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Volume 3: A blow of destiny, the king appears Chapter 24: Xuesiphus, Oreste

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    The Theory of the King also explains the Theory of the King.  Literature bar wxba

    One of the Demonic Rebels: The Floating Pot Space - Camus

    Albert, Camus (1913©¤1960), also known as Camus.  French novelist, philosopher, dramatist, critic.  Born in Mondovi, Algeria.

    Camus¡¯s father was killed in the war in 1914, and he moved with his mother to his grandmother¡¯s house in the slums of Algiers. Life was extremely difficult.

    Camus relied on a scholarship to finish high school. From 1933, he studied philosophy at the University of Algiers on a part-time basis. He graduated in 1936 with a thesis titled "Neoplatonism and Christian Thought." However, he was unable to attend university due to lung disease.  Teaching Qualification Examination.

    During World War II, Camus participated in the underground resistance movement against German fascism.  When the war broke out, he served as editor-in-chief of "Republican Evening News" and later served as editorial secretary of "Paris Soir" in Paris.  After the German army invaded France, he joined the underground anti-German organization and was responsible for the publication of "Battle Report".

    Camus has been publishing works since 1932, and became famous in 1942 with the publication of "The Stranger" (also translated as "The Stranger").

    His novel The Plague (1947) received critical acclaim, but The Resistance (1951) led to a break between him and left-wing intellectuals such as Sartre because of his advocacy of pure resistance, that is, opposition to revolutionary violence.

    His major works include the essay "The Myth of Sciosifus" (1942), the plays "Caligula" (1944), "The Just Man" (1949), the novel "The Fall" (1956) and the short story collection "Exile".  and Kingdom" (1957) and so on.

    Camus won the Nobel Prize for Literature in 1957, becoming the ninth and youngest winner in France at the time.  He and Galima died in a car accident in 1960.

    In 2009, French President Sarkozy intended to move Camus's tomb to the Panth¨¦on on the left bank of the Seine River to commemorate the 50th anniversary of Camus's death. However, Camus's son opposed the proposal because he believed that his father had opposed false fame throughout his life and would not accept it.  Moved into the Pantheon and was worshiped.

    Camus likes to write in the form of a trilogy: novel + philosophical essay + script.

    Philosophical thought consists in spiritually resisting the inevitable absurdity.  Sartre's (Saudi) free choice is one of the means that can be taken in the face of absurdity, while Camus emphasizes the happiness in suffering.

    The core of Camus¡¯s thought is humanism.  The issue of human dignity has always been the fundamental issue surrounding his creation, life and political struggles.

    "The Myth of Sisyphus" and "The Stranger" constitute the motif of Camus's literary creation and contain the core issues of Camus' future works.

    In the book, the essential motivation of Sisyphus (also translated as: Sisyphus, Sisyphus) in proposing the hypothesis of happiness is not absurdity, because absurdity cannot tell us what happiness and misfortune are; the reason why Camus hypothesized that Xerxes  Firth is happy because he believes that only a happy life is consistent with human dignity.

    Only by resisting can you show your dignity.  Sisyphus was condemned to eternal damnation, but was happy.  This is definitely a form of resistance, the only form of resistance possible under these conditions.

    When Camus assumed that Sisyphus was happy, he made full use of imagination and dogmatism, but the subtext was the need for human dignity.

    Camus¡¯s creations contain a large number of themes of binary opposition.  Some of them are also directly used as book titles, such as "The Anti and the Right", "Exile and the Kingdom", etc.

    Camus emphasized other themes such as absurdity and reason, life and death, fall and salvation, sunshine and shadow, guilt and innocence. These binary opposite themes often appear in pairs.  And they don¡¯t cancel each other out, they even complement each other.

    Camus used this rhetorical method several times in his essays: using darkness to describe bright sunshine.  The essay may be just a kind of rhetoric, but the way of thinking represented by this rhetoric runs through almost all of Camus's creations and becomes an important feature of him.

    ?????? Whether it¡¯s his novels or plays.  Or in philosophical essays, there is no logical consistency, and contradictions are hidden everywhere, which is the case with other writers.  This may be a fatal weakness, but what is reflected in Camus's works is complex and profound.

    Danish physicist Bohr once said: The opposite of small truths is of course fallacies.  But the opposite of great truth is still great truth.  It is precisely this confrontation with contradictions that reflects the limitations of human thinking and its break with the world.

    The two poles of binary opposition exist for each other's existence, forming a strong tension. Paradox, ambiguity, and polysemy arise here. This has also become a place where Camus is difficult to define. Humanism is consistent during this period, but humanism  Ism is a word with ambiguous meaning.

    Binary opposition is actually a traditional thinking habit in the West, but traditional binary opposition is mainly about the relationship between subject and object, good and evil, beauty and ugliness and a series of concepts. However, in Camus, these traditional concepts are abandoned, good and evil  Issues of beauty and ugliness are discussed in films such as Exile and Kingdom, Yang ?? and shadows are replaced by such images.

    Even in "The Stranger", which tells the story of a murder case, the traditional issues of guilt and innocence are eliminated and exist only as a background.

    These paradoxical ideas of Camus did not find a theoretical solution for him, but they gave his novels and plays an elusive ambiguity and became the source of meaning.

    In an aesthetic sense, simple, unmodified language is used to produce confusing effects, which is most obvious in "The Stranger" and "The Fall".

    Camus has always opposed the label of existentialism given to him by others, but when he accepted the Nobel Prize for Literature, he was still called an existentialist in the award speech. This shows that existentialism is by no means a mere illusion, but a real principle.  Of course.

    Existentialism is a trend of thought that encompasses a variety of thoughts. There are also sharp contradictions between various recognized existentialist thoughts.

    Simply put, the major themes of existentialism are personal fears of existence and feelings of absurdity; it reflects an emotion that people feel when facing the world: being alone and helpless, a world that is personally responsible but meaningless is absurd and has no end.  , the individual is in a thrown situation.

    As Camus said in "The Myth of Sisyphus", everyone is Sisyphus. The only difference is whether they realize this: get up, take the tram, work in the office or factory for four hours, eat, take the tram, four hours of work.  Work, eat, sleep, Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, most of the days go by in the same rhythm, day after day.

    But one day, the question of why came to mind, and everything started from this slightly surprising boredom.

    To get started, this is crucial.  Boredom occurs after a life of mechanical numbness, but it opens up the movement of consciousness.

    Camus¡¯s works all express existentialism in an existential way, so Camus is generally considered to be an existentialist.

    As for Camus¡¯s opposition to existentialism, it was mainly to draw a clear line between him and Sartre, because the public opinion circles at the time basically believed that the so-called existentialism was Sartre¡¯s existentialism.

    Camus and Sartre have many similarities in their thoughts, but there are also differences, especially in their attitudes towards revolution, history and the Soviet Union.  Its roots are in Marxism; Sartre was influenced by Marxism after the war, but Camus has always opposed Marxism, especially historicism.

    Sartre is a philosopher who is more entangled in ideas and is much more abstract. Camus's philosophical thoughts are more derived from perceptual life and direct experience. This is most obvious in Camus's prose. He deeply loves  Algeria represented this sensual life for him, and he never gave up his ideal of a Mediterranean lifestyle throughout his life.

    "The Myth of Sisyphus" and "Being and Nothingness" are two completely different books. This difference is not reflected in the differences in opinions, but in the way of thinking about the problem. It is also absurd. Sartre through a  The series of arguments shows that you cannot be absurd, but Camus does not emphasize free choice and says that I am here, which is absurd.

    Another major difference between the two is that Sartre emphasized action, while Camus was always hesitant. In his novels, except for "The Plague", action has almost no meaning, especially in "The Stranger".  .  This book was published during World War II. At that time, some people questioned whether the book was published at the right time. The resistance movement that Meursault and Camus personally participated in seemed a bit out of place.

    Both Camus and Sartre opposed nothingness and advocated resistance. However, Camus's resistance was different from Sartre's. Camus's resistance was more spiritual, that is, it did not depend on what you did, but on what you thought.  , a bit like the spiritual victory method, but this method makes resistance an absolute possibility.

    ¡°Sartre is just the opposite, it¡¯s not about what you think, but what you do.  Camus's hero Sisyphus and Sartre's hero Oleste are two different heroes.

    It was the disagreement on the issue of resistance that led to the breakdown of the friendship between the two for decades. After the publication of "The Resistor" in 1951, the conflict between Camus and Sartre reached its peak.
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