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GCSE: Albert Camus
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This was being portrayed even further in the book when he said "that doesn't mean anything, maybe it was yesterday. This gives us the impression that Meursault is in fact a naked man with no emotions what so ever. This was one of the events that lead him to his final destination toward the end of the book. Soon enough Meursault rose from his supposing grief over his mother and decides to go to the beach. While there he encountered a meeting with one of his old crush Marie Cardona, "I fancied her at that time" shows us that even
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Camus' portrayal of Meursault's mother's, or "Maman's", as she is affectionately entitled in the book, death is as if her death is a serious matter, but only a natural action that had to be done sometime. He does this by referring to Meursault's relatively apathetic reaction to his mother's death. In example, the very first line of the book reads "Maman died today. Or yesterday, maybe, I don't know." This shows that Meursault doesn't really grieve about his mother's death, which is really because he is somewhat disillusioned with emotions altogether, but, to the reader, it connotes the idea that death isn't really that big of a deal.
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It turns out it was rather a random act of terror. As we read, we too explore the absurd through Camus' writing. Camus utilizes vivid descriptions - that is, imagery and sensory imagery, he uses strong characterization, and symbolism to teach us about existentialism and the absurd mind. As Mersault is walking to his mom's funeral, the character of the nurse says to him, 'if you go slowly, you risk getting sunstroke. But if you go too fast, you perspire and then in the church you catch a chill.'
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As the novel comes to a close, Meursault meets with a chaplain, and is enraged by his insistence that he turn to God. The novel ends with Meursault recognizing the universe's indifference for humankind. The novel is set primarily in Algiers, after it has been invaded and colonized by the French. The narrative proclaims the dark humor and the pessimism of the younger generation that resents the French presence in Algeria. Since the novel was written after World War I and before the outbreak of World War II, a sense of absurdity and hopelessness is visible throughout the book.
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Explore how the writers use the technique of defamiliarisation to reveal hidden truths about human conditions. Camus and Kafka use literature as a vehicle for revealing uncomfortable and normally hidden truths
To Meursault, death is the end and the weeping is a social artiface rather than a rational reaction. Similarly, in The Metamorphosis, Kafka chooses an extremely absurd opening to the novel through Gregor's transformation into a bug. The narrative style of the opening is measured and is delivered in a 'matter of fact' way as if the situation is normal when he "found that he had been transformed in his bed into an enormous bug." 2 Gregor's first response does not concern his own future but he immediately thinks about his job as being "a strenuous profession"3 and his routines hence revealing the truth that humans are trapped by identity, expectations, obligations, and time.
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This is the commentary on the book "The Outsider" written by Albert Camus. I decided to set up my commentary writing about: characters, theme, style, time & place and symbolism
Meursault goes back to the beach and kills the Arab. Part two is about his trial for murder. The prosecutor is very cruel and Meursault is to be guillotined. At the end he argues with prison chaplain about God and religion. Finally, Meursault finds peace and he thinks perhaps after death his existence may be less absurd; he may be more closely aligned with the universe. He accepts his destiny with clear understanding. In the book "Outsider" there are three major characters and three minor characters I am going to write about. Characters in Camus novels and plays are keenly aware of the meaninglessness of the human condition, assert their humanity by rebelling against their circumstances.
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of him for sending his "mother to a home" (p. 48), and may have believed that it was a result of Meursault not loving his mother. Meursault was shocked and said he "hadn't realized" (p. 48) that people had thought badly of him for doing as he did, it was the natural thing for him to do. Even though he does care for and love his mother in the sense the other people in the novel are concerned, his thought pattern works differently from that of the world and he finds it "quite difficult to answer" (p.
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The role of judgement in The OutsiderThe actions of Meursault, the protagonist in The Outsider by Albert Camus, are characterized by irrationality. For example, there is no clear logical
The idea of a court already represents very much society, since the law functions as the will of the people, and the jury sits in judgement on behalf of the entire community. But Camus clearly emphasizes upon this image of "court-as-society" in this novel by making almost all of the characters from the first half reappear to witness in the trial: The warden and the caretaker from the home, Thomas P�rez, Raymond, Masson, Salamano, Marie and C�leste. First of all, the fact that the prosecutor interprets Meursault's irrational action of killing the Arab in a rational way shows that society imposes its rational character upon Meursault's irrational personality.
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Isolated and neglected, Gregor is a metaphor for the human being oppressed by capitalism and alienated from work, family, and himself. In the novel, The Outsider by Albert Camus, Meursault is a young man who lives alone and is emotionally indifferent to most things in his life. He cares only for physical pleasures, things that he experiences and senses and is completely honest, always telling people the truth. He lives in Algeria in a time just after there had been two world wars and like many people in that time his existence was empty which we see through his relationships.
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How Aschenbach and Meursault in Death in Venice and The Stranger respectively, are driven by mind initially then change to being driven by the heart as the result of a key event.
As the novel begins, Thomas Mann introduces Aschenbach as a fairly likable German writer. Initially the reader sees Aschenbach as a normal character anyone can relate to. He lives a very stable life, and has never traveled before. Aschenbach is a character who is extremely involved in his work and one who organizes his entire life based on how he can best achieve quality in his work. At this point in the novel Aschenbach makes all his decisions using his mind rather than his heart. While taking a stroll, Aschenbach sees a man with red hair as well as long teeth.
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Camus describes in detail the street scenes yet never does Meursault become involved in them. Meursault is distant from the messiness of plans, ambitions, desires, hatreds, even love. Marie's protestations of love only puzzle him. When she asks him if he wishes to marry her he agrees only because he sees no real reason to refuse. He helps in Raymond's nefarious schemes for equally bland reasons, and also because Raymond plies him with food, drink, and cigarettes. He is even distant from his own trial.
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Alternate Trial Verdict: Society's Hostility, Irrationality, and Fathomlessness in Albert Camus's The Stranger
This allows me to explore Meursault's character and style and some of the central themes in the novel. Since The Stranger is written from Meursault's perspective, this pastiche will imitate his generally indifferent style and, as a result, grants me the opportunity to explore his language. His vocabulary is reminiscent of the vocabulary used in a story that a person may tell a friend after some prominent event,-neither extensive nor simple-albeit Meursault does not have the enthusiasm and feeling that a storyteller would have. His diction is straightforward and reflects someone simply observing and telling the events happening around them with some narrator intervention at times, without weaving together intricate sentences.
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arrives at Celeste's, the main character is fascinated by her "but fairly soon [forgets] about her" (46). Camus shows that even someone who is fascinating is ultimately of no importance and has no significance in an already insignificant life. Even in more prominent characters and the way they are treated or how their questions are answered-such as when Marie asks Meursault if he wants to marry her, the author states in the narrative that "it [does not] mean anything" (44). Meursault also asks at the very end of the book: "What did it matter that Raymond was just as much my mate as Celeste who was worth more than him?"
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Throughout the book Meursault responds to nature as if he himself is part of it. At crucial moments in the novel, such as the murder of the Arab, natural imagery is used to reinforce Meursault's personality. (quote) The Outsider begins with the death of Meursault's mother; this is the first sign that Meursault does not fit into society, as an uneasiness is established for the reader through the opening lines of the novel, 'Mother died today. Or maybe yesterday, I don't know.' (P. 1) When Meursault casually strolls into the old age home, he is greeted by the warden who has watched out for his mother has also arranged the funeral.
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People's perception of the protagonists as being indifferent in "The Metamorphosis" by Kafka and "The Outsider" by Camus is what makes Gregor and Meursault heroic. Discuss.
In The Metamorphosis, Gregor is the hero who undergoes death twice. The first death is figurative, when he turns into an insect, and the second is when he literally dies. From early on in the novel, we know how important his family means to him. The only pleasure Gregor has in life is in knowing that he is able to provide for them, as it is his family that his life revolves around. He gives up his social and love life for total dedication to his job so that he would not get fired as "[his whole future] and his family [depends] on it4."
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The main character's relationship with others in Albert Camus 'The Outsider' and Franz Kafka's 'The Metamorphosis'.
In 'The Outsider', Meursault, the main protagonist, is a man for the moment and doesn't think about his future. When Meursault loses his mother in the beginning of the novel, he is emotionless and shows no grief. Like Gregor, he has limited friends in society and his relationships are also limited. In the novel there are only a handful of characters with whom Meursault interacts; one of them was his girlfriend Marie. She wanted to marry Meursault and settle down, but he did not show interest and moreover he thought that she was only a sex object and based his relationship with her on sex.
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Franz Kafka and Albert Camus were two writers whose work flourished as part of the existential movement.
Gregor's behavior of locking his bedroom door symbolizes how he isolates himself even from his own family. After Gregor's transformation he still hides himself from his sister. She is a character that has remained dear to Gregor throughout the story. However, it does not seem that he is hiding himself because he is ashamed of his condition. Instead, he wishes to remain without contact from his sibling. The main character is constantly crouching in corners, in the darkness. He loses all communication once he is transformed into a bug.
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These witnesses, called by the prosecution, are the first to underline the irony of the prosecutor's case. The accounts of these men have nothing to do with Meursault's crime. The lawyer calls on these men to give an account of Meursault's behavior at his mother's funeral in an effort to prove that he is heartless and immoral- in other words, capable of an damning crime. The prosecutor wishes to blur the line between immorality and criminality. The absurdity that Camus sees in this logic is heightened during the testimonies of the caretaker and Thomas Perez when both lawyers harp on the seemingly inane details of their statements.
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Over the course of the plot, Shinji always displays the utmost honour, always deserving of what he earns. Shinji works hard on the fishing boat, and pays his respect for the lighthouse keeper by dropping by with fish every now and then. He earns a decent living, and nothing more. Another example of his honour would be when he lies to Yasuo about not having a picture of Hatsue, when truly, he does. Shinji retains his honour in this fashion by not bragging. Regarding his purity, Shinji restrains his sexual urges when alone and naked with Hatsue during a storm.
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A Comparison Between the Coping Mechanisms and Realisations Made While in Prison by Alba in House of the Spirits and Meursault in The Outsider
Alba and Meursault both emerge from their incarceration with new realisations on life. For Meursault, the acceptance of his ultimate fate brings about an awareness of what life and death mean to him as an individual. This is unusual for Meursault, as we have not seen him analyse the fundamentals of life and being alive at any point in the novel prior to this. Instead, we have so far seen a reserved character who focuses more on practical detail than emotion.
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In ODITLOID, Ivan was a prisoner in a concentration camp in Siberia. Apart from its remoteness from cities, the camp was surrounded by fencing and barricades and guarded by soldiers. Such setting made physical freedom impossible. Siberia was very cold and snowed heavily in winter. However, the prisoners were not allowed any extra clothing and there was no such thing as heat system. Physical warmth, thus, was a privilege. Psychological warmth was of virtual non-existence as well. The prisoners did not dare to expect any favors without a favor in return.
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A Comparison of the Narrative Structure of ‘The Outsider’ (Camus) and ‘Metamorphosis’ (Kafka)
At the end his own impending death causes him to feel and show emotion, then accept the inevitable, death. After the novel is finished Camus has included an Afterward, which ensures that the reader understands his view of Meursault and the message of the book The Outsider begins in a striking fashion: 'Mother died today. Or, maybe, yesterday; I don't know. I had a telegram from the home: 'Mother passed away. Funeral tomorrow. Yours sincerely.' That does not mean anything.
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We see from the beginning that Meursault has no real intension of killing the Arab. He in fact says to Raymond "It'd be unfair to shoot just like that," (Camus, pg 57) and proceeds to convince Raymond to confront the Arab unarmed. These do not seem the actions of one who is planning to kill the Arab. He also does not take the gun from Raymond to shoot the Arab; he takes the gun to prevent Raymond from doing so.
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