The Effects Of Albert Camus The Absurd Sensitivity

Thomas Nagel states that human beings have a “natural expression” for the sense that life is absurd (Nagel 29). In his essay, simply titled “The Absurd”, Nagel argues that this natural presumption is true, but not for the reasons commonly given: the smallness and brevity of our lives. Instead, our lives are absurd because they feature an inevitable conflict between our feeling that life lacks justification and our inability to disengage with life despite this feeling. I argue that Nagel mistakenly includes awareness in his philosophical definition of absurdity. Nonetheless, his essay is an insightful read about the nature of human life.

At some point in time we have all wondered what it means to human, and what we are supposed to do with our lives. Throughout the centuries, there have been gradual changes in what it means to be human. Through Pico della Mirandola we will how man became the measure and took the place of God, through Charles Darwin we will see how nature and science began to take the place of man, and through the art of Friedrich we can visually see all of these changes.

The Stranger by Albert Camus focuses largely on the concept of absurdism. Camus uses family and personal relationships, or the lack of it thereof, to show the isolation that the main character, Meursault, undergoes in the novel and it’s effect on him overall. Camus utilizes the protagonists’ character development as a tool to further his plot of the novel. The absence of family and personal relationships tied in with the particular recurring topics of the novel are crucial in both the development of the protagonists’ characters as well as the plot as it affects the portrayal of the main character.

Albert Camus’s novel, The Stranger is regarded to the philosophical ideas of Existentialism, yet seems to also incorporate Absurdist tenets throughout the book that show ideals of being a unique type of individual with different actions that society disagrees with.

This analysis have shown me how important is to be faithful to your own principles, even when the world takes you to unknown. The knowledge of the society in which each one has to life is what shows that opposed positions that seem irreconcilable are part of a whole and as Collin’s suggests, each individual has to decide what is right or what is wrong in the society and then take a position and try to change what is wrong. (Hentrhone,

In Albert Camus novel, The Stranger (The Outsider), the main character Meursault displays a unique indifference to his surroundings and the world around him. It takes him a degree of time to come to terms with his indifference, but when he does he feels truly free from society's constricting bonds. He leads an apathetic lifestyle that is characterized by his constant lack of a definitive personality. Meursault wanders through life as if in a drunken stupor, living the life of a pleasure seeker. When he accepts his death he is relieved of the pressure of dealing with guilt and with relationships towards other people.

In 1971, Thomas Nagel wrote a paper titled ‘The Absurd.’ He argues that the nous of the absurd arises from two belligerent propensities in us: the first is explained as, ‘we take our lives’, or at slightest the ventures we take on in our lives, and that we cannot circumvent. In addition, the second propensity is that we are capable, upon undermining or reflecting, the explanations for any of our ventures in life. Furthermore, from a radical point of view outside people’s interests nothing can be justified; however we are skilled enough in taking up such a perspective reflection. What more can be said is that this absurdity is an ailment we are predestined to by virtue of our reflective nature. Though in general understanding to the idea,

The inability to feel emotions makes someone not fully human and in the book, Lois Lowry shows the devastating consequences of suppressing emotions. WIthout emotions and feelings, we are not so different than robots. Because of this, emotionless humans can be easily led and controlled by the command of someone with a higher position. Consequently, the Elders can order around the citizens without any objections. After all, it only takes a certain amount of anger to revolt. Not only they are deprived of the opportunity to be unhappy, but also the opportunity to be happy. They do not experience envy or jealousy, but they also don’t experience love or sexual desire. The only exception is when the Giver shares memories of love and pain does Jonas understand what he and the community has been missing. Somehow, the community doesn’t understand that it’s not possible to experience positive emotions without negative emotions. Even negative emotions can lead towards a good result, such as leaving a bad relationship or overthrowing a tyrant. But the people in the community cannot make their own choices because they cannot feel anything. After I read the book, I realized that to feel is to be

Camus absurdity explains the forces upon itself with regards to an individual or person, especially when that person desire is to find a total absolute in other to guide his or her life; however, the individual goes out to search for absolutes but ends up finding out that the world is not reasonable or realistic for living in other words meaningless. Therefore, the absurdity, can be described as; suicide and recovery as a solution. However, a person 's

In addition, Meursault’s sensory experience of life, his physical pleasures and in-the-now perspective, is a demonstration of living life to the fullest. The absurdist must live life passionately, putting all of one’s weight into existence by not wasting time or energy on the ethereal or ephemeral. The fact that Meursault does not want to think about religion, even as he awaits execution, shows how the ideal absurdist would live life: loyal to one’s own being until the end – not to a father in the sky, or to an abstract hope. Meaning of one’s life must come from one’s own creative efforts. Meursault’s indifference to spiritual matters – and even sensory matters that are in the distant past and are therefore unimportant to him – is used to emphasize the passion for the present that Camus decided the absurd hero should have. So it is not so much that Meursault is totally indifferent, he is just indifferent to things outside of the now.

Historically, humanity has been obsessed with discovering the nature of reality. Every person eventually develops their own worldview based on their beliefs, morals, and experiences. At one point in their lives, many people undergo a radical change in perception that forces them to change this view, eventually adopting a new perception of reality. Such a transformation occurs once one starts to question the fundamental nature of one’s own existence and that of the world around them. This realization begins with the disillusionment with one’s environment, continues with the questioning of one’s life’s worth, and concludes with the acceptance of a new worldview.

In Meursault’s world, no action needs reasons to explain them. The irrationality of his actions versus the need for others to justify it through moral lenses exemplifies absurdity. In Myth of Sisyphus, Camus writes, “…absurdity springs from a comparison…it bursts from a comparison between an action and the world that transcends it” (“Myth” 10). Absurdity comes when the society tries to explicate an action or an idea that’s not ‘usual’ or ‘normal.’ To Camus, however, there is no ‘normal’ and ‘usual,’ because the universe’s irrationality cannot be explained and categorized. This belief resides within Meursault’s only two active interactions with the universe: his relationship with Marie and his killing of an Arab. When Marie asks him why he wishes to marry her, he writes, “I explained to her that it didn’t really matter and that if she wanted to, we could get married” (The Stranger, 41). Between marrying and not marrying Marie, there is no change and importance to Meursault’s life. In society’s effort to justify marriage, the couple is expected to love each other and the situation Meursault is

What is the absurd? Camus categorized as the “belief in the absurdity of existence must then dictate his conduct” (Camus, 6). What Camus means is feeling of absurdity goes hand in hand with having a meaningless life. We get so used to doing the same routine that, we as people don’t think we just act like a robot. Camus asks “Does its absurdity require one to escape it through hope or suicide? And does the absurd dictate death” (Camus, 9). Camus says, “An objective mind can always introduce into all problems have no place in this pursuit and this passion” (Camus, 9). The problem with this is if we were always based on facts then we would not be able to base our opinions on experiences. Camus also relates the feeling of absurdity to exile, we as people what to have meaning and or purpose in our own lives. The absurdity displaces us from having a meaning life. Camus says, “Mean who die by their own hand consequently follow to its conclusion their emotional inclination” (Camus, 9). Camus considers this an absurd reasoning because this feeling of exile can turn anyone crazy leading into suicide which both the absurd and suicide are linked together.

In The Stranger, Albert Camus allows the main character to tell the story in order to give the reader an experience of his own. Obviously, with a novel also comes language, which Camus incorporates cleverly as a way to indirectly illustrate Meursault’s thoughts about certain situations. Although the novel represents a postmodern setting, the author shifts the overall meaning. In The Stranger, Camus applies a unique literary style as a power that deflects blame from Meursault, the antiheroic character. In order to disclaim the fault of Meursault, Camus incorporates several instances in which he leaves a greater sense of authority to nonliving objects, while further drawing attention away from the main character. Based on the implication of

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.