The Argumentative Elements Of Discours In The Plague For Albert Camus Les éléments argumentatifs dans le discours de La Peste d’Albert Camus

Argumentation is not a contemporary, yet a deep rooted intellectual phenomenon dates back to Romans and Greeks times. The argumentative elements ,the author is trying to convey to the reader, are linguistic procedures aim at persuading and being persuaded of what is true. The present study traces, through Camus’ novel The plague, the best method to construct argumentative techniques used to express the author’s deep philosophies. Résumé L’argumentation n’est pas un phénomène intellectuel nouveau, ses origines reviennent aux savants grecs et romains. Elle est une activité langagière ayant pour objectif de justifier un raisonnement en vue de persuader et convaincre l’autre. Cette argumentation est au centre des discours. Camus essaye juste de transmettre d’une manière argumentative un message au lecteur. C’est cette constatation qui sera l’objet de ce présent travail dans lequel nous allons savoir comment se construit le discours philosophique et argumentatif à travers le roman intitulé La Peste. Ensuite nous allons analyser les éléments argumentatifs que Camus met en scène pour transmettre sa philosophie à son lecteur.

Tradução de "Le combat continue..." (Albert Camus)

Tradução de CAMUS, Albert. Le combat continue... In: CAMUS, Albert. Œuvres Complètes. Bibliotèque de la Pléiade. Articles, préfaces, conférences. (1944-1948). Articles publiés dans “Combat” (1944-1947). Éditions Gallimard, Paris: 2006, pp. 515-516.

Psychoanalytic and Existentialist Versions of Don Juanism: Lesia Ukrainka’s The Stone Host

The article substantiates the necessity of psychoanalytical and existential methodology in interpreting Lesia Ukrainka’s drama Kaminnyi hospodar (1912; The Stone Host), including the works of José Ortega y Gasset and Miguel de Unamuno on Don Quixote, Albert Camus on absurd characters (The Myth of Sisyphus. Essay on the Absurd), and Jacques Lacan’s The Mirror Stage. Biographical data testify to the critical attitude of the writer to world treatments of the legend. Her challenge to tradition was bold and conscious. It is regarded that the main point of Lesia Ukrainka’s polemics with tradition concerns Don Juan apologetics, introduced by romantics and developed by modernists. Exploring Don Juan’s psychological makeup provides the opportunity to show that all participants of the legend have become victims of Don Juan apologetics (that distinguish the tragic fi nale of the story). The Don Juan myth has played an integral role in the image of the Person (social mask) being accepted by characters as a trustful image of the Self. Interpretation of the Mirror Image in The Stone Host and its crucial role in the final scene allows for justifying that the mirror serves the narcissistic characters’ admiration of themselves and shows them not only an attractive appearance but an ideal version of the Self, created by myth.

CAMUS:

Neste artigo procuramos analisar, a partir da aproximação entre literatura e história, a questão do poder na obra de Albert Camus (1913-1960), cuja literatura e vida estão entranhadas na realidade histórica, da resistência francesa ao nazismo, na crítica que o autor fez aos regimes totalitários participando dos debates políticos da época. Camus refletiu profundamente sobre a questão da existência humana, tratando da participação individual e coletiva em face da revolta e do poder, e estas reflexões ainda lançam luzes sobre a realidade do tempo atual. Os livros de Camus abordados neste artigo foram os seguintes ensaios: O mito de Sísifo e O homem revoltado, as peças teatrais Calígula e Os justos, a novela O estrangeiro e o romance A peste.Com o objetivo de tratar a questão da liberdade, opondo-se ao poder, como tema central em Camus, trataremos especificamente, dos debates entre Sartre, filósofo existencialista, e Camus, explicitando a sua proximidade teórica e suas divergências. O nosso objetivo é enfatizar estas pontes entre história, literatura e política, na abordagem das obras de Camus, quando, contemporaneamente, muitos olham de maneira desdenhosa tanto o existencialismo como a rica obra literária de autores como Sartre e Camus.

AESTHETICS OF SHOCKS IN THE CONTEXT OF CURRENT EVERYDAY LIFE

Everyday life – regardless of its geographical status – has different dimensions: on the one hand, it is a routine, and on the other hand, it is an attempt to escape from it, to create at least some holiday. In the context of current everyday life, it makes sense to look at its other side: everyday life as stress, affectation of consciousness, etc. It is interesting to observe how the aesthetics of the shock, brought to Ukrainian literature, in particular, by the realities of the 1990s, is modified and filled with new meanings literally before our eyes, and how modern times deform human consciousness, herewith changing the «curve» of surrealism. This is about a phenomenon of the global world – a pandemic as a new experience that has actualized the issue of coexistence and co-responsibility. Experience, preventively studied through fiction and cinema (if «The Plague» by Albert Camus is about the past, then the «The Eyes of Darkness» dystopia by Dean Koontz is about the lethal microorganism «Wuhan 400» in the 1989 edition, which was called «Gorki-400» in the original 1981 version and is a warning fromthe past), now needs a new understanding. After A. Camus’s «The Plague,» one can also appeal to books on the same pandemic theme that have not yet been translated into Ukrainian: for example, Karel Čapek’s play «The White Plague» (1937), «The Steel Spring» by Swedish writer Per Wahlöö (1968), as well as «Blind Faith» dystopia by Ben Elton (2007), where the action takes place in the near future against the background of constant epidemics, and the research focuses on the current topic of vaccination. As a sensitive tool, literature received the reinterpreted theme of ageism for artistic reflection (one can find striking consonance, say, in Japanese literature, in particular in «The Ballad of Narayama» novel by Shichirō Fukazawa), as well as the theme of discrimination on other grounds and social inequality; the theme of a person endowed with power/opportunities and his/her choice to give or not to give the right to life to another; the topic of the area of personal/collective responsibility, boundaries of openness/closedness of societies, as well as the topic of the limit of pragmatism/rationalism, the limits/depth of cynicism. That is, it is about actualizing the presumption of the right to life, the preservation of humanity, which problematizes the other/different content of old, eternal plots of Ukrainian and world literature.

Cybernetic Sparks and Philosophical Feedback Loops

Gregory Bateson observed that cybernetics is not essentially about "exchanging information across lines of discipline, but in discovering patterns common to many disciplines" (Bateson, 1971, p. 23). This paper adopts his line of thought to join the dots between cybernetics and the philosophy of Existentialism, and then interconnect both with contemporary art. It demonstrates that while terminologies may differ, many of the three fields' primary concerns closely cohere. The world's most ground-breaking artists are found to apply and fuse cybernetic paradigms and Existentialist themes, from Robert Rauschenberg and Marina Abramović to Damien Hirst, Stelarc and Anish Kapoor. The research offers the first detailed comparison between cybernetics and Existentialism, and reveals surprising commonalities. Feedback loops, circular causality and negative entropy are not only central tenets of cybernetics, but also of Existentialism. Autonomy, autopoiesis and interactivity equally unite both fields, and each is visionary and forward looking in seeking radical change and transformations. Both explored artistic endeavours, with Existentialists Jean-Paul Sartre and Albert Camus equally renowned for their powerful novels and plays as their philosophical works, while cybernetic art became a major phenomenon in the 1960s following the landmark exhibition Cybernetic Serendipity: the Computer in the Arts (1968), and influenced artistic practices thereafter.

A ficção epidêmica e suas representações: da ‘Ilíada’ ao romance ‘A peste’, de Camus

O tema da epidemia é recorrente na literatura ocidental, abarcando obras que foram escritas desde a antiguidade até a contemporaneidade. Partindo dessa premissa, o objetivo deste artigo é fornecer um panorama de textos que tratam dessa questão e estudar a representação do surto epidêmico que vertebra o romance ‘A peste’, do escritor francês Albert Camus, e se estrutura a partir da convergência dos relatos das peripécias de um médico, Dr. Bernard Rieux, com as histórias pessoais de Jean Tarrou, Joseph Grand, Raymond Rambert, o padre Paneloux, o juiz Othon e o mercenário Cottard. O suporte teórico para as análises pauta-se nos textos de Araújo (2020), Benevides (2011), Develey (2020), Fritsch (2018), Martins (2011), Candido (2011), Marx (2020), Palud (2008), Pereira (1996), Phélip (2020), Ruffato (2020), Voisine-Jechova (2001). Valendo-se do entrelaçamento das histórias de vários personagens, a obra camusiana desvela o que há de melhor e de pior nas suas ações, durante um surto de peste bubônica ocorrido na cidade de Oran, e apresenta uma narrativa sensível e humanizada das vidas de seus habitantes imersos num período de horror e de sofrimento, marcado pela tragédia e pela dor de perdas familiares, exílio e confinamento nas fronteiras de um espaço que se vê invadido pela doença, que persiste ao longo de vários meses e vitima grande parte de sua população.

“Making Sense in a Senseless World”: Disco Elysium’s Absurd Hero

This article examines the representation of mental health issues in the computer role-playing game Disco Elysium by using Albert Camus’ theory of the absurd as a basis. Through his daily work routine as a detective, the protagonist Harry DuBois’ trauma unfolds through the course of the game while simultaneously revealing the psychosocial aspects of trauma. Interpreting Harry’s existential struggles as those of an absurd hero supports the idea that finding (greater) meaning is not a necessity when coping with trauma.