By Mark Orme, Lissa Lincoln, Christine Margerrison
Within the first decade of a brand new century, this choice of bilingual essays examines Camus's carrying on with acceptance for a brand new new release of readers. In an important respects, the area Camus knew has replaced past all attractiveness: decolonization, the autumn of the Iron Curtain, a brand new period of globalization and the increase of latest sorts of terrorism have all provoked a reconsideration of Camus's writings. If the Absurd as soon as struck a selected chord, Meursault is as most probably now to be obvious as a colonial determine who expresses the alienation of the settler from the land of his beginning. but this expanding orthodoxy also needs to take account of the explanations why a brand new neighborhood of Algerian readers have embraced Camus. both, as soon as remoted as a result of his anti-Communist stance, Camus has been taken up by way of disaffected individuals of the Left, confident that new varieties of totalitarianism are in a foreign country on the earth. This quantity, which levels from interpretations of Camus's literary works, his journalism and his political writings, should be of curiosity to all these looking to re-examine Camus's paintings within the gentle of moral and political matters which are of continuous relevance this day
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Additional info for Albert Camus in the 21st century : a reassessment of his thinking at the dawn of the new millennium
Harold Bloom, le critique littéraire américain, qui rejette ce qu’il appelle “l’École du ressentiment”, dans laquelle il place ceux qui entendent remplacer le critère purement esthétique par des critères de nature politique, sociologique, ethnique, historiciste ou qui relèvent du “gender”, s’est interrogé dans The Western Canon (Le canon occidental) sur la constitution de ce canon12. Bloom porte son attention sur ce qui se passe entre le commencement et la fin mythiques de l’histoire, sur le processus par lequel le canon s’élabore.
Par ses qualités elle devient un personnage paradigmatique, l’incarnation d’un type de femme qui a un grand avenir. Le roman rend visible en rassemblant des caractères qui sont encore épars dans la réalité, un nouveau phénomène : il le fait apparaître, émerger hors de sa gangue ; il évoque ainsi un commencement, une nouvelle possibilité d’être, il ouvre un chemin. On pourrait faire une analyse analogue de L’Étranger et de La Chute : Meursault et Clamence sont devenus des paradigmes d’une manière d’être ; Meursault illustre l’expérience d’une vie au ras des sensations, de ses joies et de son ennui, de ses excès aussi, l’étrangeté qu’elle confère à celui qui la vit et au monde qui lui fait face; Clamence devient une espèce de modèle de duplicité, qui colonise les autres mais aussi sa propre mémoire au profit de sa mauvaise foi : tout est bon qui lui permet de survivre dans son mal-être.
2 II If that is the case, then it is, perhaps, surprising for today’s readers that in Le Premier Homme Camus did not deal primarily with the current situation, or seek for example to foreground the benefits of colonialism (although these are implicit in his demands for “justice” and “equality” for the colony’s Muslim majority, whether in “Misère de la Kabylie” in the 1930s or in his journalism of the 40s and 50s). What he resorted to is the past, in order to enlighten and influence deluded metropolitan opinion regarding Algeria in the present.