¶ … Myth in a Work of Art
Albert Camus was born on the 7th of November 1913 in Algeria from a French father and a Spanish mother. His father died in the First World War (seriously wounded in the battle of the Marne, he died a month later), so that Camus was raised by his mother and never knew his father. Camus spent his childhood in Alger, in his grandmother's house, where he received his first education. Later on, he passed onto to primary school under the tutorship of Louis German, to whom Camus will bear a strong gratitude his whole life and whom he mentioned in his acceptance speech upon winning the Nobel price in 1957. It was German that first encouraged Albert Camus in his studies and who convinced him to pursue a higher education within the Algiers University. During his time at the university, he founded the Theatre du Travail in Algiers, where his first play, Revolte dans les Asturies, was put on scene. After earning a degree in philosophy, Camus quickly established himself as one of the most notable writers of the 20th century with novels like The Stranger (1946), The Plague (1948) and The Myth of Sisyphus (1955). Writer and novelist, philosopher, leader of the absurd school of thought, playwright, actor and translator, Camus was one of the most important literary figure of the 20th century. His life came to a tragic end on the 4th of January 1960, when he was killed in a car crash together with his friend and editor, Michel Gallimard. Ironically enough, Camus had intended to return to Paris by train, because of his dislike for cars, and a return rail ticket was found in his pocket.
Camus's philosophical conceptions start with the contradiction between the absurdity of an existence in an irrational world and the fact that the human being is a rational being and, even more so, a conscious rational being that understands this absurd. Camus's man is an absurd man, that is, one who has had the revelation of the absurd world and is faced with several alternatives. Camus sees three: physical suicide, religion...
Interestingly, Venus is a goddess of love, beauty, and fertility, which is significant, since she was literally created from the male genitalia, and males were more strongly linked to sexuality than females, even at that point in Roman history. In the rest of Roman and Greek mythology, Venus/Aphrodite generally plays a benevolent role, though she does use influence women to use their sexuality in inappropriate ways, such as the
"Yeats's flight into fairyland begins in his early childhood with Celtic folklore, 'the chief influence of [his] youth,' and climaxes in his early twenties with the 1888 publication of his first book" (Ben-Merre 2008). Yeats was commissioned to "gather and record the fairy and folk tales of the Irish peasantry" in what eventually became Fairy and Folk Tales of the Irish Peasantry (Foster 76). "The collection includes descriptions of
French Romantic painter, Eugene Delacroix, is well-known from this period. Delacroix often took his subjects from literature but added much more by using color to create an effect of pure energy and emotion that he compared to music. He also showed that paintings can be done about present-day historical events, not just those in the past (Wood, 217). He was at home with styles such as pen, watercolor, pastel, and
Arts and healing: A group process The group summary The group I chose to observe is one that focused on Arts, spirituality, and healing, called Personal Mythology. This was a weekend workshop to engage people in the theories and experiences that are presented by Feinstein & Krippner (1997) in The Mythic Path: Discovering the Guiding Stories of your past -- Creating a Vision for your Future. The workshop was designed to serve
Art History War Imagery in Ancient and Contemporary Art Considering the backdrop of politics and war is an important part of understanding ancient and contemporary art (Stockstad, 2003, p. 468). Historians can tell a lot about the actual events and feelings that occurred during wartime by looking at the rat of the time. As the twentieth century dawned, many European and Americans had an optimistic outlook on life, believing that human society would
Color Me Three The use of color by artists depends on both personal predilections as well as environmental and social circumstances. This paper will use the works from three well-known artists to illustrate the assumption that the use of color and the style of each artist is combination of these various factors. An important issue that will be dealt with is the artistic climate and the predominant view on art and
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