ few things’’ this ‘’obscure part’’ which is in every man, and himself in particular. This study examines the remarkable prose of Camus that concerns the issue of man, who progresses and changes over the years; attachment to the service of justice, relating to man whose idea is not separable from that of happiness; adherence to human and humanist ethics which are pushing the human mind to perfection. His art is not ‘’ a solitary joy’’. Camus formulates his expectation from man because art is the way of expression of communion between people.

Le recueil de brèves théâtrales "Les Journées nationales" rassemble trois courtes pièces ("La Journée nationale du pardon", "La Journée nationale de la lutte contre l’embonpoint" et "La Journée nationale de la frivolité") qui reposent sur une prémisse commune, en apparence farfelue : l'obligation de célébrer un quelconque impératif social dicté par la majorité. À travers un humour parfois noir, "Les Journées nationales" se présentent comme de courtes satires sociales qui, en judiciarisant une conduite morale implicitement imposée, entreprennent de disséquer et de décomposer les normes sociales et les valeurs généralement admises afin d’en souligner les incohérences. "Quand les huissiers se saisissent de la scène : l’absurde bureaucratique dans le théâtre contemporain" est un essai qui vise à analyser les procédés et à identifier les enjeux à l’œuvre dans les pièces de théâtre de l’absurde bureaucratique. Cette expression désigne des œuvres dramatiques qui, à travers un comique de décalage, une utilisation ludique et créative du jargon bureaucratique et une importance accordée au référent social du lieu et des personnages, expriment la terreur ressentie par leurs auteurs à l’endroit de l’institutionnalisation des relations humaines. À l’aide de quatre pièces principales ("Le Professeur Taranne" d’Arthur Adamov, "Les Travaux et les Jours" de Michel Vinaver, "Quelques conseils utiles aux élèves huissiers" de Lydie Salvayre et "États financiers" de Normand Chaurette), d’études sur le théâtre de l’absurde (Esslin, Hubert) de même que d’ouvrages de sociocritique (Duchet) et de sociologie (Crozier et Friedberg, Le Breton), il sera démontré qu’en exprimant une tension constante entre l’intime et le professionnel, l’absurde bureaucratique laisse aussi entrevoir la persistance du pouvoir et de la responsabilité individuels au sein des organisations sociales. / "La Journée nationale du pardon", "La Journée nationale de la lutte contre l’embonpoint" and "La Journée nationale de la frivolité", the three short plays collected in "Les Journées nationales", all spring from the same, seemingly eccentric idea : the obligation to celebrate any social aspect as long as it is dictated by a majority. By "legalizing" an implicitly imposed moral conduct, "Les Journées nationales", short social satires laden with black humour, dissect and analyze social norms and generally acknowledged values in order to highlight their incoherencies. "Quand les huissiers se saisissent de la scène : l’absurde bureaucratique dans le théâtre contemporain" is an essay that analyzes the processes and also points out the stakes at work in the theatre of the "bureaucratic absurd". The "bureaucratic absurd" is a phrase used to designate plays that, through nonsense, a playful and creative use of bureaucratic jargon and through the importance given to the characters’ and locations’ social connotations, express the terror felt by the playwrights towards the institutionalization of human relationships. Using four plays (Arthur Adamov’s "Le Professeur Taranne", Michel Vinaver’s "Les Travaux et les Jours", Lydie Salvayre’s "Quelques conseils utiles aux élèves huissiers" and Normand Chaurette’s "États financiers"), theoretical works on the theatre of the absurd (Esslin, Hubert), sociocriticism (Duchet) and sociology (Crozier and Friedberg, Le Breton), we will show that, through the expression of a constant tension between the intimate and the professional, the bureaucratic absurd offers a glimpse of the individual’s power and of the persistence of personal responsibility within social organizations.

The topic of this diploma thesis is to prove the author's deep roots in the Romanian literary tradition (Urmuz, I. L.Caragiale), to try to prove that the poetics of his famous plays is actually contained in his work from the 30's and echoes of his personal and artistic experience from Romania can be also found in his French mature creative period. Therefore, Ionesco's writings will be compiled for the first time in our country in its wholeness since Czech and Occidental interpreters and comentators have mostly ignored the author's Romanian period of creation. Key Words Eugen Ionescu, Eugène Ionesco, Romanian literature 20th century, French literature 20th century, The Theatre of the Absurd, Romanian literaly exile

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.