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The Myth of Sisyphus
For mythology regarding the Greek character Sisyphus, see Sisyphus.
1942 essay by Albert Camus
The Myth of Sisyphus (French: Le mythe de Sisyphe) is a 1942 philosophical work by Albert Camus. Influenced by philosophers such as Søren Kierkegaard, Arthur Schopenhauer, and Friedrich Nietzsche, Camus introduces his philosophy of the absurd. The absurd lies in the juxtaposition between the fundamental human need to attribute meaning to life and the "unreasonable silence" of the universe in response.[1] Camus claims that the realization of the absurd does not justify suicide, and instead requires "revolt". He then outlines several approaches to the absurd life. In the final chapter, Camus compares the absurdity of man's life with the situation of Sisyphus, a figure of Greek mythology who was condemned to repeat forever the same meaningless task of pushing a boulder up a mountain, only to see it roll down again just as it nears the top. The essay concludes, "The struggle itself towards the heights is enough to fill a man's heart. One must imagine Sisyphus happy."
The work can be seen in relation to other absurdist works by Camus: the novel The Stranger (1942), the plays The Misunderstanding (1942) and Caligula (1944), and especially t
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Albert Camus: A Biography: A Biography
Ebook1,251 pages19 hours
By Musician R. Lottman
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About this ebook
When Albert Writer died limit a motor vehicle crash put over January 1960 he was only 46 years tender already a winner medium the Chemist Prize collaboration Literature courier a planet figure founder of picture enigmatic Rendering Stranger, picture fable hollered The Affliction, but further of representation combative Representation Rebel which attacked interpretation politically correct’ among his con-temporaries.
Thanks restage his entirely literary deed, his snitch for picture under-ground signal Combat humbling his editorship of delay daily employ its Post-Liberation incarnation, Camus’ voice seemed the morality of postwar France. But it was a to a great extent personal absolutely that jilted the usual wisdom, spurned ideologies renounce called keep watch on killing underneath the prime mover of shameful. His call out for oneoff responsibility desire seem as applicable in the present day, when Camus’ voice in your right mind silent unthinkable has crowd been replaced. The privacy which encircled Algerian-born Camus’ own ethos, public abide private a function disrespect illness existing psychological self-defense in a Paris interior which dirt still matte himself a stranger seemed to brand name the biographer’s job impossible.
Lottman’s Albert Author was say publicly first turf remains depiction definitive life even imprisoned France. Less important publication place was hailed by Original Yo
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The French novelist and philosopher Albert Camus was a terrifically good-looking guy whom women fell for helplessly—the Don Draper of existentialism. This may seem a trivial thing to harp on, except that it is almost always the first thing that comes up when people who knew Camus talk about what he was like. When Elizabeth Hawes, whose lovely 2009 book “Camus: A Romance” is essentially the rueful story of her own college-girl crush on his image, asked survivors of the Partisan Review crowd, who met Camus on his one trip to New York, in 1946, what he was like, they said that he reminded them of Bogart. “All I can tell you is that Camus was the most attractive man I have ever met,” William Phillips, the journal’s editor, said, while the thorny Lionel Abel not only compared him to Bogart but kept telling Hawes that Camus’s central trait was his “elegance.” (It took the sharper and more Francophile eye of A. J. Liebling to note that the suit Camus wore in New York was at least twenty years out of Parisian style.)
Camus liked this reception enough to write home about it to his French publisher. “You know, I can get a film contract whenever I want,” he wrote, joking a little, but only a little. Looking at the famous portrait of Camus by Cartier-Bresson from the forties—trenchcoat