Albert Camus
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ni·hil·ism
ˈnīəˌlizəm,ˈnē-/
noun
- the rejection of all religious and moral principles, often in the belief that life is meaningless.
- PHILOSOPHYextreme skepticism maintaining that nothing in the world has a real existence.
- historicalthe doctrine of an extreme Russian revolutionary party circa 1900, which found nothing to approve of in the established social order.
synonyms: skepticism, negativity, cynicism, pessimism;
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Albert Camus (French: [albɛʁ kamy] (
); 7 November 1913 – 4 January 1960) was a French-Algerian Nobel Prize winning author, journalist, and philosopher. His views contributed to the rise of the philosophy known as absurdism. He wrote in his essay "The Rebel" that his whole life was devoted to opposing the philosophy of nihilism while still delving deeply into individual and sexual freedom.
); 7 November 1913 – 4 January 1960) was a French-Algerian Nobel Prize winning author, journalist, and philosopher. His views contributed to the rise of the philosophy known as absurdism. He wrote in his essay "The Rebel" that his whole life was devoted to opposing the philosophy of nihilism while still delving deeply into individual and sexual freedom.
Camus did not consider himself to be an existentialist despite usually being classified as one (even during his own lifetime).[1] In an interview in 1945, Camus rejected any ideological associations: "No, I am not an existentialist. Sartre and I are always surprised to see our names linked...".[2]
Camus was born in French Algeria to a Pied-Noir family. He studied at the University of Algiers, where he was goalkeeper for the university association football team, until he contracted tuberculosis in 1930. In 1949, Camus founded the Group for International Liaisons within the Revolutionary Union Movement after his split with Garry Davis's Citizens of the World movement.[3] The formation of this group, according to Camus, was intended to "denounce two ideologies found in both the USSR and the USA" regarding their idolatry of technology.[4]
Camus was awarded the 1957 Nobel Prize for Literature "for his important literary production, which with clear-sighted earnestness illuminates the problems of the human conscience in our times".[5]
Camus was once asked by his friend Charles Poncet which he preferred, football or the theatre. Camus is said to have replied, "Football, without hesitation."[11]
Camus played as goalkeeper for Racing Universitaire d'Alger (RUA won both the North African Champions Cup and the North African Cup twice each in the 1930s) junior team from 1928 to 1930.[12] The sense of team spirit, fraternity, and common purpose appealed to Camus enormously.[13] In match reports Camus would often attract positive comment for playing with passion and courage. Any aspirations in football disappeared at the age of 17: upon contracting tuberculosis — then incurable — Camus was bedridden for long and painful periods.
When Camus was asked in the 1950s by an alumni sports magazine for a few words regarding his time with the RUA, his response included the following:
After many years during which I saw many things, what I know most surely about morality and the duty of man I owe to sport and learned it in the RUA.[11]
Camus was referring to a sort of simplistic morality he wrote about in his early essays, the principle of sticking up for your friends, of valuing bravery and fair-play. Camus's belief was that political and religious authorities try to confuse us with over-complicated moral systems to make things appear more complex than they really are, potentially to serve their own needs.[11]
Camus presents the reader with dualisms such as happiness and sadness, dark and light, life and death, etc. He emphasizes the fact that happiness is fleeting and that the human condition is one of mortality; for Camus, this is cause for a greater appreciation for life and happiness. In Le Mythe, dualism becomes a paradox: we value our own lives in spite of our mortality and in spite of the universe's silence. While we can live with a dualism (I can accept periods of unhappiness, because I know I will also experience happiness to come), we cannot live with the paradox (I think my life is of great importance, but I also think it is meaningless). In Le Mythe, Camus investigates our experience of the Absurd and asks how we live with it. Our life must have meaning for us to value it. If we accept that life has no meaning and therefore no value, should we kill ourselves?[22]
In Le Mythe, Camus suggests that 'creation of meaning', would entail a logical leap or a kind of philosophical suicide in order to find psychological comfort.[23] But Camus wants to know if he can live with what logic and lucidity has uncovered – if one can build a foundation on what one knows and nothing more. Creation of meaning is not a viable alternative but a logical leap and an evasion of the problem. He gives examples of how others would seem to make this kind of leap. The alternative option, namely suicide, would entail another kind of leap, where one attempts to kill absurdity by destroying one of its terms (the human being). Camus points out, however, that there is no more meaning in death than there is in life, and that it simply evades the problem yet again. Camus concludes that we must instead "entertain" both death and the absurd, while never agreeing to their terms.
Meursault, the absurdist hero of L'Étranger, has killed a man and is scheduled to be executed. Caligula ends up admitting his absurd logic was wrong and is killed by an assassination he has deliberately brought about. However, while Camus possibly suggests that Caligula's absurd reasoning is wrong, the play's anti-hero does get the last word, as the author similarly exalts Meursault's final moments.[24]
Camus made a significant contribution to a viewpoint of the Absurd, and always rejected nihilism as a valid response.
"If nothing had any meaning, you would be right. But there is something that still has a meaning." Second Letter to a German Friend, December 1943.
Camus's understanding of the Absurd promotes public debate; his various offerings entice us to think about the Absurd and offer our own contribution. Concepts such as cooperation, joint effort and solidarity are of key importance to Camus, though they are most likely sources of 'relative' versus 'absolute' meaning. In The Rebel, Camus identifies rebellion (or rather, the values indicated by rebellion) as a basis for human solidarity.
"When he rebels, a man identifies himself with other men and so surpasses himself, and from this point of view human solidarity is metaphysical. But for the moment we are only talking of the kind of solidarity that is born in chains."[25]
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