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By Christine Margerrison

This is often the 1st significant research of Camus's prose fiction to discover the constructing presentation of girls, from the author's earliest writings to his final, unfinished novel. keeping off the conventional relegation of this topic to an emotional or deepest sphere, it lines Camus's highbrow improvement which will show the centrality of this topic to Camus's paintings as an entire. If the Absurd, developed over the physique of the "real" girl, liberates the author to stick to a "true course" of literary production, the upcoming lack of his Algerian fatherland impells a go back to "all that he had no longer been unfastened to choose", the binds of blood. those conflictual and unresolved ties are right here investigated, along side the presentation of legendary girl figures expressing Camus's darkest fears, partially voiced in different writings, touching on that "other" Algeria for which he may by no means struggle. Exploring complicated interconnections among sexuality, "race" and colonialism, this quantity is pertinent to all who're attracted to the writings of Camus, quite these looking appropriate new methods of impending his paintings.

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Additional resources for \'\'Ces forces obscures de l\'âme\'\': Women, race and origins in the writings of Albert Camus. (Faux Titre)

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Whereas in “La Maison mauresque” the material for artistic elaboration had been an inanimate object, in this case the choice of subject matter is based on a living woman and sexual partner. Yet, although it might be said that the young writer is moving gradually into a real world of Others, this is here achieved through her abstrac14 Herbert Lottman, Albert Camus: a biography (London: Axis, 1997), 63. Early Confrontations with Others 37 tion from that reality to place her in a fairy-tale world entirely of the narrator’s imagination.

This theme of conflict builds in the following passages, to be embodied in a storm from which the speaker shelters in the park beyond the house, and a further evasion from this hostile environment is effected as he thinks about the Arab shops of the Casbah: À cette heure je revois dans les boutiques dorées les bleus et les roses, puis, enfantins, les magiques tissus d’argent et de soie, qui rient sans raison, affinés de lumière. Et l’invariable polychromie des jaunes insolents, des roses insoucieux d’harmonie, des bleus oublieux du bon goût, revit intense en moi comme un appel confus, harem des étoffes, femmes aux idées sans suite et sans confort.

The moment of communion depicted in “Entre Oui et Non” is a continuation of the earlier project of transforming and elevating the everyday to the status of art, the contemplation of which leads to “the divine”. Chapter 2 The Death of Woman and the Birth of Culture The image of the dead woman is to recur throughout Camus’s writings, but during the early phase it is foregrounded to such an extent that Jean Sarocchi calls it an obsession (MH, 210). A similar phenomenon has been noted by A. James Arnold in his research on the early versions of Caligula, where he remarks that the subsequently effaced theme of the dead woman, so crucial to the genesis of this play, has been generally overlooked: to a far greater extent than in L’Étranger, the death of a woman sparks off the action of the 1938-41 versions of Caligula (CAC 4, 134).

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