Thesis (M.A.)--University of Delaware, 2007. / Principal faculty advisor: Elaine B. Safer, Dept. of English. Includes bibliographical references.

Thesis (doctoral)--Université de Paris 7 Denis Diderot, 1997. / Includes bibliographical references (p. 507-523) and index.

Thesis (doctoral)--Université de Paris 7 Denis Diderot, 1997. / Includes bibliographical references (p. 507-523) and index.

Zugl.: Dipl.-arb.

Diss.--Univ. of Wisconsin, 1990? / Bibliogr. p. 324-333. Index.

The aim of this thesis is to introduce a renowned French author Albert Camus and subsequently develop my own conclusion on one of his major works - The Stranger (1942). In the first part I introduce the personality of Albert Camus's in the context of philosophical history, literature and drama. I aim to explain the background of his life in the first part of the 20th century, particularly the influence of his origin in Algiers, at that time politically and culturally dominated by the French, in contrast with later residence in France itself. These influences promoted the principle of individuality in the work of Albert Camus and clearly directed him to his own interpretation of literary expression and existentialism. Further I outline the basic principles of this philosophy and I present his most important literary and dramatic works. More specifically I deal with the analysis of the novel The Stranger itself. The topic of next chapter is the presentation of Camus's selected work on the Czech as well as international stages and their specifications. In brief mention I present film adaptations as well. The second part goes in to analysing my own conclusions of The Stranger with a particular attention to the set design. This is closely related to the practical work of the thesis - designs of chosen scenes and scale models are included in the photographic documentation. I aim to explain how I use the actual text of the novel whilst adjusting its structure in relation to the stage design. Then I analyze in detail the various dramatic situations and scenes in terms of set design solutions. In short I present technical and lighting solutions of this production. Conclusion of this thesis refers to the contribution of Camus's work and its influence on the art scene of the 20th century.

Although the theme of madness has been of concern to writers of all ages, there is a perceptible change in the madness of the dramatic character of the twentieth century from that of the past. This thesis is an attempt to analyse that phenomenon as it is manifested in a number of characters of twentieth century drama. The introduction contains a brief outline of the history of madness in society, and a general discussion as to how it is reflected in literature, from Biblical times to the present. It is found that writers make little attempt to explain the madness of a literary character, other than by attributing to him specific personal reasons for his behaviour; i.e. disappointment in love. The characters of twentieth century drama however, are found to be not "mad" in the same way; their madness is linked to their relationship with the rest of society. Thus, a character who considers the rest of society mad, and acts in a way which counteracts that society, is considered mad by those around him. However, to the audience or reader, who are made to recognize the motives for his behaviour, the character is not necessarily mad, and in fact it may be, the playwright implies, that the people who accept the values of the society as absolute who are "mad." By discussing principally "madmen" of four recent dramas: Romulus der Große (1956) and Die Physiker (I962) by Friedrich Düirrenmatt, Graf Öderland (final version 196l) by Max Frisch, and Albert Camus' Caligula (1944), as well as making peripheral references to other dramas in the Conclusion, definite patterns of behaviour emerge. The "madman" is judged in ways which are not understood by his contemporaries. He is generally more intelligent, more perceptive than the other members of his society, and has perceived a truth which is hidden from others. In revolting against a society whose values he cannot accept, he is making what he considers a positive step towards improving in some way the quality of life. (In this respect he is perhaps different from "madmen" of previous literature who are presented as having chosen to opt out.) In each case the revolt fails, leading to chaos or a reimposition of the old system. Despite the failure of the revolt to achieve permanent change, each hero is found to be an idealist oblivious to the reality around him rather than a "madman." The breakdown of traditionally accepted norms such as religion, has meant that in the twentieth century there are no absolute standards of behaviour. Sanity thus becomes a relative concept. This thesis attempts to explore that nebulous and shifting area between madness and sanity as it is reflected in modern drama. / Arts, Faculty of / English, Department of / Graduate

No description available.

No description available.

No description available.