By Samantha Novello
An severe genealogical reconstruction of Camus's political pondering hard the philosophical import of his writings as delivering an alternate, aesthetic figuring out of politics, political motion and freedom outdoor and opposed to the nihilistic different types of contemporary political philosophy and the modern politics of contempt and terrorisms
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Extra resources for Albert Camus as Political Thinker: Nihilisms and the Politics of Contempt
7 The five short texts along with the prologue, which Camus writes between May and October 1932 and groups together under the programmatic headings of Intuitions, may be read as a ‘dramatisation’ of Nietzsche’s aesthetic anti-rationalism. This work, to which he assigns benchmark importance, is said to contain ‘some really bad things, some undisguised influences, but also something of myself’ (Camus and Grenier 1981, p. 11). The apparent Bergsonian influence reflected in the title should not mislead us: in the introductory lines of his work, Camus attributes his first literary attempt to the desire of his ‘too mystical soul’ (I, p.
Constantly confronted with the ineluctability of death, the ‘honest’ thought unveils the moral lies and fetishistic logic on which the social political structures and discourses are grounded; in an autobiographical fragment of the mid-1930s, Camus writes that a man sentenced to death does not cheat – he is aware, for instance, that he will not ‘pay his debt to society’ but that he will have his head cut off (I, p. 95). In this nuance lies the question of fanaticism that was brought to Camus’s attention by reading Nietzsche.
961). Art is said to create life anew by fixing the objects of its contemplation in images, signs or gestures (I, p. 4 Camus links Nietzsche’s emphasis on the emancipatory power of art with Bergson’s criticism of utilitarian reason,5 thus placing artistic creation Tragic Beginnings 35 beyond space, time, and causality. Art is understood as a ‘Pause’ (Arrêt) (I, p. 965), a ‘mystic intuition’ that interrupts the logic of ordinary life (I, p. 964), and discloses an a-teleological perspective: On pourrait nous reprocher d’abaisser l’Art, en le considérant comme un moyen.
Albert Camus as Political Thinker: Nihilisms and the Politics of Contempt by Samantha Novello