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Meursault

Meursault is a commune in the Côte-d'Or department and region of Burgundy in eastern France.

Meursault (band)

Meursault are a Scottish indie rock band from Edinburgh, formed in 2006. Led by singer-songwriter Neil Pennycook, the band's musical style has been categorised as folktronica, alternative rock and indie folk. The band themselves have described their latest work as "epic lo-fi". The name of the band is a reference to the main character of L'Etranger, the absurdist novel by Albert Camus.

Their releases to date have been generally well received by the music and entertainment media, both in Scotland and on a nationwide level. In 2009 The Skinny placed the band's debut album, Pissing On Bonfires / Kissing With Tongues, at No. 16 in their "Scottish Albums of the Decade" list; while their second full-length release, All Creatures Will Make Merry, has been reviewed favourably by several notable media outlets, among them The BBC, Pitchfork, Bearded, Clash, The List and The Skinny.

During 2009 and 2010, the band were included in regular rotation on local and national BBC radio stations, and playlisted by a number of BBC presenters including Gideon Coe, Marc Riley, Vic Galloway and Nemone. They made appearances in many music festivals, including RockNess, T in the Park, Truck, End of the Road and Glastonbury. In May 2013, Meursault's third and last studio album, Something for the Weakened, was shortlisted for the Scottish Album of the Year (SAY) award.

Usage examples of "meursault".

Yet Camus modeled Meursault on himself in certain respects, giving the fictional hero his own love of the sun and the sea, his easy charm with women, and his macho attitudes.

In particular, Girard thought that Camus had come to recognize Meursault as more responsible than he implied in the 1955 foreword, and at the same time to have more sympathy for the lawyers and judges, since he realized that he was one himself.

In fact, Girard believes, Meursault is desperate for attention, and even acknowledges it at the end by wishing for a large crowd to witness his execution.

Educated readers around the world have grown up with it, and Meursault is not such a stranger any more.

The same image could very well be applied to Meursault, who is symbolically, if not literally, an alien.

When Raymond beats the woman a few days later, Meursault testifies on his behalf to the police.

Then Meursault walks on the beach alone, unexpectedly comes on the Arab again, and shoots him.

Arab and why Meursault seems so indifferent to his trial and to his death sentence.

The second is an event, which Meursault brought into existence by choosing to do it.

Because of their placement, a reader tends to conclude that awareness of the distance somehow caused Meursault to walk to the home.

It is as if, for Meursault, such random elements in his surroundings are no different from the seemingly purposeful acts he performs.

Camus, through the voice of Meursault, provides a great deal of precise information about each of the major events.

We follow Meursault through the funeral and the weeks following in considerable detail.

As a result, most readers come away from the story with questions about several key moments: Why does Meursault shoot the Arab?

Why does Meursault seem so indifferent, so detached, so much a stranger?