The sympathetic presentation of meursault in

Helmut Berger plays the title role as a loner tormented by unrequited love for his cousin, Empress Elisabeth of Austria Romy Schneideran obsession with the music of Richard Wagner, and excessive state-funded expenditures. Saturday, June 16, 1:

The sympathetic presentation of meursault in

Literature and Terrorism In an age of terror, how does literature help us transcend our reality, lend perspective to our confusion by pulling us into the past and other cultures, and give expression to our anguish and fear through catharsis?

They survived it; so can we. In this course we will define terrorism the way the Arabs define it, as any organized violence, by an individual, group or state, legitimate or illegitimate, against a civilian population, either intentional or unintentional. Black Water is both a personal and stylistic meditation on terror as well as an indirect indictment of the terror a powerful political leader has over an innocent civilian.

Sometimes real life provides so much terror that the reader hides in literature for escape, seeking fantasy, happy endings, funny, harmless stories that eschew the turmoil of an unlivable situation.

No one can take too much of one thing. When New Yorkers were coughing from the smoke and toxins downtown, they did not go to the movies to see sci fi representations of Manhattan blowing up.

But literature is different from film because we can choose when and how often to put the book down. Instead of watching a naturalistic representation, we recreate the story in our minds to excite, soothe or incite us. Many of the writers we will study had personal experience of a world war, the holocaust, the Israeli checkpoints, prison for their writings or gender brutality such as clitorectomies.

Some could not write for years afterwards; others wrote on toilet paper in prison. It is significant that terrorism demands a certain amount of intelligence in order to achieve its devastating effect. I also believe that it is stultifying to repress critical reflection on difference to be politically correct.

Not only does it make us oblivious to the richness of difference, but we also lose our sense of humor. One of the most influential persons of the twentieth century was Albert Einstein, not only for his theories on relativity, but because he revolutionized the way humans perceive time and space in all domains from art and literature to atomic warfare.

No Exit is a good way to explore basic dramaturgy: In terms of content, it deals with the German occupation of France during world war II, and the Empire drawing room satirizes the stultifying life of the French bourgeoisie in contrast to the new Marxism Sartre probably misunderstood.

It is the most accessible introduction to the philosophy of existentialism, existence precedes essence, in contrast to the Cartesian saying, "I think, therefore I am. He popularized existentialism with sayings such as "I am therefore I think," "Man is nothing more than the sum of his actions," and "Hell is other people.

During the anthrax scare in the Fall ofstudents identified with the characters and situations in Camus' The Plague. Both works are essential to an understanding of their times, and yet they transcend their times so that they speak to us now in the darkest moments of our war on terror.

The Plague introduces us to the formal elements that make a good novel, the third person narrative that clinically but compassionately describes the struggles of Dr.

Rieux to help Oran survive the plague. Unlike drama, description and narration assume paramount importance as the world transforms from before plague, to plague, to post-plague. This is also as wonderful study in character transformation as each person's true character is revealed when he is confronted with the existential dilemma of possible or imminent death.

While No Exit is a battle of individuals, The Plague charts the growth, collapse and renewal of a community through a skillful, meticulous attention to description and narration, the chief elements of novel writing. Each culture has different expectations regarding characters, plausibility, and levels of introspection, censorship, conformity to cultural values, as well as the kinesthetic thrust of the drama.

Western dramatic structure is more linear, moving to that one big climax, while Arabic literature is recursive, with many climaxes. American literature often wants "three-dimensional" characterization and transformation while Arabic literature can sometimes go for good versus evil.

Indian writers are often more diverse, layered, even chaotic than Arabic ones. Is this because of the pluralism of their religion versus Islam's relentless monotheistic focus?

Contemporary American audiences expect a higher degree of plausibility, unless dealing with science fiction. Yet there is much cross cultural influence. Oates' Black Water is as recursive and thematic as an Arabic poem.

Martyr's Crossing is written in the same studied, skillful style as many New Yorker fiction pieces. And most significantly, Soul Mountain combines the reflective, vast space of pre-modern China with the effects of the repressive Communist regime and then a deconstructed narrator, an I, she, he, you, who plows through these mountains with the introspection of a French postmodern writer.

Perhaps that is one reason it won the Nobel Prize. What makes cultures different? History, geography, ethnicity, language.

The sympathetic presentation of meursault in

But adaptation and change occurs in response to the land, to the struggle for survival. Arabs are desert peoples. In the desert the people see forever; their God is the sun, their enemy excessive dryness. The vast mountains of China created a collective culture in contrast to the vast mountains of America where ambitious individuals forged a frontier through the wilderness, killing the indigenous people.

So as our cultures mix and mingle, delicious new concoctions of literature will be created.

Essay on The Sympathetic Presentation of Meursault in The Stranger The Sympathetic Presentation of Meursault in The Stranger The Stranger is a novel to be felt rather than understood. People invited to a presentation do not need a Prezi account; Transcript of The Stranger By Albert Camus. The Stranger By Albert Camus Existentialism: The Absurd Human beings are known for their sympathetic nature and he does portray this characterist here. Definition of sympathetic adjective in Oxford Advanced Learner's Dictionary. Meaning, pronunciation, picture, example sentences, grammar, usage notes, synonyms and more.

The point of this course is to preserve the distinctness, the diversity and the difference of cultural flavors, rather than looking at the more homogeneous products of American mass culture with which we are already familiar.Essay on The Sympathetic Presentation of Meursault in The Stranger The Sympathetic Presentation of Meursault in The Stranger The Stranger is a novel to be felt rather than understood.

At what point in, "The Stranger", does Meursault realize that the universe is meaningless? Meursault realizes this fact after his argument with the chaplain in the final chapter. He realizes that just as he is indifferent to the universe, the universe is indifferent to him. Turnitin provides instructors with the tools to prevent plagiarism, engage students in the writing process, and provide personalized feedback.

People invited to a presentation do not need a Prezi account; Transcript of The Stranger By Albert Camus. The Stranger By Albert Camus Existentialism: The Absurd Human beings are known for their sympathetic nature and he does portray this characterist here.

- Meursault as Christ in The Stranger (The Outsider) In one of his later interviews, Camus made the somewhat irritated comment that Meursault is the “only Christ we deserve.” While this seem to be a pithy, witty comment, we need to figure out how Meursault is like Christ.

Justice and Morality in The Stranger Categories: Modern European Literature. by A Meursault suffers from discrimination of philosophy in a society which has a justice system that refuses to accept a system which is more efficient and sympathetic towards others than itself, and thus passes a verdict on him that is both unfair and closed.

Crime and Responsibility