Myth Of Sisyphus Research Articles

Natasha PulleyThe Lost Future of Pepperharrow

love most: “As sage gives its scent when you crush it. As stone / is hard. They were happy and I could touch it.” Even as it treads through deeply difficult subject matter, the book manages to be celebratory, extravagant, and often erotic; a matrix of intense noticing that makes it possible to understand how we live through and past all the difficulties of our lives. “Oh, blame life. That we just want more.” Or, Bass seems to say, blame the unrestrained blooming of fungus; the grizzly whose “shitting ferries the seeds”; the always separate and unknowable depths of a lover. Bailey Hoffner University of Oklahoma Natasha Pulley The Lost Future of Pepperharrow New York. Bloomsbury. 2020. 512 pages. FOR ALL ITS strange science, clairvoyance , and electrical ghosts, The Lost Future of Pepperharrow presents a nineteenth century remarkably analogous to our own history and fraught present. It is 1888, five years after Thaniel Steepleton, a Foreign Office translator, and Keita Mori, a clairvoyant watchmaker, met in Natasha Pulley ’s 2015 debut novel, The Watchmaker of Filigree Street. Together they travel with their daughter from their home in London to Mori’s estate in Japan as international tensions brew and nationalism secures an increasingly mainstream foothold. Greeted by Mori’s wife, Takiko Pepperharrow , the pair navigates their uncertain future in which the stakes are at once intimate and global. Mori is unsettled, and not just because of the hauntings. Meanwhile, Thaniel, ill and despondent, begins his post at Tokyo’s British legation as the strain in his relationship with Mori magnifies. Then Mori goes missing, leaving Thaniel and Takiko to untangle the connection between the ghosts, a labor camp, and a corrupt prime minister whose warmonger disposition threatens Mori’s life and the safety of civilian populations. Whereas Watchmaker is set largely in London, its sequel expands in both page Books in Review Major Jackson The Absurd Man New York. W.W. Norton. 2020. 112 pages. MAJOR JACKSON’S FIFTH book of poems is troubled by its own age. “The soil overruns with honey,” says the speaker in “I’ve Said Too Much,” a confession ripe with seasons of overindulgence . But satiety may not quite be what Jackson has in store for us this time. As though it had spent the five years since the release of Roll Deep (2015) weighing a smattering of gray hairs before embracing salt-and-pepper, The Absurd Man brings a different feel to Jackson’s perennially strong poetry. With a dose of self-awareness that is by turns playful, thought-provoking, and heartbreaking, the poems in this book offer up a collective narrative to complement their stand-alone lyricism. Return readers will mark a change in this book’s “Urban Renewal” suite, a recurring, sequential section that Jackson has described as a sort of autobiographical bildungsroman spread out across his collections. As in the book’s earlier poems like “November in Xichang,” the poetry in this section deploys Jackson’s signature roaming ekphrastic. But, often, Jackson doesn’t quite rhapsodize, leaving us a handbreadth short of the rapture of his habitual syllabic alchemy. Ultimately, his keenest lyric notes come not in poems like “Paris” but in the last half of “North Philadelphia” (the home of Jackson’s youth): “tunes / not so much learned yet risen, earth’s laments / gardened in our throats from black soil, a slow grumbling, / fitful drawn-out grunts grafting onto gospel notes / not recognized but felt, a ring-shout.” He ends, “I’m still in that dimness, several rows behind their wails, / writing their moans so you can feel them like Braille.” In The Absurd Man, the tune of Jackson’s most tactile, Braille-like passages takes after Albert Camus’s The Myth of Sisyphus, whose epigraph heads the section, valorizing the art of “the absurd creator.” In many ways, though, the epigraph toes the line between being a deceptive frame and an ironic foil, a presiding duplicity the reader is alert to from the book’s coy opener, “Major and I,” a playful take on Jorge Luis Borges’s “Borges y yo” that similarly exploits the sometimes troubling implications of a writer’s multiple personae. Indeed, the speaker resists the absurd...

Düşüş ve Bir Süre Yere Paralel Gittikten Sonra Adlı Romanlarda Ontolojik Kopuşun Farklı Temsilleri

Existentialism is one of the philosophies that characterize the 20th century. Human beings are at the centre of this philosophy along with the notions such as meaning, absurdity, suicide and revolt. In this respect, Camus is one of the prominent thinkers associated with the existential philosophy. His main books are The Myth of Sisyphus and The Rebel, which are the essays on the suicide phenomenon, revolt and the absurd. The literature is also a means for Camus to convey his philosophical ideas on the subject matterscited above. In this context, The Fall reflects his existential philosophy on absurdity and suicide. Like The Fall, Bıçakçı’s Bir SüreYere Paralel Gittikten Sonra (After a Long Way Down) can also be evaluated as a text with existential motifs and ideas influenced by Camus. In this context, both texts are open to criticism in the light of existential philosophy as these novels revolve around absurd hero/heroine who challenge the expectations from/ofsociety.This study presents an attempt to clarify, in a comparative way, the existential themes and motifs in The Fall and After A Long Way Down, focusing on how the suicide event is shaped culturally.

Absurdity, Incongruity and Laughter. Philosophy

In The Myth of Sisyphus, Camus advocates scornful defi ance in the face of our absurd, meaningless existence. Although Nagel agrees that human life possesses an absurd dimension, he objects to Camus’ existentialist „dramatics”. For Nagel, absurdity arises from the irreducible tension between our subjective and objective perspectives on life. The article offers a critical reconstruction of Camus’ and Nagel’s positions, and elaborates Nagel’s critique of Camus in order to argue that humour is an appropriate response to absurdity.

The Reconfiguration of Sisyphean Myth in Hemingway’s The Old Man and the Sea and Akwanya’s Orimili

A literary work fascinates scholars and critics in different ways which may be based on literary experience or interest. In whichever perspective, literature engages the mind with multiplicity of interpretations. Hemingway’s The Old Man and the Sea and Akwanya’s Orimili have been studied in varied ways but no study, as far as this research is concerned, has looked at either or both texts from the view of configuration of the myth of Sisyphus. Here is a reading that intends to look at the mythic patterns in the two works with respect to the characters of Santiago and Ekwenze Orimili, the protagonists. In the study, attempt is made to define the Sisyphean features, and establish how the patterns are configured in the two texts. The study uses the tool of archetypal criticism, from the perspectives of Northrop Frye, to examine these similar discursive formations in the texts. The study establishes that mythic thinking gives literature rootedness in tradition, and universal appeal.

The Myth of Sisyphus and Physician Burnout

The Myth of Sisyphus and Physician Burnout

Pakistani Sisyphean Heroes in Taufiq Rafat’s Foothold

The protagonist of Foothold, Saleem, wanders off into the wilderness to seek faith like Buddha. He does not give up his quest as he returns home to his family and friends, and learns that faith can be found and practised amongst his community. A close reading of the text proves that Saleem bears the qualities of a Sisyphean Hero as outlined by Albert Camus. Other characters have also been subjected to a similar scrutiny to prove whether they are Sisyphean Heroes or not. Furthermore, the close reading of Foothold renders an insight into the generation of the Sixties who experienced decolonization and felt like misfits in their own environment. Saleem is acutely affected by the process of decolonization and hence, he is deeply puzzled with the institutionalized religion in Pakistan. To shape the theoretical framework of this research, The Myth of Sisyphus and Other Essays, The Stranger, and A Happy Death have been used. As there is a dearth of criticism on Foothold therefore, the interpretations for this research have been derived from Camus’ works. This research will be beneficial to those researchers who wish to study the application of Camus’ works in a postcolonial setting. Moreover, the scope of this project extends to Sufism, Mysticism, and Imagism.

Sisyphus, crisis discourse, and the theory-practice gap in physical education: a polemic

ABSTRACTThe constant and perennial plea by academics in the field to reform or change physical education share some similarities with the myth of Sisyphus from Greek mythology. Just as Sisyphus was condemned to an eternity of endless frustration of rolling an enormous stone up a mountain as punishment for trying to be too clever, we argue that if the physical education profession continues down the path of more of the same unquestioned assumptions surrounding notions of change will be tantamount to being condemned like Sisyphus was to the torment of the stone. Part of the problem as we see it relates to insufficiently rigorous engagement with theory, and hence why we argue that physical education could benefit from a shift from a disproportionate focus on practice or practices to theory as a means to closing the gap between theory and practice. We do understand that our position may be uncontroversial to some; however, we equally understand that there will be many who will find our position controversial in the field. From our position, this has become an unavoidable problem due to the inherent way in which the relationship between theory and practice is understood differently by academics, teachers, and other actors in this context.

“Hello World!” Gwenpool: Marvel’s Camusian absurd hero

ABSTRACT Existentialism and comic books have a long association. Existentialist themes within comic books have often been identified and explored by scholars. Such examinations have, however, generally neglected the ideas of Albert Camus. This is perhaps surprising given the popularity of superhero comic books and the fact that one of Camus’s most famous works examines what constitutes an existentialist, absurd, hero. This article seeks to redress this relative neglect. The intention of this article is to demonstrate that the Marvel Comics character Gwenpool embodies the qualities which Camus prescribed to an absurd hero in his philosophical essay ‘The Myth of Sisyphus.’ To achieve this, this article examines Gwenpool’s awareness of what Camus describes as the absurd. That is to say, Gwenpool’s recognition of the antinomy which exists between her desire to live a meaningful life and the meaninglessness of the universe she inhabits. This article then examines Gwenpool’s rejection of two possible responses to the “absurd”: suicide and philosophical suicide. Following this, Gwenpool’s adherence to the third response to the absurd which Camus outlines, and the only response of which he approves, is explored: revolt.

ИНТЕРПРЕТАЦИЯ АНТИЧНОГО МИФА В ПЬЕСАХ Р. МЕРЛЯ «СИЗИФ И СМЕРТЬ» И «НОВЫЙ СИЗИФ»

The objective of the article is to consider the peculiarities of interpreting the myth of Sisyphus in R. Merle’s plays “Sisyphus and Death” and “New Sisyphus”. It is shown that by transforming the main elements of the ancient story (images, motives, events), introducing new characters (archons and plebeians), the writer fills it with social perception. Merle interprets the hero’s rebellion against gods - captivity of Death - as the middle class representative’s struggle with the authoritarian system. The story of Sisyphus in Merle’s interpretation affirms a personality’s right to change the social structure, asserting the idea of collective responsibility for its formation.

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Silence of the Idols: Appropriating the Myths of Daedalus and Sisyphus for Posthumanist Discourses

Both current and past analyses and critiques of transhumanist and posthumanist theories have had a propensity to cite the Greek myth of Prometheus as a paradigmatic figure. Although stark differences exist amongst the token forms of posthumanist theories and transhumanism, both theoretical domains claim promethean theory as their own. There are numerous definitions of those two concepts: therefore, this article focuses on posthumanism thought. By first analyzing the appropriation of the myth in posthumanism, we show how the myth fails to be foundational and how we need to rethink the posthumanist mythological framework. We then introduce Haldane’s Daedalus figure as a fruitful analogy to understand the demiurgic posture that critics mean to unveil by first using Prometheus. Daedalus embodies the artisan role, whose status as an inventor for the mighty preserves from the gods' direct opprobrium. Thereafter, we introduce the Camusian Myth of Sisyphus as a competing analogy that ultimately serves as a myth better suited to address the posthumanist position on an existential standpoint. we ultimately show that Sisyphus, as the ‘absurd man’ that Camus claims him to be, is himself the posthuman, thus serving as a more ideal foundational myth for posthumanism and preserving the importance of narrative in posthuman discourses. To conclude, we specifically show that the concept of Sisyphus as a posthuman icon has significance that reaches beyond narrative value to current ecological debates in posthumanism.

Sísifo infeliz No intenso agora

No intenso agora é uma meditação sobre o suicídio baseada em uma perspectiva anti-psicológica, de fortes tintas existencialistas. O mito de Sísifo, de Camus, é a obra filosófica com a qual o filme dialoga mais diretamente. Para defender esta tese, o filme de João Moreira Salles é inserido no contexto de um debate cinematográfico sobre as relações entre o suicídio e a política que inclui uma breve análise dos seguintes filmes: Trinta anos esta noite, de Louis Malle; O inquilino, de Roman Polanski; Os amantes constantes, de Phillipe Garrel; e Morrer aos trinta anos, de Romain Goupil, filme preferido de Salles sobre o período.

Persona ng Kalikasan

This essay traces the root of our present environmental crisis in the modern turn of Western humanity and in it's imposition of its reductionist paradigms for engaging what come to presence on the global community It articulates the challenge for humanity to rediscover nature as a presencing that invites the human being to let nature presence as aprecensing other. It inquires into the necessity and possibility of being presented to. It also poses the possibility that this presencing signifies the presencing of a transcendent other who is the persohood of nature. Only in recognizing nature as the presencing of a personal other can we recover the respect ecological dwelling calls for.
 References
 Camus, Albert. The Myth of Sisyphus. London: Penguin Books, 1975.
 Crosby, Alfred W. Columbian Exchange: Biological ang Cultural Consequences of 1492(Contributions to American Studies #2). Connecticut: Greenwood Press, 1976
 Gore, Al. Earth in the Balance and the Human Spirit. New York: Rodale Books, 2006.
 Kohak, Erazim. The Green Halo: A Bird’s Eye View of Ecological Ethics. Chicago: Open Court, Kindle Edition.
 Mann, Charles C. 1491: New Revelations of the Americas Before Columbus. New York: Vintage Books, 2006.
 Nono, Gracce. Song of the Babaylan, Quezon City: Institute of Spirituality in Asia, 2013.
 Tuan, Yi-Fu. "The City: Its Distance from Nature," Geographical Review, 68:1 (1978).
 Note: Funding for this research was provided for by the Philippine Higher Education Research Network (PHERNET)

EL SUICIDIO EN LA HOGUERA. CAMUS Y LA PENA CAPITAL

<pre>Es conocida la oposición de Albert Camus a la pena capital. En sus Réflexions sur la guillotine (1957) va a criticar la máquina judicial que hace sufrir en el tiempo y en el espacio al condenado a muerte. Antes, en L'homme revolté (1951), ha criticado la perversa lógica contractual rousseauniana implicada en la auto-imputación que conduce silenciosamente a Saint-Just al patíbulo en la época del terror revolucionario en Francia y a los condenados a muerte en la purgas del régimen de Stalin en la Unión Soviética. Pero unos años antes, en El Mito de Sísifo (1942), hablando del suicidio, se ha referido a Galileo y al peligro que ha corrido de morir en la hoguera por defender sus verdades. Nos preguntamos aquí por aquello que, en el pensamiento de Camus, convierte a la pena capital en suicidio. <br />
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The educational cost of philosophical suicide: What it means to be lucid

The struggle to become lucid is at the heart of The Myth of Sisyphus. To understand the absurd is to understand that the fit between our conception of the world and the world itself is fraught with uncertainty; lucidity is the elucidation of the absurd. To be lucid is to revolt against the type of certainty that leads to suffering; to revolt against philosophical suicide. Camus teaches us the intellectual humility that stays hands; there is no reasoning that justifies suffering. If it is granted that the ability to recognise and respond to our own and others suffering is an important part of being human, and the task of education is to develop humans, then lucidity, in so far as it holds promise for the development of such an ability, has the potential to contribute positively to education.

Pedagogical Suicide, Philosophy of Nihilism, Absurdity and Existentialism in Albert Camus’ The Myth of Sisyphus and Its Impact on Post-Independence Odia Literature

Pedagogical Suicide, Philosophy of Nihilism, Absurdity and Existentialism in Albert Camus’ The Myth of Sisyphus and Its Impact on Post-Independence Odia Literature

Entre O mito de Sísifo e Sambas do absurdo: a possibilidade de revelar o absurdo através do samba

O intento deste artigo é pensar a relação que o ensaio O mito de Sísifo – publicado em 1942 por Albert Camus – e o disco Sambas do Absurdo – lançado em 2017 pelo trio: Rodrigo Campos, Juçara Marçal e Gui Amabis – mantém com o absurdo. A fim de iluminar essa relação, buscaremos apresentar, em primeiro lugar, o que seria o absurdo para Camus; para isso, percorreremos, principalmente, o caminho traçado pelo autor em O mito de Sísifo. Em seguida, tentaremos mostrar como essa teoria do absurdo ecoa nas mais diversas camadas de Sambas do Absurdo. Por fim, gostaríamos ainda de ressaltar como o disco não é uma tentativa de “musicar a teoria”, quer dizer, ele não tenta simplesmente oferecer ao ouvinte um comentário, uma exegese da teoria do absurdo, ao invés disso, Sambas do Absurdo se afirma enquanto obra, construindo absurdos próprios.

Physician-assisted dying: thoughts drawn from Albert Camus' writing.

Physician-assisted dying (assisted suicide and euthanasia) is currently an intensely discussed topic in several countries. Despite differences in legislation and application, countries with end-of-life laws have similar eligibility criteria for assistance in dying: individuals must be in a hopeless situation and experience unbearable suffering. Hopelessness, as a basic aspect of the human condition, is a central topic in Albert Camus' philosophical work The Myth of Sisyphus, which addresses the question of suicide. Suffering in the face of a hopeless situation, and the way doctors approach this suffering, is the topic of his novel The Plague, which describes the story of a city confronted with a plague epidemic. In this paper, I draw philosophical and ethical conclusions about physician-assisted dying based on an analysis of central concepts in the work of Camus-specifically, those treated in The Myth of Sisyphus and The Plague. On the basis of my interpretation of Camus' work, I argue that hopelessness and unbearable suffering are useless as eligibility criteria for physician-assisted dying, given that they do not sufficiently elucidate where the line should be drawn between patients who should to be eligible for assistance and those who should not.

The Sisyphus’s Rock of Prosperity and Disparity in the Global Economy: Giovanni Arrighi and Apple Inc’s Tax Avoidance Strategies from Obama to Trump

The global value chain (GVC) perspective assumes that business firms’ occupation of high value-added nodes in the global production network can promote their countries’ socio-economic development. However, I argue that society-wide benefits that may follow from firms’ profit-maximizing activities are often ephemeral. Over time the middle class can shrink, and economic inequality can increase even when firms continue to move up to higher value-added niches and garner huge profit. I illustrate this disjunction between business activities and societal development with Apple’s strategies of tax avoidance and reduction from the Obama to the Trump administration. I then draw on the theoretical framework that Giovanni Arrighi sets out in The Long Twentieth Century and ideas from The Myth of Sisyphus by Albert Camus to analyze the Apple case. As my analysis makes clear, the flawed assumption of the GVC perspective reveals its practitioners’ failure to recognize that within global capitalism, permanent and sustained societal affluence is unlikely, and what exists instead is a constant alternation between prosperity and disparity.

Nihilism and Nothingness in The Play Entitled The Birthday Party (1957) With Special Reference To The Existential Philosophy

The two world-wars and its massive destruction and horror had a great impact on human mind. Inevitably complete cynicism , pessimism , alienation , nothingness , existentialism reflected in the literature of that time. Pinter's play The Birthday Party (1957) is based on the philosophy of existentialism which later on became the source for the " Theatre of the Absurd ". Albert Camus and Jean-Paul Sartre gave the philosophy of existentialism according to which the universe and man's experience in it are meaningless. All attempts by human mind to understand the world are futile . All philosophical systems and religion which claim that they can enable man to make sense of the world are delusive and useless. Albert Camus in The Myth of Sisyphus (1942) wrote :-
 " In a universe that is suddenly deprived of illusions and of light , man feels a stranger. ... This divorce between man and his life, the actor and his setting constitutes the feeling of Absurdity. "