scholarly journals Work, Unity, and Aesthetic Plenitude in La Peste by Albert Camus

2020 ◽  
Vol 20 (2) ◽  
pp. 242
Author(s):  
Carmen Romero Sánchez-Palencia
Keyword(s):  
Personal Growth ◽  
Albert Camus ◽  
Essential Component ◽  
The World ◽  
The Face ◽  
The Subject ◽  
The Individual ◽  
First Time

<p><em>Albert Camus, and his work, is the perfect example of achievement through personal growth, with a unitary conception of the individual and their relationship with the world and with others. In confronting the immediate, the author offers repose; in the face of the absurd, revolt, and in the face of a meaninglessness he proposes love. His task is advance, our advance, climbing a long ladder that we may also descend, although transformed, no longer as we were the first time. This project will analyse the book La Peste / The Plague, relating it and the ideas here expressed with the concept of work. Work being understood as something beyond mere occupation, or way of making a living, but the endeavours of the subject as an essential component of life. This becomes evident when one seeks to grow fully, in harmony with humanity as embodied by Camus’ characters in a situation of collective emergency, in a city in the grip of the plague. The result is a hymn of hope, of momentary triumph not without repeated stumbles, recalling again and again what we are and what we can become. Just as in our own lives, the nebulous is the constant companion of victory, which is never entirely complete.</em></p>

Cicely Saunders

2018 ◽  
Author(s):  
David Clark
Keyword(s):  
Twentieth Century ◽  
Palliative Care ◽  
End Of Life ◽  
Advanced Disease ◽  
Professional Life ◽  
The World ◽  
The Face ◽  
The Individual ◽  
Hospice And Palliative Care ◽  
First Time

Cicely Saunders founded St Christopher’s Hospice in London in 1967 as a centre for teaching, research, and care. Its influence quickly spread around the world. Cicely Saunders — A Life and Legacy shows how she played a crucial role in shaping a new discourse of care at the end of life. From the nihilism of ‘there is nothing more we can do’, medicine and healthcare gradually adopted a more purposeful approach to care in the face of advanced disease and at the end of life. This came to be known as palliative care. This biography links for the first time the ideas and practice of Cicely Saunders to the spreading global interest in hospice and palliative care. It explores her deep reflection on the nature of suffering at the end of life, the possibilities of a more informed approach to the medical management of pain and other symptoms, and above all the importance of remaining focussed on the personal and spiritual concerns of the individual patient as death approaches. It is a story of a remarkable personal and professional life and of a seismic shift in twentieth-century medical history.

scholarly journals The concept of love in the lyrics of M. I. Novjukhov

2020 ◽  
Vol 10 (4) ◽  
pp. 672-678
Author(s):  
Е.V. Kosintseva ◽  
Keyword(s):  
Complex Formation ◽  
Objective Analysis ◽  
Creative Work ◽  
Semantic Field ◽  
The People ◽  
The World ◽  
Christian Love ◽  
The Subject ◽  
The Individual ◽  
First Time

Introduction: the article is devoted to the study of the concept sphere of Finno-Ugric literature. The subject of the analysis is the concept of love in the lyrics of M. I. Novjukhov. Objective: analysis of the concept of love in the individual author’s picture of the world of the Khanty poet Matvey Ivanovich Novjukhov. Research materials: the works of M. I. Novjukhov included in the book «With Hope For Happiness» (2012). Results and novelty of the research: the article analyzes for the first time the concept of love in the creative work of the Khanty poet. Attention of the work is focused on the presentation of the concept love in the individual author’s picture of the world by M. I. Novjukhov. The study of the author’s poetic heritage has shown that the concept of love is a complex formation consisting of different semantic components. The main meaning of the concept love was determined by the poet’s works with the theme of love. The semantic field of the concept also includes love for mother, love of neighbors, love for the motherland, love for nature, love for the people, and Christian love. The concept was supplemented by romantic and physical love; love that transforms the world; love as the basis of creative inspiration of poets. The concept of love in the works of M. I. Novyukhov is represented by direct nominations of the lexemes «love» and «to love».

Fichtes Begriff der Aufklärung als der wachsenden Klarheit der Bilder

2020 ◽  
Vol 48 ◽  
pp. 277-292
Author(s):  
Jakub Kloc-Konkołowicz ◽  
Keyword(s):  
Modern Philosophy ◽  
Johann Gottlieb Fichte ◽  
Ethical Action ◽  
External Objects ◽  
The World ◽  
The Subject ◽  
The Individual ◽  
First Time ◽  
Empirical Interpretation

In his late writings Fichte resorts to a formal notion of image that appears very modern. Probably for the first time in modern philosophy the world is being so consequently reinterpreted as a continuity of projected images, which are themselves „images of images”. Other than in the post-metaphysical philosophy the object of critique is here not the truth-relation of images, but rather their empirical interpretation. Knowledge is not understood as a copy of external objects, but, to the contrary, the external objects are held for representations. This ‚discovery‘ of the image-character of the world is for Fichte the first step towards the disavowal of images as only images. Enlightenment is hence being understood as the increasing transparency of images. The article depicts the following steps of the process of making-transparent of the world. Afterwards the role of the subject in this process is presented. The I, as the scheme of scheme of scheme, is the very image which makes it possible for the images to become conscious of their image-nature. Out of it there result certain principles of ethical action, as well for the individual, as for the state. At the same time the coercion of state proves to be justifiable only as an education towards the correct insight of citizens, so that under the aspired final conditions the action out of insight (and not on the basis of coercion) becomes possible. In this way the proper functioning state strives for its own abolishment.In seinen späten Schriften verwendet Johann Gottlieb Fichte einen formalen Begriff des Bildes, der sehr modern anmutet. Vielleicht zum ersten Mal in der modernen Philosophie wird hier die Welt so konsequent zu einem Zusammenhang der projizierten Bilder umgedeutet, die „Bilder von Bildern” sind. Anders als in der nachmetaphysischen Philosophie bildet hier jedoch nicht die Wahrheitsreferenz der Bilder den Gegenstand der Polemik, sondern ihre empirische Deutung. Wissen ist kein Abbild der äußeren Gegenstände, sondern, im Gegenteil, die äußeren Gegenstände sind ein Abgebildetes. Für Fichte ist die ‚Entdeckung‘ des Bildwesens der Welt der erste Schritt zur Desavouierung der Bilder nur als Bilder. Aufklärung bedeutet für ihn folglich die wachsende Transparenz der Bilder. Im vorliegenden Beitrag werden einzelne Schritte dieses Prozesses des Transparent-Machens der Welt skizziert, dann wird die Rolle des Subjekts in diesem Prozess dargestellt. Das Ich ist Schema vom Schema des Schemas – dasjenige Bild, in dem sich die Bilder ihres Bildcharakters bewusst werden. Daraus resultieren sowohl fur den Einzelnen, wie auch für den Staat die Prinzipien des sittlichen Handelns. Dabei zeigt sich, dass der staatliche Zwang lediglich als Erziehung zur richtigen Einsicht der Burger gerechtfertigt wird, so dass im erstrebten Endzustand das Handeln aus der Einsicht (und nicht aufgrund des Zwangs) möglich wird. So strebt der richtig funktionierende Staat seine Selbstaufhebung an.

Photopoetics: Sisyphus Outdone, the Apostrophal Subject and the Elusive Image

2020 ◽  
Vol 4 (1) ◽  
pp. 84-95
Author(s):  
Esther Sánchez-Pardo
Keyword(s):  
Catastrophe Theory ◽  
Albert Camus ◽  
Current Image ◽  
Difficult Condition ◽  
The Subject ◽  
The Individual

AbstractIn Sisyphus Outdone (2012), Nathanaël’s particular tribute to Albert Camus’ The Myth of Sisyphus (1942), the reader faces a challenging hybrid text in which the verbal and visual dimensions intermingle to produce an idiosyncratic type of narrative. Fragmentary, elliptical, a web of quotations, dictums, and meditations on the difficult condition of the individual in the current image-saturated scenario of the first decades of the 21st century, the text manages to propose a rigorous reflection upon crucial aspects of representation from History and temporality, to the Subject now, photography, catastrophe theory, architecture, failure and translation, among the most salient. Sisyphus, I suggest, exhibits a strategic photopoetics which operates as a self-reflective mechanism contributing to the persistence of an impermanent liminal subject and to the (re)production of textuality and the proliferation of voices against silence.

scholarly journals Images of game and gamer in the space of literature and computer games

2020 ◽  
pp. 69-80
Author(s):  
Olga Anatol'evna Bychkova ◽  
Aleksandra Valer'evna Nikitina
Keyword(s):  
Computer Games ◽  
Russian Literature ◽  
Literary Work ◽  
Psychological Type ◽  
Classical Literature ◽  
Modern Computer ◽  
The World ◽  
The Subject ◽  
Queen Of Spades ◽  
First Time

The subject of this research is the images of game and gamers. In the space of literary work, they are arrayed in metaphorical and often demonic raiment, receiving moral-ethical interpretation in one or another way. The problem of game and gamer in criticism was regarded by Y. Mann (&ldquo;On the Concept of Game as a Literary Image&rdquo;), V. V. Vinogradov (&ldquo;Style of the Queen of Spades&rdquo;), E. Dobin (&ldquo;Ace and Queen&rdquo;, A. Pushkin&rsquo;s &ldquo;The Queen of Spades&rdquo;), R. Caillois (&ldquo;Games and People&rdquo;), British writer and researcher of online games R, Bartle, American scientist Nick Yee, and many others. However, juxtaposition of literature sources on the topic to the research in the field of computer games is conducted for the first time. The scientific novelty consists in the comprehensive examination of the psychological game of the gamer based on the material of Russian literature (A. S. Pushkin &ldquo;The Queen of Spades&rdquo;, V. V. Nabokov The Luzhin Defense&rdquo;) , as well as the modern computer games practice, in which psychological type of the gamer found its realization and development in accordance with genre diversity. Even the Russian classical literature depict game as an autonomous space that encompasses the gamer, and often has devastating effect on their personality. The author also observes an important characterological trait of the gamer: the conceptual, &ldquo;literal&rdquo; perception of the world, which is based on the reception of visual images of the world against verbal. Therefore, the Russian literature alongside the research practice of modern videogames from different angles approach examination of the images of &ldquo;game and gamer&rdquo;, cognize the factors and consequences of the problems that emerge in this object field, as well as seek for their solution. The data acquired in the course of the conducted comparative analysis is mutually enriching.

scholarly journals Scenographic Charac-ters of Tetiana Medvid. Figural, Architectural and Textural Attributes

2021 ◽  
pp. 111-117
Author(s):  
N. Rudenko-Kraievska
Keyword(s):  
Albert Camus ◽  
Visual Image ◽  
Primary Sources ◽  
Practical Significance ◽  
Hedda Gabler ◽  
Theater Studies ◽  
Theoretical Generalization ◽  
The Subject ◽  
Textural Attributes ◽  
First Time

The article for the first time examines the scenographic projects of Tetiana Medvid, which were created during the 70–90s of the XX century, in the theaters of Ukraine, with different directors, but united by one artistic technique — the creation of scenographic characters in the form of figural, architectural and textural elements of the stage scenery, which act as separate material characters and reveal the idea of the play. The purpose of the article is to find out the function of scenographic characters — created by figural, architectural and textural elements of stage scenery in the creative works of Tetiana Medvid within the system of effective scenography in terms of creating a visual image of the play. The subject of research — scenographic projects of Tetiana Medvid: “Threepenny Opera” by B. Brecht (1975), “Living Corpse” by L. Tolstoy (1975), “Do not shoot at white swans” by B. Vasilyev (1977), “Interrogation” by S. Rodionov, D. Liburkin (1979), G. Ibsen’s “Hedda Gabler” (1993), “In the Labyrinth” by V. Vynnychenko’s play “Nailed” (1996), “Christian’s Dreams” by H. Ch. Andersen, “Ole Lukoje” (1995), “Tartuffe” by Moliere (1999) on the stage of the Taras Shevchenko Kharkiv Academic Ukrainian Drama Theatre; and “Caligula” by Albert Camus (1998) at the Donetsk National Academic Ukrainian Musical and Drama Theatre named after Artem. Research methodology — use of the method of primary sources, conceptual analysis, the method of theoretical generalization. Results. It is determined that the main expressive element of most scenographic projects of T. Medvid were scenographic characters of different typological series, in particular characters in the form of figural, architectural and textural elements of stage scenery, and the basis of Tetiana Dmytrivna’s work were the principles of visual directing: idea, thought. Novelty. For the first time in Ukrainian art history, one of the typological series of the main means of expression of the outstanding scenographer — T. Medvid — was analyzed and systematized, namely — scenographic characters in the form of figural, architectural and textural elements of stage scenery. The practical significance lies in the possibility of using the presented information in scientific researches of art and theater studies, as well as collected and meaningful factual and illustrative material has the opportunity to become an integral part in further study of the work of scenographers of Ukraine.

scholarly journals The specifics of interpretation of the history in the story by A. Doronin «A Wolf Ravine»

2021 ◽  
Vol 11 (1) ◽  
pp. 139-147
Author(s):  
S. V. Sheyanova ◽  
◽  
N. M. Yusupova ◽  
Keyword(s):  
Literary Criticism ◽  
Historical Narrative ◽  
Volga Region ◽  
Psychological States ◽  
The Real ◽  
The Subject ◽  
The Individual ◽  
Relationship Of ◽  
First Time ◽  
The Relationship

Introduction: at present the reader’s audience is particularly interested in creative experiments in which the historical fate of the Russian peasantry in the «turning» eras is artistically comprehended. The article is devoted to the study of the problem-thematic range of modern Mordovian historical prose. The subject of analysis is the peculiarity of the reception of the period of collectivization and dekulakization in the story by Erzyan prose writer A. Doronin «A Wolf Ravine». Objective: to reveal the features of the artistic reconstruction of the events of the 1930s, the modeling of the relationship between a man and society in the story by A. Doronin «A Wolf Ravine».Research materials: the story by A. Doronin «A Wolf Ravine». Results and novelty of the research: the historical story « A Wolf Ravine » for the first time becomes the object of scientific understanding and is introduced into the context of Finno-Ugric literary criticism. A. Doronin artistically interprets the real events and circumstances of the resettlement of dispossessed peasants of the Volga region to the uninhabited steppes of Kazakhstan. As a result of the study, we conclude that the actualization of this problem-thematic cluster is due to the creative concept of the historical writer; the individual author’s approach to the reconstruction of historical narrative can be traced in the writer’s desire to realistically reveal the relationship of personality and society in the tragic 1930s; to analyze intentions of people and of the psychological states of the characters. Problems of a sociopolitical nature, actualized in the story, are filled with philosophical, axiological content, and lead to a multi-faceted understanding of the «man and history» problem.

scholarly journals The Absurd Man in camusiana philosophy and poetry drummondiana: language as a source of (trans)formation

2017 ◽  
Vol 27 (3) ◽  
pp. 361
Author(s):  
Sara De Castro Cândido ◽  
Nàvia Regina Ribeiro da Costa ◽  
Ruzileide Epifânio Nogueira
Keyword(s):  
Discourse Analysis ◽  
Interdisciplinary Approach ◽  
Albert Camus ◽  
Dialectical Materialism ◽  
Anglo Saxon ◽  
Work Of Art ◽  
Carlos Drummond De Andrade ◽  
The World ◽  
Poetic Text ◽  
The Subject

This article seeks to an approach between the poetry of Carlos Drummond de Andrade, in Feeling of the world (1940), and the philosophy of Albert Camus, in The Myth of Sisyphus - the work of art as adventure of a spiritual destiny (2012), for, to think through by the language praticed by Drummond in two poems – Poem of necessity and Holding hands –, the be in the world and the passing of the man's condition of the being ontic to the be ontological, using also Durand (2012) and another theorists. Making use, as methodology, by the bibliographical research, and theory express of poetic text, concepts and analysis based on the phenomenological critique. Still in an interdisciplinary approach, to reflect the subject and its constitution as speech, will use theories of French line of discourse analysis (DA) and the line Anglo-Saxon (ADC), whose leading exponents are respectively, Michel Pêcheux and Norman Fairclough, relying on the concept of dialectical materialism. O Homem Absurdo na filosofia camusiana e na poesia drummondiana: a linguagem como fonte da (trans)formação Este artigo busca aproximações entre a poesia de Carlos Drummond de Andrade, em Sentimento do Mundo (1940), e a filosofia de Albert Camus, em O mito de Sísifo – a obra de arte como aventura de um destino espiritual (2012), para, por meio da linguagem praticada por Drummond em dois poemas – Poema da necessidade e Mãos dadas –, pensar o estar no mundo e a passagem do homem da condição de ser ôntico para ser ontológico, valendo-se, também, de Durand (2012) e de outros teóricos. Utiliza, como metodologia, a pesquisa bibliográfica e expressa teorias do texto poético, conceitos e análises com base na crítica fenomenológica. Ainda, numa atitude interdisciplinar, para refletir sobre o sujeito e sua constituição como discurso, baseia-se nas teorias da Análise de Discurso de linha francesa (AD) e de linha anglo-saxã (ADC), cujos principais expoentes são, respectivamente, Michel Pêcheux e Norman Fairclough, apoiando-se na concepção do materialismo dialético.

scholarly journals Metaphysics and the Existential Problematic of Human Finitude

Lumen et Vita ◽  
2017 ◽  
Vol 7 (2) ◽  
Author(s):  
Taylor Nutter
Keyword(s):  
Human Life ◽  
Practical Importance ◽  
Human Person ◽  
Finite Horizon ◽  
The World ◽  
The Face ◽  
The Subject ◽  
Intentional Structure ◽  
Working Out ◽  
Human Finitude

Rather than being of little practical importance, the metaphysical underpinnings of a given horizon determine the character of its existential problematic. With the breakdown of classical metaphysics concomitant with the modern turn to the subjective, the existential problematic of finitude as ultimate horizon arose. According to this subjective turn, the human person can no longer engage the world as though it were in itself constituted by transcendently grounded meaning and value. Standing within this genealogical lineage, Martin Heidegger undertook a phenomenological investigation into the existential constitution of the human person which defines authenticity in terms of finitude. For the early Heidegger, human life is essentially ‘guilty’. This guilt, however, is not the traditional cognizance of one’s sinfulness, but the foundational Nichtigkeit (‘nullity’) of life and its attendant possibilities in the light of the ultimate finality of death. Authenticity, then, consists of a resolute working out of one’s life in the face of such inevitable finality. For the later Heidegger, the finite horizon of a particular epochal disclosure gifts Being to thought and determines it thereby. Authenticity in this case consists of giving oneself over to be appropriated by an event of Being. In contrast, Lonergan understands authenticity as being true to that primordial love which beckons us to intellectual probity and responsibility in working out life’s possibilities. This essay will illustrate how Lonergan’s analysis of the intentional structure of human conscious operations stands as a corrective to Heidegger’s early existential analysis of human being-in-the-world and later thought about Being. While Lonergan defines authenticity as loving openness to transcendent Being, Heidegger, because of his forgetfulness of the subject in her conscious operations, does not allow for a transcendence which stands beyond any finite horizon. 

World

2020 ◽  
pp. 147-166
Author(s):  
Jennifer Anna Gosetti-Ferencei
Keyword(s):  
Objective Knowledge ◽  
The World ◽  
The Face ◽  
The Subject

This chapter begins by examining the existentialist challenge to claims of absolute objective knowledge about the world and their rejection of any god’s-eye view of reality in favor of the world as a source of existential wonder. The situatedness of the subject is shown to be constitutive of the world as existentially described. In this context are presented Heidegger’s notions of being-in-the-world, and the attunement with which the world is accessed by an existential subject. Beauvoir’s notion that we experience the world as a detotalized totality is traced to the phenomenological notion of a world horizon and likened to Nietzsche’s promotion of perspectivism. The threat of nihilism and fragmentation, and the possibility of experiencing the world as inhospitable, alienating, or uncanny are also considered in existentialist terms through Kierkegaard, Heidegger, and Camus, while existential wonder in the face of the world is considered in light of Camus and Marcel.

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