Abstract

The aim of this paper is to show, against contemporary comparative research, that Albert Camus' position in The Myth of Sisyphus does not correspond to the 'aesthetic stage' in the works of Søren Kierkegaard, but is structurally very close to Kierkegaard's own conception of a good life – in terms of methodology, relating to metaphysical truth via negation, the role of death, and the necessity of translation. In Camus, we see what a Kierkegaardian conception of a good life turns into when its foundational religious layer breaks away.