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Considered a classic of 20th-century literature, The Stranger has received critical acclaim for Camus's philosophical outlook, absurdism, syntactic structure, and existentialism (despite Camus's rejection of the label), particularly within its final chapter. [3] Le Monde ranked The Stranger as number one on its 100 Books of the 20th Century. [4]
Camus rejected existentialism as a philosophy, but his critique was mostly focused on Sartrean existentialism and – though to a lesser extent – on religious existentialism. He thought that the importance of history held by Marx and Sartre was incompatible with his belief in human freedom. [ 87 ]
Camus was a friend of Sartre, until their falling-out, and wrote several works with existential themes including The Rebel, Summer in Algiers, The Myth of Sisyphus, and The Stranger, the latter being "considered—to what would have been Camus's irritation—the exemplary existentialist novel." [93] Camus, like many others, rejected the ...
These works of fiction cover the whole variety of existentialism, or absurdism, as Camus himself insisted his philosophical ideas be called. The clearest manifestation of the ideals of Camus can be found in the story "La Pierre qui pousse." This story features D'Arrast, who can be seen as a positive hero as opposed to Meursault in The Stranger. [4]
The plot of Le Malentendu resembles the newspaper article that the protagonist of Camus' 1942 novel The Stranger finds under his mattress in his prison cell: it is the story of a man who became rich abroad and comes home to his village where his sister and mother have a hotel. He doesn't reveal his identity (in order to surprise them later ...
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The play was later the subject of numerous revisions. It is part of what Camus called the "Cycle of the Absurd", together with the novel The Stranger (1942) and the essay The Myth of Sisyphus (1942). [2] A number of critics have reported the piece to be existentialist, though Camus always denied belonging to this philosophy. [3]
"Active and highly creative, Camus is in the centre of interest in the literary world, even outside of France. Inspired by an authentic moral engagement, he devotes himself with all his being to the great fundamental questions of life, and certainly this aspiration corresponds to the idealistic end for which the Nobel Prize was established.