@workpointnews23: ซาอุฯ ลั่นตอบโต้เด็ดขาด! ฮูตีถล่มสนามบิน 2 วันติด l ข่าวเที่ยงเวิร์คพอยท์ l 13 ต.ค.69 . ซาอุดีอาระเบียประกาศเตรียมตอบโต้กลุ่มฮูตีอย่างจริงจังและเด็ดขาด หลังสนามบินนานาชาติคิงคาลิดในกรุงริยาดถูกโจมตีสองวันติดต่อกัน ตามรายงานในสคริปต์ มีผู้เสียชีวิตรวม 14 ราย และบาดเจ็บมากกว่า 300 คน . #ซาอุดีอาระเบีย #ประกาศตอบโต้ฮูตี #สนามบินถูกถล่มซ้ำ #ข่าวเที่ยงเวิร์คพอยท์ #ข่าวเวิร์คพอยท์23ออนไลน์

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— Albert Camus, The Stranger (L’Étranger, 1942), trans. Stuart Gilbert What it means: This is the one moment Meursault cracks. Throughout the novel he feels almost nothing where feeling is expected — not at his mother’s funeral, not about marriage, not about killing a man. Here, in the courtroom, what finally reaches him isn’t guilt or fear of execution. It’s the realization that a room full of strangers despises him. He calls the urge to cry “foolish,” which is the most Meursault detail in the whole passage: even his one flash of genuine emotion gets immediately dismissed as absurd. Camus is making a precise point about how society works — Meursault is on trial for murder, but what actually condemns him is his failure to perform the emotions people expect. The crowd doesn’t hate him for what he did; they hate him for not pretending. Albert Camus: French-Algerian writer and philosopher (1913–1960), the central figure of absurdism — the idea that humans crave meaning from a universe that offers none, and that the honest response is neither suicide nor false hope, but living fully within that contradiction. The Stranger (1942), his best-known novel, follows Meursault, a man whose emotional detachment and refusal to fake socially expected feeling ultimately matter more to his judges than the crime itself. Camus won the Nobel Prize in Literature in 1957, one of the youngest ever to receive it, and died three years later in a car accident at 46, with an unfinished manuscript in the wreckage. #albertcamus #camus #thestranger #philosophy #absurdism

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