By Christine Margerrison
This can be the 1st significant research of Camus's prose fiction to discover the constructing presentation of girls, from the author's earliest writings to his final, unfinished novel. heading off the conventional relegation of this topic to an emotional or deepest sphere, it lines Camus's highbrow improvement that allows you to show the centrality of this topic to Camus's paintings as an entire. If the Absurd, developed over the physique of the "real" girl, liberates the author to stick to a "true course" of literary production, the upcoming lack of his Algerian place of birth impells a go back to "all that he had no longer been unfastened to choose", the binds of blood. those conflictual and unresolved ties are right here investigated, along with the presentation of legendary woman figures expressing Camus's darkest fears, partially voiced in different writings, relating that "other" Algeria for which he might by no means struggle. Exploring complicated interconnections among sexuality, "race" and colonialism, this quantity is pertinent to all who're drawn to the writings of Camus, quite these looking suitable new methods of drawing close his paintings.
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Additional resources for \'\'Ces forces obscures de l\'âme\'\': Women, race and origins in the writings of Albert Camus. (Faux Titre)
The signifier “Elle” appears only the empty incarnation of the desires and fantasies of others who seek precisely this absence. The quest is undertaken by two other characters introduced into the story – a cat and a knight, who seem to symbolize a conflict between sexual desire and a higher goal which can perhaps be identified as more truly masculine. I use this term because such are the implications of the description of the knight, redolent of a phallic power directed towards a higher destiny.
Whereas the men of “L’Hôpital du quartier pauvre” contemplated their own demise, the actual experience of death is beyond their knowledge and can only be illustrated through the deaths of others. The death of the subject signals the loss of all consciousness and autonomy, whereas the death of the Other concentrates all power in the one left behind. The first reference to death in these writings is at the Arab cemetery of “La Maison mauresque” where “la seule vertu du silence et de la paix leur apprenait l’indifférence” (PC, 213) (“the sole virtue of the silence and the peace was teaching them indifference”).
This vulnerable admission of ignorance is replaced in the later text by the claim to absolute knowledge in the statement which is to fix her forever: “Elle ne pense à rien” (E, 26) (“She thinks of nothing”). In each text the inability to depict or decipher her interior life is effaced by a diversion onto the child himself; her consciousness is absorbed by his and the focus is on his emotions rather than hers. The child is an invader who intrudes upon and appropriates her moment of “arrêt” (“pause”).
\'\'Ces forces obscures de l\'âme\'\': Women, race and origins in the writings of Albert Camus. (Faux Titre) by Christine Margerrison