By John Foley
Adopting an interdisciplinary procedure, encompassing philosophy, literature, politics and heritage, John Foley examines the entire breadth of Camus' principles to supply a accomplished and rigorous research of his political and philosophical notion and an important contribution to a number debates present in Camus examine. Foley argues that the coherence of Camus' inspiration can most sensible be understood via an intensive figuring out of the innovations of 'the absurd' and 'revolt' in addition to the relation among them. This publication incorporates a specific dialogue of Camus' writings for the newspaper Combat, a scientific research of Camus' dialogue of the ethical legitimacy of political violence and terrorism, a reassessment of the present postcolonial critique of Camus' humanism, and a sustained research of Camus' most vital and often missed paintings, L'Homme révolté (The Rebel).
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Additional info for Albert Camus: From the Absurd to Revolt
Why do we demand that things mean? Why do we insist on creating meaning out of the nothingness of being? Why are we unable to accept, as Pozzo suggests, that we live only in a now, that we may in fact be blind to this moment, unable to see it for what it really is? Why are we unable to accept, to quote one of the most famous lines of the play, that we ‘give birth astride of a grave, the light gleams an instant, then it’s night once more’ (82)? 18 Waiting for Godot thus finally is a play not about the absence of meaning, is not about the messiah who fails to appear, is not about the absent God: it is about asking us about our desire for such things and the difficult realization that we create meaning in the face of nothingness, to stave off that nothingness.
These characters live in a corpsed world of compromised ethics and agonized relationships and all look back—impossibly—to what has been lost. More precisely, the past, as we see in especially Hamm’s central narrative, is a time, a place, where significant ethical action could have been enacted (this conditional tense is crucial) but was not. I will not reduce Beckett’s favorite play to an easy moral lesson but surely one of the things Hamm’s repeated and habitual return to the past suggests is that to live in regret, in nostalgia without consolation, is the purest form of despair.
Toilet not belonging to the world of the play. In the second act Vladimir pushes Estragon toward the 38 WAITING FOR GODOT AND ENDGAME auditorium where he catches sights of the audience and ‘recoils in horror’ (66). Much as the protagonist in Beckett’s Film suffers from ‘the anguish of perceivedness’ (163), Estragon is horrified at the idea of his existence being confirmed, perhaps even articulated, by an audience. Vladimir complains of having been ‘better entertained’ (32) by the actors on stage and, perhaps like the actual audience, grows bored: ‘I begin to weary of this motif’ (76).