By John Foley
Adopting an interdisciplinary process, encompassing philosophy, literature, politics and historical past, John Foley examines the whole breadth of Camus' rules to supply a accomplished and rigorous learn of his political and philosophical proposal and an important contribution to quite a number debates present in Camus examine. Foley argues that the coherence of Camus' inspiration can top be understood via a radical figuring out of the thoughts of 'the absurd' and 'revolt' in addition to the relation among them. This ebook incorporates a exact dialogue of Camus' writings for the newspaper Combat, a scientific research of Camus' dialogue of the ethical legitimacy of political violence and terrorism, a reassessment of the present postcolonial critique of Camus' humanism, and a sustained research of Camus' most vital and often ignored paintings, L'Homme révolté (The Rebel).
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Extra resources for Albert Camus: From the Absurd to Revolt
Most obviously, both Carson and Hillman address themselves to a largely male tradition of writing, discourse, and thought. Evident in Carson's writing is, as William Logan rather nastily puts it, "temperature-taking feminism": bringing Virginia Woolf into conversation about war with Thucydides in a volume that includes "Dirt and Desire: Essay on the Phenomenology of Female Pollution in Antiquity," Carson is obviously concerned with gender and its relationship to subjectivity ("The Way of All Flesh" 68).
Graham names her sixth book of poetry after the concept that informs it: in the course of The Errancy, the tide is revealed to refer to a discursive wandering, which is a metaphor for both Graham's thought processes and for the spirit of resdessness, displacement, and spiritual longing that characterizes modern experience-"the populace ... / very tired on its long red errancy / down the freeways in the dusklight"(6). This errancy-that of the poet as weB as the populace-it quickly becomes dear, is motivated by a vague desire; that nebulous longing, however, is enacted in the book very speciftcally, through sight.
As part of her effort to avoid attempting mastery, Graham employs the visual arts literally and metaphorically in her poems, which engage in and question her own spectatorship in regard to art and the world and even, at times, attempt to adopt the techniques of the visual ans. Though the connection between Graham's poetry and the visual ans is initially latent, eventually Graham employs the visual arts direcdy, as both subject matter and methodological inspiration for her poetry. Erosion, Graham's second book, is largely ekphrastic.