In which language it was written a work outsider. Analysis of the work of "Strying" (Albert Cami)

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The work refers to the genre philosophical reflection In the spirit of the existentialistic direction, considering human being in the form of absolute uniqueness.

The key character of the story is a young man, nameable Merso, represented by a writer as office workercharacterized by romantic unity with the surrounding nature, while sensing loneliness and indifference to others, without understanding their true life sense. The only moments not leaving the hero indifferent are described in the form of carnal joys (food, sleep, relationship with female floors). Merso is described in the story as a person who is detached from a living existence, which is in its own semored atmosphere, living, mood, feelings, not recognizing socially significant values.

The composition of the story is presented by three parts, the first of which tells the story of the main character, the second part tells about the commission of a crime, and the Merso protest is revealed in the final part, against the dominant public morality, without attempting to save own Life.

The problems of the work seems to be several topics in the form of a life sense, the crisis of faith, the concept of the permissiveness and the correctness of human choice, as well as the absurdity of real reality.

The storyline of the work tells about the fatal act of the main character, expressed in the random murder of the persecution of His Arab, the result of which the execution of Merso becomes.

The author's plan builds the content of the story in the form of confession of the chief character, which is waiting for its own execution, while there is no repentance of Merso in the narration, and there is only the desire to explain their actions, and first of all itself.

Style characteristic of the story seems numerous simple proposals, deprived of complex subordination that create the impressions of the dryness of the syllable and the providing reader audience to fill the sensations through their own emotions and experiences.

The culmination of the plot is carried out in the final part of the story in the form of a conversation of the Merso prisoner, awaiting the execution of the death sentence, with a priest who visited him for repentance. In the scene of the conversation with a spiritual father manifests itself true meaning The image of the chief hero, which categorically denies religious dogmas, which felt irreversible to the destruction of its world, but feeling only annoyance and a small regret.

The literary value of the work is to image indifferent man, existing world An indifference, the symbol of which becomes a random passerby, which is temporarily temporarily and idle, represented by the writer as an absurd person who opposes the insincere, false public opinion.

Option 2.

The story of Albert Cami is an artistic statement of the philosophical postulates of the author. Summy himself is a noticeable thinker of the beginning of the twentieth century. He adhered to the ideas of existentialism, which had the simple existence of people in the world, denying the principle of the Divine Life Direction.

The story "stranger" is a bright example of the ideas of the author, reported to the reader simple and understandable. The main character of Merso is an adherent of existentialism, perceives life otherwise than those surrounding. Not crying and killed at the funeral of the mother, does not seek to marry his girlfriend and make a full-fledged family. Demonstrating such behavior, Merso as if rebellious against generally accepted norms. But this protest does not cause aim to attract attention to his own person. Rather hero Equally does not understand the surrounding, in which he himself is incomprehensible.

The key event is a murder, perfect Merso without a visible motive. The only thing that prompted the hero to commit a crime is the scorching sun, temporarily no longer mind. However, neither the consequence nor the jury cannot take such a reason. In the second half of the story, they are desperately trying to explain the behavior of the hero at the level of the usual obligations of society.

Merso is not so simple. Among people, he feels outcast. He understands that he will never be able to understand the "normal" lifestyle. Similarly simple people Never be able to accept it, so the hero decides not to justify their behavior. In contrast, he very much feels his connection with nature. Does not want to go to the rise, so as not to leave the sea in the scented city.

In all the events described by the hero, keystone Wait for weather. Unbearable heat, burning sun, the gentle sea occupy a character much more than what is happening around. The style of narrative is concise, dry. The hero does not consider it necessary to express powerful emotionsbecause in this world he is just an observer.

For this reason, Merso gets used to being in prison. After all, this is just another part of his life. The only thing that causes anger in it is an attempt to impose alien ideals to him. He joins a hot spore with a priest who repulses him to repent, take God's will. Merso is angrily protects his beliefs, because a person does not fulfill anyone else, he just lives in the world, among the same lonely people. Until the last faithful to his ideas, the hero decides to simply accept death than to agree with the generally accepted point of view.

The concept of alienation of the personality and society in the philosophy of Albera Cam (on the example of the story)

Ministry of Education of Ukraine

Kherson State Pedagogical University

Concept of alienation of personality

And society in philosophy

Albert Kama

(On the example of the story "Strying")

Scientific essay

Students of the 3rd Course Faculty of Foreign Philology Group 341

Moldova Elena

Teacher:

Nevyarovich Natalia Yurevna

Kherson -1998.

1. Entry. Albert Kama - one of the moralists of the temporary french literature XX century ........ 4 s.

1.1. "Strying" - Bestseller, who entered the Lyceum and University Programs ...................................... . 4 s.

1.2. A variety of literature on "outsiders" ........ 5 s.

2.0. Chapter I. General provisions................................... 6 s.

2.1. Creative story "Strying" ................... 6 s.

2.2. Hero "Strying" - expressive of the senses of generation

Camus ................................................... ..................

2.3. The problem of the absurdity in the work ....................... 7 p.

2.3.1. Biscuitance of the novel ...................................... 7 s.

2.3.2. Determination of the genre of the novel ............................... 7 p.

2.3.3. The position of the hero in the novel .................................... 7 s.

2.3.4. "Psychology of the body" in the "outsiders" ................. 8 s.

2.3.5. Key scene of the novel ..................................... 8 s.

2.3.6. "Indifference" Hero .................................. 9 p.

2.4. Language of the novel "Zero degree letters" ............... 10 s.

2.5. "Strying" - one of the works of modernism .......................................... ....................
10 s.

3.0. Chapter II. Direct analysis of the work ................................................... .............
12 s.

3.1. Events of the first part of the novel ............................ 12 s.

3.2. Message about the death of the mother ............................... 12 s.

3.3. In the shelter for the elderly .................................. 12 p.

3.4. Display spiritual state Hero with the help of nature elements ..................................................... ........... 13 p.

3.5. Events of the second part ........................................ 14 p.

3.5.1. Meditation of the hero on the attitude towards the mother ............ 15 s.

3.5.2. Meeting from Marie, bodily enjoyment ............ 15 s.

3.5.3. Crime of Merso - crucial moment In the composition of the novel ................................................. ............. 16 s.

3.5.4. Merso in the courtroom ............................................ 17 .

3.5.5. Waiting for execution. Death ............................... 18 s.

4.0. Output. The contribution of Cami B. world literature, disclosure

"Existentialistic" personality when creating

"Strying" ............................................................. .........

Literature................................................. .............

INTRODUCTION

Albert Kama - one of the moralists in modern French literature of the twentieth century

1.0. For a long time, the culture of France was generous to the "moralists", that is, the edges, moralists, preachers of virtue. First of all, it is a master of the pen and thinkers discussing in their books the riddles of human nature with witty straightness, like a montene in XVIV.,
Pascal and Larancyfo in XVIIV., Walter, Didro, Rousseau in the XVIII century. France
The XX century put forward the next constellation of such moralists: Saint Exupery,
Malro, Satr ... Among the first in the number of these high-profile names should be rightly named and Albert Cam. In his work, he considered the concept of alienation of the individual and society. He is the herald of many scattered pischoshki, which in the world, splitting on the camps, lead convulsive searches for their own middle way. In his works, he adhered to conclusions
"Philosophy of existence", existentialism. Understand life means
Cami, distinguish between her volatile maiden licks
Fate and interpret in the light of the latest evidence of our earthly lot.
All the books of Camus claim to be tragedies of metaphysical insight: the mind will break through the thickness of the transient, through the life-historical reservoir to the rectangular existence of the personality on Earth.

1.1. One of these books includes the work of the "outsiders" Cam, about which thousands of villages have already been written. He caused live interest as
France, so far beyond her turns. But today, more than forty years after its release, the light, the book continues to read, it remains in France with bestseller. "Strying" firmly entered the lyceum and university courses, where it is interpreted as a "capital date" in the history of French literature. This book of Cami called and " best Roman generation of camp ", and
"One of the large philosophical myths in the art of this century" and even one of the most exciting, convincing and the best way constructed novels in world literature.

1.2. Literature on "outsiders" is so diverse that the acquaintance with her gives a fairly complete idea of \u200b\u200bthe possibilities of various directions in the methodology of modern Western literary studies. The story was subjected to different kind of reading - metaphysical, existecyalistic, biographical, political and sociological.
Representatives of many areas of knowledge appealed to it.

General provisions

2.1. The creative story of "outsiders" is quite easily traced
"Written books" Camus. He notes that the main character Tale - a person who does not wish to justify. He prefers the idea that people amounted to him. He dies, be satisfied with his own consciousness of his rightness. It is noteworthy that already in this first record as the key sounds the word "truth", in June 1937. A sketch of the topic about a person sentenced to death penalty. The prisoner is paralyzed by fear, but does not seek any consolations. He dies with eyes full of tears. In July 1937 Record appears about a person who protects a certain belief all his life. Mother dies. He throws everything. In August 1937 An entry appears in his diaries: "The person who was looking for his life where she usually passes (marriage, position in society). Once he realized how stupid was in relation to his own life. He is peculiar to the refusal of compromises and faith in the truth of nature. " (4, 135)

2.2. According to scribs, the hero is the keeper of the truth, but what? After all, this person is strange, for which the name of the novel hinted in some way -
"Strying".

When the "outsider" was published, a whole generation with greed read this book - a generation, whose lives did not rest on the traditional foundations, was a closed, deprived of the future, quite as the life of the "outsider."
Young people made from Merso his hero.

2.3. As Camus wrote, the main problem was absurd. The main thing is that determines the behavior of Merso, considered the writer - it is a refusal of lies.

The psychology of Merso, his behavior, his truth - the result of the long reflection of the Camus over aesthetics of the absurdity, which in his own way reflected his own life observations.

2.3.1. "Strying" - the work is complex, his hero "rides" from the unequivocal interpretation the greatest complexity in the story lies in its biscuit. The story is broken into two equal, echoing parts.

The second is the first mirror, but the mirror is curved. Once experienced during the trial, and the "copy" is unrecognizable distorting nature. On the one hand, the camp seeks to show the clash of the "ordinary person" face to face with the fate, from which there is no protection - and this is the metaphysical plane of the novel. On the other hand, Merso belongs to its negativity, turns generally accepted values \u200b\u200bto condemn the external lies to their inner truth.

2.3.2. The genre of the novel is nearing the moralistic novel, so the philosophical-aesthetic system of the author is not separable from his personality. Fullness
"Strying" gives his philosophical subtext. In the "outsiders", Cam seeks to give the story the universal character of the myth, where life was originally marked by the stamp of the absurd. Reality here is more like a metaphor necessary to open the image of Merso.

2.3.3. Mechanically measured life young hero On the urban outskirts of Alshore. The service of a small clerk in the office, empty and monotonous, is interrupted by the joy of returning Merso to the beaches "the sun-filled sun, to the colors of the evening southern sky." Life and here under the pen appears with his
"Isnake" and his "face". The surname of the hero itself contains the oppositeness of the essence: "death" and "sun". The tragedy is a human, woven from joy and pain, and here with the unavailability of the law covers all the circles of the hero's life. " (1, 140)

Merso does not require much from life and in his own way he is happy. It should be noted that among the possible names of Roman Cami noted in his drafts " Happy man», « Ordinary person"," Indifferent ".
Merso is a modest, compliant and benevolent, however, without much welcome, a person. Nothing highlights it from among the inhabitants of the poor. Excluding Algeria, except for one oddity - it is surprisingly freaky and indifferent to everything that usually represents the interest of people.

2.3.4. The life of Algerian is reduced to the Cami to the level of sensory sensations.

He does not see the grounds to change his life when the owner of the office suggests him to think about a career, where it was interesting for him.
In Paris, Merso has already been, he has no more ambiguousness of any hope. After all, life, he believes, do not change, one or another life is ultimately equivalent.

But, once at the beginning of the life of Merso studied, he was a student and, like everything, built plans for the future. But the learning had to be left, and then he very soon realized that all his dreams did not mean meaning. Merso turned away from the fact that it seemed to be fulfilled. He plunged into the puchin of indifference.

2.3.5. It is probably here it is necessary to seek the reason for the striking insensibility of Merso, the secret of his oddity, but about this stone is silent to the last pages, to the key scene in the novel, when the harassment of the priest Merso feverly yells the words of his faith in the face of the servant of the Church: "I He was right, I am now right, I am always right. I lived like this, but I lived differently. I de lable, and did not do it. So what? I lived nicely in anticipation of the minute of pale dawn, when my truth is discovered. From the abyss of my future, throughout my absurd flour, the breath of the darkness was raised throughout my absurd flour, it all equalized on its path, all that is available to my life is such an unreal, such a ghost life. " (2, 356). The curtain over the secret mercier is raised: death is irresistible and meaningless fact, under the basis of truth.

2.3.6. The secret of the "Individual" Hero is in the conclusions he left, realizing the limb and the absurdity of life. He wants to just be, to live and feel today, here on Earth, live in the "Eternal Real." Nevertheless, the rest, which connects a person with others, - Moral, ideas, creativity, - for Merso is impaired and deprived of meaning. Salvation for the hero may be to extinguish consciousness, not aware of himself, to break the formal connection with other Merso chooses an extension, separated from society, becomes a "stranger". His mind seems to be supported by a light mist, and already when reading the initial heads of the novel, it seems that the hero is in a state of half.

Although, the word "absurd" is found in the novel just once at the end of the last chapter, the first pages of the "outsider" charge the reader to the atmosphere of the absurdity, which does not cease to thicken until the last scene.

2.5. "Foreign" camp serves as an example for all who are inclined to judge the work, about the writer on the basis of telling, style, from the form, if it is complicated, "torn", which means it is a modernist, and if it is simple, if a certain wholeness is inherent. In addition, if everything is so simple such transparent language written.

What is the main idea of \u200b\u200bthe story? Serene-indifferent, inert merrs
"This is a person who did not bring himself from a sleepy equilibrium even the murder committed by him, one day she fell into fury. This happened in the key scene of the novel, when the prison priest tried to return the hero in the Lono of the Church, bring to faith, as if everything was spinning by the will of God. And Merso pushed the priest for the doors of his cameras. But why this paroxysm rage caused him a priest, and not a cruel, who drunk him in a dead end, not a missing judge who made him a death sentence, not an unceremonious, who lost him, as a lonely animal, the public? Yes, because they all only argued Merso in his idea of \u200b\u200bthe essence of life and only the priest called on to trust the Divine Mercy, to trust the divine fishery, launched a picture of the existence of a harmonic, natural, predetermined. And this picture threatened to shake the idea of \u200b\u200bthe world - the kingdom of the absurd, the world - the pristine chaos.

A look at life as something meaningless - modernistic look.
Therefore, "outsiders" - the work for modernism is classic.

Direct analysis of the work

3.1. It is noteworthy that the development of the action in the novel is almost not observed. Life of Merso - a modest man in dusty outdoor
Algeria is not much distinguished from the hundreds of her like, as this life is everyday life, a nondescript, boring. And the shot appeared in this semidal stagnation, it was a kind of flash that suffered
Merso to another plane, space, to another dimension that destroyed its meaningless plant existence.

3.2. It should be noted main feature Merso is a complete absence of hypocrisy, unwillingness to lie and pretend, even if it goes in opposition to his own gain. This trait It is primarily manifested when he receives a telegram about the death of mother in the alm. The formal text of the telegram from the shelter causes his bewilderment, he does not quite understand and takes, the fact that his mother died. For Merso, the mother died far earlier, namely: when he placed her in the almighty, presenting care for her employees. Therefore, the grief event and the extension, indifference with which it is perceived by the main character enhances the feeling of absurdity.

3.3. In the shelter for the elderly Merso, again does not understand the need to follow the principle of the principle and create at least visibility, the illusion of compassion. Merso vaguely feels that he is condemned for placing his mother in the jade. He tried to justify himself in the eyes of the director, but he was ahead of him: "You could not take it on dependency. She needed a nurse, and you get a modest salary. And in the end she lived here better. " (1, 142). However, in the shelter for the elderly they do not according to the desires, requests, the habits of the old people - only with the old routine and the rules. The step to the side was unacceptable, exceptions were only in rare cases, and even then with preliminary excuses. As it happened in the case of Peres, when he was allowed to participate in the funeral procession, because in the shelter he was considered the fiance of deceased.

For Murso, the voices of the old people who came to the Priest Morg
"The muffled crackle of the parrots", in the nurses instead of the face - "white gauze bandage", on the senile faces instead of the eyes among the thick grid of wrinkles - "only dim light". Perez falls into fainting, as a "broken finger" participants of the funeral procession are similar to mechanical dolls, rapidly replacing each other in a ridiculous game.

Mechanical is adjacent to "outsiders" with comic, which emphasizes the alienation of the hero from the surrounding: Procession Manager -
"Little man in white robe", Perez - the old man of acting appearance, the nose Perez - "in black points", he has "huge flabby and hoppy ears, besides the crimg-color." Perez fussing, cuts corners to sleep for the coffin accompanying. Its tragicomic species contrasts with the exterior of the director of the shelter, as ridiculous in his inhuman "official". He does not make a single excess gesture, does not even wipe the sweat from his forehead and from the face. " (4, 172)

3.4. But Merso as is unacceptable, renounced from what is happening in his eyes of the action, the rite of funeral. He is alien to this rituality, he simply performs a duty, with all his appearance showing that he does exactly, not trying to even hide his crank, indifferent look. But extension
Merso is selective. If the consciousness of the hero does not perceive social rituals, it is very visible in relation to the world of nature. The hero perceives the poet's surrounding eyes, he delicately feel paint, odors of nature, hears hardly catchy sounds. The play of the light, the picture of the landscape, a separate detail of the problem of the world conveys the condition of the hero. Here Merso is a self-chained fan of the elements - the earth, the sea, the sun. The landscape also mysteriously connects the Son with his mother. Merso understands the attachment of the mother to the places where she loved to walk. (2, 356)

It is thanks to nature that the connection between people is resumed - the inhabitants of the shelter - which is incomprehensible to everyday life.

3.5. In the second part of the story there is a permutation of the vitality of the hero and the overflow of his ordinary, everyday life into the vidence of the villain and the criminal. He is called a moral freak, since he neglected his sown duty and gave mother to the pool. The next day, spent with a woman, in the cinema, in the courtroom is interpreted as sacrence; The fact that he was on a short leg with a neighbor, who had a not too clean past, testifies that Merso was involved in the criminal bottom. In the courtroom, the defendants may be separated from the feeling that someone is judged by someone who remotely looks like a person familiar to him, but not on his own. And Merso is sent to the scaffold, in essence, not for the murder committed by him, and for the fact that the pre-deposit of hypocrishes, from which the "debt". (four,
360)

3.5.1. It seems that the court over Merso occurs not for the physical crime - the murder of Araba, and for the moral crime on which the Earth court is not dominated, the court of man. In this, the person himself is a judge himself, only Merso himself had to feel the measure of responsibility for the deed. And the question of whether Merso loved her mother should not have been openly discussed, to be debated in the courtroom, and even more so the strides argument for the death sentence. But for Merso does not exist an abstract sense of love, it is extremely "grounded" and lives with the feeling of the present, fast-second time. The dominant influence on Nature Merso is its physical needs, they determines his feeling.

Consequently, the word "love" for "outsiders" does not make any sense, since it belongs to the dictionary of formal ethics, he knows about love only that this is a mixture of desire, tenderness and understanding, connecting it with someone. " (4, 180)

3.5.2. "Strying" is not alien except that the taste for bodily "plant" joy, needs, desires. He is indifferent to almost everything that goes beyond healthy need in a dream, food, proximity to the woman. This is confirmed by the fact that the next day after the funeral, he went to swim in the port and met the Marie Tutorik. And they calmly swim and having fun and, in particular, Merso, do not have any duties of conscience, which should naturally arise from him about the death of the mother.
Its individual attitude to this turning point in the life of every person of the moment and constitutes a gradually injected feeling of the absurd at the first view of the real work.

3.5.3. So, thoughtlessly, not knowing the goals, the emitted Merso wanders in life, looking at her as a man of absurd.

The crime of Merso decisive was the forces of nature, which Merso was so worshiped. This is "unbearable", the scorching sun, which made the landscape inhuman, oppressive. The symbol of peace and peace - the sky becomes a hostile person, is an accomplice, an accomplicice in a crime.

Landscape here, that is, in the arena of the crime, and a hot plain, and a closed space, where Merso is given to the power of the brutal rays of the sun and where there is no way out, so the main character feels in the Western, trying to break through this vest and hopelessness. A hostile element is incaying the body and the spirit of Merso, creates an atmosphere of fatal violence, tightens the victim into his abyss, where there is no way back. IN allegorical sense The sun becomes a Palach Merso, rapes his will. Merso feels on the edge of madness
(this moment is characteristic feature man in works of modernists). To break out of the circle of violence and evil need an explosion, and it happens. And this explosion is the murder of Araba.

Araba murder scene is a turning point in the composition
"Strying". This chapter divides the novel into two equal parts facing one to another. In the first part - the story of Merso about his life before meeting with the Arabs on the beach, in the second - the story of Merso about his stay in prison, about the investigation and court over him.

"The meaning of the book wrote Cami," consists exclusively in the parallelism of two parts. " The second part is a mirror, but this that Mosso is distorted beyond recognition. Between the two parts of the "outsiders" - the gap that causes readers a sense of absurdity, the disproportion between how Merso sees life and how judges sees it, becoming leading asymmetry in the artistic system "outsiders". (1, 332)

3.5.4. In the courtroom, the investigator violently imposes mercury Christian repentance and humility. He can not allow the thought that Merso does not believe in
God, in the Christian morality, single morality For him, the rational and fair is rational and the surrounding phenomena and processes. He does not believe that it is impossible to check, see, feel. Therefore, in the courtroom
Merso will remain in the distortion of the antichrist. And here is the verdict: "The Chairman of the Court declared in a rather strange form that the name french people I will be cut down on the city square. " (1, 359)

In anticipation of the execution of Merso refuses to meet with a prison priest: the confessor - in the camp of his opponents. The lack of hopes for salvation causes an inseparable horror, the fear of death is relentlessly haunting Merso in a prison cell: he thinks about the guillotine, about the ordinary character of an execution. All night, not a shiny eye, the prisoner is waiting for dawn, which can be the last for him.
Merso is infinitely alone and infinitely free, as a person who has no tomorrow.

Postal hopes and consolations are not understood and not acceptable to Merso. He is far from despair and faithful to earth, outside of which there is nothing. A painful conversation with a priest ends with a sudden explosion of Merso anger. In life reigns meaninglessness, no one is not to blame, or everything is to blame for everything.

Merso's feverish speech, the only novel all over the novel, where he reveals the soul, as if he had cleared the hero from pain, drove all sorts of hope.
Merso felt the extension from the world of people and his relationship with his mindless and just, therefore beautiful world Nature. For Merso there is no future, there is only a momentous present.

The circle of bitterness in the finals of the novel closed. Fastened by the omnipotental mechanics of lies "Strying" remained with his truth. Camus, apparently, wanted everyone to believe that Merso is not guilty, although he killed a unfamiliar man, and if the society sent him to the guillotine, which means it committed a crime even more terrible. Life in society is not righteous and inhuman. And the artist's champion is a lot to inspire confidence in the negative truth of his hero. (4, 200)

3.5.5. The existing oblique world order pushes Merso to the desire to leave life, as it does not see the exit from the current order of things.
therefore last word The novel still remains "hatred."

In the fate of Merso there is absurd: young and in love with the "Earth's Easy", the hero could not find anything but meaningless work in some office; devoid of funds, the Son is forced to put his mother in the jade; After the funeral, he must hide the joy of proximity to Marie; They do not judge him not for killed (about killed Arab on the merits there is no speech), but that he did not cry at his mother's funeral; At the verge of death, he imposes an appeal to God in which he believes.

The contribution of the world literature, the disclosure of the "existentialistic" personality when creating a "outsiders"

4.0. Going beyond the concepts that have been needed to create an existential type of "innocent hero", we face a question: can you justify the murder only on the ground that happened happened by chance? The concept of the absurdity not only drove the artistic vision of the writer, but did not exempt the hero from the vice of moral indifferentity inherent in it. In the treatise, the "man wandering" camouflage is strictly appreciated by the fact that over time he will have to overcome. The feeling of absurdity if you try to extract the rule of action from it, makes killing at least indifferent and, therefore, possible. If it's not for what to believe, if anything does not make sense and cannot be approved by the value of anything, then everything is permissible and everything does not matter "for" and "against", the killer neither is wrong.
The villain or virtue is a pure chance or a whim. "

In the "outsiders" camouflage made an attempt to defend a person. He freed her hero from falsehood, if you remember that freedom for Cami is
"Do not lie right." To express the feeling of absurdity, he has the very achievement of the highest clarity, Camus created typical image Alarm and disappointment era.
The image of Merso is alive and in the consciousness of modern french readerFor young people, this book serves as an expression of their riot.

And at the same time, Merso is the freedom of the rebellion who closed the universe on itself. The final instance and the judge remains a certain person for whom the highest blessing is the life of "without tomorrow".
Fighting with the formal morality, Summy put the Algerian clerk "on the other side of good and evil." He deprived his hero of the human community and the living stay of the morality. Love for life, filed in the angle of absurdity, too obviously causes death. In the "stranger" one can not feel movement
For ahead: This is a life-affirming refusal of despair and a stubborn thrust for justice.

Working on roman Kama Already solved the problem of freedom in her connection with the problem of truth.

LITERATURE:

1. Alber Cam. Favorites. The introductory article of the Velikovsky S.,
Moscow. Publishing house "Pravda", 1990.

2. Alber Cam. Favorites. Collection. Preface Velikovsky S.,
Moscow. Publisher "Raduga", 1989.

3. Alber Cam. Selected works. Afterword, Velikovsky S.,
"Cursed questions" Cam. Moscow. Publishing House "Panorama", 1993.

4. Kushkin E.P., Albert Cami. early years. Leningrad. Publishing house
Leningrad University, 1982.

5. Zatonsky D. in our time. The book about foreign literature Xx in.
Moscow. Publishing House "Enlightenment", 1979.

The writing

The writing
In the literary ratio of the XX century became a century of spiritual search. Abundance literary flowsArriving at the time closely related to the abundance of new philosophical doctrines around the world. Bright example To that - French existentialism, whose representative is an outstanding thinker and writer, laureate Nobel Prize 1957 Albert Cami ...

Existentialism (from Latin Existentia - existence) is one of the directions of the philosophy of subjective idealism. The main category in existentialism is the concept of existence, which is identified with the subjective experiences of man and is proclaimed primary to being. Existentialism contrasts a society as something alien, hostile, which destroys his personality, limits the freedom of personality. According to existentialists, the main goal scientific progress There should be no development of intelligence, but emotional education.

Existentialism arising after the First World War in Germany, and during the Second World War - in France, its ideological origins draws in the teachings of the Danish scientist philosopher-irrationalist Serena Kierkegara. The main provisions of existentialists are expressed in the work of J. P. Sartre, french writer, philosopher and publicist, which is considered the head of French existentialism. The main topics of his creativity are loneliness, the search for absolute freedom and the absurdity of being. Albert Camus is called his student and follower.

The philosophical works and artworks of Albert Camus mutually complement each other, and its theoretical works interpret the essence of being and give the key to understanding it artistic works. In esoeisting, the prose and drama of the Camus are invariably present about the absurdity ("absurdity"), about the death of death ("the knowledge of themselves - the knowledge of death"), the feeling of loneliness and alienation from the "disgusting" external world - ("I'm alien to me") . The "Cycle of Absurd" called the entire first period of his work. At this time, they were written a story "Strying" (1942), philosophical essay "Myth about Sisifa" (1942), the drama "Kaligula" and "misunderstanding" (1944). All of them reveal the absurdity of human existence to life at all.

A huge impact The culture of the Mediterranean, which was perceived by him as the basis of the early pantheistic concept of the person, was provided to the formation of views of the Camus and on all his work. It was based on an almost deified "faith in the joy of being, identifying God and Nature, in which the divine start was dissolved. The passion for the pagan cultures and the pre-Christian covenants was reflected in the collection of" marriage ". Gradually, under the influence of the event of the history of Camus, it moves to the concept of a man of absurd, which will predetermine everything The writer's growing interest in existentialism. The concept of a man's absurd basis was developed in detail by Cami in the Essay of the MiF about Sisyiff and the story of "outsiders". Through the prism of these two books, it is easy to imagine the range of issues and perspectives, considered by the school of literature existentialism that established in France in the 40s The years of the last century.

"The MiF about Sisyiff" - Essay on Absurd, in which Albert Cami, having gathered his reflections on death, alienation even from himself, about the impossibility to determine, decipher the existence, about absurdity as a source of freedom, the role of the hero absurd world Wars the legendary Sisif. The work of Sisif is absurd, is azlen; He knows that the stone, which by the destruction of the gods drags in the mountain, rides down and everything will start first. But the fact of the matter is what he knows - and therefore rises over the gods, above his destiny, it means that the stone becomes his business. Knowledge is enough, it guarantees freedom. The behavior of the main character is determined by the omnipotent absurd, depreciating the action.

The story "stranger" is a kind of confession of the main character. All space in it is occupied by the only choice of choice, which makes the only hero of the novel. Murso always talks about himself. This permanent "I" emphasizes the lack of community of people, "collective history", needs in other people.

The hero of the Cami "not from this world" because he belongs to a completely different world - the world of nature. Not by chance at the time of the murder he feels part space landscape, suggests that his movement directed the sun itself. But even before that moment, Merso appears a natural person who can for a long time and without any reason to look at the sky. Merso - as if the alien on our planet, aliens, and his native planet - the sea and the sun. Merso is a romantic, but "romantic-existentialist". The blinding sun Algeria illuminates the actions of the hero, which cannot be reduced to social motivation of behavior, to the rebellion against formal morality. Murder in "Strying" is another "unmotivated crime." Merso in one row with Raskolnikov. The difference between them is that Merso no longer asks about the boundaries of the possible, it goes without saying that everything is possible for him. He is free absolutely, he is "everything is permitted." "" Everything is permitted "Ivan Karamazova is the only expression of freedom," said Albert Cami himself (he read about Dostoevsky, Nietzsche, Malro).

The name of the story of the Cam is symbolic. It records the globility of the main character. And the story, driven by the first person, gives the author the opportunity to introduce readers with the image of his thoughts, to understand the essence of his "strangers". The fact is that Merso is indifferent to life in her familiar sense. He discard all its measurements except the only one - its own existence. In this existence, the usual norms do not work: to tell a woman that you love her; cry at the funeral of the mother; Think of the consequences of your actions. Here you can not pretend and do not lie, but to talk and do what the existence behaves, without thinking about tomorrowBecause only psychological motivations are the only true motivation of human behavior. The Hero of Camus does not solve any social issues; Neither does not protest. For him, there are no social and historical circumstances. The only thing that Merso is confident is that death will come to him soon.

"Merso does not recognize the most important commandments and therefore it is not entitled to wait for mercy." But he is absolutely indifferent to this, because he knows that nothing matters that life is not worth "for it to cling": "Well, I will die. Earlier than others, it is undoubtedly. But everyone knows that life is not worth it to cling to it .. in essence it does not have muchIf you will die thirty or seventy years old - in both cases, other people, men and women will live, and so many millennium is already going. "

Merso does not live - it exists without the "plan", without an idea, from the case of the case, from one moment to another. In "Explanation of" Strying "(1943), J. P. Sartre made focus on how the story was built:" Each phrase is a momentant moment ... Each phrase is similar to the island. And we are jumping from the phrase to the phrase, from non-existence to non-existence. "

Death as a manifestation of the absurdity of existence is the basis of the release of the hero of the Cami from responsibility to people. He is liberated, it does not depend on anyone, he does not want to associate himself. He is a stranger in relation to the life, which is represented by the ridiculous assembly of all sorts of rituals; He refuses to perform these rituals. Much more important than any principles and obligations, debt and conscience for Merso, that at the time of committing the murder was incredibly hot, and the head was terribly sick, that "the sun flashed onto steel knives ... and Merso asked for a long sharp blade, a ray I burned the eyelashes, drank in pupils and the eyes were hurt. " Thus, the conflict in the story of the Cami is on the axis of the collision of people-machine guns performing rituals, and a living being that does not want to perform them. The tragic outcome is inevitable here. It is difficult to combine your own egoistic existence and movement of human masses, creating history. Merso resembles a parally liberated person who dropped out of the pub of church and excess personAnd Outsider, which will take shape in the literature in the second half of the 20th century.

On double - metaphysical and social - the meaning of the novel also pointed out both by the Camus himself, who explained the strange behavior of Merso primarily by the reluctance to obey the life of the life "on fashion catalogs."

The plot of "strangers" saw in "distrust of formal morality". The clash "just a person" with a society, which forcibly "catalogs" each, places in the framework of the rules established by the norms, generally accepted views, becomes open and irreconcilable in the second part of the novel. Merso went out of these frames - he is judged and condemned.

The image of the "strangers", bred by Albert Cam, caused a lot of time various interpretations. In the circles of the European Intelligentsia of Wartime, he was perceived? As a new "ecclesiast" (this was promoted by the statement of the author about his hero: "The only Christ whom we deserve"). French criticism held a parallel between the "strangers" and the youth of 1939 and 1969, since those and others were kind of outsiders and in Bunte were looking for a way out of loneliness.

Parallels can be carried out infinitely, because the story keeps a lot of examples, when a person aggravantly felt his loneliness and inaccessible, suffering from the "misunderstanding", the "curving" of the world around. These feelings arise whenever in society the universal alienation reigns when human existence comes down to indifferent execution of certain norms and rules, and anyone who refuses to follow the commissioned order, not accepting egoism, indifference and formalism, becomes a "stranger", outcast, " Strying. "

The story of Albera Camus "Strying" was written in 1940 and published in 1942. Analysis of this work, as the most bright and well-known, helps to trace all the main ideas of the author's creativity.

The plot line of "outsiders" (as, by the way, the composition) is linear. The story consists of two parts. In the first part, the Frenchman Murso, who lives in Algeria, receives news of the death of the mother and arrives at the funeral. The next day in Algeria hero spends with the lady named Marie, who becomes his girlfriend. A neighbor-prayer Ramont invites Marie and Merso to spend the weekend by the sea, but on the road they notice that the Arabs are watching them, one of whom is the brother of the former Lyonon's mistress. On vacation between Arabs and friends of Merso, a strike occurs, which ends with nothing. After some time, the hero, seeing one of the Arabs on the beach, kills him. The second part - the Merso delayed for 11 months, as a result of which he was sentenced to death.

Despite the simple plot, the idea of \u200b\u200bthe author is very deep. We are important not scene lines, and the reaction of the main character on what is happening around, more precisely, the absence of any reaction. Cama draws a person who does not experience the traditional emotions adopted in society. He does not cry at the funeral of the mother, he is indifferent to the Marie's offer to get married, he does not feel anything during the murder. Trial It seems the chief hero with a vigorous and tightened, he does not pay attention to what is happening.

The story has two semantic levels - social and metaphysical. The first level is the reality and reaction of others. The second level is cut off from the real component, it is revealed inner world Merso.

In the actions of the main character, existential romanticism of his image is manifested. Merso - the rogue in society, his actions cause misunderstanding and are blamed. He does not understand the jury, nor the judge nor Marie. The appearance of understanding and friendship creates Raymont, however, ultimately, he has no case to Merso (as well as there is no case to Raymon). Another component of a romantic image - the actions of the hero moves nature. He is the only one who loves to look into the sky. Even the murder seem to direct the scorching sun, which shines at that moment on the beach.

In the story, a bright author's style is visible. The text is a mixture of description and narration in the last time from the first person. The hero concisely lists everything he did, without making the difference between drinking a cup of coffee, campaigning in the cinema and murder. All the actions of the Merso are impregnated with an absurd atmosphere - its acts are absurd, its inner world. The absurds and arguments of the jury: ultimately, the main argument in favor of the death penalty is that Merso did not cry at the funeral of his mother.

The climax of the story - last night In the chamber, when the indifference leaves the main character. Merso rushes and falls asleep in nightmares. He feels the desire to survive all over again, opens the soul to the world and suddenly understands that the world is the same as he. The hero is indifferent to the world, as the world was indifferent to the hero. Merso feels loneliness and sees his calm only one thing: so that during the execution all those who came did not look at him with glass faces, and experienced sincere hatred.

Thus, in the story of "outsiders" existentialistic views and ideas of the absurdism of Camus are fully manifested. What is interesting, the author does not blame the actions of the chief hero. Crown - Load traditional society, the absurd of which is shown in the story.

In the literary ratio of the XX century became a century of spiritual search. The abundance of literary flows arising at that time is closely related to the abundance of new philosophical doctrines around the world. A vivid example of this is French existentialism, a representative of which is an outstanding thinker and writer, the Nobel Prize winner Albert Cami ...

Existentialism (from Latin Existentia - existence) is one of the directions of the philosophy of subjective idealism. The main category in existentialism is the concept of existence, which is identified with the subjective experiences of man and is proclaimed primary to being. Existentialism contrasts a society as something alien, hostile, which destroys his personality, limits the freedom of personality. According to existentialists, the main goal of scientific progress should not be the development of intelligence, but emotional education.

Existentialism arising after the First World War in Germany, and during the Second World War - in France, its ideological origins draws in the teachings of the Danish scientist philosopher-irrationalist Serena Kierkegara. The main provisions of existentialists are expressed in the works of J. P. Sartra, the French writer, a philosopher and publicist, which is considered the head of French existentialism. The main topics of his creativity are loneliness, the search for absolute freedom and the absurdity of being. Albert Camus is called his student and follower.

The philosophical works and artworks of Albert Camus mutually complement each other, and its theoretical works interpret the essence of being and give the key to understanding its artistic works. In esoeisting, the prose and drama of the Camus are invariably present about the absurdity ("absurdity"), about the death of death ("the knowledge of themselves - the knowledge of death"), the feeling of loneliness and alienation from the "disgusting" external world - ("I'm alien to me") . The "Cycle of Absurd" called the entire first period of his work. At this time, they were written a story "Strying" (1942), the philosophical essay "Myth about Sisyiff" (1942), the drama "Caligula" and "misunderstanding" (1944). All of them reveal the absurdity of human existence to life at all.

The culture of the Mediterranean, which was perceived by him as the basis of the early pantheistic concept of the person, was enormous on the formation of the views of the Cam. It was based on an almost deified "faith in the joy of being, identifying God and Nature, in which the divine start was dissolved. The passion for the pagan cultures and the pre-Christian covenants was reflected in the collection of" marriage ". Gradually, under the influence of the event of the history of Camus, it moves to the concept of a man of absurd, which will predetermine everything The writer's growing interest in existentialism. The concept of a man's absurd basis was developed in detail by Cami in the Essay of the MiF about Sisyiff and the story of "outsiders". Through the prism of these two books, it is easy to imagine the range of issues and perspectives, considered by the school of literature existentialism that established in France in the 40s The years of the last century.

"The MiF about Sisyifa" - Essay on Absurd, in which Albert Cami, having gathered his reflections on death, alienation even from himself, about the impossibility of determining, to decipher the existence, about absurdity as a source of freedom, the role of the hero of the absurd world takes the legendary Sisifa. The work of Sisif is absurd, is azlen; He knows that the stone, which by the destruction of the gods drags in the mountain, rides down and everything will start first. But the fact of the matter is what he knows - and therefore rises over the gods, above his destiny, it means that the stone becomes his business. Knowledge is enough, it guarantees freedom. The behavior of the main character is determined by the omnipotent absurd, depreciating the action.

The hero of the Cami "not from this world" because he belongs to a completely different world - the world of nature. It is not by chance that at the time of the murder he feels part of the cosmic landscape, says that his movements sent the sun itself. But even before that moment, Merso appears a natural person who can for a long time and without any reason to look at the sky. Merso - as if the alien on our planet, aliens, and his native planet - the sea and the sun. Merso is a romantic, but "romantic-existentialist". The blinding sun Algeria illuminates the actions of the hero, which cannot be reduced to social motivation of behavior, to the rebellion against formal morality. Murder in "Strying" is another "unmotivated crime." Merso in one row with Raskolnikov. The difference between them is that Merso no longer asks about the boundaries of the possible, it goes without saying that everything is possible for him. He is free absolutely, he is "everything is permitted." "" Everything is permitted "Ivan Karamazova is the only expression of freedom," said Albert Cami himself (he read about Dostoevsky, Nietzsche, Malro).

The name of the story of the Cam is symbolic. It records the globility of the main character. And the story, driven by the first person, gives the author the opportunity to introduce readers with the image of his thoughts, to understand the essence of his "strangers". The fact is that Merso is indifferent to life in her familiar sense. He discard all its measurements except the only one - its own existence. In this existence, the usual norms do not work: to tell a woman that you love her; cry at the funeral of the mother; Think of the consequences of your actions. Here you can not pretend and not lie, but to talk and do what the very existence behaves without thinking about tomorrow, because only psychological motivations are the only true motivation of human behavior. The Hero of Camus does not solve any social issues; Neither does not protest. For him, there are no social and historical circumstances. The only thing that Merso is confident is that death will come to him soon.

"Merso does not recognize the most important commandments and therefore it is not entitled to wait for mercy." But he is absolutely indifferent to this, because he knows that nothing matters that life is not worth "for it to cling": "Well, I will die. Earlier than others, it is undoubtedly. But everyone knows that life is not worth it to cling to it .. In essence, it does not matter much, whether you will die in thirty or seventy years, - in both cases other people, men and women will live, And so many millennium is already going. "

Death as a manifestation of the absurdity of existence is the basis of the release of the hero of the Cami from responsibility to people. He is liberated, it does not depend on anyone, he does not want to associate himself. He is a stranger in relation to the life, which is represented by the ridiculous assembly of all sorts of rituals; He refuses to perform these rituals. Much more important than any principles and obligations, debt and conscience for Merso, that at the time of committing the murder was incredibly hot, and the head was terribly sick, that "the sun flashed onto steel knives ... and Merso asked for a long sharp blade, a ray I burned the eyelashes, drank in pupils and the eyes were hurt. " Thus, the conflict in the story of the Cami is on the axis of the collision of people-machine guns performing rituals, and a living being that does not want to perform them. The tragic outcome is inevitable here. It is difficult to combine your own egoistic existence and movement of human masses, creating history. Merso resembles a parally liberated person who fell out of the pub of church, and an excess person, and an outsider who will take shape in the literature in the second half of the 20th century.

The image of the "strangers", bred by Albert Cam, caused many different interpretations at one time. In the circles of the European Intelligentsia of Wartime, he was perceived? As a new "ecclesiast" (this was promoted by the statement of the author about his hero: "The only Christ whom we deserve"). French criticism held a parallel between the "strangers" and the youth of 1939 and 1969, since those and others were kind of outsiders and in Bunte were looking for a way out of loneliness.

Philosophy A. Kama.

Albert Cami (1913 - 1960) did the main problem its existential philosophy the problem of the meaning of life.

The main thesis of the philosopher - the life of a person is essentially meaningless.