Introduction
La Libération Animale, de Peter Singer, a été premièrement écrit en 1975, et une traduction française par Louise Rousselle et David Olivier a été publiée en 2012. Cette édition, publiée par Payot & Rivages, est à 477 pages. Ce livre est sur la justice parmi les animaux, vis-à-vis notre choix d’utiliser les animaux pour la nourriture et comme sujets des expériences scientifiques. Pour mon évaluation, je donne une synopsis du livre et des arguments que Peter Singer présente. Après, j’analyse sa méthode, en décidant si le livre est bien efficace en suivant son objectif.
24 février 2018
10 février 2018
« Meurt seul, meurt sot » ? Expression and power in Kamel Daoud’s “The Meursault Investigation”
Throughout Kamel Daoub’s “The Mersault Investigation,” the abilities to express oneself and to be understood are critical ingredients in formulating and maintaining an identity. In this narrative so inextricably tied to the atrocities of the Algerian War, language becomes the very root of the central conflict, as the unnamed narrator attempts to create a unique legacy for their murdered brother, Musa.
For the narrator, this short story represents a chance to wholly ensure his brother’s continued remembrance as a unique individual, martyred in the Algerian War. He throws shade on Albert Camus, who so often treated the locals in his story as nameless pieces of decoration. In Camus’ “The Guest,” for example, Daru’s companion is exclusively labeled “the Arab,” without much of an identity at all. However, in Daoud’s piece, the narrator actively strives to differentiate Musa from the rest of “the Arabs” of Algeria, in order to prove his existence (2). Daoud’s work also jabs at Camus, referencing The Stranger, by beginning with the phrase, “Maman’s still alive today” (1). The similarity here is that, while the narrator’s mother is certainly alive, she no longer speaks. Even though she remains alive, she is powerless, unable to even prove that her son was murdered in public. The narrator laments, “How can you tell the world about that when you don’t know how to write books?” (13). This demonstrates the cruel contexts of Camus’ compositions: Camus scribed his novels with the undeniable privilege that people would read, understand, and respect his work, and for so many Algerian natives, that is just not the case.
For the narrator, this short story represents a chance to wholly ensure his brother’s continued remembrance as a unique individual, martyred in the Algerian War. He throws shade on Albert Camus, who so often treated the locals in his story as nameless pieces of decoration. In Camus’ “The Guest,” for example, Daru’s companion is exclusively labeled “the Arab,” without much of an identity at all. However, in Daoud’s piece, the narrator actively strives to differentiate Musa from the rest of “the Arabs” of Algeria, in order to prove his existence (2). Daoud’s work also jabs at Camus, referencing The Stranger, by beginning with the phrase, “Maman’s still alive today” (1). The similarity here is that, while the narrator’s mother is certainly alive, she no longer speaks. Even though she remains alive, she is powerless, unable to even prove that her son was murdered in public. The narrator laments, “How can you tell the world about that when you don’t know how to write books?” (13). This demonstrates the cruel contexts of Camus’ compositions: Camus scribed his novels with the undeniable privilege that people would read, understand, and respect his work, and for so many Algerian natives, that is just not the case.
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