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Morality in literature
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Different cultures express various attitudes and beliefs on the basis of what is deemed moral. In the excerpts from Camus The Stranger, and Daoud’s Meursault Investigation, the central characters have contradictory viewpoints to that of their own cultures. Even though they are different cultures, both cultures have a mirrored view on death, murder, and justice. Whereas the French base the issue on religious purity, the Algerians base the verdict on nationalistic pride. Due to an existentialist view on life Meursault was always a stranger to understanding how important religion was to his culture. In his trial that is proven as Meursault observes, “He took out a silver crucifix which he brandished as he came toward me. And in a completely different, almost cracked voice, he shouted, "Do you know what this is?" (68). The magistrate whips out his weapon the crucifix as a last attempt to persuade Meursault to justice in the form of submitting to god. However the magistrate …show more content…
However the Arab in the story does not show dissent to his former oppressor the French. Which is unusual given his culture, and is much to the dismay of the colonel. The Arab recalls, “Then he launched into a patriotic rant, reiterating his faith in his independent country and in the sacrifice made by one and a half million martyrs” (11-13). In his speech the colonel emphasizes his woes by comparing his former country men to martyrs. A claim that is justified to him given that the army fought a war for Algiers. The colonel then asserts, “we weren’t murderers but liberators” (17). This phrase most likely was a code of chivalry for the soldiers, but later became infused in the Algerian people. As a result of the colonialism they endured the Algerian culture led to a hardening that won them autonomy. Consequently leading them to be ever so prideful over accomplishing a battle versus
It is 1957 and the Algerian war is at its prime as the FLN fight against an elite troop of ruthless French paratroopers. The Battle of Algiers is a portion of the Algerian war which was fought in order for Algeria to gain independence from France. The film starts off with the torturing of an old man to gain information on where the last of the freedom fighters, Ali Pointe is hiding. A large segment of the film is shot in flashbacks focusing on the past of Ali Pointe. Pointe was a ruffian with theft and drugs on his record; he joined the militants to assist in getting rid of the problems in Algeria associated with the French. With the flashbacks the film tells the struggles of the insurgents and the persistence of the French to end the war. It shows the transformation of the insurgency into a full out revolution. When the flashbacks ends and it is now present time Ali Pointe, along with the rest of the FLN leaders captured are beheaded. Through this, the FLN reciprocate and the insurgency becomes a full on national revolution with growth in numbers and support. The film ends with Algeria gaining the independence it strived for in 1962. The film is important in understanding asymmetric conflicts because despite being the weaker side, Algeria had proved itself to be much stronger than the French and had its newfound independence to show for it.
In The Red Badge of Courage, Henry Fleming was drawn to enlist by his boyhood dreams. His highly romanticized notion of war was eclectic, borrowing from various classical and medieval sources. Nevertheless, his exalted, almost deified, conception of the life of a soldier at rest and in combat began to deflate before the even the ink had dried on his enlistment signature. Soon the army ceased to possess any personal characteristics Henry had once envisioned, becoming an unthinking, dispas...
In the Red Badge of Courage, the protagonist Henry, is a young boy who yearns to be a Great War hero, even though he has never experienced war himself. Anxious for battle, Henry wonders if he truly is courageous, and stories of soldiers running make him uncomfortable. He struggles with his fantasies of courage and glory, and the truth that he is about to experience. He ends up running away in his second battle. Henry is somewhat nave, he dreams of glory, but doesn't think much of the duty that follows.
The heroism of Marquis de Lafayette evokes near-universal praise as a selfless lionheart, and champion of freedom. From a volunteer commissioned as a Major General in the continental army, to a freedom fighter in revolutionary France, Gilbert du Motier, Marquis de Lafayette’s leadership is admired by patriots in both nations, and historians around the world. His heroism, however, is not just as a result of his wartime triumphs. Indeed, intellectuals praise the man for not just being a warrior, but a humanitarian, a philosopher, and a revolutionary.
In the experimental novel The Stranger by Albert Camus, he explores the concept of existentialism and the idea that humans are born into nothing and descend into nothingness after death. The novel takes place in the French colony of Algiers where the French-Algerians working-class colonists live in an urban setting where simple life pleasures are of the upmost importance in the lives of working class people like the protagonist of the novel Meursault. What is fascinating about this novel is that it opens up with a scene of perpetual misfortune for him through the death of his mother although he seems to express otherwise. The reader perceives this nonchalance as a lack of care. Maman’s death and its impact on Meursault appear in both the very beginning and very end of the two-part novel, suggesting a cyclical pattern in the structure. This cyclical pattern suggests not a change in the moral beliefs of Meursault but rather his registering society’s systems and beliefs and craft meaning in his own life despite the fact that he meets his demise in the end. Camus uses Maman’s funeral to characterise both Meursault and the society and customs created by the society Meursault lives in in order to contrast the two while at the same time reveal how while society changes, Meursault does not. Rather, Maman’s funeral becomes of unprecedented importance in Meursault’s life and allows him to find that nothing means anything in his meaningless world at the time of his death. He finds peace in that.
The aforementioned scenario is a scene from the movie The Battle of Algiers directed by Gillo Pontecorvo. The Battle of Algiers is a film that depicts the violence of colonialism and decolonization in French Algeria. The Wretched of the Earth is a book written by Frantz Fanon that depicts the same violence. In both sources, both Pontecorvo and Fanon discuss the necessity of violence in decolonization. Although the film and text discusses violence in colonization and decolonization on a different scale and depth.
...according to him, a man who is morally guilty of killing his mother severs himself from society in the same way as a man who raises a murderous hand against the father who begat him.” This quote is telling how society input their feelings and ideas onto Meursault. The persecutor compares Meursault emotionless and lack on remorse for his killing the same as a person killing their own father. Society believes Meursault as an emotionless killer or a stranger to society’s morality, Meursault then can’t explain why he couldn’t feel any emotion, drives, or thoughts of remorse for his murder. Lastly, when the chaplain visits Meursault against his wishes, this scene showed how society expects everyone to ask for forgiveness from god when near death. Meursault then thinks it is absurd and refused to believe in him because he says it’s ridiculous and there’s no time at all.
This ideal destroys the very purpose of the trial, which seeks to place a rational explanation on Meursault’s senseless killing of the Arab. However, because there is no rational explanation for Meursault’s murder, the defense and prosecution merely end up constructing their own explanations, which they each declare to be the truth, but are all based on false assumptions. Therefore, the prosecution itself is to be viewed as absurd. When the prosecutor asks Perez if “he had at least seen [Meursault] cry,” he tries to persuade the crowd that Meursault is without feeling (91). The prosecutor then further turns the crowd against Meursault when he asks him about his “liaison” with Marie right after his mother’s death. The prosecutor remarks “indifferently that if he was not mistaken, that was the day after Maman died” (93). Though the liaison with Marie and the lack of emotions at Maman’s funeral may seem unrelated to Meursault’s killing, the prosecutor effectively convinces the crowd that they are in fact intertwined. The jury convicts Meursault not because he killed a man, but because he didn't show the proper emotions after his mother died. Despite hearing Meursault’s own thoughts ...
Albert Camus’ The Stranger offers one man’s incite into the justice of society. Monsieur Meursault, the main protagonist in the novel, believes that morals and the concept of right and wrong possess no importance. This idea influences him to act distinctively in situations that require emotion and just decision, including feeling sadness over his mother’s death, the abuse of a woman, and his killing of an innocent man. In these situations Meursault apathetically devoids himself of all emotion and abstains from dealing with the reality in front of him. When confronted by the court over his murder, he reiterates his habitual motto on life that nothing matters anyways, so why care? His uncaring response inflames the people working within the
“Next came Raymond, who was the last witness. He waved to me and all of the sudden blurted out that I was innocent” (95). This scene is ironic because prior this trial, Raymond doesn’t express any sense of loyalty. But in this scene, Raymond shows loyalty towards Meursault. He says that the Arabs hated him and Meursault was there by chance. This scene is important because it shows how everything that occurred was indirectly caused by Raymond and Meursault’s friendship under the pretense of “chance.”
... his mother and the idea of God which is again supported by his close relationships. Those relationships are with people who don’t believe in a higher being or who show no true morals. Camus accommodates white with many objects and people, yet purposely excludes Meursault and refers to him as dark. All of these techniques show Meursault as a nonreligious man with potential to harm without remorse. This leads up to his interaction with light where he feels uncomfortable just as he does with God. Meursault’s history and personality lead up to the murder of the Arab, the distraction of the light, and in the end, accusing God, “the light”, for his criminal behavior. Human nature needs moral standards or the world would be as corrupt as Meursault’s life.
The trial and conviction of Meursault represents the main ideals of absurdism, that truth does not exist, and life is precious. The jury’s attempt to place a proper verdict on Meursault is compared to mankind’s futile attempt to find order in an irrational universe. Because there is no real truth in the trial, the verdict was unfair and illogical. Camus uses his beliefs of truth not existing and life being precious to point out the absurdity of the judicial system, and suggest the abolishment of the death penalty.
Choice and Individual Freedom in The Stranger Camus's The Stranger is a grim profession that choice and individual freedom are integral components of human nature, and the commitment and responsibility that accompany these elements are ultimately the deciding factors of the morality of one's existence. Meursault is placed in an indifferent world, a world that embraces absurdity and persecutes reason; such is the nature of existentialist belief, that rationalization and logic are ultimately the essence of humanity, and that societal premonitions and an irrelevant status quo serve only to perpetuate a false sense of truth. Meursault's virtue, as well as his undoing, lies in his unique tendency to choose, and thereby exist, without computing objective standards or universal sentiment. His stoic, de facto existentialism is a catalyst for endless conflict between his rationalization- and logic-based existence and that of others, which focuses on an objective subscription to "the norm" ; such is evident in heated discussions with the magistrate and prison minister, who are seen as paragons of invalid logic and the quixotic, quasi-passionate pursuit of hackneyed conformity. No windmills are slain1 in this simulated existence; absurdity of a different ilk dominates the popular mentality, one which would alienate a man based on his perceived indifference towards the mundane, and try, convict, and execute a man based on his lack of purported empathy towards the irrelevant.
“The Stranger”, a novel by French novelist Albert Camus, depicts the life in French-ruled Algeria in 1940s. “The Stranger” begins with Meursault’s mother’s funeral. After funeral, Meursault cruelly killed an Arabic man and he is sentenced to death because he does not show his sorrow at his mother’s funeral rather than murder. “The Stranger” is always manifested as a classic of “Absurdism”, discussed by readers and writers. However, associating with the time that Albert wrote this novel and the history of that time, people cannot overlook the ideas about colonialism in “The Stranger”. Meursault’s indifferent characteristic, ridiculous crime, and obscure description about places are epitome of French colonists’ brutal oppressions and sarcasm to French governor’s inconsistent behavior. Albert Camus uses these elements to condemn French colonists and colonism.
middle of paper ... ... He wanted to file a legal appeal, but he knew they would all get rejected. Meursault was not sentenced to death because he killed the Arab, but because of his absence of emotion to his mother’s death. The people wanted him dead because he posed a threat to the morals of the society.