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1

L’art et l’artiste dans les Discours de Suède d’Albert Camus

100%

Kaznowski J.

Acta Philologica

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2014

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issue 45

165-172

PL

W pierwszej połowie XX wieku rola artysty, a w szczególności pisarza, uległa radykalnej przemianie. Jean-Paul Sartre jako jeden z pierwszych apelował, by literatura stała się literaturą „zaangażowaną”. Autorzy powinni zabierać głos w sprawach bieżących, gdyż zobowiązuje ich do tego powołanie. Laureat Nagrody Nobla, Albert Camus, w mowie o roli artysty i sztuki wygłoszonej w Sztokholmie i na konferencji w Uppsali w grudniu 1957, przemawiał w podobnym duchu. Twierdził, że artysta powinien zawsze reagować na niesprawiedliwość oraz nieść nadzieję innym. Sztuka nie może być jednak podporządkowana żadnej ideologii, ponieważ wtedy, stając się kłamstwem, zamienia się w narzędzie polityczne i traci rację bytu. Artysta zaś musi być niezależny i tworzyć w imię prawdy, piękna i wolności.

2

Uznany za fundamentalistę. Uznany za kolonialistę. Inspiracje Mohsina Hamida Upadkiem Alberta Camusa

80%

Kałuża M.

Estetyka i Krytyka

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2016

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issue 1(40)

7-22

EN

This article, after a introduction to contemporary analysis of Camus, aims at comparative analysis of two novels – well known The Fall by Albert Camus from 1956 and Reluctant fundamentalist by Mohsin Hamid from 2007. Contemporary book in style and form clearly, and with author’s intention relates to Camus’s work written over 50 years before. The presented essay will propose pointing out the themes, which, next to the literary style, connect the forementioned novels. It will be also attempting to discuss visible differences, pointing out to certain problems concerning Hamid’s reference to Camus’s novel.

3

Humanizm Alberta Camusa

80%

Piwowarczyk P.

Studia Gdańskie. Wizje i rzeczywistość

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2011

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vol. 8

351-367

EN

The article discusses the evolution of Albert Camus’ worldview as expressed in his writings. A lot of emphasis is put on the his childhood and youth and their influ ence on his worldview, from the opposition to God, materialism to existentialism and his absurd. The author searches for positive aspects in this difficult worldview, finding them in the humanism of Albert Camus, concentrating on his fascination with beauty, recognising human innate drive to the good, theneed of love which, when confronted with evil, can take on a form of entirely selfless, altruistic caritas.

4

Komunikowanie absurdu życia i śmierci. O spektaklu „Nieporozumienie” na podstawie sztuki Alberta Camusa w reżyserii Stanisława Hebanowskiego

71%

Roś J.

Amor Fati

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2015

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issue 2

83-108

EN

In 1976 Stanisław Hebanowski, a theater director, has staged on the scene of the Wybrzeże Theatre “The Misunderstanding” – a play written in 1943 in occupied France by Albert Camus. This spectacle was significant for Hebanowski, not only be-cause of it`s evaluation, which shows that the weakness of the Camus’ play have been overcome on the scene, what author of the article demonstates. “The Misunderstand-ing” by Hebanowski is also interesting for philosophical thought because of the votes of reviewers of spectacle, circulating around the question about timeliness of the con-sideration about the absurdity of life and death of the individual in the 70s in Poland. Joanna Roś analyzes this comments and draws conclusions from them.

5

Święty Augustyn i Albert Camus. Przyczynek do dialogów – nie tylko filozoficznych

71%

Roś J.

Scripta Philosophica. Zeszyty Naukowe Doktorantów Wydziału Filozofii KUL

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2015

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vol. 4

25-42

PL

Wyczytanie myśli Augustyna z tekstów Camusa, aby można było nazwać je komplementarnym, musiałoby polegać na analizie całości dzieła francuskiego pisarza, jako że echa camusowskiej lektury Augustyna nie urywają się w żadnym momencie jego działalności literackiej, natomiast zaczynają – być może najgłośniej – pobrzmiewać już w jednym z pierwszych pism, jakie wyszły spod pióra młodego Camusa. Artykuł ten ma więc służyć jako przypomnienie dotychczasowych ustaleń, a zarazem jako szkic do pogłębionej monografi i, wykazujący różnorodność pól, na których toczy się dialog Camusa z Augustynem, zawierający odniesienia do tych, na jakich dotychczas nie szukano „spotkań” obu myślicieli.

EN

Finding St. Augustine’s influence on texts of Albert Camus, in order to call it complementary, would have to rely on the analysis of the whole work of the French writer, since the “presence” of Augustine in work of Camus does not break off at any time of his literary activity. In contrast, it starts to have its overtone in the one of the first texts which have come out from the pen of young Camus. Thus this article has to serve as a reminiscence of the previous findings and at the same time their explanation (as they are not always methodologically satisfactory), and also as a sketch for a thorough monograph, showing a variety of fields, in which dialogue of St. Augustine with Camus takes place, containing a reference to those fields, that have not been the subject of interest yet.

6

Intertextualita Hrabalova „Kaina“

71%

Pelán J.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2019

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vol. 59

15-21

EN

The present study concentrates on the phenomenon of intertextuality in one of Bohumil Hrabal’s key early works, namely, the “existential” short story entitled Kain. The author examines especially the intertextual resonances between Hrabal’s work, Camus’s The Stranger, Dante’s Vita nuova and Goethe’s Sufferings of Young Werther.

7

Królewskie palmy, drzewa świętojańskie, migdałowce w dolinie konsulów… Kilka refleksji na temat roślinności w twórczości Alberta Camusa

71%

Roś J.

Amor Fati

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2015

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issue 1

51-68

EN

In this article the author argues that in the works of Camus people are particularly associated with vegetation. Joanna Roś analyzes the selected passages from the three literary works by Albert Camus, successively proving that: in The first man the fun with a palm tree is a symbol of passion for life, which is inextricably linked with nature as a model of survival; in Happy death vegetation teaches the hero that what would dishonor him as a man is the desire of death, denial of life; and Camus, presenting in The Minotaur or The Stop in Oran this city as a place where vegetation is masked, shows how this space devoid of vegetation urges a man to seek a counterbal-ance in a wild nature.

8

O buncie w twórczości Alberta Camusa

71%

Błaszczyk M.

Świat i Słowo

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2020

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vol. 35

|

issue 2

369-374

PL

The paper presents a critical approach to Buntownik. Ewolucja i kryzys w twórczości Alberta Camusa [The Rebel. Evolution and Crisis in the Works of Albert Camus] by Maciej Kałuża (Kraków 2017). Its goal is, firstly, to present the basic theses described in the dissertation; secondly – to depict them in a broader context of contemporary existential philosophy; thirdly – to encourage the readers to reflect on the issues of revolt in the works by Albert Camus.

9

Albert Camus’ eksistentsialismi jooni Priit Pärna filmides

70%

Nurk P. K.

Mäetagused

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2023

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vol. 85

95-120

EN

Comparison of two works benefits the understanding of both of them. The comparison finds the overlap between the works along with the standpoints that distinguish them. The interpretation of these works is broadened and also more distinctly delimited. The article examines the films of Estonia’s most accomplished animation director Priit Pärn for signs of existentialist thought, based on Albert Camus’s The Myth of Sisyphus. Close textual analysis was used to answer the research question: which existentialist traits appear in Priit Pärn’s films, and how they resemble and differ from Albert Camus’s view of existentialism. The research found numerous parallels between Priit Pärn’s filmography and Camus’s existentialist thought. One of the leitmotifs of Pärn’s films is the prevalence of preposterous totalitarian systems, where the prevailing situation is nearly identical to one in which the absurd man would discover the absurd. Various characters from these worlds have lost their human shape in a way that causes discomforting alienation in the viewer, which is one of the absurd discoveries mentioned by Camus. Though many of Pärn’s characters are similar to the absurd man, only in one of the films are they able to free themselves from the rigid routine conclusively. However, none of the characters recognize the absurdity of the system around them: they either live under its hardship or those who free themselves resemble the absurd man only in their actions, not in their mentality, because they do not act upon a logical discussion. Distinctive to Pärn’s style, the unrestricted approach to reality aligns with Camus’s reluctance about the mindset that treats humans and everything else as if they had a definite place and purpose in the world. Priit Pärn’s films have many similarities with Albert Camus’ existentialism. Although juxtaposing them reveals that while Camus concentrates on a mentality on how to interpret and embrace the absurd, Pärn’s films focus on the absurd and the absurd systems themselves, along with describing the burdens they bring about. Additionally, often in Priit Pärn’s films, the oppressive plight of the characters remains persistent. In contrast, Camus ends his essay in faith that even in a world burdened with absurd one may be happy.

10

Wokół publikacji Wydawnictwa Karakter

70%

Roś J.

Refleksje. Pismo naukowe studentów i doktorantów WNPiD UAM

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2016

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issue 13

165-167

PL

The purpose of this draft is to invite readers to read several novels, which Wydawnictwo Karakter from Cracow in the past few years introduced on the Polish publishing market. Joanna Ros explains why Karakter, popularizing the work of African writers, does the fancies of Albert Camus a favour. The novels cited by Joanna Roś testify to the fact that their authors are well acquainted with the literature of the author of The Plague and propose a completely new and unexpected encounters with it in the pages of his own works.

11

Revolt in Albert Camus’ works

70%

Błaszczyk M.

Świat i Słowo

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2020

|

vol. 35(2)

369-374

EN

The paper presents a critical approach to Buntownik. Ewolucja i kryzys w twórczości Alberta Camusa [The Rebel. Evolution and Crisis in the Works of Albert Camus] by Maciej Kałuża (Kraków 2017). Its goal is, firstly, to present the basic theses described in the dissertation; secondly – to depict them in a broader context of contemporary existential philosophy; thirdly – to encourage the readers to reflect on the issues of revolt in the works by Albert Camus.

12

O buncie w twórczości Alberta Camusa

70%

Błaszczyk M.

Świat i Słowo

|

2020

|

vol. 35(2)

369-374

PL

The paper presents a critical approach to Buntownik. Ewolucja i kryzys w twórczości Alberta Camusa [The Rebel. Evolution and Crisis in the Works of Albert Camus] by Maciej Kałuża (Kraków 2017). Its goal is, firstly, to present the basic theses described in the dissertation; secondly – to depict them in a broader context of contemporary existential philosophy; thirdly – to encourage the readers to reflect on the issues of revolt in the works by Albert Camus.

13

W stronę absurdu: Filipowicz - Camus

70%

Gorzkowicz J.

Zeszyty Naukowe PUNO

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2021

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issue 9

79-91

EN

Based on selected works by Kornel Filipowicz, the article presents the writer’s reflection on the absurdity of the world in relation to Albert Camus’s literary and philosophical concept. The article has been divided into ve entitled parts, of which the rst one is an introduction to the article, and the last one is its conclusion. In Disintegration of the World two short stories by Filipowicz are presented, in which the theme of absurdity appears. According to the article’s author, they can refer to the idea of absurdity by Albert Camus. The part: Mapping the absurd uses the examples of Camus’s essays and Filipowicz’s stories to outline the ontic status of the absurd that both writers give. The next subsection, Two Sides of the Same, juxtaposes the reflections contained in one of Filipowicz’s short stories and Camus’s early parable, directing attention to both thinkers’ understanding of the idea of the absurd. In the Blind Men, the context of Pieter Bruegel’s painting „The Blind Leading the Blind” additionally appears in order to emphasise Filipowicz’s reflection on the existence of two opposing epiphanies in the world at the same time – absurdity and sense. The article closes Doxographical landscape with absurdity in the background. According to the author’s findings, the absurd in Filipowicz’s work appears in the doxographical impressions of his characters and is an expression of the subjectivity of human experience.

14

Obcy Albert Camus? Przechwycenie jako postkolonialna strategia pisania na przykładzie Sprawy Meursaulta Kamela Daouda

70%

Bryja I.

Praktyka Teoretyczna

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2019

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vol. 34

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issue 4

EN

The author makes a comparative study of The Meursault Investigation by Kamel Daoud and Albert Camus’ works (especially The Stranger and The Fall) based on the literature describing the category of détournement. The theoretical basis of the notion of détournement is reconstructed from the works of Guy Debord, Jacques Derrida and Judith Butler and it becomes the basic category in the interpretation of postcolonial literature. The main aim of the article is to highlight the importance of this category as one of the strategies of postcolonial writing. The author claims that the purpose of using interception in literature is to renegotiate the structure of the canon and position of writers excluded from its structure because of economic, political and cultural conditions. In the first part of the article, the author points out the essential differentiators of détournement. She introduces the formula of the structure of the literary canon created by David Damrosch. Next she analyses two literary narrations dialoguing with each other. Comparison of the canonical story about Meursault’s murder and trial by Camus and The Meursault Investigation by Daoud reveals a strict relation between these novels. In Daoud’s story, the narration is inverted-the perspective of a victim, which is expressed by the brother of nameless Arab, dominates in the book. The analysis ends with the conclusion that détournement of a canonical work, and its recontextualization, is a more revolutionary gesture, made by postcolonial writers, who want to renegotiate their position in the structure of the canon, compared to nativist, utopian reproduction of the precolonial past. The choice of this particular strategy of writing confirms the truth of two claims of which Daoud is aware (as evidenced in novel): first, that every literary work is iterable and, second, that every revolution is only an apparent renouncement.

PL

W oparciu o literaturę poświęconą kategorii przechwycenia autorka przeprowadza komparatystyczną analizę Sprawy Meursaulta Kamela Daouda oraz dzieł Alberta Camusa (zwłaszcza Obcego i Upadku). Teoria przechwycenia zrekonstruowana na podstawie pism Guy Deborda, Jacquesa Derridy oraz Judith Butler staje się podstawą dla interpretacji literatury postkolonialnej. Celem artykułu jest wskazanie przechwycenia jako jednej z postkolonialnych strategii tworzenia narracji. Według autorki jej istotą jest renegocjacja struktury kanonu i miejsca twórców wyłączonych – ze względu na ekonomiczne, polityczne i kulturowe uwarunkowania – z pełnego udziału w jego współtworzeniu. W pierwszej części artykułu autorka przedstawia podstawowe wyróżniki przechwycenia oraz struktury kanonu literackiego sformułowanej przez Davida Damroscha. Dalej przeanalizowane zostały dwie dialogujące ze sobą narracje literackie. Porównanie usankcjonowanej w kanonie opowieści o morderstwie i procesie Meursaulta Camusa oraz Sprawy Meursaulta Daouda ujawnia ścisłe związki między dwiema powieściami. W opowieści Daouda odwrócona została narracja o wydarzeniach – w książce dominuje perspektywa ofiary, której wyrazicielem jest brat zabitego przez Meursaulta bezimiennego Araba. Przeprowadzona analiza prowadzi do wniosku, że przechwycenie utworu kanonicznego i jego rekontekstualizacja jest bardziej rewolucyjnym gestem pisarzy postkolonialnych, pragnących wynegocjować własne miejsce w obrębie kanonu, niż natywistyczne, utopijne odtwarzanie przedkolonialnej przeszłości. Wybór tej strategii pisania świadczy o autorskiej świadomości dwojakiego rodzaju: każda literatura jest iterowalna, a każda rewolucja jest tylko pozornym zerwaniem.

15

Outsider czy zwierzę? Rozważania nad „zwierzęcością” Meursaulta – bohatera Obcego Alberta Camusa

57%

Roś J.

Amor Fati

|

2015

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issue 3

125-142

EN

The purpose of this paper is an attempt to answer the question: how the interpretation of the main hero of "The Stranger"’s Albert Camus as “an animal in human skin” can be applied to understanding the actions of the hero in the world and whether Camus de-scribes Meursault as an animal in fact, and not just symbolically. The author argues that such extreme treatment of “the animality” of a hero is useless in the broader con-text of this book and Meursault has human nature – the complexity of his psyche con-firms this.

16

Jerzy Stempowski i Lew Szestow – egzystencjalizm spowity wschodnią melancholią. Krótka historia przyjaźni

51%

Zimnowoda A.

ARGUMENT: Biannual Philosophical Journal

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2018

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vol. 8

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issue 2

PL

Jerzy Stempowski and Lev Shestov - existentialism imbued with eastern melancholy. A short history of a friendship: The main objective of this article is to present the friendship between Jerzy Stempowski - Polish writer, essayist and Lev Shestov - Russian writer and philosopher. The article consist of three parts an and short conclusion. In the first part I focus on Stempowski’s predilections for Eastern Europe, and I also explore Stempowski’s complicated, though clearly evident, relation with existentialism. It is in this context that I show both Stempowski’s close affinity with Shestov philosophy, and his evident antipathy to French existentialism. In the second part I attempt to answer the following question: why did Stempowski have such a strong aversion to Albert Camus’ work. In this part of my essay I briefly refer to a Serbian writer and dissident - Mihajlo Mihajlov. In the third part I explore Stempowski’s friendship with Shestov and I also sketch the ideological horizon they both shared. Moreover, I mention Shestov’s presentations at the philosophical conferences in Kraków and Berlin as well as his meeting with Edmund Husserl in Amsterdam. In the short conclusion to my article I suggest that Stempowski’s existentialism is an individual, original project even if his existentialism draws upon most of the major themes in philosophical treatises and literature of existentialism. His “existential project” is based on: 1. reason which rationally orders reality, 2. sympathy towards antirational and prophetic philosophy of Russian thinkers which he analyses from the positions of a professed atheist and 3. deeply-rooted humanistic values.

17

Nihilizm a kwestia przemocy: casus Maxa Stirnera

51%

Feć K., Jagielloński U.

Internetowy Magazyn Filozoficzny Hybris

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2016

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vol. 35 (4)

EN

The paper presents a relation between nihilism and violence by using the theory of Max Stirner. The author’s choice of the philosopher is driven by her view that nihilism has reached its maturity in his main work. Even more, a key critique raised with respect to the author of "The Ego and his Own" touched exactly on the issue of violence (among others, in deliberations of Dostoyevsky and Camus). The study represents a polemic with the opinions presented in "The Rebellious Man", that Stirner glorified aggression and justified crime. Misreading of his philosophy, the philosophy of egoism, is founded in mixing might with violence which in fact are in that theory irreconcilable. Stirner's affirmation refers to the former whereas he is ambivalent to the latter.

Refine search results

L’art et l’artiste dans les Discours de Suède d’Albert Camus

Uznany za fundamentalistę. Uznany za kolonialistę. Inspiracje Mohsina Hamida Upadkiem Alberta Camusa

Humanizm Alberta Camusa

Komunikowanie absurdu życia i śmierci. O spektaklu „Nieporozumienie” na podstawie sztuki Alberta Camusa w reżyserii Stanisława Hebanowskiego

Święty Augustyn i Albert Camus. Przyczynek do dialogów – nie tylko filozoficznych

Intertextualita Hrabalova „Kaina“

Królewskie palmy, drzewa świętojańskie, migdałowce w dolinie konsulów… Kilka refleksji na temat roślinności w twórczości Alberta Camusa

O buncie w twórczości Alberta Camusa

Albert Camus’ eksistentsialismi jooni Priit Pärna filmides

Wokół publikacji Wydawnictwa Karakter

Revolt in Albert Camus’ works

O buncie w twórczości Alberta Camusa

W stronę absurdu: Filipowicz - Camus

Obcy Albert Camus? Przechwycenie jako postkolonialna strategia pisania na przykładzie Sprawy Meursaulta Kamela Daouda

Outsider czy zwierzę? Rozważania nad „zwierzęcością” Meursaulta – bohatera Obcego Alberta Camusa

Jerzy Stempowski i Lew Szestow – egzystencjalizm spowity wschodnią melancholią. Krótka historia przyjaźni

Nihilizm a kwestia przemocy: casus Maxa Stirnera