Word: camus
(lookup in dictionary)
(lookup stats)
Dates: during 1950-1959
Sort By: most recent first
(reverse)
...author of four books, including The Life of the Soul, The Life of the Church, The Great Realities, Dr. Miller has also taught a course at the Divinity School on the novels of Dostoevsky, Kafka, Camus and Graham Greene. His other major interest, surprising for a Baptist, is liturgy. Said he last week: "I believe the act of worship is the church's most distinctive contribution to society. There is no other source of power which will enable society to achieve any sort of unity...
...expected that the Committee on Educational Policy will give final approval to the plan in time for it to take effect this year. The proposed topic is a critique of Camus' Rebel, utilizing all the material covered in the course...
Titled Ideal Man and Natural Man in Western Thought, Soc Sci 4 covers Greek culture, Japanese culture, doctrine of St. Augustine, and 20th century psychology and anthropology. Rebel was chosen as a topic, Kluckhom noted, because in the book Camus deals with many of the problems raised in the course...
...such thing as virtue." The Possessed was partly written to illuminate that point. The book swept from Russia's liberals, who reveled in sentimental idealism, straight to the awful result: the young nihilists of the 1870s, who believed that terrorism was justified as a means to political reform. Camus read the book at 20 ("A soul-shaking experience"). Like Dostoevsky, Camus broods about the ailment of freedom without God, about political mass murder in the name of life and the future. Although he has been unable to accept Dostoevsky's remedy (return to God and the soil...
...both playwright and director of The Possessed, Camus combined his evolving philosophy with his considerable theatrical skill. To handle the novel's bewildering rush toward chaos, Camus uses an onstage narrator who streamlines the transition between scenes (some take only eight seconds). The play roils with the deluded intrigues of nihilists, whom Camus makes strongly reminiscent of modern Marxists. Perhaps the play's chief quality is Camus' adroit emphasis of Nikolay Stavrogin (ably played by Pierre Vaneck), the book's most memorably monstrous character. An empty-souled aristocrat, Stavrogin longs to be a sort of Nietzschean...