One of the most influential works of this century, The Myth of Sisyphus--featured here in a stand-alone edition--is a crucial exposition of existentialist thought. Influenced by works such as Don Juan and the novels of Kafka, these essays begin with a meditation on suicide--the question of living or not living in a universe devoid of order or meaning. With lyric eloquence, Albert Camus brilliantly posits a way out of despair, reaffirming the value of personal existence, and the possibility of life lived with dignity and authenticity.
Recipient of the Grand Prix of the Acad mie Fran aise, Wind, Sand and Stars captures the grandeur, danger, and isolation of flight. Its exciting account of air adventure, combined with lyrical prose and the spirit of a philosopher, makes it one of the most popular works ever written about flying. Translated by Lewis Galanti re.
Rousseau's ideas have influenced almost every major political development of the last two hundred years, and are crucial to an understanding of phenomena as diverse as the French Revolution, modern educational theory, and the contemporary environmental movement. This is reason enough to draw attention to his startlingly alive autobiography. But the Confessions is also among the greatest self-portraits in world literature -which suggests, even more than the impact of Rousseau's thought, the extent to which the very high opinion he had of himself was ultimately justified.
A selection of the best short work by France's greatest living nonfiction writer
A New York Times Notable Books of 2020
This book marks a major new reassessment of Camus's writing investigating the nature and philosophical origins of Camus's thinking on 'authenticity' and 'the absurd' as these notions are expressed in The Myth of Sisyphus and The Outsider. It shows that these books are the product not only of a literary figure, but of a genuine philosopher as well. Moreover, McBride provides a complete English-language translation of Camus's Mtaphysique chrtienne et Noplatonisme and underlines the importance of this study for the understanding of the early Camus.
Focusing on works by Ren Crevel, Jean-Paul Sartre, Roland Barthes, and Herv Guibert, this book studies how the figures of homosexuality function at the limits of narrative, as part of the deep structure of narrative, and at the border between public and private discourse.
In order to write said Simone de Beauvoir, the first essential condition is that reality can no longer be taken for granted. She and four other French women writers of the second half of the twentieth century--Nathalie Sarraute, Marguerite Duras, Monique Wittig, and Maryse Cond --illustrate that producing autobiography is like performing a tightrope act on the slippery line between fact and fiction.
Autobiographical Tightropes emphasizes the tension in the works of these major writers as they move in and out of experience and literature, violating the neat boundaries between genres and confusing the distinctions between remembering and creating. Focusing on selected works, Leah D. Hewitt for the first time anywhere explores the connections among the authors. In doing so she shows how contemporary women's autobiography in France links with feminist issues, literary tradition and trends, and postmodern theories of writing.
In light of these theories Hewitt offers a new reading of de Beauvoir's memoirs and reveals how her attempt to represent the past faithfully is undone by irony, by literary and feminine detours. Other analysts of Nathalie Sarraute's writing have dwelt mainly on formal considerations of the New Novel, but Hewitt exposes a repressed, forbidden feminine aspect in her literary innovations. Unlike Sarraute, Duras cannot be connected with just one literary movement, political stance, style, or kind of feminism because her writing, largely autobiographical, is marked by chameleon like transformations. The chapters on Wittig and Cond show how, within the bounds of feminism, lesbians and women of color challenge the individualistic premises of autobiography. Hewitt demonstrates that, despite vast differences among these five writers, all of them reveal in their autobiographical works the self's need of a fictive other.
This is the most important book about the nature of philosophy and of the human soul published this year. In making the condition for its own possibility its deepest concern, philosophy is necessarily about itself_it is autobiographical. The first part of The Autobiography of Philosophy interprets Heidegger's Being and Time, Nietzsche's On the Genealogy of Morals, Aristotle's Metaphysics, and Plato's Lysis as examples of the implicitly autobiographical character of philosophy. The second part is a reading of Rousseau's The Reveries of the Solitary Walker. Although Rousseau's explicitly autobiographical writings are more often read for the tantalizing details of his rather eccentric life than for their philosophical import, this work is an artful use of Rousseau's exile and isolation_'the strangest position in which a mortal could ever find himself'_as a paradigm for the human soul in its relation to the world. In powerfully articulating the activity that is at the core of all philosophy, The Reveries articulates the nature of the human soul for which this activity is the defining possibility.
Before publishing Les Fleurs du Mal in 1857, Baudelaire was probably better known to his contemporaries as a critic than as a poet, and the articles translated here by P. E. Charvet illustrate the development of Baudelaire's critical ideas. The essays cover the visual, literary, and musical arts. From the early 'Salon' of 1846 Baudelaire's commitment to the cause of Delcroix was passionate and unswerving and it remains a theme of a number of these pieces. Baudelaire's literary criticism is represented by, amongst others, the two important articles on Poe, the spirited defence of Madame Bovary published shortly after Flaubert had been acquitted on a charge of offending public morality and the long article on Gautier, to whom Baudelaire dedicated Les Fleurs du Mal. The musician whom Baudelaire admired above all others was Wagner, and the article on Tannh user published at the time of the Paris production in 1861 shows his percipience as a critic: with no technical knowledge of music, Baudelaire nevertheless demonstrates an instinctive awareness of the magical power of suggestion in Wagner's music.