Modernity, Identity and Change
In the s, Brian T. Fitch used a narrower focus.
That said, he responds not just to his predecessors mentioned above, but also to generations of critics who, from a synchronic perspective, address the works of fiction as though they depended on the essays, which shed indispensable light on the works. Fitch denounces this simplistic vision . But Camus defined himself as an artist, even though he is also a philosopher in a broader sense: his works of fiction examine the philosophical rapport between man and the world, and inversely, his theoretical writings are driven by a prolific artistic sensibility.
Every successive position taken in the examination of Camus is well founded to a certain extent, and contributes to enriching our understanding of the famous author. At the end of the day, they are more complementary than contradictory. They have also enjoyed the release of previously unpublished works, of which The First Man is the most significant, and whose reception heightened this reluctance. In addition, the Introduction talks about the Camusian production in terms of cycles.go
The Po-Mo Page: Postmodern to Post-postmodern
It reproduces this configuration that comes from the writer himself and from which recent reviews distance themselves. This claim is encompassing to say the least, and rather original to boot. But we have truly to understand what Srigley means by Modernity. The first understanding of his title and main concept might be different from what he intends, because Modernity does not mean the same thing in Literature as in Philosophy: it evokes almost the opposite in each. From an aesthetic point of view, Modernity or Modernism is the contrary of Progressivism; both have been two poles that have attracted artists, as well as critics and theoreticians, especially from the middle of the 20th Century onwards.
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Progressivism — with its models the German theatre directors Piscator and Brecht in the 20s, 30s and 40s, and the French scholars Roland Barthes and Bernard Dort in the 50s and 60s — dedicates art to a political cause in a broad sense and implies that art can have a significant impact on the evolution of a society. The other pole, Modernity — with the Theatre of the Absurd, the Nouveau Roman, the commentators on these movements and a lot of historians of contemporary drama — does not believe in the value of any ideology; a political reading is not appropriate for its works, but rather a metaphysical and timeless interpretation.
Due to his background, Srigley comes at Camus from a philosophical perspective; he heavily cites Plato, Aristotle, Augustine, Kierkegaard, Nietzsche, Sartre… and rarely cites literary authors.
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So he refers to the notion of Modernity without taking into account its aesthetic aspect. Request removal from index. Revision history.
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Nationhood, modernity, democracy
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Global metaphors : modernity and the quest for one world
Description: p. Subject: Civilization, Modern 20th century. London: Pluto press, APA: Pemberton, J. Global metaphors : modernity and the quest for one world. London: Pluto press.