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Auditing Homework - Chapter 7-9 - Auditing Chapter 7. Insurance Study Interview! Click to edit the document details. La Resaca! Unformatted text preview: Auditing Chapter 7 Homework 7-1 What is internal control? Internal control is a process or a means to an end. This process is affected by individuals, not just policies, procedures and insurance case interview forms. It provided the concept of Reasonable Assurance because no internal control is absolute.
Internal control encompasses the objectives of financial reporting, operations, and compliances which top management delegates authority and assigns responsibility for various functions. Three areas of internal control are 1) financial reporting 2) operations and 3) compliance to applicable laws and la resaca regulations. 7-2 Identify the five components of an organizations internal control ? 1) Control environment 2) Risk assessment 3) control activities 4) accounting information system and 5) monitoring of controls 7-3 List the factors that make up an organizations control environment. The control environment consists of integrity and ethical values, commitment to competence, board of directors, or audit committee, managements philosophy and operational style, organizational structure, assignment of authority and responsibility and human resource policies and practices. 7-4 How does separation of the record keeping function from custody of assets contribute to internal control ? This separation provides for independent records to be maintained that can be reviewed independently or collectively to reconcile assets on insurance case interview, hand. This provides accountability over assets and provides the information necessary for financial reports. The accounting department maintains the independent records and the reconciliation is performed by the operations control group. Essay Environment! 7-12 What are the purposes of the consideration of internal control required by generally accepted auditing standards? The auditor must obtain a sufficient understanding of the entity and its environment, including its internal control to assess the risk of material misstatement of the financial statements, whether due to study, error or fraud, and to design the nature, timing, and extent of essay environment further audit procedures. This is because it gives the auditors quality that is much more effective in study controlling the audit environment. Best Buy Essays! 7-17 How is the case study, auditors understanding of the clients internal control documented in resume la resaca the audit working papers?
This is typically in the form of flowcharts, questionnaires or written narratives of internal control. Case Study Interview! 7-26 As a part of alighieri obtaining an understanding of the client and its environment, the auditors must obtain an insurance case interview understanding of each of the essay prepared, components of an entitys internal controls. In additional they assess control risk for the assertions embodies in the account balances, class of the transaction type, and insurance disclosure components of the financial statement . TERM Spring #039;11 PROFESSOR Huxhold TAGS Accounting. Click to edit the dante essay topics, document details. Most Popular Documents for ACCT 102. Auditing Homework - Chapter 10-11 UCSD ACCT 102 - Spring 2011 Auditing Chapter 10 Homework 10-2 Give two reasons audit work on cash is likely to insurance case interview, be.
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Internet Encyclopedia of Philosophy. Albert Camus was a French-Algerian journalist, playwright, novelist, philosophical essayist, and Nobel laureate. Though he was neither by advanced training nor profession a philosopher, he nevertheless made important, forceful contributions to a wide range of issues in moral philosophy in his novels, reviews, articles, essays, and speeches—from terrorism and political violence to suicide and the death penalty. Case Study! He is often described as an robber baron essays, existentialist writer, though he himself disavowed the label. Insurance Case Interview! He began his literary career as a political journalist and as an actor, director, and playwright in his native Algeria. Later, while living in occupied France during WWII, he became active in the Resistance and question, from 1944-47 served as editor-in-chief of the newspaper Combat . By mid-century, based on the strength of his three novels ( The Stranger, The Plague, and The Fall ) and two book-length philosophical essays ( The Myth of Sisyphus and case, The Rebel ), he had achieved an international reputation and readership. It was in dante topics, these works that he introduced and developed the twin philosophical ideas—the concept of the Absurd and insurance study interview, the notion of Revolt—that made him famous. These are the ideas that people immediately think of when they hear the name Albert Camus spoken today. The Absurd can be defined as a metaphysical tension or opposition that results from the presence of human consciousness—with its ever-pressing demand for order and meaning in life—in an essentially meaningless and indifferent universe.
Camus considered the Absurd to be a fundamental and essay prepared environment, even defining characteristic of the modern human condition. The notion of Revolt refers to both a path of resolved action and a state of mind. It can take extreme forms such as terrorism or a reckless and unrestrained egoism (both of which are rejected by interview, Camus), but basically, and in resume la resaca, simple terms, it consists of an attitude of heroic defiance or resistance to whatever oppresses human beings. In awarding Camus its prize for literature in study interview, 1957, the Nobel Prize committee cited his persistent efforts to dante alighieri topics “illuminate the problem of the human conscience in our time.” He was honored by his own generation, and insurance, is still admired today, for being a writer of conscience and a champion of imaginative literature as a vehicle of philosophical insight and moral truth. He was at the height of his career—at work on an autobiographical novel, planning new projects for essay, theatre, film, and television, and still seeking a solution to the lacerating political turmoil in his homeland—when he died tragically in study interview, an automobile accident in January 1960. Albert Camus was born on November 7, 1913, in best buy essays, Mondovi, a small village near the seaport city of insurance case Bone (present-day Annaba) in the northeast region of French Algeria. He was the second child of Lucien Auguste Camus, a military veteran and wine-shipping clerk, and essays, of Catherine Helene (Sintes) Camus, a house-keeper and part-time factory worker. (Note: Although Camus believed that his father was Alsatian and a first-generation emigre, research by insurance interview, biographer Herbert Lottman indicates that the Camus family was originally from prepared, Bordeaux and that the first Camus to leave France for Algeria was actually the author’s great-grandfather, who in the early 19th century became part of the first wave of European colonial settlers in the new melting pot of interview North Africa.) Shortly after the outbreak of WWI, when Camus was less than a year old, his father was recalled to best buy essays military service and, on October 11, 1914, died of shrapnel wounds suffered at the first battle of the Marne.
As a child, about the only thing Camus ever learned about his father was that he had once become violently ill after witnessing a public execution. This anecdote, which surfaces in fictional form in the author’s novel The Stranger and is also recounted in his philosophical essay “Reflections on the Guillotine,” strongly affected Camus and influenced his lifelong opposition to the death penalty. After his father’s death, Camus, his mother, and study interview, his older brother moved to Algiers where they lived with his maternal uncle and essay environment, grandmother in her cramped second-floor apartment in study, the working-class district of Belcourt. Best Buy Essays! Camus’s mother Catherine, who was illiterate, partially deaf, and afflicted with a speech pathology, worked in an ammunition factory and cleaned homes to interview help support the family. In his posthumously published autobiographical novel The First Man , Camus recalls this period of his life with a mixture of pain and affection as he describes conditions of harsh poverty (the three-room apartment had no bathroom, no electricity, and la resaca, no running water) relieved by hunting trips, family outings, childhood games, and scenic flashes of sun, seashore, mountain, and desert. Camus attended elementary school at the local Ecole Communale, and it was there that he encountered the first in a series of case study teacher-mentors who recognized and resume, nurtured the young boy’s lively intelligence. These father figures introduced him to a new world of history and imagination and to literary landscapes far beyond the dusty streets of Belcourt and working-class poverty.
Though stigmatized as a pupille de la nation (that is, a war veteran’s child dependent on public welfare) and hampered by recurrent health issues, Camus distinguished himself as a student and was eventually awarded a scholarship to attend high school at the Grand Lycee. Located near the famous Kasbah district, the school brought him into close proximity with the native Muslim community and thus gave him an early recognition of the idea of the “outsider” that would dominate his later writings. It was in secondary school that Camus became an avid reader (absorbing Gide, Proust, Verlaine, and Bergson, among others), learned Latin and English, and developed a lifelong interest in literature, art, theatre, and film. Insurance Case Interview! He also enjoyed sports, especially soccer, of which he once wrote (recalling his early experience as a goal-keeper): “I learned . . . that a ball never arrives from the direction you expected it. That helped me in later life, especially in mainland France, where nobody plays straight.” It was also during this period that Camus suffered his first serious attack of tuberculosis, a disease that was to afflict him, on and off, throughout his career. By the time he finished his Baccalaureat degree in resume, June 1932, Camus was already contributing articles to Sud , a literary monthly, and looking forward to a career in interview, journalism, the arts, or higher education. The next four years (1933-37) were an especially busy period in his life during which he attended college, worked at odd jobs, married his first wife (Simone Hie), divorced, briefly joined the Communist party, and effectively began his professional theatrical and writing career.
Among his various employments during the time were stints of routine office work where one job consisted of resume la resaca a Bartleby-like recording and sifting of meteorological data and another involved paper shuffling in case, an auto license bureau. One can well imagine that it was as a result of this experience that his famous conception of Sisyphean struggle, heroic defiance in the face of the Absurd, first began to take shape within his imagination. In 1933, Camus enrolled at the University of Algiers to pursue his diplome d’etudes superieures, specializing in philosophy and gaining certificates in sociology and psychology along the way. In 1936, he became a co-founder, along with a group of young fellow intellectuals, of the Theatre du Travail, a professional acting company specializing in drama with left-wing political themes. Robber Baron Essays! Camus served the company as both an actor and director and also contributed scripts, including his first published play Revolt in Asturia , a drama based on an ill-fated workers’ revolt during the Spanish Civil War. That same year Camus also earned his degree and completed his dissertation, a study of the influence of Plotinus and neo-Platonism on insurance case study interview the thought and writings of St. Augustine. Over the next three years Camus further established himself as an emerging author, journalist, and theatre professional. After his disillusionment with and eventual expulsion from the Communist Party, he reorganized his dramatic company and renamed it the Theatre de l’Equipe (literally the Theater of the Team). The name change signaled a new emphasis on classic drama and avant-garde aesthetics and a shift away from labor politics and agitprop. In 1938 he joined the staff of a new daily newspaper, the Alger Republicain , where his assignments as a reporter and reviewer covered everything from contemporary European literature to local political trials.
It was during this period that he also published his first two literary works— Betwixt and Between , a collection of five short semi-autobiographical and philosophical pieces (1937) and resume la resaca, Nuptials , a series of lyrical celebrations interspersed with political and philosophical reflections on North Africa and the Mediterranean. The 1940s witnessed Camus’s gradual ascendance to case study interview the rank of world-class literary intellectual. He started the essay, decade as a locally acclaimed author and playwright, but he was a figure virtually unknown outside the city of Algiers; however, he ended the decade as an internationally recognized novelist, dramatist, journalist, philosophical essayist, and champion of insurance interview freedom. This period of his life began inauspiciously—war in Europe, the occupation of France, official censorship, and a widening crackdown on left-wing journals. Camus was still without stable employment or steady income when, after marrying his second wife, Francine Faure, in December of 1940, he departed Lyons, where he had been working as a journalist, and returned to la resaca Algeria. To help make ends meet, he taught part-time (French history and geography) at a private school in Oran. All the while he was putting finishing touches to his first novel The Stranger , which was finally published in 1942 to favorable critical response, including a lengthy and penetrating review by Jean-Paul Sartre. The novel propelled him into immediate literary renown.
Camus returned to France in 1942 and a year later began working for the clandestine newspaper Combat , the case, journalistic arm and voice of the prepared, French Resistance movement. During this period, while contending with recurrent bouts of tuberculosis, he also published The Myth of Sisyphus , his philosophical anatomy of suicide and the absurd, and joined Gallimard Publishing as an editor, a position he held until his death. After the Liberation, Camus continued as editor of Combat, oversaw the insurance case study, production and publication of two plays, The Misunderstanding and Caligula , and application question, assumed a leading role in insurance case interview, Parisian intellectual society in the company of Sartre and Simone de Beauvoir among others. In the late 40s his growing reputation as a writer and thinker was enlarged by the publication of The Plague , an allegorical novel and fictional parable of the best buy essays, Nazi Occupation and the duty of revolt, and by the lecture tours to the United States and South America. Insurance Interview! In 1951 he published The Rebel , a reflection on the nature of freedom and rebellion and dante alighieri essay topics, a philosophical critique of revolutionary violence. This powerful and controversial work, with its explicit condemnation of Marxism-Leninism and its emphatic denunciation of unrestrained violence as a means of human liberation, led to insurance case an eventual falling out with Sartre and, along with his opposition to best buy essays the Algerian National Liberation Front, to his being branded a reactionary in the view of many European Communists.
Yet his position also established him as an outspoken champion of individual freedom and as an case interview, impassioned critic of tyranny and terrorism, whether practiced by the Left or by the Right. In 1956, Camus published the resume, short, confessional novel The Fall , which unfortunately would be the last of his completed major works and which in the opinion of some critics is the most elegant, and most under-rated of all his books. Study! During this period he was still afflicted by tuberculosis and essay prepared, was perhaps even more sorely beset by the deteriorating political situation in his native Algeria—which had by now escalated from study interview, demonstrations and occasional terrorist and prepared, guerilla attacks into open violence and insurrection. Insurance Interview! Camus still hoped to champion some kind of rapprochement that would allow the native Muslim population and the French pied noir minority to live together peaceably in a new de-colonized and largely integrated, if not fully independent, nation. Alas, by this point, as he painfully realized, the resume, odds of such an outcome were becoming increasingly unlikely. In the fall of 1957, following publication of Exile and the Kingdom, a collection of short fiction, Camus was shocked by news that he had been awarded the Nobel Prize for literature. He absorbed the announcement with mixed feelings of gratitude, humility, and amazement. On the one hand, the award was obviously a tremendous honor.
On the case study interview, other, not only did he feel that his friend and application question, esteemed fellow novelist Andre Malraux was more deserving, he was also aware that the Nobel itself was widely regarded as the kind of interview accolade usually given to artists at the end of a long career. Yet, as he indicated in his acceptance speech at Stockholm, he considered his own career as still in mid-flight, with much yet to accomplish and even greater writing challenges ahead: Every person, and assuredly every artist, wants to question be recognized. Insurance Study! So do I. David Book! But I’ve been unable to comprehend your decision without comparing its resounding impact with my own actual status. A man almost young, rich only in his doubts, and with his work still in progress…how could such a man not feel a kind of panic at hearing a decree that transports him all of a sudden…to the center of a glaring spotlight? And with what feelings could he accept this honor at a time when other writers in insurance case interview, Europe, among them the very greatest, are condemned to silence, and application question, even at a time when the study interview, country of his birth is going through unending misery? Of course Camus could not have known as he spoke these words that most of resume his writing career was in fact behind him. Over the next two years, he published articles and insurance case, continued to write, produce, and direct plays, including his own adaptation of Dostoyevsky’s The Possessed . He also formulated new concepts for film and television, assumed a leadership role in essay environment, a new experimental national theater, and continued to campaign for peace and insurance case study, a political solution in Algeria. Unfortunately, none of these latter projects would be brought to fulfillment. On January 4, 1960, Camus died tragically in la resaca, a car accident while he was a passenger in a vehicle driven by his friend and publisher Michel Gallimard, who also suffered fatal injuries. Insurance Case Interview! The author was buried in the local cemetery at Lourmarin, a village in Provencal where he and his wife and daughters had lived for best buy essays, nearly a decade.
Upon hearing of Camus’s death, Sartre wrote a moving eulogy in the France-Observateur , saluting his former friend and political adversary not only for insurance study interview, his distinguished contributions to French literature but especially for the heroic moral courage and “stubborn humanism” which he brought to bear against the “massive and deformed events of the best buy essays, day.” According to Sartre’s perceptive appraisal, Camus was less a novelist and more a writer of philosophical tales and parables in the tradition of insurance study Voltaire. This assessment accords with Camus’s own judgment that his fictional works were not true novels (Fr. romans ), a form he associated with the densely populated and richly detailed social panoramas of writers like Balzac, Tolstoy, and Proust, but rather contes (“tales”) and resume, recits (“narratives”) combining philosophical and psychological insights. In this respect, it is also worth noting that at insurance interview, no time in his career did Camus ever describe himself as a deep thinker or lay claim to essays the title of philosopher. Instead, he nearly always referred to himself simply, yet proudly, as un ecrivain —a writer. This is an important fact to keep in insurance, mind when assessing his place in application, intellectual history and in twentieth-century philosophy, for by no means does he qualify as a system-builder or theorist or even as a disciplined thinker. He was instead (and here again Sartre’s assessment is astute) a sort of all-purpose critic and modern-day philosophe : a debunker of mythologies, a critic of insurance study fraud and superstition, an enemy of terror, a voice of reason and compassion, and an outspoken defender of freedom—all in question, all a figure very much in the Enlightenment tradition of Voltaire and Diderot. For this reason, in assessing Camus’s career and work, it may be best simply to insurance case study interview take him at his own word and characterize him first and foremost as a writer —advisedly attaching the epithet “philosophical” for sharper accuracy and definition.
3. Camus, Philosophical Literature, and the Novel of Ideas. To pin down exactly why and in what distinctive sense Camus may be termed a philosophical writer, we can begin by comparing him with other authors who have merited the designation. Right away, we can eliminate any comparison with the efforts of Lucretius and Dante, who undertook to la resaca unfold entire cosmologies and study interview, philosophical systems in epic verse. Camus obviously attempted nothing of the sort. On the other hand, we can draw at least a limited comparison between Camus and essay, writers like Pascal, Kierkegaard, and insurance case interview, Nietzsche—that is, with writers who were first of best buy essays all philosophers or religious writers, but whose stylistic achievements and literary flair gained them a special place in the pantheon of world literature as well. Here we may note that Camus himself was very conscious of his debt to Kierkegaard and Nietzsche (especially in the style and structure of The Myth of Sisyphus and The Rebel ) and insurance study, that he might very well have followed in their literary-philosophical footsteps if his tuberculosis had not side-tracked him into fiction and journalism and prevented him from sedaris first book, pursuing an academic career. Perhaps Camus himself best defined his own particular status as a philosophical writer when he wrote (with authors like Melville, Stendhal, Dostoyevsky, and insurance case, Kafka especially in mind): “The great novelists are philosophical novelists”; that is, writers who eschew systematic explanation and create their discourse using “images instead of arguments” ( The Myth of Sisyphus 74). By his own definition then Camus is a philosophical writer in dante topics, the sense that he has (a) conceived his own distinctive and original world-view and (b) sought to convey that view mainly through images, fictional characters and events, and via dramatic presentation rather than through critical analysis and direct discourse. He is also both a novelist of ideas and a psychological novelist, and in this respect, he certainly compares most closely to Dostoyevsky and Sartre, two other writers who combine a unique and distinctly philosophical outlook, acute psychological insight, and a dramatic style of presentation. (Like Camus, Sartre was a productive playwright, and Dostoyevsky remains perhaps the insurance study, most dramatic of all novelists, as Camus clearly understood, having adapted both The Brothers Karamazov and The Possessed for the stage.)
Camus’s reputation rests largely on the three novels published during his lifetime— The Stranger, The Plague, and The Fall —and on his two major philosophical essays— The Myth of Sisyphus and The Rebel . However, his body of work also includes a collection of short fiction, Exile and the Kingdom ; an autobiographical novel, The First Man ; a number of dramatic works, most notably Caligula, The Misunderstanding , The State of Siege , and The Just Assassins ; several translations and adaptations, including new versions of works by Calderon, Lope de Vega, Dostoyevsky, and Faulkner; and baron essays, a lengthy assortment of essays, prose pieces, critical reviews, transcribed speeches and interviews, articles, and works of journalism. A brief summary and description of the most important of insurance case study Camus’s writings is presented below as preparation for a larger discussion of his philosophy and application question, world-view, including his main ideas and recurrent philosophical themes. The Stranger ( L’Etranger, 1942)—From its cold opening lines, “Mother died today. Or maybe yesterday; I can’t be sure,” to its bleak concluding image of a public execution set to take place beneath the “benign indifference of the universe,” Camus’s first and insurance study, most famous novel takes the form of a terse, flat, first-person narrative by its main character Meursault, a very ordinary young man of unremarkable habits and unemotional affect who, inexplicably and in an almost absent-minded way, kills an Arab and then is arrested, tried, convicted, and sentenced to death. Essays! The neutral style of the novel—typical of what the study interview, critic Roland Barthes called “writing degree zero”—serves as a perfect vehicle for the descriptions and commentary of its anti-hero narrator, the ultimate “outsider” and a person who seems to observe everything, including his own life, with almost pathological detachment. The Plague ( La Peste, 1947)—Set in the coastal town of Oran, Camus’s second novel is the story of an book, outbreak of plague, traced from its subtle, insidious, unheeded beginnings and horrible, seemingly irresistible dominion to its eventual climax and decline, all told from the viewpoint of case interview one of the survivors. Camus made no effort to conceal the fact that his novel was partly based on and could be interpreted as an allegory or parable of the baron, rise of Nazism and the nightmare of the insurance case interview, Occupation. However, the plague metaphor is best buy essays, both more complicated and more flexible than that, extending to signify the Absurd in general as well as any calamity or disaster that tests the mettle of human beings, their endurance, their solidarity, their sense of responsibility, their compassion, and their will. Insurance Case Study Interview! At the end of the novel, the plague finally retreats, and resume, the narrator reflects that a time of pestilence teaches “that there is more to admire in men than to despise,” but he also knows “that the plague bacillus never dies or disappears for good,” that “the day would come when, for the bane and the enlightening of men, it would rouse up its rats again” and send them forth yet once more to spread death and contagion into a happy and unsuspecting city. The Fall ( La Chute, 1956)—Camus’s third novel, and the last to insurance study interview be published during his lifetime, is in effect an extended dramatic monologue spoken by M. Jean-Baptiste Clamence, a dissipated, cynical, former Parisian attorney (who now calls himself a “judge-penitent”) to an unnamed auditor (thus indirectly to the reader).
Set in a seedy bar in the red-light district of Amsterdam, the first essays, work is case study, a small masterpiece of compression and style: a confessional (and semi-autobiographical) novel, an arresting character study and psychological portrait, and at the same time a wide-ranging philosophical discourse on guilt and innocence, expiation and punishment, good and evil. Camus began his literary career as a playwright and theatre director and essay prepared environment, was planning new dramatic works for film, stage, and television at the time of his death. In addition to his four original plays, he also published several successful adaptations (including theatre pieces based on works by Faulkner, Dostoyevsky, and Calderon). He took particular pride in case interview, his work as a dramatist and man of the theatre. However, his plays never achieved the same popularity, critical success, or level of incandescence as his more famous novels and major essays. Caligula (1938, first produced 1945)—“Men die and are not happy.” Such is the complaint against the universe pronounced by the young emperor Caligula, who in Camus’s play is less the murderous lunatic, slave to incest, narcissist, and best buy essays, megalomaniac of Roman history than a theatrical martyr-hero of the case study, Absurd: a man who carries his philosophical quarrel with the meaninglessness of human existence to a kind of fanatical but logical extreme. Camus described his hero as a man “obsessed with the impossible” willing to baron pervert all values, and insurance study, if necessary destroy himself and all those around him in the pursuit of absolute liberty.
Caligula was Camus’s first attempt at portraying a figure in absolute defiance of the Absurd, and through three revisions of the play over a period of several years he eventually achieved a remarkable composite by adding to Caligula’s original portrait touches of Sade, of revolutionary nihilism, of the Nietzschean Superman, of his own version of Sisyphus, and even of Mussolini and Hitler. The Misunderstanding ( Le Malentendu , 1944)—In this grim exploration of the Absurd, a son returns home while concealing his true identity from his mother and sister. The two women operate a boarding house where, in order to make ends meet, they quietly murder and essay environment, rob their patrons. Through a tangle of misunderstanding and mistaken identity they wind up murdering their unrecognized visitor. Camus has explained the drama as an attempt to capture the atmosphere of malaise, corruption, demoralization, and insurance, anonymity that he experienced while living in France during the best buy essays, German occupation. Despite the play’s dark themes and bleak style, he described its philosophy as ultimately optimistic: “It amounts to saying that in an unjust or indifferent world man can save himself, and save others, by practicing the most basic sincerity and insurance interview, pronouncing the most appropriate word.” State of Siege ( L’Etat de Siege, 1948) — This odd allegorical drama combines features of the medieval morality play with elements of Calderon and the Spanish baroque; it also has apocalyptic themes, bits of music hall comedy, and dante essay topics, a collection of avant-garde theatrics thrown in for good measure. The work marked a significant departure from Camus’s normal dramatic style. It also resulted in insurance study interview, virtually universal disapproval and negative reviews from Paris theatre-goers and critics, many of robber baron essays whom came expecting a play based on Camus’s recent novel The Plague . The play is set in the Spanish seaport city of Cadiz, famous for its beaches, carnivals, and street musicians.
By the end of the first act, the normally laid-back and carefree citizens fall under the dominion of a gaudily beribboned and uniformed dictator named Plague (based on Generalissimo Franco) and insurance study interview, his officious, clip-board wielding Secretary (who turns out to be a modern, bureaucratic incarnation of the medieval figure Death). One of the prominent concerns of the resume, play is the Orwellian theme of the degradation of language via totalitarian politics and bureaucracy (symbolized onstage by case study, calls for silence, scenes in pantomime, and a gagged chorus). Application! As one character observes, “we are steadily nearing that perfect moment when nothing anybody says will rouse the least echo in another’s mind.” The Just Assassins ( Les Justes , 1950)—First performed in Paris to largely favorable reviews, this play is insurance case study, based on real-life characters and an actual historical event: the sedaris, 1905 assassination of the Russian Grand Duke Sergei Alexandrovich by Ivan Kalyayev and fellow members of the Combat Organization of the Socialist Revolutionary Party. The play effectively dramatizes the issues that Camus would later explore in insurance study, detail in The Rebel , especially the question of whether acts of terrorism and political violence can ever be morally justified (and if so, with what limitations and in what specific circumstances). The historical Kalyayev passed up his original opportunity to bomb the Grand Duke’s carriage because the david sedaris book, Duke was accompanied by study interview, his wife and two young nephews.
However, this was no act of conscience on Kalyayev’s part but a purely practical decision based on his calculation that the murder of children would prove a setback to the revolution. After the successful completion of his bombing mission and subsequent arrest, Kalyayev welcomed his execution on similarly practical and purely political grounds, believing that his death would further the cause of revolution and social justice. Camus’s Kalyayev, on the other hand, is a far more agonized and conscientious figure, neither so cold-blooded nor so calculating as his real-life counterpart. Upon seeing the two children in the carriage, he refuses to toss his bomb not because doing so would be politically inexpedient but because he is application, overcome emotionally, temporarily unnerved by the sad expression in insurance study interview, their eyes. Similarly, at the end of the sedaris book, play he embraces his death not so much because it will aid the revolution, but almost as a form of insurance case interview karmic penance, as if it were indeed some kind of sacred duty or metaphysical requirement that must be performed in order for true justice to be achieved. c. Essays, Letters, Prose Collections, Articles, and Reviews. Betwixt and Between ( L’Envers et l’endroit, 1937)—This short collection of semi-autobiographical, semi-fictional, philosophical pieces might be dismissed as juvenilia and largely ignored if it were not for essay prepared environment, the fact that it represents Camus’s first attempt to formulate a coherent life-outlook and insurance case study, world-view.
The collection, which in david book, a way serves as a germ or starting point for the author’s later philosophy, consists of five lyrical essays. In “Irony” (“ L’Ironie ”), a reflection on insurance case interview youth and age, Camus asserts, in the manner of best buy essays a young disciple of Pascal, our essential solitariness in life and death. In “Between yes and no” (“ Entre Oui et Non ”) he suggests that to study interview hope is baron, as empty and as pointless as to despair, yet he goes beyond nihilism by positing a fundamental value to existence-in-the-world. In “Death in insurance study, the soul” (“ La Mort dans l’ame ”) he supplies a sort of existential travel review, contrasting his impressions of central and essay, Eastern Europe (which he views as purgatorial and morgue-like) with the more spontaneous life of Italy and Mediterranean culture. The piece thus affirms the author’s lifelong preference for the color and vitality of the Mediterranean world, and especially North Africa, as opposed to case what he perceives as the soulless cold-heartedness of modern Europe. In “Love of life” (“ Amour de vivre ”) he claims there can be no love of life without despair of life and thus largely re-asserts the essentially tragic, ancient Greek view that the very beauty of human existence is largely contingent upon its brevity and fragility. Application Question! The concluding essay, “Betwixt and insurance, between” (“ L’Envers et l’endroit ”), summarizes and re-emphasizes the Romantic themes of the collection as a whole: our fundamental “aloneness,” the importance of imagination and openness to experience, the imperative to “live as if….”
Nuptials ( Noces , 1938)—This collection of four rhapsodic narratives supplements and amplifies the youthful philosophy expressed in Betwixt and Between . That joy is necessarily intertwined with despair, that the shortness of life confers a premium on intense experience, and that the world is both beautiful and violent—these are, once again, Camus’s principal themes. “Summer in Algiers,” which is probably the best (and best-known) of the essays in the collection, is a lyrical, at times almost ecstatic, celebration of sea, sun, and resume la resaca, the North African landscape. Affirming a defiantly atheistic creed, Camus concludes with one of the core ideas of his philosophy: “If there is a sin against life, it consists not so much in despairing as in hoping for insurance case study, another life and in eluding the implacable grandeur of essay prepared environment this one.” The Myth of Sisyphus ( Le Mythe de Sisyphe, 1943)—If there is a single non-fiction work that can be considered an essential or fundamental statement of Camus’s philosophy, it is this extended essay on the ethics of insurance interview suicide (eventually translated and repackaged for American publication in 1955). It is here that Camus formally introduces and fully articulates his most famous idea, the concept of the best buy essays, Absurd, and his equally famous image of life as a Sisyphean struggle. From its provocative opening sentence—“There is but one truly serious philosophical problem, and that is study, suicide”—to its stirring, paradoxical conclusion—“The struggle itself toward the heights is enough to fill a man’s heart. Essay Environment! One must imagine Sisyphus happy”—the book has something interesting and challenging on nearly every page and insurance case, is shot through with brilliant aphorisms and insights. In the end, Camus rejects suicide: the Absurd must not be evaded either by religion (“philosophical suicide”) or by annihilation (“physical suicide”); the task of david first book essays living should not merely be accepted, it must be embraced. The Rebel ( L’Homme Revolte, 1951)—Camus considered this work a continuation of the insurance case study interview, critical and philosophical investigation of the Absurd that he began with The Myth of Sisyphus . Only this time his primary concern is not suicide but murder.
He takes up the question of whether acts of terrorism and political violence can be morally justified, which is basically the resume la resaca, same question he had addressed earlier in his play The Just Assassins . After arguing that an authentic life inevitably involves some form of conscientious moral revolt, Camus winds up concluding that only in rare and very narrowly defined instances is political violence justified. Camus’s critique of revolutionary violence and terror in insurance study interview, this work, and particularly his caustic assessment of Marxism-Leninism (which he accused of sacrificing innocent lives on the altar of History), touched nerves throughout Europe and led in part to his celebrated feud with Sartre and other French leftists. Resistance, Rebellion, and Death (1957)—This posthumous collection is best buy essays, of interest to students of Camus mainly because it brings together an unusual assortment of his non-fiction writings on a wide range of topics, from art and politics to the advantages of pessimism and insurance study interview, the virtues (from a non-believer’s standpoint) of Christianity. Of special interest are two pieces that helped secure Camus’s worldwide reputation as a voice of liberty: “Letters to a German Friend,” a set of four letters originally written during the Nazi Occupation, and “Reflections on the Guillotine,” a denunciation of the death penalty cited for special mention by baron, the Nobel committee and eventually revised and case study, re-published as a companion essay to go with fellow death-penalty opponent Arthur Koestler’s “Reflections on Hanging.” To re-emphasize a point made earlier, Camus considered himself first and foremost a writer ( un ecrivain ). Baron! Indeed, Camus’s dissertation advisor penciled onto his dissertation the assessment “More a writer than a philosopher.” And at various times in his career he also accepted the labels journalist, humanist, novelist, and even moralist. However, he apparently never felt comfortable identifying himself as a philosopher—a term he seems to have associated with rigorous academic training, systematic thinking, logical consistency, and a coherent, carefully defined doctrine or body of insurance case study interview ideas.
This is not to suggest that Camus lacked ideas or to essays say that his thought cannot be considered a personal philosophy. It is simply to point out that he was not a systematic, or even a notably disciplined thinker and that, unlike Heidegger and Sartre, for insurance study interview, example, he showed very little interest in metaphysics and ontology, which seems to be one of the dante, reasons he consistently denied that he was an insurance case, existentialist. In short, he was not much given to speculative philosophy or any kind of abstract theorizing. His thought is instead nearly always related to current events (e.g., the Spanish War, revolt in Algeria) and is consistently grounded in down-to-earth moral and baron, political reality. Though he was baptized, raised, and educated as a Catholic and invariably respectful towards the Church, Camus seems to have been a natural-born pagan who showed almost no instinct whatsoever for belief in the supernatural. Even as a youth, he was more of study interview a sun-worshipper and nature lover than a boy notable for his piety or religious faith. On the other hand, there is no denying that Christian literature and philosophy served as an important influence on his early thought and intellectual development. Application Question! As a young high school student, Camus studied the Bible, read and savored the Spanish mystics St. Theresa of Avila and St.
John of the Cross, and was introduced to the thought of St. Augustine St. Augustine would later serve as the subject of case interview his baccalaureate dissertation and become—as a fellow North African writer, quasi-existentialist, and conscientious observer-critic of his own life—an important lifelong influence. In college Camus absorbed Kierkegaard, who, after Augustine, was probably the single greatest Christian influence on essay prepared environment his thought. He also studied Schopenhauer and insurance case, Nietzsche—undoubtedly the two writers who did the most to dante alighieri topics set him on study interview his own path of topics defiant pessimism and atheism. Other notable influences include not only the major modern philosophers from the academic curriculum—from Descartes and Spinoza to Bergson—but also, and just as importantly, philosophical writers like Stendhal, Melville, Dostoyevsky, and insurance interview, Kafka. The two earliest expressions of Camus’s personal philosophy are his works Betwixt and Between (1937) and Nuptials (1938). Here he unfolds what is essentially a hedonistic, indeed almost primitivistic, celebration of nature and the life of the senses. In the Romantic poetic tradition of writers like Rilke and Wallace Stevens, he offers a forceful rejection of all hereafters and an emphatic embrace of the here and now. Dante! There is insurance interview, no salvation, he argues, no transcendence; there is best buy essays, only the enjoyment of consciousness and natural being.
One life, this life, is enough. Sky and sea, mountain and desert, have their own beauty and magnificence and constitute a sufficient heaven. The critic John Cruikshank termed this stage in Camus’s thinking “naive atheism” and attributed it to insurance case study his ecstatic and somewhat immature “Mediterraneanism.” Naive seems an apt characterization for a philosophy that is best buy essays, romantically bold and study, uncomplicated yet somewhat lacking in sophistication and logical clarity. On the other hand, if we keep in mind Camus’s theatrical background and preference for dramatic presentation, there may actually be more depth and complexity to his thought here than meets the la resaca, eye. That is to study interview say, just as it would be simplistic and reductive to equate Camus’s philosophy of revolt with that of his character Caligula (who is at best a kind of extreme or mad spokesperson for the author), so in resume, the same way it is possible that the pensees and opinions presented in Nuptials and Betwixt and Between are not so much the views of Camus as they are poetically heightened observations of an artfully crafted narrator—an exuberant alter ego who is far more spontaneous and free-spirited than his more naturally reserved and sober-minded author. In any case, regardless of this assessment of the ideas expressed in case study interview, Betwixt and Between and Nuptials , it is clear that these early writings represent an important, if comparatively raw and best buy essays, simple, beginning stage in Camus’s development as a thinker where his views differ markedly from his more mature philosophy in several noteworthy respects.
In the first place, the Camus of Nuptials is still a young man of insurance twenty-five, aflame with youthful joie de vivre. He favors a life of impulse and daring as it was honored and practiced in both Romantic literature and in the streets of Belcourt. Question! Recently married and divorced, raised in poverty and in close quarters, beset with health problems, this young man develops an understandable passion for clear air, open space, colorful dreams, panoramic vistas, and the breath-taking prospects and challenges of the insurance study, larger world. Consequently, the Camus of the first book, period 1937-38 is a decidedly different writer from the Camus who will ascend the dais at Stockholm nearly twenty years later. The young Camus is insurance, more of a sensualist and pleasure-seeker, more of a dandy and dante, aesthete, than the more hardened and case study, austere figure who will endure the Occupation while serving in the French underground. David Book Essays! He is insurance case interview, a writer passionate in his conviction that life ought to be lived vividly and intensely—indeed rebelliously (to use the term that will take on increasing importance in application question, his thought). He is insurance case, also a writer attracted to causes, though he is not yet the author who will become world-famous for his moral seriousness and robber essays, passionate commitment to case study interview justice and freedom. All of which is understandable. After all, the sedaris first book, Camus of the middle 1930s had not yet witnessed and absorbed the shattering spectacle and disillusioning effects of the Spanish Civil War, the rise of Fascism, Hitlerism, and study, Stalinism, the resume la resaca, coming into being of total war and weapons of mass destruction, and the terrible reign of genocide and terror that would characterize the period 1938-1945. Insurance Study Interview! It was under the pressure and in direct response to the events of this period that Camus’s mature philosophy—with its core set of humanistic themes and ideas—emerged and gradually took shape. That mature philosophy is no longer a “naive atheism” but a very reflective and critical brand of unbelief.
It is proudly and inconsolably pessimistic, but not in a polemical or overbearing way. It is david sedaris first essays, unbending, hardheaded, determinedly skeptical. It is insurance case interview, tolerant and respectful of world religious creeds, but at the same time wholly unsympathetic to essay environment them. In the insurance, end it is an affirmative philosophy that accepts and approves, and in robber, its own way blesses, our dreadful mortality and our fundamental isolation in the world. Regardless of whether he is producing drama, fiction, or non-fiction, Camus in insurance, his mature writings nearly always takes up and re-explores the best buy essays, same basic philosophical issues. Insurance Study! These recurrent topoi constitute the key components of his thought. They include themes like the Absurd, alienation, suicide, and rebellion that almost automatically come to mind whenever his name is mentioned. Hence any summary of his place in modern philosophy would be incomplete without at least a brief discussion of these ideas and how they fit together to form a distinctive and original world-view.
Even readers not closely acquainted with Camus’s works are aware of his reputation as the philosophical expositor, anatomist, and poet-apostle of the Absurd. Indeed, as even sitcom writers and resume, stand-up comics apparently understand (odd fact: the insurance study, comic-bleak final episode of Seinfeld has been compared to The Stranger , and Camus’s thought has been used to explain episodes of The Simpsons ), it is largely through the thought and writings of the French-Algerian author that the concept of absurdity has become a part not only of world literature and essay prepared environment, twentieth-century philosophy but also of modern popular culture. What then is insurance study, meant by robber, the notion of the Absurd? Contrary to the view conveyed by popular culture, the Absurd, (at least in case, Camus’s terms) does not simply refer to some vague perception that modern life is fraught with paradoxes, incongruities, and intellectual confusion. (Although that perception is certainly consistent with his formula.) Instead, as he emphasizes and tries to essays make clear, the Absurd expresses a fundamental disharmony, a tragic incompatibility, in our existence. Case Study Interview! In effect, he argues that the Absurd is the product of a collision or confrontation between our human desire for order, meaning, and purpose in life and the blank, indifferent “silence of the universe”: “The absurd is not in man nor in the world,” Camus explains, “but in their presence together…it is the only bond uniting them.” So here we are: poor creatures desperately seeking hope and meaning in a hopeless, meaningless world. Sartre, in his essay-review of The Stranger provides an additional gloss on the idea: “The absurd, to be sure, resides neither in man nor in the world, if you consider each separately. But since man’s dominant characteristic is ‘being in application, the world,’ the absurd is, in the end, an inseparable part of the insurance case study, human condition.” The Absurd, then, presents itself in the form of an existential opposition. It arises from the human demand for clarity and transcendence on the one hand and a cosmos that offers nothing of the application question, kind on the other.
Such is our fate: we inhabit a world that is indifferent to our sufferings and insurance case study, deaf to alighieri our protests. In Camus’s view there are three possible philosophical responses to this predicament. Two of these he condemns as evasions, and the other he puts forward as a proper solution. The first choice is blunt and simple: physical suicide. If we decide that a life without some essential purpose or meaning is insurance study, not worth living, we can simply choose to kill ourselves. Camus rejects this choice as cowardly. In his terms it is a repudiation or renunciation of life, not a true revolt. The second choice is the religious solution of positing a transcendent world of solace and meaning beyond the Absurd. Camus calls this solution “philosophical suicide” and rejects it as transparently evasive and fraudulent.
To adopt a supernatural solution to the problem of the dante topics, Absurd (for example, through some type of mysticism or leap of faith) is to annihilate reason, which in Camus’s view is as fatal and insurance study, self-destructive as physical suicide. In effect, instead of alighieri removing himself from the absurd confrontation of self and case interview, world like the physical suicide, the religious believer simply removes the offending world and replaces it, via a kind of metaphysical abracadabra, with a more agreeable alternative. The third choice—in Camus’s view the only authentic and valid solution—is simply to accept absurdity, or better yet to embrace it, and to continue living. Since the Absurd in his view is an unavoidable, indeed defining, characteristic of the human condition, the only proper response to it is full, unflinching, courageous acceptance. Baron! Life, he says, can “be lived all the better if it has no meaning.” The example par excellence of this option of spiritual courage and metaphysical revolt is the mythical Sisyphus of Camus’s philosophical essay. Doomed to eternal labor at his rock, fully conscious of the essential hopelessness of his plight, Sisyphus nevertheless pushes on. In doing so he becomes for Camus a superb icon of the spirit of revolt and of the human condition. To rise each day to fight a battle you know you cannot win, and to do this with wit, grace, compassion for others, and even a sense of mission, is to case study interview face the Absurd in a spirit of true heroism. Over the course of his career, Camus examines the Absurd from multiple perspectives and through the eyes of many different characters—from the mad Caligula, who is obsessed with the resume, problem, to insurance case study interview the strangely aloof and question, yet simultaneously self-absorbed Meursault, who seems indifferent to it even as he exemplifies and is finally victimized by insurance interview, it. Resume La Resaca! In The Myth of case study interview Sisyphus, Camus traces it in best buy essays, specific characters of legend and literature (Don Juan, Ivan Karamazov) and also in certain character types (the Actor, the Conqueror), all of who may be understood as in some way a version or manifestation of Sisyphus, the archetypal absurd hero.
[Note: A rather different, yet possibly related, notion of the Absurd is proposed and analyzed in the work of Kierkegaard, especially in Fear and Trembling and Repetition . For Kierkegaard, however, the Absurd describes not an essential and universal human condition, but the insurance, special condition and nature of religious faith—a paradoxical state in essay environment, which matters of will and perception that are objectively impossible can nevertheless be ultimately true. Though it is hard to say whether Camus had Kierkegaard particularly in mind when he developed his own concept of the absurd, there can be little doubt that Kierkegaard’s knight of faith is in certain ways an insurance interview, important predecessor of Camus’s Sisyphus: both figures are involved in sedaris, impossible and endlessly agonizing tasks, which they nevertheless confidently and even cheerfully pursue. In the knight’s quixotic defiance and solipsism, Camus found a model for his own ideal of heroic affirmation and philosophical revolt.] The companion theme to insurance study the Absurd in Camus’s oeuvre (and the only other philosophical topic to which he devoted an entire book) is the best buy essays, idea of insurance case study Revolt. What is robber essays, revolt? Simply defined, it is the Sisyphean spirit of defiance in study interview, the face of the Absurd. More technically and less metaphorically, it is a spirit of baron opposition against any perceived unfairness, oppression, or indignity in the human condition. Rebellion in Camus’s sense begins with a recognition of insurance case study interview boundaries, of limits that define one’s essential selfhood and core sense of being and thus must not be infringed—as when a slave stands up to his master and says in effect “thus far, and no further, shall I be commanded.” This defining of the self as at some point inviolable appears to application question be an act of pure egoism and individualism, but it is not.
In fact Camus argues at considerable length to show that an act of conscientious revolt is ultimately far more than just an individual gesture or an act of solitary protest. Insurance Study Interview! The rebel, he writes, holds that there is resume, a “common good more important than his own destiny” and that there are “rights more important than himself.” He acts “in the interview, name of certain values which are still indeterminate but which he feels are common to himself and to all men” ( The Rebel 15-16). Camus then goes on to assert that an best buy essays, “analysis of rebellion leads at least to the suspicion that, contrary to the postulates of contemporary thought, a human nature does exist, as the Greeks believed.” After all, “Why rebel,” he asks, “if there is nothing permanent in the self worth preserving?” The slave who stands up and insurance case, asserts himself actually does so for “the sake of baron everyone in the world.” He declares in effect that “all men—even the interview, man who insults and oppresses him—have a natural community.” Here we may note that the idea that there may indeed be an essential human nature is actually more than a “suspicion” as far as Camus himself was concerned. Alighieri Essay! Indeed for him it was more like a fundamental article of his humanist faith. In any case it represents one of the core principles of his ethics and is one of the case, tenets that sets his philosophy apart from existentialism. True revolt, then, is performed not just for the self but also in solidarity with and out of compassion for others. And for this reason, Camus is led to conclude that revolt too has its limits. If it begins with and necessarily involves a recognition of essays human community and a common human dignity, it cannot, without betraying its own true character, treat others as if they were lacking in that dignity or not a part of that community. In the end it is remarkable, and insurance study interview, indeed surprising, how closely Camus’s philosophy of revolt, despite the essay, author’s fervent atheism and case study interview, individualism, echoes Kantian ethics with its prohibition against treating human beings as means and its ideal of the human community as a kingdom of ends. A recurrent theme in robber baron, Camus’s literary works, which also shows up in his moral and political writings, is the character or perspective of the “stranger” or outsider.
Meursault, the laconic narrator of The Stranger , is the insurance case interview, most obvious example. He seems to resume observe everything, even his own behavior, from an outside perspective. Like an anthropologist, he records his observations with clinical detachment at the same time that he is warily observed by the community around him. Camus came by this perspective naturally. As a European in Africa, an African in Europe, an infidel among Muslims, a lapsed Catholic, a Communist Party drop-out, an underground resister (who at insurance case interview, times had to use code names and false identities), a “child of the best buy essays, state” raised by a widowed mother (who was illiterate and insurance, virtually deaf and dumb), Camus lived most of his life in best buy essays, various groups and communities without really being integrated within them. This outside view, the perspective of the exile, became his characteristic stance as a writer. Case Interview! It explains both the cool, objective (“zero-degree”) precision of dante alighieri much of insurance case study his work and also the best buy essays, high value he assigned to longed-for ideals of friendship, community, solidarity, and brotherhood. Throughout his writing career, Camus showed a deep interest in study, questions of topics guilt and innocence. Interview! Once again Meursault in The Stranger provides a striking example.
Is he legally innocent of the murder he is charged with? Or is dante essay, he technically guilty? On the one hand, there seems to have been no conscious intention behind his action. Indeed the killing takes place almost as if by accident, with Meursault in a kind of case interview absent-minded daze, distracted by essay prepared environment, the sun. From this point of view, his crime seems surreal and case study interview, his trial and subsequent conviction a travesty. Application! On the other hand, it is insurance interview, hard for environment, the reader not to share the view of other characters in the novel, especially Meursault’s accusers, witnesses, and jury, in whose eyes he seems to be a seriously defective human being—at best, a kind of hollow man and at worst, a monster of self-centeredness and insularity. That the character has evoked such a wide range of insurance case responses from critics and readers—from sympathy to horror—is a tribute to the psychological complexity and subtlety of Camus’s portrait. Camus’s brilliantly crafted final novel, The Fall , continues his keen interest in the theme of guilt, this time via a narrator who is virtually obsessed with it. The significantly named Jean-Baptiste Clamence (a voice in essays, the wilderness calling for clemency and forgiveness) is tortured by guilt in the wake of a seemingly casual incident. While strolling home one drizzly November evening, he shows little concern and almost no emotional reaction at all to the suicidal plunge of a young woman into the Seine. But afterwards the incident begins to gnaw at him, and eventually he comes to view his inaction as typical of a long pattern of personal vanity and as a colossal failure of human sympathy on his part.
Wracked by remorse and self-loathing, he gradually descends into a figurative hell. Insurance Case Study! Formerly an attorney, he is now a self-described “judge-penitent” (a combination sinner, tempter, prosecutor, and father-confessor) who shows up each night at his local haunt, a sailor’s bar near Amsterdam’s red light district, where, somewhat in the manner of Coleridge’s Ancient Mariner, he recounts his story to book essays whoever will hear it. In the final sections of the novel, amid distinctly Christian imagery and insurance interview, symbolism, he declares his crucial insight that, despite our pretensions to righteousness, we are all guilty . Hence no human being has the right to la resaca pass final moral judgment on interview another. In a final twist, Clamence asserts that his acid self-portrait is also a mirror for his contemporaries. Hence his confession is also an accusation—not only of his nameless companion (who serves as the mute auditor for his monologue) but ultimately of the hypocrite lecteur as well. The theme of guilt and essay, innocence in insurance case, Camus’s writings relates closely to another recurrent tension in his thought: the opposition of Christian and pagan ideas and influences.
At heart a nature-worshipper, and by instinct a skeptic and non-believer, Camus nevertheless retained a lifelong interest and respect for Christian philosophy and essay, literature. In particular, he seems to have recognized St. Augustine and Kierkegaard as intellectual kinsmen and writers with whom he shared a common passion for controversy, literary flourish, self-scrutiny, and self-dramatization. Christian images, symbols, and allusions abound in case study, all his work (probably more so than in the writing of any other avowed atheist in modern literature), and Christian themes—judgment, forgiveness, despair, sacrifice, passion, and so forth—permeate the novels. (Meursault and Clamence, it is worth noting, are presented not just as sinners, devils, and outcasts, but in several instances explicitly, and not entirely ironically, as Christ figures.) Meanwhile alongside and against this leitmotif of la resaca Christian images and themes, Camus sets the insurance case study, main components of his essentially pagan worldview. Like Nietzsche, he maintains a special admiration for Greek heroic values and pessimism and for classical virtues like courage and honor. What might be termed Romantic values also merit particular esteem within his philosophy: passion, absorption in essay, pure being, an appreciation for and indeed a willingness to revel in insurance interview, raw sensory experience, the robber baron, glory of the moment, the beauty of the study, world. As a result of this duality of influence, Camus’s basic philosophical problem becomes how to reconcile his Augustinian sense of original sin (universal guilt) and rampant moral evil with his personal ideal of pagan primitivism (universal innocence) and with his conviction that the natural world and prepared environment, our life in insurance case interview, it have intrinsic beauty and value. Can an absurd world have intrinsic value? Is authentic pessimism compatible with the view that there is an essential dignity to david sedaris book human life? Such questions raise the possibility that there may be deep logical inconsistencies within Camus’s philosophy, and some critics (notably Sartre) have suggested that these inconsistencies cannot be surmounted except through some sort of Kierkegaardian leap of insurance case study faith on resume Camus’s part—in this case a leap leading to a belief not in God but in man.
Such a leap is insurance interview, certainly implied in an oft-quoted remark from Camus’s “Letter to resume a German Friend,” where he wrote: “I continue to believe that this world has no supernatural meaning…But I know that something in the world has meaning—man.” One can find similar affirmations and protestations on behalf of humanity throughout Camus’s writings. They are almost a hallmark of his philosophical style. Oracular and high-flown, they clearly have more rhetorical force than logical potency. Insurance Study! On the other hand, if we are trying to locate Camus’s place in European philosophical tradition, they provide a strong clue as to where he properly belongs. Robber! Surprisingly, the sentiment here, a commonplace of the Enlightenment and of traditional liberalism, is much closer in spirit to the exuberant secular humanism of the insurance case interview, Italian Renaissance than to the agnostic skepticism of contemporary post-modernism. vi. Application Question! Individual vs. History and Mass Culture. A primary theme of early twentieth-century European literature and case study interview, critical thought is the rise of modern mass civilization and its suffocating effects of essay environment alienation and study, dehumanization. This became a pervasive theme by baron essays, the time Camus was establishing his literary reputation. Anxiety over the fate of Western culture, already intense, escalated to apocalyptic levels with the sudden emergence of case study interview fascism, totalitarianism, and new technologies of essays coercion and death.
Here then was a subject ready-made for a writer of Camus’s political and humanistic views. He responded to the occasion with typical force and eloquence. In one way or another, the themes of alienation and dehumanization as by-products of an increasingly technical and automated world enter into nearly all of Camus’s works. Even his concept of the Absurd becomes multiplied by a social and economic world in which meaningless routines and mind-numbing repetitions predominate. The drudgery of case study interview Sisyphus is resume, mirrored and insurance case study interview, amplified in the assembly line, the business office, the government bureau, and especially in the penal colony and concentration camp. In line with this theme, the ever-ambiguous Meursault in The Stranger can be understood as both a depressing manifestation of the newly emerging mass personality (that is, as a figure devoid of basic human feelings and passions) and, conversely, as a lone hold-out, a last remaining specimen of the old Romanticism—and hence a figure who is viewed as both dangerous and alien by the robotic majority. Similarly, The Plague can be interpreted, on at least one level, as an application, allegory in insurance case study interview, which humanity must be preserved from the fatal pestilence of mass culture, which converts formerly free, autonomous, independent-minded human beings into a soulless new species. At various times in the novel, Camus’s narrator describes the plague as if it were a dull but highly capable public official or bureaucrat: It was, above all, a shrewd, unflagging adversary; a skilled organizer, doing his work thoroughly and question, well. (180) “But it seemed the plague had settled in for good at its most virulent, and it took its daily toll of study interview deaths with the punctual zeal of a good civil servant.” (235)
This identification of the prepared environment, plague with oppressive civil bureaucracy and insurance case study, the routinization of charisma looks forward to essay environment the author’s play The State of Siege , where plague is case study, used once again as a symbol for totalitarianism—only this time it is personified in an almost cartoonish way as a kind of overbearing government functionary or office manager from hell. Clad in a gaudy military uniform bedecked with ribbons and decorations, the character Plague (a satirical portrait of Generalissimo Francisco Franco—or El Caudillo as he liked to style himself) is closely attended by his personal Secretary and loyal assistant Death, depicted as a prim, officious female bureaucrat who also favors military garb and who carries an ever-present clipboard and notebook. So Plague is a fascist dictator, and david first essays, Death a solicitous commissar. Together these figures represent a system of pervasive control and micro-management that threatens the insurance case study, future of mass society. In his reflections on this theme of best buy essays post-industrial dehumanization, Camus differs from most other European writers (and especially from interview, those on dante essay topics the Left) in viewing mass reform and insurance interview, revolutionary movements, including Marxism, as representing at least as great a threat to individual freedom as late-stage capitalism. Throughout his career he continued to cherish and defend old-fashioned virtues like personal courage and honor that other Left-wing intellectuals tended to view as reactionary or bourgeois. Suicide is the central subject of The Myth of Sisyphus and serves as a background theme in Caligula and The Fall . In Caligula the mad title character, in a fit of horror and sedaris book, revulsion at the meaninglessness of life, would rather die—and bring the world down with him—than accept a cosmos that is insurance case interview, indifferent to human fate or that will not submit to david sedaris first book his individual will. In The Fall , a stranger’s act of suicide serves as the starting point for a bitter ritual of insurance case interview self-scrutiny and remorse on prepared the part of the narrator. Like Wittgenstein (who had a family history of suicide and suffered from bouts of depression), Camus considered suicide the fundamental issue for moral philosophy.
However, unlike other philosophers who have written on the subject (from Cicero and Seneca to Montaigne and Schopenhauer), Camus seems uninterested in assessing the traditional motives and justifications for suicide (for instance, to avoid a long, painful, and debilitating illness or as a response to personal tragedy or scandal). Insurance! Indeed, he seems interested in the problem only to the extent that it represents one possible response to question the Absurd. Case Study Interview! His verdict on the matter is unqualified and clear: The only robber baron, courageous and morally valid response to the Absurd is to insurance case study continue living—“Suicide is not an option.” From the time he first heard the story of essay prepared his father’s literal nausea and revulsion after witnessing a public execution, Camus began a vocal and lifelong opposition to the death penalty. Executions by guillotine were a common public spectacle in Algeria during his lifetime, but he refused to attend them and recoiled bitterly at their very mention. Condemnation of capital punishment is case, both explicit and prepared, implicit in his writings. For example, in The Stranger Meursault’s long confinement during his trial and his eventual execution are presented as part of an elaborate, ceremonial ritual involving both public and religious authorities. The grim rationality of this process of legalized murder contrasts markedly with the sudden, irrational, almost accidental nature of his actual crime.
Similarly, in The Myth of Sisyphus , the would-be suicide is contrasted with his fatal opposite, the man condemned to death, and we are continually reminded that a sentence of death is our common fate in an absurd universe. Camus’s opposition to the death penalty is not specifically philosophical. That is, it is not based on insurance case study a particular moral theory or principle (such as Cesare Beccaria’s utilitarian objection that capital punishment is wrong because it has not been proven to have a deterrent effect greater than life imprisonment). Camus’s opposition, in contrast, is humanitarian, conscientious, almost visceral. Like Victor Hugo, his great predecessor on this issue, he views the death penalty as an egregious barbarism—an act of la resaca blood riot and vengeance covered over with a thin veneer of insurance study interview law and civility to best buy essays make it acceptable to modern sensibilities. That it is also an act of insurance case vengeance aimed primarily at the poor and oppressed, and that it is given religious sanction, makes it even more hideous and indefensible in his view. Camus’s essay “Reflections on the Guillotine” supplies a detailed examination of the issue.
An eloquent personal statement with compelling psychological and philosophical insights, it includes the author’s direct rebuttal to traditional retributionist arguments in favor of capital punishment (such as Kant’s claim that death is the la resaca, legally appropriate, indeed morally required, penalty for murder). To all who argue that murder must be punished in kind, Camus replies: Capital punishment is the interview, most premeditated of murders, to which no criminal’s deed, however calculated, can be compared. For there to robber baron essays be an equivalency, the death penalty would have to punish a criminal who had warned his victim of the date on which he would inflict a horrible death on case study interview him and who, from that moment onward, had confined him at his mercy for question, months. Such a monster is not to be encountered in private life. Camus concludes his essay by arguing that, at the very least, France should abolish the savage spectacle of the guillotine and study, replace it with a more humane procedure (such as lethal injection). But he still retains a scant hope that capital punishment will be completely abolished at some point in best buy essays, the time to insurance study interview come: “In the unified Europe of the future the solemn abolition of the death penalty ought to be the first article of the European Code we all hope for.” Camus himself did not live to see the day, but he would no doubt be gratified to know that abolition of capital punishment is now an essential prerequisite for membership in application question, the European Union. Camus is often classified as an interview, existentialist writer, and it is easy to see why. Affinities with Kierkegaard and Sartre are patent. Question! He shares with these philosophers (and with the other major writers in the existentialist tradition, from Augustine and interview, Pascal to Dostoyevsky and Nietzsche) an habitual and intense interest in the active human psyche, in the life of conscience or spirit as it is actually experienced and sedaris first, lived.
Like these writers, he aims at nothing less than a thorough, candid exegesis of the human condition, and like them he exhibits not just a philosophical attraction but also a personal commitment to such values as individualism, free choice, inner strength, authenticity, personal responsibility, and self-determination. However, one troublesome fact remains: throughout his career Camus repeatedly denied that he was an existentialist. Was this an accurate and honest self-assessment? On the one hand, some critics have questioned this “denial” (using the term almost in its modern clinical sense), attributing it to the celebrated Sartre-Camus political “feud” or to a certain stubbornness or even contrariness on Camus’s part. In their view, Camus qualifies as, at minimum, a closet existentialist, and in certain respects (e.g., in his unconditional and passionate concern for the individual) as an even truer specimen of the type than Sartre.
On the insurance, other hand, besides his personal rejection of the label, there appear to be solid reasons for challenging the essay environment, claim that Camus is an existentialist. For one thing, it is noteworthy that he never showed much interest in (indeed he largely avoided) metaphysical and ontological questions (the philosophical raison d’etre of insurance interview Heidegger and Sartre). Of course there is no rule that says an existentialist must be a metaphysician. However, Camus’s seeming aversion to technical philosophical discussion does suggest one way in which he distanced himself from contemporary existentialist thought. Another point of dante alighieri divergence is that Camus seems to have regarded existentialism as a complete and systematic world-view, that is, a fully articulated doctrine. In his view, to be a true existentialist one had to commit to the entire doctrine (and not merely to bits and insurance interview, pieces of it), and this was apparently something he was unwilling to do. A further point of separation, and possibly a decisive one, is that Camus actively challenged and application question, set himself apart from the existentialist motto that being precedes essence. Ultimately, against insurance case study interview, Sartre in particular and existentialists in general, he clings to his instinctive belief in a common human nature. In his view human existence necessarily includes an essential core element of baron essays dignity and value, and in this respect he seems surprisingly closer to the humanist tradition from Aristotle to interview Kant than to the modern tradition of skepticism and essay environment, relativism from Nietzsche to Derrida (the latter his fellow-countryman and, at insurance case, least in his commitment to david first book essays human rights and opposition to the death penalty, his spiritual successor and descendant). Obviously, Camus’s writings remain the primary reason for his continuing importance and the chief source of his cultural legacy, but his fame is also due to his exemplary life. Insurance Case Study Interview! He truly lived his philosophy; thus it is in his personal political stands and public statements as well as in his books that his views are clearly articulated.
In short, he bequeathed not just his words but also his actions. Taken together, those words and robber essays, actions embody a core set of liberal democratic values—including tolerance, justice, liberty, open-mindedness, respect for personhood, condemnation of violence, and resistance to tyranny—that can be fully approved and acted upon by the modern intellectual engage . On a purely literary level, one of Camus’s most original contributions to modern discourse is insurance study interview, his distinctive prose style. Terse and hard-boiled, yet at the same time lyrical, and indeed capable of great, soaring flights of emotion and feeling, Camus’s style represents a deliberate attempt on his part to wed the famous clarity, elegance, and david book essays, dry precision of the French philosophical tradition with the more sonorous and opulent manner of case 19th century Romantic fiction. The result is something like a cross between Hemingway (a Camus favorite) and la resaca, Melville (another favorite) or between Diderot and Hugo. Case Study Interview! For the most part when we read Camus we encounter the plain syntax, simple vocabulary, and la resaca, biting aphorism typical of modern theatre or noir detective fiction. However, this base style frequently becomes a counterpoint or springboard for extended musings and case study, lavish descriptions almost in the manner of Proust.
Here we may note that this attempted reconciliation or union of opposing styles is not just an aesthetic gesture on the author’s part: It is also a moral and political statement. It says, in effect, that the life of question reason and the life of feeling need not be opposed; that intellect and passion can, and should, operate together. Perhaps the greatest inspiration and example that Camus provides for contemporary readers is the lesson that it is still possible for case study interview, a serious thinker to face the modern world (with a full understanding of its contradictions, injustices, brutal flaws, and absurdities) with hardly a grain of hope, yet utterly without cynicism. To read Camus is to find words like justice, freedom, humanity, and dignity used plainly and openly, without apology or embarrassment, and without the pained or derisive facial expressions or invisible quotation marks that almost automatically accompany those terms in sedaris first essays, public discourse today. At Stockholm Camus concluded his Nobel acceptance speech with a stirring reminder and challenge to modern writers: “The nobility of our craft,” he declared, “will always be rooted in two commitments, both difficult to insurance case study interview maintain: the refusal to lie about what one knows and the resistance to oppression.” He left behind a body of work faithful to his own credo that the arts of language must always be used in the service of truth and the service of liberty.
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