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
unthinkable thoughts. However, it can also cause eternal happiness and happy endings. At a philosophic standpoint there are four different categories for love: Philia, Storge, Agape, and Eros. Philia is often translated to mean “brotherly love” or “friendship.” This can be the love a person feels for their friends, neighbors, co-workers, and the people in their lives below their family. When people consider others to be friends it is often because they have shared interest or hobbies. Friends are people
Isolationism in The Stranger and The Thief Though there are multiple elements in both Albert Camus’ The Stranger, and Fuminori Nakamura’s The Thief that allow each author to develop their novels, none is more important that the deployment of isolationism. Though both Camus and Nakamura give their protagonists isolated states at an award winning level, Camus does so in a better way through the addition of how Meursault copes with elements of the absurd. One of the first things readers notice about
Albert Camus' The Stranger: Meursault Is Aloof, Detached, and Unemotional In The Stranger, Albert Camus portrays Meursault, the book's narrator and main character, as aloof, detached, and unemotional. He does not think much about events or their consequences, nor does he express much feeling in relationships or during emotional times. He displays an impassiveness throughout the book in his reactions to the people and events described in the book. After his mother's death he sheds no tears; seems
Albert Camus, born in colonized Algeria, a father to absurdism, and author of The Stranger confronts the philosophical themes of purpose, integrity, and passivity. The Stranger’s main character, Meursault, is a laconic man whose passive actions and brutal honesty lend to connections in his court trial. Those of which condemn him to execution. Meursault falls victim to his complete honesty, complete passivity, and disregard for the purpose of action. He is straightforward, and his actions usually
in Albert Camus’ “The Guest”. This story centers on a character, an outsider, who is trying to fit into the society in the story. It may not be the fact that the stranger is different in looks, culture, or language like it is in this short story, but it is just the fact that they are not the same, which causes them to be the outsider and fulfill the role of the otherness. As we look through the short story ‘The Guest’, and through the short novel ‘The Stranger’, we can see that Albert Camus is working
The Characterization of Meursault in The Stranger In The Stranger, the author Albert Camus, initially portrays Meursault as a monotonous character lacking emotions toward the events surrounding his life. Meursault reflects indifference at the thought of his girlfriend 's proposal in addition to not demonstrating empathy in relation to Raymond 's abusive actions toward his girlfriend. Even so, Meursault 's character gradually develops from a detached individual to a dynamic person as secondary characters
Albert Camus’ novel The Stranger published in 1942 is a reaction to the political turmoil and upheaval in the world (Maus 12-14). The death of Camus’ father during World War I, the challenges of his identity being brought up by his illiterate destitute pied-noir mother in French-Algeria, and his ensuing career as a political journalist in Paris, all contribute to Camus’ position and animosity toward the world (Maus 12-14). For Camus, the absurdist philosophy represents the ultimate explanation for
of the Home in which Meursault’s mother resided in was up for questioning during Meursault’s trial, he had been “surprised by Meursault’s ‘calmness’” and further explained that Meursault “hadn’t wanted to see Mother’s body, or shed a single tear” (Camus 55). This reaction to his own mother’s death is quite unusual and is drastically different from the reaction society expects. Through this, the Prosecutor was trying to show that there must be something wrong with Meursault, so it must be true that
meaning friends have a greater impact on moral growth compared to family or other close relationships. Friendship, in a way, is essential and critical for moral growth. Marilyn Friedman is one philosopher who connects friendship and its importance to moral growth. First off, Friedman gives some characteristics a friendship must have in order to allow moral expansion. As mentioned previously, a friendship must be voluntary with only some “limits imposed by certain external constraints” (Friedman 209)