lunes, 20 de julio de 2015

Oxford Royale Academy. Essay on the Cold War

                                                    Oxford Royale Academy:
                                                              History essay:
                                                By Fernando Martinez-Periset
                                     Was the USSR mainly responsible for the Cold War?
The Cold War is one of the most important and long-lasting events of 20th-century history. On the course of this essay I will explain why I argue that the USSR is not fully to blame for this conflict, only to some extent. I will also incorporate other historians' views that strengthen my hypothesis. This essay aims to analyse arguments that show what actions by the USSR instigated the Cold War and which ones indicate otherwise. I will comment on the situation previous to the Cold War and how we can understand the USSR's position.

Firstly, during World War II the USA and the USSR had collaborated against the Germans from 1941 until the end of the war. Therefore, somehow these two powers had to come to an agreement, as we see in Lend-Lease Act between the USA and the USSR and in the Treaty of mutual assistance with Britain, both signed in 1941 [www.wikipedia.com]. These series of pacts show the USSR is willing to cooperate with the Allies and if this is the case, the USSR would have no reasons to enter a Cold War. During the Second World War, the USSR fought Germany and continued fighting Japan for a while once the former had been defeated, which demonstrates its commitment with the Allies' cause. Additionally, the Yalta Conference was held [ORA History notes], which once again shows the USSR's willingness to aid the Allies. The USSR, at this stage doesn't seem to be moving towards a conflicting position. The historical background before the Cold War indicates that the Soviet Union was cooperative and not hostile towards the Allies.

Although it can be said that the 'First Red Scare' was already a prelude of the international tensions, we mustn't lose sight of the fact that it only lasted for a year and that it was in the 1920s, way before the USSR collaborated with the Allied forces [Oxford Royale Academy History notes]. We can look at the 'Red Scare' from a different perspective. Taking that into account, I argue that the supporters of the 'First Red Scare' hadn't had any previous interaction with the USSR, so the this anti-communist wave might have really been a question of prejudice against Communism itself rather than a reaction due to a real threat.

Secondly, it is understandable that the USSR could potentially react somehow if we look at the post-war status of the country. When World War II ended, the Soviet Union had bitterly lost 90 times more soldiers than the USA. What is more, its territory had been invaded by Germany and, as a result, its economy was slowing down, unlike that of America. In addition, the USA had secretly carried out nuclear bomb tests, increasing international tension, creating fear and pressuring the USSR [ORA History notes]. These facts show that the USSR was going through some hard times. Therefore, it is logical to claim that, due to its internal problems and all it had lost during the war, the USSR would respond someway or another to external pressures. The Soviet Union's position on this matter is consequently understandable.

On the other hand, this is not to say that the Soviet Union is totally exempt from guilt. Even if we understand its position that doesn't fully justify actions such as not holding elections in the Eastern European countries, as it had been agreed [ORA history notes], and the organisation of atomic bomb tests in 1949, which also increased tensions [www.wikipedia.com]. These two reactions are fairly aggressive and seem to go against the ideals defended by the Allies such as democracy and freedom, which indicates the USSR is moving towards a more radical policy.

Resultado de imagen de the cold warDeveloping that point, people like the U.S. secretary of defence in 2001 Paul Wolfowitz [www.johndclare.net] are of the view that the Cold War was caused by the 'evil regime of the USSR'. They say that the USSR's aggressive policies were the root causes of the Cold War. Most historians, both traditionalists and revisionists, would add to that by saying that Stalin's way of ruling was another important factor [www.johndclare.net]. Personally, I do agree with these views to some extent, as I also believe the way of governing the USSR definitely played a big role in the process of creating tensions. It is a fact that Stalin asked some of his ministers to draft a population report and when this document indicated that the population in the Soviet Union was slightly lower than what Stalin had publicly declared, he sent all the ministers who had drafted that report in exile to Siberia ["Why nations fail"]. Moreover, in order to seize power, Stalin ordered Trotsky's death in 1940, as the latter had been appointed by Lenin to continue with his project and not Stalin. Trotsky was an obstacle for Stalin's rise [History notes Year 11]. This obviously, began to make Stalin an unpopular leader, deteriorating the USSR's public image. If Stalin's way of ruling was been seen as controversial by the Allies, it is logical to think that this created tense relationships for which the Soviet Union definitely has a certain amount of responsibility.

Having discussed those ideas, I believe it was really a difference between two contrasting ideologies and continuous rivalry by both the USSR and the USA what caused the Cold War, as historian 3 in "Oxford Royal Academy history textbook page 13" defends. Moreover, post-revisionist historians like John Lewis Gaddis would state that because of these differences, both sides are responsible for the development of tensions and that the Cold War was in fact an accident based on confusion and mutual misunderstanding [www.wikipedia.com]. Actually, if we look at Truman's March 1947 speech to Congress, we can identify messages of cooperation, peace and unity, which are the same values the Communist countries seemed to promote [ORA History textbook]. This suggests that no particular side is really looking for a conflict, which shows evidence for the post-revisionist theory.

To conclude, there are reasons to suppose that the USSR was looking for conflict but others that indicate otherwise. I believe history is usually too complex to blame a conflict like the Cold War just on one side, there are several factors we have to analyse. Because of that, I think the USSR has some amount of guilt but not fully.

Bibliography:
-"Why nations fail" (historical essay by Daron Acemoglu and James Robinson)
-Wikipedia
-ORA History notes and textbook
-Year 11 history notes
-johndclare.net

Word count: 1089

Oxford Royale Academy. Philosophy essay on Kant

Oxford Royale Academy:
Philosophy essay: Immanuel Kant
By Fernando Martinez-Periset
1. Introduction:
Immanuel Kant is one of the most influential philosophers whose innovative and radical theories changed the way philosophy was being discussed. On the course of this essay I will give a short overview of his life and I will focus on two main areas of Kant's ideas: his metaphysics, where I will  particularly examine his criticism to the ontological argument and his perception theory, and his perspective on ethics, highlighting the strengths and weaknesses of the latter. I will also be adding my personal thought on the topics discussed once the arguments have been explained. This analysis will lead me to my conclusion on these aspects of the Kantian philosophy.
2. Brief biography and historical background:
He was born in 1724 in Königsberg, a German-Prussian town, where he spent most of his life both as a student and as a professor. He was a cultivated man, who had studied from mathematics and science to theology. Kant was usually regarded as a friendly and welcoming man by his contemporaries, in fact, there are testimonies that state how he frequently invited home his students and friends if they needed it. His most important work is 'Critique of pure reason', which was written when he was in his mid-forties. Some time later, he will publish 'Critique of practical reason'. These works twisted philosophy around and that is why some experts call Kantian ideas a 'Copernican revolution' in philosophy. It is also worth noting that as he got older, Kant was deeply influenced by David Hume's philosophy, as well as Descartes and Leibniz's amongst others, who influenced his early philosophical thoughts. Kant finally died aged 79 in 1804, after suffering from a disease for more than a year.
At the time Kant is working on his philosophy, Europe is being bombarded by new scientific ideas, and discoveries, like those of Newton, that progressively change European mentality. It is also a pre-Napoleonic continent at the time. In addition, Prussia (Kant's native country) is slowly gaining more importance in Europe.
3. Kant's Metaphysics: 
3.1 Criticising the ontological argument:
Although it is thought that Kant was a religious man, he was not a rigorous one. That might be one of the reasons why, applying logic and reason, he attempts to defeat the ontological argument for the existence of God. Firstly, to understand what we are discussing and what we mean by 'God' in this essay, we will be focusing on the Western church vision of God as an omniscient, all powerful creator of the universe.
The ontological argument was a deductively valid way of defining God into existence. It was developed by St. Anselm during the 12th century and it rests on the premises that God is the greatest conceivable being and that for him to be the greatest he must exist both in my imagination and in reality. This last premise implies that it is greater to exist than to not exist and if he only existed in one of these forms, he would not truly be the greatest. So the conclusion of the argument is that God exists. Nevertheless, there seems to be something essentially wrong with the ontological argument and it took philosophers a long time to destroy it, until Kant introduced two criticisms to it. Before Kant, both Aquinas and Gaunilo, amongst others, had tried to highlight that there was something fundamentally wrong with it but they had not been able to explain exactly what it was.
Resultado de imagen de kant To develop his first attack against the ontological argument, Kant points out that predicates can either be separable or inseparable. To illustrate this, an example of a separable predicate would be 'unicorn' and 'sad', since a unicorn can be happy and given that 'sad' is not a part of the definition of 'unicorn'. On the other hand, 'unicorn' and 'horn' would be inseparable as if a unicorn does not have a horn it is no longer a unicorn. Therefore it is true by definition that a unicorn must have a horn; it's a tautology. By doing that, Kant accepts the idea that the predicate 'God' and 'existence' go together and are inseparable, as Anselm tells us in his argument. However, Kant indicates that there is a flaw on the language used in the ontological argument. Kant argues that the argument is not really given us much information. In other words, applying the theory of inseparable predicates that I have just discussed, the same way we would say the phrase: "if a unicorn exists it must have a horn", what the ontological argument is really stating is: "if God exists, he must exist".  'Existence' and 'God' go together the same way 'unicorn' and 'horn' do but that does not tell us if they exist, we are just defining them. Kant point towards a difference between the fact to define something and its real status. Therefore, St. Anselm does not provide us with enough information as we are left with the word "if" in his message. This word leaves the question of God's existence still opened to debate. Some philosophers would argue that with this attack to the ontological argument we get to see the great genius of Kant, as he is moving early into philosophy of language, that will be developed in the 20th century, mainly by Wittgenstein.
With regard to Kant's second criticism of the ontological argument, he thinks it is related to a misguiding use of the word "exist". Kant believes it is not a descriptive word and therefore we can not directly draw something into existence. The verb "to exist" does not provide us with any useful descriptive information, it doesn't tell us how God is. We can picture in our imagination properties such as brightness or colour, but this does not occur with the quality "existence". Kant's point is that we simply can't use words to make something exist or stop existing, because that's just part of the definition we have used to create our conception of God. Albeit these reasons are fairly strong to defeat the ontological argument, some theists would respond to that by re-stating the argument saying it is really an attempt to understand God better rather than to prove his existence. The problem with this perspective is called 'death by a thousand justifications' and it means that every time your evidence is questioned and destroyed, the argument is slightly changed again and again, making it impossible to defeat that particular newly created view.
As for my thoughts on Kant's method to wreck this argument, I think he is really clever and convincing. His analysis is brilliant and it demonstrates he is able to think critically. He shows where Anselm went wrong and points out the weaknesses effectively and by applying simple but well-structured logic and rationality. For this reasons I think both of Kant's theories on this matter are correct and valid. From that, we can also conclude that the ontological argument, this 'charming joke' as Schopenhauer calls it, falls apart.
3.2 Perception theory:
One of the ideas Kant is most famous for is his perception one. Once naïve realism, which is the view that reality is as it is perceived, has been defeated by several philosophers like Hume or Locke, Kant tries to bring together and combine the empiricist and the rationalist traditions mixing elements of both to show that the world is not as our perception of it indicates.
Previously, idealist interpretations had been developed by Berkeley, whose theory was that there is no external world and all there is to the world is our perception of it. For Berkeley, it all goes down to the concepts. He also claimed that once something is no longer perceived, it ceases to exist ("esse est percipi"). By contrast, realist theories admit that there are primary and secondary qualities to objects. Primary qualities are objective and measurable, for example weight, and secondary ones are subjective to perception, like colour. Additionally, realists defend the position that there is a real world, hence the name of their philosophical position.
Kant mixes these two types of arguments suggesting that idealist thoughts fail to provide us with an explanation of what causes experiences if there is no external world apart form that of perception. Kant states that there must be something causing those experiences, a 'real world' or, as he calls it, the 'noumenon', the objects themselves. This is a point realists philosophers hold. He also argues that humans need someway to figure out and interpret what our perceptions are. Holding up a dog as an example of this, it would see the world in black and white and it would possibly not be able to know where his experiences come from. These concepts that we need to interpret what we perceive are named 'phenomenal' by Kant.
The problem with this theory is that we can never get out of our heads to see how the real world is like. This issue is called the veil of perception, as we don't have direct access or interaction with the world and this limits our conception of it. As we are not part of the noumenon, there are aspects that we can't possibly know.
Regarding my thoughts on this hypothesis, I believe Kant does have a point and twists philosophy around with this theory. I particularly admire how logically and cleverly he combines both schools of thought and links them in his perception statement. The argument is original and it changes the course of philosophy. Nevertheless, it is rather unsatisfactory that we can never perceive the world as it really is. It also points out that the human mind can't try to understand everything and that our knowledge of the world is limited by our experiences of it. But we probably have to accept that that is the way the human condition presents itself and cope with it. There is no other alternative. I would also venture so far as to say that Kant's perception theory can be based on essentially wrong premises if Descartes' evil demon is correct. In this case, the evil demon would really be the cause of our experiences and there would not be a 'noumenon' as such.
4. Kantian ethics:
Kantian ethics is a way of determining the essential wrongness or rightness of an action according to Kant. These ideas are also called 'duty-based theories on ethics'.
For Kant, an action is truly moral if we have a look at the motives and reasons and why people act in a moral way. Kant would go one step further and would dispute the claim that nothing is really moral unless there is the recognition of a sense of duty going on. For example, if I donate 3€ to Nepal either because I care about people in Nepal or because I want to impress somebody by pretending I care, none of those would be moral actions in nature for Kant. On the other hand, if I donate 3€ to Nepal out of a sense of duty and an acceptance that it is what I must do, then the action is ethical. For us to figure out what our duties are, Kant would call for a 'categorical imperative', which means "follow the command". He thinks there are universal truths concerning ethics and that these are objective. For him, these truths are in fact logical ones that we can deduce. In other words, we can figure out our duties if we apply logic to the situation discussed. So if I am thinking whether or not to give 3€ to Nepal, logic tells me to donate those 3€.
Resultado de imagen de kant critique of pure reason Nonetheless, Kantian ethics seems to show weaknesses right away. One of the most famous criticisms is the so-called "axe-man illustration". This problem is one of the reason why Kant's ethics can be regarded as a good idea but, eventually, impractical. The axe-man illustration works as follows: Imagine a mad axe-man knocks on your door and asks for somebody you know is in your house. If we follow logic, our duty would be to tell the killer that the person he is looking for is at home. Fundamentally, this seems to create more evil than it solves, the axe-man will kill that person, as common sense tells us. Surely telling the killer where the person is is not a moral action. So we are left with the question: isn't it better to lie to avoid a major wrong action from happening? What Kant asks us to do is related to applying cold logic to look for the categorical imperative but in some circumstances, it looks like humans are unable to be that impersonal. We attach feelings to morals and actions, we can't always use cold logic. That is one of the reasons why philosophers like Bernard Williams consider Kantian ethics a good idea theoretically but impossible pragmatically. Williams said that the impartial position Kant wants us to adopt could be possible for factual aspects but not for practical moral actions.
What I think about Kantian ethics is that most of what Kant proposes is well thought. I do understand why he bases his argument on the recognition of a sense of duty, since he is looking for an objective way to determine the moral rightness or wrongness of an action. Having said that, I personally disagree with this belief. I think there are more important aspects in a moral action than that of duty. For that reason, I agree as well with the "axe-man illustration" as I believe  that there are strong reasons to suppose that solely duty is not enough to make an action moral. Surely, there are times when an alternative is better than another one and this does not necessarily have to be duty-related. I would also add to the criticisms of Kant in this section by stating that, even if we accept Kant's vision of a duty-based moral theory, due to "the problem of other minds" we can never get into other people's heads and therefore we can never know if their motives for doing a moral action rest on a sense of duty or not.
5. Conclusions:
To conclude, I think that Kant is one of the most influential philosophers of all time and I find his way of explaining both metaphysics and ethics fascinating. Just like every single philosopher, he can be criticised, which is really the target of philosophical reasoning and critical analysis of argumentation and logic.
6. Bibliography:
-Wikipedia (Kant's biography and Bernard Williams)
-"Kant" by the Spanish newspaper "El País".
-Philosophy notes ORA 2015 Summer School
-Philosophy notes Year 12
-Personal knowledge

Word count: 2454

martes, 2 de junio de 2015

¡Ya hay fechas para la Feria del Libro de Madrid 2015!

Un año más, y por tercer año consecutivo, tendré el gran honor de participar en la Feria del Libro de Madrid en el Parque del Retiro. Gracias a la Librería Lé, que nos ha dado esta oportunidad en esta ocasión, mañana, día 3 de junio de 19.00 a 21.00 estaré firmando ejemplares de mis obras en la caseta 180 de la Feria. El recién publicado "El viento nunca sopla en Berlín", así como algunos de mis trabajos anteriores ("Premios Anacronópete 2013" y "Captain Hathaway") estarán disponibles para su venta y firma.
¡Gracias a todos y os espero mañana en el Retiro!

domingo, 10 de mayo de 2015

¡Gracias por haber venido a la presentación de "El viento nunca sopla en Berlín"!

Queridos amigos,
Os agradezco muchísimo el haber venido a la presentación de ayer, día 9 de mayo, en la que introdujimos la novela "El viento nunca sopla en Berlín", publicada por Ediciones Hades, que tuvo lugar en la Biblioteca Manuel Alvar. Para mí fue un auténtico placer y un privilegio contar con invitados como los que tuvimos. Entre los presentes había amigos, compañeros, profesores... y hasta el Concejal de Juventud de Pozuelo de Alarcón, Diego de Arístegui, cuya presencia agradezco mucho. Agradezco igualmente el apoyo de todos los que quisieron venir y no pudieron, pero bueno, las cosas pasan.
Tras acabar de conocer al editor y director de Ediciones Hades, José Luis Victoria, recién venido de Castellón, vi por primera vez "El viento nunca sopla en Berlín" con mi nombre sobre la portada, las letras del título, las páginas que contenían mis palabras... Fue un momento mágico. Después de prepararlo todo para la presentación, llegó Asunción Monzón, profesora de Literatura en el British Council y autora del poemario "Rosa de Agua" y quien haría la introducción al evento.
Poco a poco fueron llegando los invitados, a quienes recibimos y dimos la bienvenida.
Un poco más tarde de las 17.00 comenzó la charla. Asunción Monzón introdujo el evento en un discurso donde habló de mí mismo y de la importancia de la escritura en la sociedad en general. Agradeció el haber sido invitada a hablar y concluyó su intervención citando un fragmento de la novela para ponerles la miel en los labios a los oyentes. Después de ella, José Luis Victoria habló sobre el proceso editorial, qué hace una editorial como Ediciones Hades y sobre la propia novela. No faltó la anécdota de su reacción de sorpresa al ver que tan solo tenía 17 años y era menos de edad. El último de los hablantes fui yo, el autor. Comenté la novela, los personajes, alguna escena suelta, mi pasión por escribir y la importancia de la misma a lo largo de mi vida.
¡Tras arrancar unas risas, la gente se me fue acercando, deseosa de que le firmara el libro! ¡Lo cierto es que acabé saturado de tanto firmar! En la celebración también hubo algo de picoteo. Fue un momento mágico y especial. De los últimos libros que firmé, destaca el de Carla, mi prima segunda, que también fue a verme. Esa tarde estuve rodeado de gente muy importante para mí, así que gracias. Gracias a todos.
Vinieron algo más de 60 personas y vendimos 33 libros. ¡Todo un éxito!
FMP

domingo, 12 de abril de 2015

Presentación de "El viento nunca sopla en Berlín"/ "The Wind Never Blows in Berlin" Book Presentation

Nos confirmaron el otro día que el evento de presentación, venta y celebración de "El viento nunca sopla en Berlín" será el sábado 9 de mayo a las 17.00 en la biblioteca pública Manuel Alvar (calle Azcona, 42).
Además, contamos con la presencia del editor y director de Ediciones Hades, José Luis Victoria, quien también participará en el evento.
La historia de las vivencias del General Adam McCann verá la luz en poco menos de un mes y le verdad es que estoy muy contento, ¡así que espero veros en la presentación! Asimismo, es una gran oportunidad de conocer a gente que no he visto físicamente.
Hasta pronto,
FMP

viernes, 3 de abril de 2015

Le discours d'Albert Camus du 10 décembre 1957: Analyse

Le discours d'Albert Camus du 10 décembre 1957
Question: Parlez de l'effet de ce discours
Quand Camus a obtenu le Prix Nobel de littérature, il a prononcé un discours à l'Hôtel de Ville de Stockholm, où il a exprimé sa gratitude mais il a aussi parlé de quelques sujets par rapport à la société et à la liberté. Dans le cours de cet essai je commenterai les resources stylistiques que l'écrivain utilise pour illustrer ses points de vues et l'effet qu'ils ont sur le spectateur et le lecteur.
La première question qu'on doit se poser par rapport à ce discours est, quel est le message de Camus ? Son attitude est surtout humble mais aussi critique car il dénonce quelques problèmes qui étaient présents à l'époque. De plus son objectif est de souligner  les valeurs des artistes et l'importance des arts comme une manière de s'exprimer. Pour cela, il utilise plusieurs techniques qui montrent son attitude et son point de vue. Ces resources stylistiques ont, également, un effet sur le spectateur.
Dans son premier paragraphe, Camus a choisi les mots "bien voulu m'honorer, ma gratitude" pour mettre l'accent sur sa personne avec la répétition du mot possessive "ma" mais il emploi également des expressions de gratitude et modestie comme "récompense" ou "honneur" dans tout le premier paragraphe. La phrase "tout artiste désire être reconnu" donne un avis objectif, parce que c'est un fait véridique. Pour développer ce point, il exprime quelques idées pour décrire que la vie d'un artiste peut être triste et qu'il est possible qu'il ne connaisse pas le succès ("la solitude du travail"). Il continue à créer une image sincère de lui même dans la dernière phrase du premier paragraphe et la question rhétorique qu'il utilise ("recevoir cet honneur à l'heure (...) un malheur incessant?"). Ces resources stylistiques soulignent une critique. Comment les talents littéraires peuvent s'ignorer? C'est un point qu'il développera plus tard. Dans le deuxième paragraphe il commence à faire des jeux de mots. Pour illustrer cela, on voit que le mot "rôle" peut avoir un double sens. D'un côté ça peut signifier un papier d'une pièce de théâtre et d'un autre l'importance de l'écrivain. ("Je me fais de mon art et du rôle de l'écrivain"). Une combination des deux significations de ce mot, on pourra voir cette phrase comme une référence à la métaphore de Shakespeare où il disait: "le monde est un théâtre".
Quant au troisième paragraphe, il commence à se centrer sur ce qu'il pense de la littérature et les difficultés que les artistes doivent affronter. Camus illustre aussi l'idée que ce n'est pas une vie facile. ("Réjouissance solitaire"). Dans cette citation, on voit l'argument de la solitude qui est aussi important par rapport aux œuvres de Camus, comme on voit dans "Caligula" ou "Le malentendu". Il fait aussi une allusion à l'idéal philosophique de la beauté. Dans la Grèce antique et selon Socrate et Aristote, par exemple, les arts sont une expression et une façon d'obtenir la beauté. Cela est reflété dans le discours dans la phrase ("à mi-chemin de la beauté"). Camus finit son paragraphe en faisant une référence à Nietzsche, où il explique clairement l'influence de la philosophie dans ses œuvres, comme on peut voir dans "L'étranger".
Il continu à développer ses arguments avec les principes de la liberté et la vocation dans les paragraphes suivants. ("Retrouver le sentiment d'une communauté vivante qui le  justifiera") ("jeté dans les fers de la tyrannie ou libre") Dans cette dernière, on pourra voir une métaphore pour symboliser l'oppression des régimes totalitaires qui ont gouverné l'Europe dans les années 30 et 40. De plus, cette avis est renforcé par le mot "hitlérien", qui fonctionne aussi comme une référence historique, qui est approfondie avec l'énumération des conflits que l'Europe a vécu et qui ont affecté la littérature et le rôle des artistes. ("Premiers procès révolutionnaires (...) torture et des prisons"). Également, Camus nous encourage à lutter contre l'injustice, le désespoir et le déshonneur et d'encourager la présences des arts, qui sont capables de naître dans des périodes de catastrophe. Aussi, par rapport aux idées de la vocation et de l'oppression, on observe une opinion mise en relation entre les générations, la restauration des valeurs et son avis. ("Chaque génération (...) le monde"). Cet argument est particulièrement fort parce qu'on est capables d'écouter la voix de Camus qui nous parle de l'unité et l'importance de la diversité en nous expliquant qu'on doit "refaire le monde". Cet argument a, également, un rapport avec les points que l'auteur avait souligné sur les conflits de l'Europe dans le passé.
Finalement, il rassemble tous ses points de vue dans un paragraphe préalable à la conclusion. On retrouve des idées sur la liberté et, surtout, l'importance des valeurs et la vérité ("titres que ceux (...) de lutte"). Pour bien transmettre ses conclusions, Camus utilise des questions rhétoriques ("Quel écrivain (...) vertu?"). Cette utilisation de la rhétorique a comme objectif de faire réfléchir l'audience.
Dans sa conclusion, Camus retourne à sa position d'homme modeste ("à ce que je suis réellement, à mes limites (...)"). Il emploie là un parallélisme pour transmettre le sentiment de son émotion parce qu'ils ont reconnu son talent. ("À mes limites, à mes dettes"). Il aussi utilise la répétition du mot "libre" pour souligner le sentiment de la liberté, qu'il avait déjà expliqué. Il finit son discours avec une métaphore qui parle du silence de l'artiste et une promesse de fidélité qu'un vrai artiste se doit de faire à lui même. ("Ancienne (...) dans le silence").
En conclusion, dans tout le discours, on voit un Camus humble et ému grâce à la reconnaissance qu'il vient d'obtenir. En même temps, il nous parle des injustices de ce monde et en utilisant des métaphores et des exemples historiques, il essaie de dénoncer les problèmes auxquels un artiste doit faire face.