Abstract
This essay aims to analyze the poetics of the soundscape in Albert Camus’ work, based in the notions of happiness and unhappiness. Our purpose will be to define the characteristics of the symbolism of auditory perception, which are elaborated on the double configuration between happiness and unhappiness. The fact that the symbolic universe of Camus outlines a total sensory experience does no longer need to be demonstrated. Starting from his first lyrical writings to the Notebooks, his writing appeals arouses all the senses. Through a comparative study of examples relating to happiness and unhappiness and while underlining the predominant place of silence in Camus’ aesthetics, we will come off to the conclusion that Camus’s work constitutes a real kind of field recording.
Highlights
Docteur de la Sorbonne Nouvelle-Paris 3 en Littérature générale et comparée, Sofia Chatzipetrou est née à Athènes en 1983
This essay aims to analyze the poetics of the soundscape in Albert Camus' work
Our purpose will be to define the characteristics of the symbolism of auditory perception
Summary
Docteur de la Sorbonne Nouvelle-Paris 3 en Littérature générale et comparée, Sofia Chatzipetrou est née à Athènes en 1983. Le son produit par le vent5, en premier lieu, fait son écho et parvient jusqu’à Noces : « dans cette grande confusion du ve nt et du soleil [...], quelque chose se forge qui donne à l’homme la mesure de son identité avec la solitude et le s i l e nce de la ville morte » (N, I, 111), écrit-il, pour continuer : « Une s i rène sur la mer.
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