Psychological Interpretation of the Novel the Stranger by Camus

Total Page:16

File Type:pdf, Size:1020Kb

Psychological Interpretation of the Novel the Stranger by Camus Vol. 2(6), pp. 73-86, June 2014 DOI: 10.14662/IJELC2014.024 International Journal of English Copy©right 2014 Literature and Culture Author(s) retain the copyright of this article ISSN: 2360-7831©2014 Academic Research Journals http://www.academicresearchjournals.org/IJELC/Index.htm Review Psychological Interpretation of the novel The Stranger by Camus R.Gnanasekaran Department of Linguistics, Puducherry Institute of Linguistics and Culture, Lawspet, Puducherry, 605008, India. E-mail: [email protected] Accepted 6 June 2014 Of all the critical approaches to literature, the psychological has been one of the most controversial and for many readers the least appreciated. Yet, for all the difficulties involved in its application to interpretive analysis, the psychological approach can be fascinating and rewarding. This psychological interpretation is an excellent tool for reading between the lines. The proposed work titled “Psychological Interpretation of Camus’s The Stranger” aims to explore the consciousness of the author and his work. It was published in July 1942 and a few month later Le Mythe de sissyphe [The Myth of Sissyphus] an essay that raises the problem of how to live in a world without clear meaning. His early works are based on the assumption that there are no absolute moral values that life is a matter of living from day to day, trying to find happiness. Albert Camus through this novel The Stranger brings out various concepts like existentialism, nothingness, death of god etc. what the dissertation aims to do is to provide an in-depth understanding of Absurdism, Existentialism, Freudian concept of unconscious mind and some psychological problem based on the novel with the help of psychological interpretation and psychoanalytic criticism. KEY WORDS: Absurd, Existentialism, Unconscious, Psychology. INTRODUCTION: Charles Darwin's Origin of species in the nineteenth reflected the ideas that have changed the mankind. A century had a profound impact on mankind, which closer look at the literary works would reveal that man's changed the entire understanding of human existence. existence and his survival has been a constant subject of Man questioned the existence of God. Science was debate and discussion in the second half of the twentieth paramount while Religion and Philosophy took a back century. Absurdism, in The Stranger Camus shows this seat. Moving into the twentieth century the two biggest 'absurd' sensibility by creating a character who makes events to shape the century were without doubt the two none of the normal assumptions about life, a man without World Wars, which plunged Nations into misery and social ambition, without belief in any religious or rational chaos. The Atom bombs dropped on Hiroshima and meaning in the universe. Meursault, whose only desire is Nagasaki shook an entire generation and faith in mankind to live a simple, sensual life, is led, through a series of was lost forever. Throughout these two centuries literary chance events, to commit murder, and is condemned to works in the form of Poetry, Novels and Drama have death. The novel is thus an image of the 'absurd' 74 Inter. J. Eng. Lit. Cult. opposition between man and the universe. Then we made him wake up. But it was too late – he had taken the would be getting acquainted with Existentialism, The jump. He could not reach the other terrace – although whole philosophical movement called existentialism talks each day he had been going to the other terrace, coming about life as meaningless, accidental, there is no purpose back, going to his room and falling asleep. But because behind it. It's full of anxiety and anguish which are he became conscious and he saw what he was doing.... incurable (King, 1980). But he had already taken the jump. He fell down from fifty Psychoanalytic criticism analyses literature as an stories and his body was shattered in fragments on the imaginative expression of the inner workings of the road. human mind. It is strongly influenced by the ideas of Sigmund Freud. The basic premise of Freudian psychoanalysis is the tremendous power the unconscious THE STRANGER mind has on our conscious life. The conscious mind is only the tip of the iceberg. Our desires are repressed and The famous lines introducing Meursault‘s mother opening pushed into the unconscious. Thus, in the work of Albert the novel. He is not sure whether she had died today or Camus, we would be tracing the ideas and philosophical yesterday since the telegram was not specific. movements of that century to fathom the conscious of the Furthermore he does not really think it matters. He asks author for these must have influenced him in some way for two days off and takes the bus to the home he had put or the other (Chandra, 2007). his mother in when he could no longer afford to take care Since this analysis interprets the text psychologically, of her. He sleeps on the way there. At the home, the prominent psychological terminologies have been Meursault meets the director and the caretaker and is used to comprehend the behavior of the main character taken to see his mother. He chooses not to look at her Meursault who is psychologically sick with phobias, and sits by her side as friends come to mourn during the anxiety disorders and lacks emotional intelligence night. He chats with the caretaker, naps, smokes, and quotient. has some coffee. In the morning, the funeral procession It aims at delivering the psychological insights into our walks the hour into town for the ceremony. The sun is dominant emotions like reconcilement, depression and scorching and Meursault feels more oppressed by the animosity with reference to The Stranger. Hence we heat than sad over his mother's death. Her fiancé could befriend with our feelings, emotions and thoughts. Thomas perez, however is in tears and must struggle to It happened in New York that one somnambulist.... keep up by taking shortcuts. After the, Meursault catches There are so many people, somnambulists, that you the bus home and looks forward to sleeping twelve hours. would not believe it – ten percent of the whole humanity. He wakes up the next day and realizes that it is a They get up in the night, they go to the fridge; they eat weekend and is not surprised his boss was annoyed. He something which the doctor has forbidden them, because gets up late and then decides to go to the beach where they are getting fatter and fatter and creating their own he loves to swim. Once there he sees a woman he used death, committing a slow suicide. In the day somehow to be attracted to at work Marie Cardona. They are they manage to repress, but in the night the conscious instantly attracted and agree to see a movie later that mind is fast asleep, and the unconscious does not miss night. Marie is surprised to hear that Meursault's mother the opportunity. It knows the way, and they walk with died only yesterday. That night they see a comedy and open eyes; even in the dark they don‘t stumble. They are go back to Meursault's. She is gone the next morning worried; their doctor is worried, their family is worried:‖ before Meursault gets up. He remembers that he hates We have reduced your food, we are not giving you any Sundays because they are boring so he takes a nap. sugar, and still you go on becoming fat!‖ And they are Finally he gets up, makes lunch and settles on the also worried that things go on disappearing from the balcony to watch people pass. Different crowds move by fridge. And you cannot hold that person responsible, throughout the day including families, soccer fans, and because he doesn‘t remember anything at all in the moviegoers. He eats dinner standing up, watches some morning. But this New York case became world-famous. more, and then moves inside when it gets colder and This man used to live in a fifty-story building, on the last darker. story. In the night he would get up, go to the terrace and A work day follows. His boss, trying to be kind, asks jump across to the other house which was close by. The about his mother but is relieved when Meursault says his distance was such that nobody could have dared, with mother was about sixty when she died. Meursault has a consciousness, to take such a jump – and it was an great deal of work to do before lunch. On the break, he everyday routine! Soon people became aware and and Immanuel jump onto a moving fire truck. Meursault started gathering underneath to see, because it was eats lunch, takes a nap, and returns to work. Arriving almost a miracle. The crowd started becoming bigger and home after work, he runs into Salamano and his dog and bigger, and one day, when the man was just about to thinks of the routine the ridiculous pair always follow. jump, the crowd shouted loudly, hailing the man. That Meursault sees Raymond next who invites him over for Gnanasekaran 75 dinner. They talk about Raymond's fight with an Arab and swimming together. Meursault then naps on the beach then, his cheating girlfriend. He asks Meursault to write a before playing in the water more with Marie. He devours letter to her for him to make her feel bad about what she his lunch and then takes a walk with the other men. They did. Then he can punish her when she comes back to run into two Arabs on the beach and Raymond and him. Meursault agrees to write the letter because he is Masson fight them.
Recommended publications
  • Doctor Strange Comics As Post-Fantasy
    Evolving a Genre: Doctor Strange Comics as Post-Fantasy Jessie L. Rogers Thesis submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Arts in English Karen Swenson, Chair Nancy A. Metz Katrina M. Powell April 15, 2019 Blacksburg, Virginia Keywords: Fantasy, Comics Studies, Postmodernism, Post-Fantasy Copyright 2019, Jessie L. Rogers Evolving a Genre: Doctor Strange Comics as Post-Fantasy Jessie L. Rogers (ABSTRACT) This thesis demonstrates that Doctor Strange comics incorporate established tropes of the fantastic canon while also incorporating postmodern techniques that modernize the genre. Strange’s debut series, Strange Tales, begins this development of stylistic changes, but it still relies heavily on standard uses of the fantastic. The 2015 series, Doctor Strange, builds on the evolution of the fantastic apparent in its predecessor while evidencing an even stronger presence of the postmodern. Such use of postmodern strategies disrupts the suspension of disbelief on which popular fantasy often relies. To show this disruption and its effects, this thesis examines Strange Tales and Doctor Strange (2015) as they relate to the fantastic cornerstones of Tolkien’s The Hobbit and The Lord of the Rings and Rowling’s Harry Potter series. It begins by defining the genre of fantasy and the tenets of postmodernism, then it combines these definitions to explain the new genre of postmodern fantasy, or post-fantasy, which Doctor Strange comics develop. To show how these comics evolve the fantasy genre through applications of postmodernism, this thesis examines their use of otherworldliness and supernaturalism, as well as their characterization and narrative strategies, examining how these facets subvert our expectations of fantasy texts.
    [Show full text]
  • Freedom Quotes, May 2015 May 1. Freedom Is Not Worth Having If It
    Freedom Quotes, May 2015 May 1. Freedom is not worth having if it does not include the freedom to make mistakes. Mahatma Ganhdi May 2. When a man is denied the right to live the life he believes in, he has no choice but to become an outlaw. Nelson Mandela May 3. The most important kind of freedom is to be what you really are. You trade in your reality for a role. There can’t be any large-scale revolution until there’s a personal revolution, on an individual level. It’s got to happen inside first. Jim Morrison May 4. Freedom lies in being bold. Robert Frost May 5. People demand freedom of speech as a compensation for the freedom of thought they seldom use. Soren Kierkegaard May 6. Those who deny freedom to others, deserve it not for themselves. Abraham Lincoln May 7. I am free, no matter what rules surround me. If I find them tolerable, I tolerate them; if I find them too obnoxious, I break them. I am free because I know that I alone am morally responsible for everything I do. Robert A. Heinlein May 8. If we don’t believe in freedom of expression for people we despise, we don’t believe in it at all. Noam Chomsky May 9. Freedom is nothing else but a chance to be better. Albert Camus May 10. ---To be free is not merely to cast off one’s chains, but to live in a way that respects and enhances the freedom of others. Nelson Mandela May 11.
    [Show full text]
  • Simonson's Thor Bronze Age Thor New Gods • Eternals
    201 1 December .53 No 5 SIMONSON’S THOR $ 8 . 9 BRONZE AGE THOR NEW GODS • ETERNALS “PRO2PRO” interview with DeFALCO & FRENZ HERCULES • MOONDRAGON exclusive MOORCOCK interview! 1 1 1 82658 27762 8 Volume 1, Number 53 December 2011 Celebrating The Retro Comics Experience! the Best Comics of the '70s, '80s, '90s, and Beyond! EDITOR-IN-CHIEF Michael Eury PUBLISHER John Morrow DESIGNER Rich J. Fowlks . COVER ARTIST c n I , s Walter Simonson r e t c a r a COVER COLORIST h C l Glenn Whitmore e v r a BACK SEAT DRIVER: Editorial by Michael Eury . .2 M COVER DESIGNERS 1 1 0 2 Michael Kronenberg and John Morrow FLASHBACK: The Old Order Changeth! Thor in the Early Bronze Age . .3 © . Stan Lee, Roy Thomas, and Gerry Conway remember their time in Asgard s n o i PROOFREADER t c u OFF MY CHEST: Three Ways to End the New Gods Saga . .11 A Rob Smentek s c The Eternals, Captain Victory, and Hunger Dogs—how Jack Kirby’s gods continued with i m SPECIAL THANKS o C and without the King e g Jack Abramowitz Brian K. Morris a t i r FLASHBACK: Moondragon: Goddess in Her Own Mind . .19 e Matt Adler Luigi Novi H f Getting inside the head of this Avenger/Defender o Roger Ash Alan J. Porter y s e t Bob Budiansky Jason Shayer r FLASHBACK: The Tapestry of Walter Simonson’s Thor . .25 u o C Sal Buscema Walter Simonson Nearly 30 years later, we’re still talking about Simonson’s Thor —and the visionary and .
    [Show full text]
  • Batman #87 Superman #19 Batman Curse of the Whit
    NEW THIS WEEK FROM DC... Wonder Woman #750 (with "Decades" Variants) Batman #87 Superman #19 Batman Curse of the White Knight #6 (of 6) Batman Superman #6 Year of the Villain Hell Arisen #2 (of 4) Detective Comics #1019 Basketful of Heads #4 (of 7) Far Sector #3 (of 12) Birds of Prey Giant #1 Batman Beyond #40 Batgirl #43 Metal Men #4 (of 12) John Constantine Hellblazer #3 Shazam #10 Red Hood Outlaw #42 Wonder Twins #11 (of 12) Books of Magic #16 Dollar Comics Batman Huntress Cry for Blood #1 Birds of Prey Harley Quinn GN NEW THIS WEEK FROM MARVEL... Amazing Spider-Man #38 Fantastic Four #18 Excalibur #6 Guardians of the Galaxy #1 Marauders #6 Atlantis Attacks #1 (of 5) Captain Marvel #14 Conan Serpent War #4 (of 4) Black Panther #20 Web of Venom Good Son #1 Ruins of Ravencroft Dracula #1 True Believers Criminally Insane Dracula True Believers Criminally Insane Purple Man Valkyrie Jane Foster Vol. 1 GN X-Statix Complete Collection Vol. 1 GN Fantastic Four Mystery Minis FF Mister Fantastic Funko Pop FF Human Torch Funko Pop FF Silver Surfer Funko Pop FF Super Skrull Funko Pop ALSO NEW THIS WEEK... Once & Future #6 (of 6) Folklords #3 (of 5) Kidz #1 Vampire State Building #4 Gung Ho #2 Visitor #2 (of 6) Kill Lock #2 (of 6) Wellington #2 (of 5) Heartbeat #3 (of 5) Red Sonja Age of Chaos #1 Edgar Allan Poe's Snifter of Terror 2 #4 Ether Disappearance of Violet Bell #5 (of 5) Mirka Andolfo's Unsacred #3 Roku #4 (of 4) Vampirella #7 Vampironica New Blood #2 Black Terror #4 Catalyst Prime Seven Days #4 (of 7) Count Crowley Reluctant Monster Hunter #4 (of 4) Heist How to Steal a Planet #3 I Can Sell You a Body #2 (of 4) Triage #5 (of 5) Wasted Space #13 Lumberjanes #70 Meeting Comics GN Gudetama Love for the Lazy HC NEW THIS WEEK FROM IMAGE..
    [Show full text]
  • Uyghur Dispossession, Culture Work and Terror Capitalism in a Chinese Global City Darren T. Byler a Dissertati
    Spirit Breaking: Uyghur Dispossession, Culture Work and Terror Capitalism in a Chinese Global City Darren T. Byler A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2018 Reading Committee: Sasha Su-Ling Welland, Chair Ann Anagnost Stevan Harrell Danny Hoffman Program Authorized to Offer Degree: Anthropology ©Copyright 2018 Darren T. Byler University of Washington Abstract Spirit Breaking: Uyghur Dispossession, Culture Work and Terror Capitalism in a Chinese Global City Darren T. Byler Chair of the Supervisory Committee: Sasha Su-Ling Welland, Department of Gender, Women, and Sexuality Studies This study argues that Uyghurs, a Turkic-Muslim group in contemporary Northwest China, and the city of Ürümchi have become the object of what the study names “terror capitalism.” This argument is supported by evidence of both the way state-directed economic investment and security infrastructures (pass-book systems, webs of technological surveillance, urban cleansing processes and mass internment camps) have shaped self-representation among Uyghur migrants and Han settlers in the city. It analyzes these human engineering and urban planning projects and the way their effects are contested in new media, film, television, photography and literature. It finds that this form of capitalist production utilizes the discourse of terror to justify state investment in a wide array of policing and social engineering systems that employs millions of state security workers. The project also presents a theoretical model for understanding how Uyghurs use cultural production to both build and refuse the development of this new economic formation and accompanying forms of gendered, ethno-racial violence.
    [Show full text]
  • Albert Camus and Absurd Communication: from Undecidability to Übercommunication
    Albert Camus and Absurd Communication: From Undecidability to Übercommunication by Jorge Lizarzaburu B.A., USFQ, 2010 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Communication 2012 This thesis entitled: Albert Camus and Absurd Communication: From Undecidability to Übercommunication written by Jorge M. Lizarzaburu has been approved for the Department of Communication Gerard Hauser Janice Peck Robert Craig Date 5/31/2012 The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline iii Lizarzaburu, Jorge M. (M.A., Communication, Department of Communication) Albert Camus and Absurd Communication: From Undecidability to Übercommunication Thesis directed by professor Gerard Hauser Communication conceived as understanding is a normative telos among scholars in the field. Absurdity, in the work of Albert Camus, can provide us with a framework to go beyond communication understood as a binary (understanding and misunderstanding) and propose a new conception of communication as absurd. That is, it is an impossible task, however necessary thus we need to embrace its absurdity and value the effort itself as much as the result. Before getting into Camus’ arguments I explain the work of Friedrich Nietzsche to understand the French philosopher in more detail. I describe eternal recurrence and Übermensch as two concepts that can be related to communication as absurd. Then I explain Camus’ notion of absurdity using a Nietzschean lens.
    [Show full text]
  • Albert Camus' Dialogue with Nietzsche and Dostoevsky Sean Derek Illing Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 Between nihilism and transcendence : Albert Camus' dialogue with Nietzsche and Dostoevsky Sean Derek Illing Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Political Science Commons Recommended Citation Illing, Sean Derek, "Between nihilism and transcendence : Albert Camus' dialogue with Nietzsche and Dostoevsky" (2014). LSU Doctoral Dissertations. 1393. https://digitalcommons.lsu.edu/gradschool_dissertations/1393 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. BETWEEN NIHILISM AND TRANSCENDENCE: ALBERT CAMUS’ DIALOGUE WITH NIETZSCHE AND DOSTOEVSKY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Political Science by Sean D. Illing B.A., Louisiana State University, 2007 M.A., University of West Florida, 2009 May 2014 ACKNOWLEDGEMENTS This dissertation is the product of many supportive individuals. I am especially grateful for Dr. Cecil Eubank’s guidance. As a teacher, one can do no better than Professor Eubanks. Although his Socratic glare can be terrifying, there is always love and wisdom in his instruction. It is no exaggeration to say that this work would not exist without his support. At every step, he helped me along as I struggled to articulate my thoughts.
    [Show full text]
  • Albert Camus As Moral Politician
    Articles The Passion and the Spirit: Albert Camus as Moral Politician Jan Klabbers* TABLE OF CONTENTS: I. Introduction. – II. A manifesto. – III. On Camus. – IV. Camus and the virtues. – V. A smouldering continent. – V.1. Financial crisis. – V.2. Refugee flows. – V.3. Russia and Crimea. – V.4. Refer- enda, governance, responsibility. – VI. To conclude. ABSTRACT: This essays addresses the curious circumstance that for all their visibility on blogs, twitter and the 'op-ed' pages of newspapers, public intellectuals offer remarkably little ethical guidance regarding current events and crises. These intellectuals may offer their expertise (explanations, predictions), but do not provide much ethical inspiration, almost as if 'right' and 'wrong' have be- come meaningless categories. Things were different a few generations ago, when the likes of Al- bert Camus would search their souls in order to figure out how to live. This essay portrays Camus as private citizen and public moralist, and briefly discusses current political events in a mindset inspired by Camus. KEYWORDS: Albert Camus – virtue ethics – political crisis – Europe – public intellectuals. “… for us Europe is a home of the spirit where for the last twenty centuries the most amazing adventure of the human spirit has been going on”.1 I. Introduction Europe is, if not on fire, at least smouldering. The last couple of years alone have seen the continent confronted with the unabashed annexation of the Crimea; the shooting down, accidental or otherwise, of civilian aircraft; a financial crisis and a country on the brink of bankruptcy; and an influx of refugees seen as threatening in its own right, and which threatens to bring down the European Union (EU) and threatens to turn Europe * Academy Professor (Martti Ahtisaari Chair), University of Helsinki, and Visiting Research Professor, Erasmus Law School, Erasmus University Rotterdam, [email protected].
    [Show full text]
  • Page the Stranger Albert Camus Language A
    The Stranger Albert Camus Language A: Literature English III IB RISING JUNIORS Name__________________________Date________________Period______________ 1 | P a g e English A: Literature HL Junior year Summer Reading Assignment – Mrs. Flanagan Email: [email protected] Directions: Read The Stranger by Albert Camus (pronounced: al-bear camu) and answer the questions in this packet. You will need to complete the following: # 1 and 2, are worth up to 100 points each: (1) the reading questions (pp. 14-20) (2) the assignments listed in Parts I and II (pp. 20-21) and Read the concepts and information outlines on pages 3-11 – these will be very important concepts to know. Review the literary terms on pages 22-26. Be prepared for a test to cover your summer readings: the novel and the terminology, upon returning to school. This packet is due on the first day of school, Monday, August 12, 2019. If you will be out of town, still on vacation, or otherwise indisposed, please mail with adequate time to reach me by the due date to: Ms. Jennifer Flanagan William T. Dwyer High School 13601 North Military Trail Palm Beach Gardens, FL 33410 As you read, consider the following: (Just think about them and their role and significance to the work.) The People What is the role of each of the people in the novel? What does each symbolize? Which characters, if any, are essential? . the director of the home . the caretaker from the home . old Thomas Pérez . Raymond . Masson . Salamano . Marie . Céleste 2 | P a g e . Witnesses at the trial .
    [Show full text]
  • Albert Camus and the Anticolonials: Why Camus Would Not Play the Zero Sum Game James D
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications, Department of History History, Department of 2014 Albert Camus and the Anticolonials: Why Camus Would Not Play the Zero Sum Game James D. Le Sueur University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/historyfacpub Part of the Continental Philosophy Commons, European Languages and Societies Commons, French and Francophone Literature Commons, History Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Le Sueur, James D., "Albert Camus and the Anticolonials: Why Camus Would Not Play the Zero Sum Game" (2014). Faculty Publications, Department of History. 192. http://digitalcommons.unl.edu/historyfacpub/192 This Article is brought to you for free and open access by the History, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications, Department of History by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. WHY CAMUS WOULD NOT PLAY THE ZERO SUM GAME / LE SUEUR 27 Albert Camus and the Anticolonials: Why Camus Would Not Play the Zero Sum Game1 James D. Le Sueur, University of Nebraska, Lincoln IN 1994, I RETURNED FROM PARIS TO HYDE PARK just in time to catch a lecture about Albert Camus that an esteemed colleague, the late Tony Judt, was giving at the University of Chicago. I was much younger then, eager to engage in debate, and I had just spent most of the past two years turning over the recently opened pages of Camus’ private papers in Paris and trolling through the private papers of other prominent French intellectuals, as well as newly declassified state archives for what was to become my first book,Uncivil War.2 I had also done dozens of interviews with Camus’ friends and fellow travelers (Jean Daniel, Germaine Tillion, Jean Pélégri, etc.), as well as old adversaries (including Françis Jeanson).
    [Show full text]
  • Holocaust Avengers: from "The Master Race" to Magneto I Kathrin Bower I
    University of Richmond UR Scholarship Repository Languages, Literatures, and Cultures Faculty Languages, Literatures, and Cultures Publications 2004 Holocaust Avengers: From "The aM ster Race" to Magneto Kathrin M. Bower University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/mlc-faculty-publications Part of the European History Commons, Illustration Commons, and the Place and Environment Commons Recommended Citation Bower, Kathrin M. "Holocaust Avengers: From "The asM ter Race" to Magneto." International Journal of Comic Art 6, no. 2 (2004): 182-94. This Article is brought to you for free and open access by the Languages, Literatures, and Cultures at UR Scholarship Repository. It has been accepted for inclusion in Languages, Literatures, and Cultures Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. 182 Holocaust Avengers: From "The Master Race" to Magneto I Kathrin Bower I In the classic genealogy of the superhero, trauma is often the explanation ' or motivation for the hero's pursuit of justice or revenge. Origin stories for superheroes and supervillains frequently appear in the plots of comic books long after the characters were created and with the shift in the stable of artists involved, different and sometimes competing events in the characters' biographies are revealed. This is particularly true of series that have enjoyed long periods of popularity or those that were phased out and then later revived. The stimulus for this m1icle was the origin story conceived for the X-Men supervillain Magneto under Chris Claremont's plotting, after the series was resurrected in 197 5 and by the foregrounding of Magneto's Holocaust past in the opening sequence to Bryan Singer's 2000 filmX-Men.
    [Show full text]
  • Camus with and Against the Theorists of Dialogic Ethics
    CHAPTER 4 From Revolution to Rebellion: Camus with and against the Theorists of Dialogic Ethics 1 Beyond Nihilism, Sympathetic Imagination: Camus with Levinas “Yes, there is a crisis of man when the death or torture of a [human] being can in our world be examined with a sentiment of indifference or of amiable curi- osity . ., or with simple passivity . .,” Albert Camus proclaimed to his American audience at the McMillan Theatre on 28 March 1946.845 Characteristically, rather than launch into declamations concerning first principles or exegesis of august authorities, Camus illustrated his meaning by narrating four con- crete examples. All of these had been related to him by victims or witnesses. They dated from the six years of the European war, then finished for less than one year. In the first, an SS guard, after torturing his two charges in what today would be called an ‘enhanced interrogation’ session, calmly took his petit déjeuner in front of the battered men. Reproached by one of them for the derisive inhu- manity of this action, the guard replied calmly that “he never pays any mind to his lodgers”—for the make-shift prison was a requisitioned tenement building. Camus’ second example came from one of his resistance comrades. This man had his ear torn off, in another ‘enhanced interrogation session’ with the Nazis. His tormenter then approached him, leaned close to his bandaged head and asked with affected concern: “how are your ears?” Camus’ third story involved a classic Sophie’s choice: the kind of bizarre, catastrophic situation that still exercises moral philosophy classes.
    [Show full text]