Absurdo, revolta e medida em Albert Camus: a arte como transgressão do real

Abstract

In his Carnets, Camus outlined the desire to work with three Greek myths: Sisyphus, Prometheus and Nemesis, which would appear as an aesthetic representation and a starting point for the development of three concepts that permeate all of his work: absurdity, revolt and measure, respectively. Commentators identify two well-defined cycles in Camusian thought: the absurd and the revolt. Each of these cycles would consist of a main essay, a novel and one or two plays. Camus uses very different languages to approach the same concept and even go beyond it. In this sense, the pied-noir philosopher rejects systematic formalism and the exaltation of reason as the only dimension of man, valuing the construction of thought through images. The novel and art in general appear as instruments capable of reaching other human dimensions, which are not limited to reason, but resort to the sensibility awakened through indirect experiences - that is, reading and experimenting with fictional narratives. In this bridge between philosophy and literature, or philosophy and image, Camus gives a prominent place to artistic-literary creation, which would appear as one of the few alternatives to the lucid man who wishes, at the same time, to overcome the cruel reality of the world, without however completely disengage from the realism that is necessary for conscious lucidity. The measure (or love) cycle, despite being interrupted by the early death of the author, would represent the apex of his philosophical proposal, which would be situated in the balance between two extremes: the absolutization of history and the complete disconnection from reality. His proposal would be to reconcile conscious historical engagement without, however, being limited to history and, on the other hand, going beyond it without completely disconnecting from reality.