Albert Camus’ Philosophy of Love

2021 ◽  
Author(s):  
Paul G. Neiman
Keyword(s):  
Albert Camus ◽  
Philosophy Of Love

T'ang Chun-i's Philosophy of Love

1998 ◽  
Vol 48 (2) ◽  
pp. 257 ◽  
Author(s):  
Cheung Chan-fai
Keyword(s):  
Philosophy Of Love

Assia Djebar en face à face avec Albert Camus

2013 ◽  
Vol 87 (2) ◽  
pp. 33-45
Author(s):  
Laura Klein
Keyword(s):  
Albert Camus ◽  
Assia Djebar ◽  
En Face

Photopoetics: Sisyphus Outdone, the Apostrophal Subject and the Elusive Image

2020 ◽  
Vol 4 (1) ◽  
pp. 84-95
Author(s):  
Esther Sánchez-Pardo
Keyword(s):  
Catastrophe Theory ◽  
Albert Camus ◽  
Current Image ◽  
Difficult Condition ◽  
The Subject ◽  
The Individual

AbstractIn Sisyphus Outdone (2012), Nathanaël’s particular tribute to Albert Camus’ The Myth of Sisyphus (1942), the reader faces a challenging hybrid text in which the verbal and visual dimensions intermingle to produce an idiosyncratic type of narrative. Fragmentary, elliptical, a web of quotations, dictums, and meditations on the difficult condition of the individual in the current image-saturated scenario of the first decades of the 21st century, the text manages to propose a rigorous reflection upon crucial aspects of representation from History and temporality, to the Subject now, photography, catastrophe theory, architecture, failure and translation, among the most salient. Sisyphus, I suggest, exhibits a strategic photopoetics which operates as a self-reflective mechanism contributing to the persistence of an impermanent liminal subject and to the (re)production of textuality and the proliferation of voices against silence.

Albert Camus. Europe 77

2001 ◽  
Vol 96 (1) ◽  
pp. 201
Author(s):  
Mark Orme
Keyword(s):  
Albert Camus

Competing Visions of Love and Brotherhood: RewritingWar and Peacefor the Soviet Opera Stage

2014 ◽  
Vol 26 (3) ◽  
pp. 215-238
Author(s):  
Anna A. Berman
Keyword(s):  
Romantic Love ◽  
Sergei Prokofiev ◽  
War And Peace ◽  
National Scale ◽  
Russian People ◽  
Love Story ◽  
Philosophy Of Love ◽  
The Family ◽  
Early Decision ◽  
Human Connection

AbstractWhen Sergei Prokofiev chose to adaptWar and Peacefor the Soviet opera stage in the 1940s, he faced both operatic conventions and Soviet ideological demands that ran counter to the philosophy and structure of Tolstoy’s sprawling masterpiece. Prokofiev’s early decision to split his opera intoPeaceandWar, making the first a romantic love story of individuals and the second a collective story of the people’s love for Mother Russia, marked a major divergence from Tolstoy. This article explores how Prokofiev reworked Tolstoy’s philosophy of love and human connection to make his opera acceptable for the Soviet stage. Moving away from Tolstoy’s family ideal inPeace, with its basis on intimate sibling bonds, Prokofiev shifted the family toWar, turning it into a national Russian family of Father Kutuzov, Mother Russia and their children – the Russian people. The opera uses choral glorification of these heroic parents to foster on a national scale the type of intimacy Tolstoy had advocated in the home.

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