Journals / Frankofoni / 2011 / Cilt: 0 - Sayı: 23
KURULMUŞ SAAT: MEURSAULT
- Journal
- Frankofoni
- Pages
- 213–222
- DOI
- —
Abstract
Albert Camus, one of the existentialist authors of the 20th century has referred frequently in his works to irrationalism as a concept to describe the world, and all nonsense that exists within life through its tragic perspective. In his masterpiece L’Etranger his main character Meursault deals with the basic existentialist problem and the beliefs, values, and institutions which mask this with sangfroid; and thus displays a confrontation of the absurd with the human. Meursault moves mec- hanically throughout the novel as if he was a wound up figure, toy or rather a clock wound up by a “stranger”s hand. Camus, in displaying no complacency with the established order and in shaping Meursault’s life in the way he chooses has upheld a belief contrary to existence being based on god or the thought of god. This paper discusses the depth of this dichotomy and dilemma through the style of portrayal and the characters of the above mentioned features
Özet
Albert Camus, one of the existentialist authors of the 20th century has referred frequently in his works to irrationalism as a concept to describe the world, and all nonsense that exists within life through its tragic perspective. In his masterpiece L’Etranger his main character Meursault deals with the basic existentialist problem and the beliefs, values, and institutions which mask this with sangfroid; and thus displays a confrontation of the absurd with the human. Meursault moves mec- hanically throughout the novel as if he was a wound up figure, toy or rather a clock wound up by a “stranger”s hand. Camus, in displaying no complacency with the established order and in shaping Meursault’s life in the way he chooses has upheld a belief contrary to existence being based on god or the thought of god. This paper discusses the depth of this dichotomy and dilemma through the style of portrayal and the characters of the above mentioned features