Supervisors info:
Άννα Λάζου, Επίκουρη Καθηγήτρια, Τμήμα Φιλοσοφίας, Παιδαγωγικής & Ψυχολογίας, Φιλοσοφική Σχολή ΕΚΠΑ
Γεώργιος Αραμπατζής, Αναπληρωτής Καθηγητής, Τμήμα Φιλοσοφίας, Παιδαγωγικής & Ψυχολογίας, Φιλοσοφική Σχολή ΕΚΠΑ
Ευάγγελος Πρωτοπαπαδάκης, Επίκουρος Καθηγητής, Τμήμα Φιλοσοφίας, Παιδαγωγικής & Ψυχολογίας, Φιλοσοφική Σχολή ΕΚΠΑ
Summary:
The present thesis attempts to present and investigate the concepts of art and culture through the philosophical thought and works of two great thinkers of the 20th century, Albert Camus and Cornelius Castoriadis. In particular, it attempts to demonstrate the fertile influence of Giordano Bruno’s perceptions, the Late Renaissance philosopher, whose model inspired Camus in his work: The Rebel: An Essay on Man in Revolt, of Karl Marx’s and Leo Tolstoy’s views, the latter the Russian writer, of Friedrich Nietzsche’s, of existentialism and especially of Jean-Paul Sartre’s philosophical perceptions, and of three different authors’ works, the writer’s Franz Kafka, the writer’s, poet’s and playwright’s Samuel Beckett and the theatrical writer’s Eugène Ionesco, the last two being among the foremost representatives of the theatre of the absurd, and of other 20th century writers’ works, such as William Faulkner and Ernest Miller Hemingway. Τhe works and the views of all the above have contributed to Camus’ unique, groundbreaking and innovative philosophical perceptions on art and culture. In particular, the first four chapters of the first part, present Albert Camus’ views regarding art and culture. Artist’s role in contemporary societies of political crisis, war conflicts and material eudemonism is investigated, as well as artist's duty to produce work that strengthens collectivity and denounces. Camus rejects the doctrine “l' art pour art” and at the same time, through the concept of absurd, he places it as a means of rebellion against the oppression that the modern way of life dictates. Subsequently, Camus’ views on modern European culture are studied and the extent to which it can play an important role at global level. Although not very optimistic, the French-Algerian philosopher, unlike his interlocutors, expressed the belief that although Europe is deeply wounded and stigmatized by two world wars, there is hope again of cultural creation, which arises mainly from the substantial approach of the uprising. His main aspect for pluralism as a key feature of freedom of the European culture, is presented, resulting in oppositions and opposing values, which in order to coexist harmoniously, require endless dialectic, free of any absolutism. Besides, Camus’ perception of need for cooperation of the major historic European cities, in order to create a more auspicious future, is emphasized. The effects of Nietzsche's nihilism are also referred, as well as the rejection, on behalf of Camus, of the German thinker’s extreme nihilistic attitude and Karl Marx’s influence on Camus’ philosophical views. In the second part and, more specifically, in the next five chapters, Cornelius Castoriadis’ views regarding art and culture are studied. In particular, although Castoriadis believes that contemporary European artistic production falls into the repetition trap, it is possible through the imaginary, to arise original artistic production, if high art is regarded as a window into chaos. As far as European culture is concerned, despite the social conformism that distinguishes it, it is possible to create a new reality through the redefinition of the true values that should constitute society. Influences on Castoriadis’ thought by Aristotle, Immanuel Kant, Karl Marx and Jacques Lacan, are also referred regarding art and culture. There is another chapter with the comparison of Camus’ and Castoriadis’ views with a common point the prominent place, which correspondingly rebellion and revolution have in their work and their subsequent achievement of the desired autonomy, but also the fact that both moved away from Marx's perceptions although they were initially influenced. The main difference is that Castoriadis’ revolution is characterized by totality and eliminates the absurdity of the individual consciousness that is the driving force of Camus’ insurrection. More generally, they have tried to redefine values that have their roots in the ancient Greek world, such as truth, freedom, democracy, rebellion, autonomy, measure, and propose them as a way out of their contemporary cultural and moral crisis. The conclusions follow, concluding that art, in order to be high, artist should not imitate reality but the latter should be a source of inspiration. Finally, modern civilization, although degenerated, still has the weapons that could lead it to regeneration.
Keywords:
Camus, Cornelius Castoriadis, art, culture, absurd, insurrection, revolution, moral act, existentialism, unity, collectivity, absence of god, nihilism, life attitude, avant garde, Man in Revolt, The Myth of Sisyphus, Nietzsche, pluralism, dialectic, Jacques Lacan, Aristotle, Immanuel Kant, Plato, Karl Marx, imaginary, enjoyment, chaos, abyss, imitation, democracy, imaginary, social conformism, city, citizen, democratic state, politics, tradition, autonomy, freedom
