Guilt And Clamence In 'The Fall' By Albert Camus

The Catcher in the Rye is one of J. D. Salinger's world-famous books about the disgruntled youth. Holden Caulfield is the main character and he is a seventeen- year-old dropout who has just been kicked out of his fourth school. Navigating his way through the challenges of growing up, Holden separates the “phony” aspects of society, and the “phonies” themselves. Some of these “phony” people in his life are the headmaster whose friendliness depends on the wealth of the parents, and his roommate who scores with girls using sickly-sweet affection. This book deals with the complex issues of identity, belonging, connection, and alienation. Holden senses these feelings most of the time and is guilty about many things in

The presence of guilt has been felt by all human beings. As guilt grows in a

Are there really any “good” people living on this planet? This question seems to loom in the one’s mind after reading Flannery O’Connor’s two stories, “A Good Man is Hard to Find” and “Good Country People”. Not only does O'Connor portray gruesome imagery throughout both stories, she also incorporates aspects of religion. What makes these stories captivating is the element of pure shock during the climax. Nevertheless, the short stories both help the readers visualize how judging others or jumping to conclusions about certain individuals can have a dramatic conclusion.

The Fall by Colleen Nelson: The effects of guilt after a friend’s death When physic defenses move in to deny, repress, and ultimately suppress any awareness of shame, it usually shows that one is experiencing guilt. In the novel, The Fall, Colleen Nelson elaborates on the effects of guilt that the main characters Taz, Cory, and Ben face, due to the unfortunate death of their friend. Throughout the novel, Colleen demonstrates how people can feel guilty after their friend’s death through its negative effects such as depression and conflicts in relationships. To begin, depression is a clear effect of guilt.

Flat characters play a significant role in all novels. For instance, the brother of Raymond’s mistress is a key flat character. The Arab never grows throughout the novel; rather, he remains a stalker, stalking his prey, tempting a fight. Without the role of the Arab, Meursault, would never have gone to prison, and never be tried for murder.

In The Stranger by Albert Camus. Meursault does not feel any great sadness over his mother's death, yet everyone in the novel seems to try to justify his actions. Why doesn’t Meursault feel any type of sadness or remorse for this mother's death? He seems to not have any kind of feelings or nothing for his mother's when she was alive if he did, he would not have been more remorseful for her death. Meursault acts as though he was not close to his mother's and like he didn’t want to attend her funeral. His friends also seem to back him up by defending him in saying reasons why he shows no feelings or sadness for his mother's death, they say “that’s his way of showing how he feels everyone shows how they feel in different ways”.

In the novel, The Stranger, author Albert Camus confronts some important issues of the time, and uses the singular viewpoint of the narrator Meursault to develop his philosophy and effectively weave together themes of absurdity, colonialism, and free will. Through the progressive disruption of Meursault’s life and his characterization, Camus presents the absurdity of the human condition along with the understanding that a person can actually be happy in the face of the absurd. Camus also intentionally sets the story in the colonized country of Algeria, and hints at the racial tensions that exist between French-Algerians and Arabs.

The Fall, a 1957 novel written by Nobel Prize winner Albert Camus, is a story

In dealing with 'The Fall ' as one of Camus ' short masterpieces on the theme of passive human avoidance, we have the most highly personal account of the evil located within the individual himself and within the very language he uses. Unlike the main character, Meursault in L 'Etranger, who is pursued by a blind fate and involuntary kills an Arab, and is misunderstood by a hypocritical society, Jean-Baptiste Clamence,

The novel The Stranger, by Albert Camus, translated by Matthew Ward, follows the story of a man, Meursault, and how his emotionless way of living and his one grave mistake ends up killing him through a court of law. Throughout his journey, there is tension in him, and between him and other people and groups. This tension is represented throughout this novel with the motif is heat. And as tension can grow and is part of everyday life, it is part of Meursault’s as well. Furthermore, through tension and it growing, it can result in a conflict of multiple varieties. This motif comes up at scenes such as the trial in the courtroom, the conflict on the beach with the Arabs, and the magistrate and his heated argument. And due to Camus specific placement of the motif during these scenes, it also foreshadows conflict and trouble throughout the novel. Camus’ motif of heat shows a tension between opposing sides to foreshadow various types of conflict which demonstrate the theme that tension leads to conflict.

Albert Camus is known all over the world as a French philosopher who contributed to the ideas of absurdism. He is also known for his philosophical literature. More specifically I want to focus my attention to what some people may call a book that influenced many generations. This name of the book is called “The Fall”. In this book, the reader views a different perspective of life from a character called monsieur Jean-Baptiste Clamence.

Widely recognized for philosophical writings as a French essayist and playwright, Albert Camus is a major contributor to exploring the absurd in modern Western literature. Characterized by highlighting the human condition, Camus’ writing style focuses on the everyday lives and inner psyche of individuals in both ordinary and extraordinary circumstances. Such a character-driven writing style is most notably displayed in his 1946 work, The Stranger, a tale of an emotionally-detached man known as Meursault, who lives in French-colonized Algiers during the intermission of the two World Wars. Consisting of two parts—The Stranger first explores his daily life as a free man, and in the second, delves more into the character’s own philosophy as Meursault contemplates during his remaining time in jail. At its core, the story explores the relationships and interactions of the odd Meursault through the character’s inner monologue and dialogue with those around him. The story itself is very ambiguous in its’ nature, and the idea of contemplating the meaning of life and purpose is prevalent throughout The Stranger. Evidently, Camus writes Meursault as a man who believes that life has no meaning, and therefore people are free to do as they please. To supplement the protagonist’s view, the author also presents Meursault alongside various personalities of key supporting characters, each with their own unique personality, and differing outlooks on life. Doing so thus enables Camus to get readers to contemplate about meaning through multiple perspectives. Stylistically, through many devices that emphasize diction, imagery, and story themes. Ultimately, The Stranger is a way for Camus to convey that there are multiple ways to perceive the meaning of life, using Meursault to directly project a different view than what readers are used to. Surely, with the intent of crafting a protagonist so strange, that Meursault becomes comparable to other characters; less so as a reflection of what the author personally believes the meaning of life is, but more of what such exploration of the idea could be.

ABSTRACT: After 350 years of continual social transformations under the push of industrialization, capitalism, world-wide social revolutions, and the development of modern science, what reasonably remains of the traditional faith in divine transcendence and providential design except a deep-felt, almost 'ontological' yearning for transcendence? Torn between outmoded religious traditions and an ascendant secular world, the contemporary celebration of individuality only makes more poignant the need for precisely that religious consolation that public life increasingly denies. People must now confront the meaning of their lives without the assured aid of transcendent purpose and direction. The

“Life has to be given a meaning because of the obvious fact that it has no meaning.” Henry Miller

When Victor Hugo's novel Les Misérables first came out in 1862, people in Paris and elsewhere lined up to buy it. Although critics were less receptive, the novel was an instant popular success. The French word “misérables” means both poor wretches and scoundrels or villains. The novel offers a huge cast that includes both kinds of “misérables.” A product of France's most prominent Romantic writer, Les Misérables ranges far and wide. It paints a vivid picture of Paris's seamier side, discusses the causes and results of revolution, and includes discourses on topics ranging from the Battle of Waterloo to Parisian street slang. But the two central themes that dominate the novel are the moral