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Carrier, Peter. "Rewriting Vichy after fifty years." Contemporary Review 261.1522 (1992): 232+.
Literature Resource Center. Web.

Summary: France was in a state of disaster after World War 2.

Important quotations: The grounds for the present controversy were laid in April this year when the
case of Paul Touvier, head of the Vichy militia in Lyon, was dismissed for apparent lack of evidence,
much to the stupefaction of the French intellectual community. Other important Vichy officials,
notably Rene Bousquet (Minister of Police) and Jean Leguay (co-organiser of the Vel' d'Hiv' round-up
in 1942) have benefited from similar judicial laxity……
The desire to remove unpalatable periods of history, suggested in Mitterrand's speech, also serves to
undervalue the memory of surviving victims and their families. It is for this reason that a number of
these people and historians recently made an appeal to the French government for the official
recognition of, and possible compensation for, Vichy crimes. As a consequence, the |Vel' d'Hiv'
Committee '42' was set up to pursue this cause. They name themselves after the famous cycle
velodrome, the Velodrome d'Hiver (destroyed in 1959) in Paris where, on 16th and 17th July 1942,
12,884 Jews, including 4,051 children, were rounded up and subsequently deported to internment
camps at Drancy, Pithiviers, and Beaune-la-Rolande, then to Auschwitz. An operation which was then
cheerfully coined |Operation Vent Printanier' (Operation Spring Breeze), characteristically twisting the
truth. The indignation of the Vel' d'Hiv' Committee |42 was fuelled for a second time when President
Mitterrand performed another brief symbolic gesture at the wreath-laying ceremony to commemorate
the 50th anniversary of the Vel' d'Hiv' round-up.

Insight into the stranger: It helps offer insight to the stranger because Albert Camus was from france
and when he wrote this book it was around that time so, this might have so importance or had some
change in how he wrote this book.

Marrouchi, Mustapha. "Decolonizing the terrain of Western theoretical productions." College

Literature 24.2 (1997): 1+. Literature

Summary: There was a war/battle going on in Algier in 1930-1940.

Important quotations:Jcques (or Jackie) Derrida was born on July 15, 1930, in El-Biar (Algeria), as
were his father and grandfather and several generations before them, the third baby-boy of Aime
Derrida and Georgette (Safar) Derrida, a prosperous Sephardic Jewish family whose ascendants had
fled the Spanish Inquisition.(1) The Derridas set up house in la rue Saint-Augustin in 1923, the year
they got married. A town hall document dated October 21, 1871, confirms that Georgette Safar's
grandfather, "born in Algiers during the year eighteen hundred and thirty-two fulfills the conditions for
citizenship prescribed" by the 1871 decree, and "has declared that he takes the name of Safar as family
name and as first name that of Mimoun." Seven witnesses had vouched for the parents of "the above
named," who had, "just signed in Hebrew." They "had been established in Algeria before eighteen
hundred and thirty." Until the Cremieux decree of 1875, the "indigenous Jews" of Algeria were not
French citizens. They would lose their citizenship and become indigenous again under the Vichy
government.(2)

In 1934, the family left the rue Saint-Augustin for another house, better known as the "garden," the
"orchard," or the "Pardes," 13, rue d'Aurelle-de-Paladines in El-Biar where Derrida, now five years
old, attended kindergarten and later primary school. "Then, in 1940, the singular experience of the
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Algerian Jews. Incomparable to that of European Jews, the persecutions were nonetheless unleashed in
the absence of any German occupier" ("Interview 74, Derrida, "Philosophie" 86).(3) Derrida, still at
school, whereas his brother Rene and sister Janine had already been expelled, was replaced by another
pupil to stand before the flag because of his religion. One episode in particular from those dark days
provides ample indication of the troubles that were to come. In 1942, Derrida joined Lycee Ben
Aknoun only to be sent off home on the first day of school. "It's an experience which leaves nothing
intact," he intones with an overt sense of exclusion,

Insight into the stranger: This has insight into the stranger because mersault was in Algier in the setting
of the book the stranger.

Hume, Kathryn. "The Shocks of Transplantation." American Dream American Nightmare: Fiction
Since 1960. Chicago: University of Illinois Press, 2000. 9-39. Rpt. in Twentieth-Century Literary
Criticism. Vol. 206. Detroit: Gale, 2008. Literature Resource

Summary: People have many different immigration experience they can be both good or bad.

Important Quotes: That Americans deny Chinese men full masculine identity is well established in this
novel as well as in other examples of Chinese-American literature. Kingston attacks such prejudice. At
the same time, she attacks the Chinese concept of masculinity for its insistence on degrading women to
prove its own superiority. The men experience mistreatment amounting to women's daily lives but
choose to reinforce such treatment of women rather than apply what they have learned as a lesson in
humanity. Kingston tells of her father swearing: "Dog vomit. Your mother's cunt. Your mother's
smelly cunt" (12). She laments: "What I want from you is for you to tell me that those curses are only
common Chinese sayings. That you did not mean to make me sicken at being female" (14). The
evidence, however, suggests that the Chinese idioms are all too meaningful. Cousin Sao receives
imperative letters from his Chinese mother: "I order you to come back. ... You don't need to save
enough money to bring a litter of females. ... Sell those girls, apprentice the boy, and use the money for
your passage" (172). The constant verbal abuse (and even a beating) is located in America and, as
Goellnicht argues, is the result of cultural castration (201). Both women and men thus suffer from the
effect of America on family cultural patterns; in this book, readers are not shown any clear picture of
what America offers in compensation.

Langer, Monika. "Sartre and Marxist Existentialism." Sartre Alive. Ed. Ronald Aronson and Adrian
van den Hoven. Detroit: Wayne State University Press, 1991. 160-182. Rpt. in Twentieth-Century
Literary Criticism. Ed. Janet Witalec. Vol. 134. Detroit: Gale,

Summary: A philosophy that emphasizes the uniqueness and isolation of the individual experience in a
hostile or indifferent universe, regards human existence as unexplainable, and stresses freedom of
choice and responsibility for the consequences of one's acts.

Important Quotes: A recurrent theme in the philosophical literature of the last quarter-century has been
the relationship between Sartrean existentialism and Marxism. Much of the discussion has centered on
the unorthodox nature of Sartre's Marxism as presented in his Critique of Dialectical Reason, and on
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the connection between that work and his earlier Being and Nothingness. Thomas Flynn's book Sartre
and Marxist Existentialism constitutes one of the most interesting recent contributions to the debate.
Flynn contends that "Sartre's is an authentic, though 'revisionist,' Marxism" which, in combining
"salient features" of existentialism and Marxism, incorporates "the morally responsible individual into
the sociohistorical context."1 My essay takes issue with Flynn's position on the grounds that Sartre's
Marxism as articulated in the Critique of Dialectical Reason is basically at odds with authentic
Marxism--whether classical or revisionist. I contend that the lately published second volume of the
Critique retains the fundamental features of the first, and hence does not significantly alter the nature
of Sartre's Marxism. Despite my disagreement with his interpretation of Sartrean Marxism, Flynn's
focus on responsibility2 reopens for me the intriguing question of whether Sartrean existentialism can
provide the requisite foundation of freedom for Marxism.

My essay argues that Marxism indeed requires a philosophical foundation,3 not because it lacks
freedom--as Sartre claimed--but because it presupposes that "free, conscious activity is man's species
character" and that "estranged labour estranges the species from man."4 In other words, Marxism,
which bases itself on an unclarified conception of freedom, must spell out and clarify its own
conception. Accordingly, I will reconsider Sartre's own intricate argument for the freedom of human
reality (in Being and Nothingness). That argument seems to supply precisely the kind of philosophical
basis that Marxism so sorely lacks--all the more so as Sartre himself anticipates and counters numerous
objections. A closer scrutiny, however, reveals flaws that render Sartre's argument ultimately
untenable. Yet those flaws are fruitful in disclosing a possible corresponding weakness in Marxism and
underlining the need for an adequate phenomenological analysis of freedom. While Sartre's alleged
Marxism and his existentialism are unable to provide the necessary philosophical grounding for
Marxism, the reconsideration of his position sheds light on what remains to be done if Marxism is ever
to have a genuinely firm footing.

ewis, Peter. "Collingwood on Art and Fantasy." Philosophy 64.250 (Oct. 1989): 547-556. Rpt. in
Twentieth-Century Literary Criticism. Ed. Scot Peacock. Vol. 67. Detroit: Gale Research, 1997.
Literature Resource Center. Web. 21 Dec. 2010.

Summary: is a novel by Albert Camus, published in 1942, and is Camus's best-known work. Its theme
and outlook are often cited as examples of existentialism, though Camus did not consider himself an
existentialist; in fact, its content explores various philosophical schools of thought, including (most
prominently and specifically) absurdism, as well as determinism, nihilism, naturalism, and stoicism.

The title character is Meursault, an Algerian ("a citizen of France domiciled in North Africa, a man of
the Mediterranean, an homme du midi yet one who hardly partakes of the traditional Mediterranean
culture"[1]) who seemingly irrationally kills an Arab man whom he recognises in French Algiers. The
story is divided into Parts One and Two: Meursault's first-person narrative view before and after the
murder, respectively.

Important Quotes: In Art and Its Objects, Richard Wollheim devotes considerable space to attacking a
theory he calls the Croce-Collingwood Theory of Art. According to this theory, as Wollheim presents
it, an artist's capacity to create works of art consists in his being able to elaborate images or intuitions
in his own mind, irrespective of whether there is any means of publicly externalizing them in the form
of paintings, poems, symphonies, etc. Wollheim argues, I think rightly, that this conception of artistic
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creation is absurd. But it can also be argued that neither Croce nor Collingwood ever espouses this
absurd theory. I will not develop that argument in this paper; instead, I want to draw attention to an
aspect of Wollheim's discussion which concerns the relations between Collingwood's aesthetic and
concepts of psychoanalysis.

After demonstrating the absurdity of the Croce-Collingwood theory, Wollheim introduces Freud's
comparison of the artist and the neurotic. Both the artist and the neurotic find substitute gratifications
for their desires in fantasy; and yet, we are told, the neurotic is recognized by his continuing to remain
in the world of his fantasy, whereas the artist, in Freud's words, `finds a path back to reality'. Wollheim
interprets Freud to mean by this that in making his work of art the artist renounces the immediate
gratification of fantasy by making an object which `can become a source of shared pleasure and
consolation' for other people. And, Wollheim maintains, it is precisely this feature of art as
renunciation which is totally denied by the Croce-Collingwood theory because it does not allow,
except incidentally, for the artist's having to produce a work in a medium for an audience.

Insight into the stranger: The title character is Meursault, an Algerian ("a citizen of France domiciled
in North Africa, a man of the Mediterranean, an homme du midi yet one who hardly partakes of the
traditional Mediterranean culture"[1]) who seemingly irrationally kills an Arab man whom he
recognises in French Algiers. The story is divided into Parts One and Two: Meursault's first-person
narrative view before and after the murder, respectively.

"Prince of the absurd; Albert Camus, 50 years on." The Economist [US] 9 Jan. 2010:

Summary: This can explain why Albert Camus writes the way he does.

Important Quotes: WHEN Albert Camus was killed in a car crash 50 years ago on January 4th, at the
age of 46, he had already won the Nobel prize for literature, and his best-known novel, "L'Etranger"
("The Stranger" or "The Outsider"), had introduced readers the world over to the philosophy of the
absurd. Yet, at the time of his death, Camus found himself an outcast in Paris, snubbed by Jean-Paul
Sartre and other left-bank intellectuals, and denounced for his freethinking refusal to yield to
fashionable political views. As his daughter has said: "Papa was alone."

Today, by contrast, the French are proud to consider Camus a towering figure, while Sartre's star has
faded. Even President Nicolas Sarkozy, from the political right, has proposed transferring the writer's
remains from Provence to the Pantheon in Paris. Several new books mark the anniversary of his death,
including an elegant illustrated volume by Catherine Camus, one of his twin children and custodian of
her father's estate.

The reader in search of literary criticism, or even the origins of absurdist thought, will not find it in the
three new biographies. That by Jose Lenzini, a French former journalist, is the most unusual, retracing
Camus's last journey from Provence to Paris as a series of imaginary flashbacks through his life. The
other two are more conventional but both finely drawn, digestible portraits of the football-playing
"little poor child", as Camus called himself, from Algiers, who came to leave such a mark on literature
and moral thought.
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A double haunting presence looms throughout all the books: that of Algeria, where Camus was born,
and of his mother, Catherine. Before he was a year old, the infant Albert lost his father, an early settler
in French Algeria, in the battle of the Marne. His mute and illiterate mother, and her extended family,
raised her two sons in a small flat in Algiers with neither a lavatory nor running water. Alain
Vircondelet writes movingly of the "minuscule life" in the apartment with nothing: "those white sheets,
his mother's folded hands, a handkerchief and a little comb." Her purity and silent dignity marked her
son, as he struggled to confront his own shame at such poverty--and his shame at being ashamed.
"With those we love," he once said of her, "we have ceased to speak, and this is not silence."

That the young Albert went to the French lycee, and then to university in Algiers, was thanks to two
inspiring teachers with whom he kept in touch throughout his life; he dedicated his Nobel prize to one
of them. Camus began writing, as a reporter and dramatist, in a land that was then part of France--and
yet apart. His was the solitude, self-doubt and restlessness of dislocation and displacement. The young
man who emerges from Virgil Tanase's biography in particular is seductive, funny and loving, but
constantly on the move: between the raw, sun-drenched Mediterranean and cramped, grey Paris, ever
in search of respite from crippling bouts of tuberculosis, as well as comfort from the various women he
charmed and loved with a passion.

History finds Camus on the right side of so many of the great moral issues of the 20th century. He
joined the French resistance to combat Nazism, editing an underground newspaper, Combat. He
campaigned against the death penalty. A one-time Communist, his anti-totalitarian work, "L'Homme
Revolte" ("The Rebel"), published in 1951, was remarkably perceptive about the evils of Stalinism. It
also led to his falling-out with Sartre, who at the time was still defending the Soviet Union and
refusing to condemn the gulags.

Camus left Algeria for mainland France, but Algeria never left him. As the anti-colonial rebellion took
hold in the 1950s, his refusal to join the bien pensant call for independence was considered an act of
treason by the French left. Even as terror struck Algiers, Camus was vainly urging a federal solution,
with a place for French settlers. When he famously declared that "I believe in justice, but I will defend
my mother before justice," he was denounced as a colonial apologist. Nearly 40 years later, Mr Lenzini
tracked down the Algerian former student who provoked that comment at a press conference. He now
confesses that, at the time, he had read none of Camus's work, and was later "shocked" and humbled to
come across the novelist's extensive reporting on Arab poverty.

The public recognition that Camus achieved in his lifetime never quite compensated for the wounds of
rejection and disdain from those he had thought friends. He suffered cruelly at the hands of Sartre,
Simone de Beauvoir and their snobbish, jealous literary clique, whose savage public assassination of
Camus after the publication of "The Rebel" left deep scars. "You may have been poor once, but you
aren't anymore," Sartre lashed out in print.

"He would remain an outsider in this world of letters, confined to existential purgatory," writes Mr
Lenzini: "He was not part of it. He never would be. And they would never miss the chance to let him
know that." They accepted him, says Mr Tanase, "as long as he yielded to their authority." What Sartre
and his friends could not forgive was the stubborn independent-mindedness which, today, makes
Camus appear so morally lucid, humane and resolutely modern.

Insight Into the stranger: Albert Camus’s past life can explain why he wrote the book the stranger the
way he did.
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My poem from poetry out loud:

Sonnet XXIX: When, in disgrace with fortune and men’s eyes

By William Shakespeare

When, in disgrace with fortune and men’s eyes,

I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possessed,
Desiring this man’s art and that man’s scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state,
(Like to the lark at break of day arising
From sullen earth) sings hymns at heaven’s gate;
For thy sweet love remembered such wealth brings
That then I scorn to change my state with kings.