By Samantha Novello
An excessive genealogical reconstruction of Camus's political considering demanding the philosophical import of his writings as offering another, aesthetic knowing of politics, political motion and freedom outdoors and opposed to the nihilistic different types of recent political philosophy and the modern politics of contempt and terrorisms
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Extra info for Albert Camus as Political Thinker: Nihilisms and the Politics of Contempt
In L’Art dans la Communion, he quotes a long passage from the Enneads I, 6, 3, where the Hellenic philosopher defines beauty as an internal unitary principle, as the form or ‘scheme’ (logos) of a being or artwork. By identifying in particular the beauty of physical bodies in their unity rather than in the symmetry of their parts, Plotinus turns to aesthetic contemplation, rather than to artistic production, to illustrate the distinct creative process that brings a being ‘back to unity’ (Enneads, I, 6, 1–2).
943–4). ‘Delirium’, which is associated to laughter, is the manifestation of the dissolution of ordinary knowledge (I, p. 945), namely, of the moral straitjacket of reason. The Fool is the embodiment of the Nietzschean criticism of rationalism, who in art, action, in the natural elements and in God traces those ‘Undisguised Influences’ 25 forms of love that suppress reason’s deceitful creations of ressentiment and culminate in ecstatic communication (‘oblivion’) (I, p. 946). The flagrant influence of Nietzsche’s 1880s’ writings leaves no doubt as to the philosophical political implications of Camus’s reveries: the antiromantic aesthetics propounded by the Fool reject the ‘false’ alternative force/weakness that Grenier has detected at the core of the European ‘will for destruction’ and which Camus finds residing in such ‘lies’ of reason as ‘personality’, ‘Soul’ or ‘Subject’.
When the music stops, reason begins to speak once again: Camus imagines himself as the silent spectator of a dialogue between two figures, two opposed projections of the author’s own Self, which he tries to conciliate in vain (I, p. 943). Thus, he associates reason with dédoublement, the internal division of one’s self, and perceives this to engender lassitude and indifference (I, p. 943). The two characters speak the language of power and dominion: on one hand, there is an active figure who bases his ability to command on the capacity to negate his desires (I, p.
Albert Camus as Political Thinker: Nihilisms and the Politics of Contempt by Samantha Novello