我试图根据维基百科的文章制作一个自定义网站，并遇到了一些问题。
如果可能的话，我想避免使用flexbox解决方案。我将不胜感激任何建议：）
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}<!DOCTYPE html>
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<title>The Myth of Sisyphus</title>
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<li><a href="#infobox">Infobox</a></li>
<li><a href="#intro">Intro</a></li>
<li><a href="#summary">Summary</a></li>
<li><a href="#chapter_1">Chapter 1</a></li>
<li><a href="#chapter_2">Chapter 2</a></li>
<li><a href="#chapter_3">Chapter 3</a></li>
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<header id="home">
<h1>The Myth of Sisyphus</h1>
</header>
<aside id="infobox">
<figure>
<img src="https://upload.wikimedia.org/wikipedia/en/7/75/Le_Mythe_de_Sisyphe.jpg" alt="Book cover">
<figcaption>Cover of the first edition</figcaption>
</figure>
<table>
<tr>
<th>Author</th>
<td><a href="https://en.wikipedia.org/wiki/Albert_Camus">
Albert Camus</a></td>
</tr>
<tr>
<th>Original title</th>
<td><cite lang="fr">Le Mythe de Sisyphe</cite></td>
</tr>
<tr>
<th>Translator</th>
<td>Justin O'Brien</td>
</tr>
<tr>
<th>Country</th>
<td>France</td>
</tr>
<tr>
<th>Language</th>
<td>French</td>
</tr>
<tr>
<th>Subject</th>
<td><a href="https://en.wikipedia.org/wiki/Existentialism">
Existentialism</a>,
<a href="https://en.wikipedia.org/wiki/Absurdism">Absurdism</a></td>
</tr>
<tr>
<th>Published</th>
<td>1942 (<a lang="fr" href=
"https://en.wikipedia.org/wiki/%C3%89ditions_Gallimard">Éditions
Gallimard</a>, in French)<br> 1955
(<a href="https://en.wikipedia.org/wiki/Hamish_Hamilton">Hamish
Hamilton</a>, in English)</td>
</tr>
<tr>
<th>Media type</th>
<td>Print</td>
</tr>
<tr>
<th><a href=
"https://en.wikipedia.org/wiki/International_Standard_Book_Number">
ISBN</a></th>
<td><a href=
"https://en.wikipedia.org/wiki/Special:BookSources/0-679-73373-6">
0-679-73373-6</a></td>
</tr>
</table>
</aside>
<section id="intro">
<h2>Introduction</h2>
<p><b><cite>The Myth of Sisyphus</cite></b>
(<a href="https://en.wikipedia.org/wiki/French_language">French</a>:
<cite lang="fr">Le Mythe de Sisyphe</cite>) is a 1942 philosophical essay by
<a href="https://en.wikipedia.org/wiki/Albert_Camus">Albert Camus</a>.
The English translation by Justin O'Brien was first published in 1955.</p>
<p>In the essay, Camus introduces his philosophy of the
<a href="https://en.wikipedia.org/wiki/Absurdism">absurd</a>: man's futile
search for meaning, unity, and clarity in the face of an unintelligible
world devoid of God and eternal truths or values. Does the realization
of the absurd require suicide? Camus answers: "No. It requires revolt."
He then outlines several approaches to the absurd life. The final chapter
compares the absurdity of man's life with the situation of
<a href="https://en.wikipedia.org/wiki/Sisyphus">Sisyphus</a>, a figure of
<a href="https://en.wikipedia.org/wiki/Greek_mythology">
Greek mythology</a> who was condemned to repeat forever the same
meaningless task of pushing a boulder up a mountain, only to see it roll
down again. The essay concludes, "The struggle itself [...] is enough to
fill a man's heart. One must imagine Sisyphus happy."</p>
<p>The work can be seen in relation to other absurdist works by Camus:
the novel <a href="https://en.wikipedia.org/wiki/The_Stranger_(novel)">
<cite>The Stranger</cite></a> (1942), the plays
<a href="https://en.wikipedia.org/wiki/The_Misunderstanding">
<cite>The Misunderstanding</cite></a> (1942) and
<a href="https://en.wikipedia.org/wiki/Caligula_(play)">
<cite>Caligula</cite></a> (1944), and especially the essay
<a href="https://en.wikipedia.org/wiki/The_Rebel_(book)">
<cite>The Rebel</cite></a> (1951).</p>
</section>
<section id="summary">
<h2>Summary</h2>
<p>The essay is dedicated to
<a href="https://en.wikipedia.org/wiki/Pascal_Pia">Pascal Pia</a>
and is organized in four chapters and one appendix.</p>
<section id="chapter_1">
<h3>Chapter 1: An Absurd Reasoning</h3>
<p>Camus undertakes the task of answering what he considers to be the only
question of <a href="https://en.wikipedia.org/wiki/Philosophy">
philosophy</a> that matters: Does the realization of the meaninglessness
and absurdity of life necessarily require suicide?</p>
<p>He begins by describing the absurd condition: Much of our life is built
on the hope for tomorrow, yet tomorrow brings us closer to death,
the ultimate enemy; people live as if they didn't know about the
certainty of death. Once stripped of its common romanticism, the world
is a foreign, strange and inhuman place; true knowledge is impossible,
and rationality and science cannot reveal the world—such explanations
ultimately end in meaningless abstractions and metaphors. "From the
moment absurdity is recognized, it becomes a passion, the most harrowing
of all."</p>
<p>It is not the world that is absurd, nor human thought: the absurd
arises when the human need to understand meets the unreasonableness
of the world, when "my appetite for the absolute and for unity" meets
"the impossibility of reducing this world to a rational and reasonable
principle."</p>
<p>He then characterizes a number of philosophies that describe and
attempt to deal with this feeling of the absurd, by
<a href="https://en.wikipedia.org/wiki/Martin_Heidegger">Heidegger</a>,
<a href="https://en.wikipedia.org/wiki/Karl_Jaspers">Jaspers</a>,
<a href="https://en.wikipedia.org/wiki/Lev_Shestov">Shestov</a>,
<a href=
"https://en.wikipedia.org/wiki/S%C3%B8ren_Kierkegaard">Kierkegaard</a>,
and <a href="https://en.wikipedia.org/wiki/Edmund_Husserl">Husserl</a>.
All of these, he claims, commit "philosophical suicide" by reaching
conclusions that contradict the original absurd position, either
by abandoning reason and turning to God, as in the case of Kierkegaard
and Shestov, or by elevating reason and ultimately arriving at
ubiquitous <a href="https://en.wikipedia.org/wiki/Theory_of_Forms">
Platonic forms</a> and an abstract god, as in the case of Husserl.</p>
<p>For Camus, who set out to take the absurd seriously and follow it to
its final conclusions, these "leaps" cannot convince. Taking the absurd
seriously means acknowledging the contradiction between the desire of
human reason and the unreasonable world. Suicide, then, also must be
rejected: without man, the absurd cannot exist. The contradiction must
be lived; reason and its limits must be acknowledged, without false
hope. However, the absurd can never be accepted: it requires constant
confrontation, constant revolt.</p>
<p>While the question of human
<a href="https://en.wikipedia.org/wiki/Free_will">freedom in the
metaphysical sense</a> loses interest to the absurd man, he gains
freedom in a very concrete sense: no longer bound by hope for a better
future or eternity, without a need to pursue life's purpose or to create
meaning, "he enjoys a freedom with regard to common rules".</p>
<p>To embrace the absurd implies embracing all that the unreasonable world
has to offer. Without a meaning in life, there is no scale of values.
"What counts is not the best living but the most living."</p>
<p>Thus, Camus arrives at three consequences from fully acknowledging
the absurd: revolt, freedom, and passion.</p>
</section>
<section id="chapter_2">
<h3>Chapter 2: The Absurd Man</h3>
<p>Camus then goes on to present examples of the absurd life. He begins
with <a href="https://en.wikipedia.org/wiki/Don_Juan">Don Juan</a>,
the serial seducer who lives the passionate life to the fullest.
"There is no noble love but that which recognizes itself to be both
short-lived and exceptional."</p>
<p>The next example is the <a href="https://en.wikipedia.org/wiki/Actor">
actor</a>, who depicts ephemeral lives for ephemeral fame.
"He demonstrates to what degree appearing creates being." "In those
three hours he travels the whole course of the dead-end path that
the man in the audience takes a lifetime to cover."</p>
<p>Camus's third example of the absurd man is the conqueror, the warrior
who forgoes all promises of eternity to affect and engage fully
in human history. He chooses action over contemplation,
aware of the fact that nothing can last and no victory is final.</p>
</section>
<section id="chapter_3">
<h3>Chapter 3: Absurd Creation</h3>
<p>Here Camus explores the absurd creator or artist. Since explanation
is impossible, absurd art is restricted to a description of the myriad
experiences in the world. "If the world were clear, art would
not exist." Absurd creation, of course, also must refrain from judging
and from alluding to even the slightest shadow of hope.</p>
<p>He then analyzes the work of
<a href="https://en.wikipedia.org/wiki/Fyodor_Dostoyevsky">
<cite>Dostoyevsky</cite></a> in this light, especially
<a href="https://en.wikipedia.org/wiki/A_Writer%27s_Diary">
<cite>The Diary of a Writer</cite></a>,
<a href="https://en.wikipedia.org/wiki/Demons_(Dostoyevsky_novel)">
<cite>The Possessed</cite></a> and
<a href="https://en.wikipedia.org/wiki/The_Brothers_Karamazov">
<cite>The Brothers Karamazov</cite></a>. All these works start from
the absurd position, and the first two explore the theme
of philosophical suicide. However, both The Diary and his last novel,
The Brothers Karamazov, ultimately find a path to hope and faith
and thus fail as truly absurd creations.</p>
</section>
<section id="chapter_4">
<h3>Chapter 4: The Myth of Sisyphus</h3>
<p>In the last chapter, Camus outlines the legend of Sisyphus who defied
the gods and put Death in chains so that no human needed to die. When
Death was eventually liberated and it came time for Sisyphus himself
to die, he concocted a deceit which let him escape from the underworld.
Finally captured, the gods decided on his punishment for all eternity.
He would have to push a rock up a mountain; upon reaching the top,
the rock would roll down again, leaving Sisyphus to start over. Camus
sees Sisyphus as the absurd hero who lives life to the fullest, hates
death, and is condemned to a meaningless task.</p>
<p>Camus is interested in Sisyphus' thoughts when marching down
the mountain, to start anew. After the stone falls back down
the mountain Camus states that "It is during that return, that pause,
that Sisyphus interests me. A face that toils so close to stones
is already stone itself! I see that man going back down with a heavy yet
measured step toward the torment of which he will never know the end."
This is the truly tragic moment, when the hero becomes conscious of his
wretched condition. He does not have hope, but "there is no fate that
cannot be surmounted by scorn." Acknowledging the truth will conquer it;
Sisyphus, just like the absurd man, keeps pushing. Camus claims that
when Sisyphus acknowledges the futility of his task and the certainty
of his fate, he is freed to realize the absurdity of his situation
and to reach a state of contented acceptance. With a nod to
the similarly cursed Greek hero
<a href="https://en.wikipedia.org/wiki/Oedipus">Oedipus</a>, Camus
concludes that "all is well," indeed, that "one must imagine Sisyphus
happy."</p>
</section>
<section id="appendix">
<h3>Appendix</h3>
<p>The essay contains an appendix titled "Hope and the Absurd in the work
of <a href="https://en.wikipedia.org/wiki/Franz_Kafka">Franz Kafka</a>".
While Camus acknowledges that Kafka's work represents an exquisite
description of the absurd condition, he maintains that Kafka fails as
an absurd writer because his work retains a glimmer of hope.</p>
</section>
</section>
<section id="sources">
<h2>Sources</h2>
<ul>
<li><cite>The Plague, The Fall, Exile and the Kingdom, and Selected
Essays</cite>, Albert Camus,
<a href="https://en.wikipedia.org/wiki/Alfred_A._Knopf">
Alfred A. Knopf</a> 2004, <a href=
"https://en.wikipedia.org/wiki/Special:BookSources/1400042550">
ISBN 1-4000-4255-0</a></li>
</ul>
</section>
<section id="see_also">
<h2>See also</h2>
<ul>
<li><a href="https://en.wikipedia.org/wiki/Absurdism">Absurdism</a></li>
<li><a href="https://en.wikipedia.org/wiki/Eternal_return">
Eternal return</a></li>
<li><a href="https://en.wikipedia.org/wiki/Theatre_of_the_Absurd">
Theatre of the Absurd</a></li>
<li><a href="https://en.wikipedia.org/wiki/The_Sickness_Unto_Death">
The Sickness Unto Death</a> by <a lang="da" href=
"https://en.wikipedia.org/wiki/S%C3%B8ren_Kierkegaard">
Søren Kierkegaard</a></li>
</ul>
</section>
<section id="external_links">
<h2>External links</h2>
<ul>
<li><a href="http://dbanach.com/sisyphus.htm">Chapter 4 of the essay
The Myth of Sisyphus</a>, by Albert Camus</li>
<li><a href="http://www.sparknotes.com/philosophy/sisyphus/summary.html">
SparkNotes on The Myth of Sisyphus</a></li>
<li><a href="https://web.archive.org/web/20071012140207/http://www.geocities.com/a_and_e_uk/Sisyphus.htm">
Suicide and Atheism: Camus and The Myth of Sisyphus</a> at the
<a href="https://en.wikipedia.org/wiki/Wayback_Machine">Wayback
Machine</a> (archived October 12, 2007) by Richard Barnett</li>
<li><a href="https://www.viu.ca/events/albert-camus-absurd-hero">
The Absurd Hero</a> by Bob Lane</li>
</ul>
</section>
<footer>
<h4>Created by Name Surname<br>Source: <a href="https://en.wikipedia.org/wiki/The_Myth_of_Sisyphus">https://en.wikipedia.org/wiki/The_Myth_of_Sisyphus</a></h4>
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答案 0 :(得分：0)
这里是1,2和4.如果您想在没有js的情况下执行此操作，那么您只需添加更多空间来考虑顶部的粘性导航。
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}<!DOCTYPE html>
<html lang="en">
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<link rel="stylesheet" type="text/css" href="style.css">
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<li><a href="#summary">Summary</a></li>
<li><a href="#chapter_1">Chapter 1</a></li>
<li><a href="#chapter_2">Chapter 2</a></li>
<li><a href="#chapter_3">Chapter 3</a></li>
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<main>
<header id="home">
<h1>The Myth of Sisyphus</h1>
</header>
<aside id="infobox">
<figure>
<img src="https://upload.wikimedia.org/wikipedia/en/7/75/Le_Mythe_de_Sisyphe.jpg" alt="Book cover">
<figcaption>Cover of the first edition</figcaption>
</figure>
<table>
<tr>
<th>Author</th>
<td><a href="https://en.wikipedia.org/wiki/Albert_Camus">
Albert Camus</a></td>
</tr>
<tr>
<th>Original title</th>
<td><cite lang="fr">Le Mythe de Sisyphe</cite></td>
</tr>
<tr>
<th>Translator</th>
<td>Justin O'Brien</td>
</tr>
<tr>
<th>Country</th>
<td>France</td>
</tr>
<tr>
<th>Language</th>
<td>French</td>
</tr>
<tr>
<th>Subject</th>
<td><a href="https://en.wikipedia.org/wiki/Existentialism">
Existentialism</a>,
<a href="https://en.wikipedia.org/wiki/Absurdism">Absurdism</a></td>
</tr>
<tr>
<th>Published</th>
<td>1942 (<a lang="fr" href=
"https://en.wikipedia.org/wiki/%C3%89ditions_Gallimard">Éditions
Gallimard</a>, in French)<br> 1955
(<a href="https://en.wikipedia.org/wiki/Hamish_Hamilton">Hamish
Hamilton</a>, in English)</td>
</tr>
<tr>
<th>Media type</th>
<td>Print</td>
</tr>
<tr>
<th><a href=
"https://en.wikipedia.org/wiki/International_Standard_Book_Number">
ISBN</a></th>
<td><a href=
"https://en.wikipedia.org/wiki/Special:BookSources/0-679-73373-6">
0-679-73373-6</a></td>
</tr>
</table>
</aside>
<section id="intro">
<h2>Introduction</h2>
<p><b><cite>The Myth of Sisyphus</cite></b>
(<a href="https://en.wikipedia.org/wiki/French_language">French</a>:
<cite lang="fr">Le Mythe de Sisyphe</cite>) is a 1942 philosophical essay by
<a href="https://en.wikipedia.org/wiki/Albert_Camus">Albert Camus</a>.
The English translation by Justin O'Brien was first published in 1955.</p>
<p>In the essay, Camus introduces his philosophy of the
<a href="https://en.wikipedia.org/wiki/Absurdism">absurd</a>: man's futile
search for meaning, unity, and clarity in the face of an unintelligible
world devoid of God and eternal truths or values. Does the realization
of the absurd require suicide? Camus answers: "No. It requires revolt."
He then outlines several approaches to the absurd life. The final chapter
compares the absurdity of man's life with the situation of
<a href="https://en.wikipedia.org/wiki/Sisyphus">Sisyphus</a>, a figure of
<a href="https://en.wikipedia.org/wiki/Greek_mythology">
Greek mythology</a> who was condemned to repeat forever the same
meaningless task of pushing a boulder up a mountain, only to see it roll
down again. The essay concludes, "The struggle itself [...] is enough to
fill a man's heart. One must imagine Sisyphus happy."</p>
<p>The work can be seen in relation to other absurdist works by Camus:
the novel <a href="https://en.wikipedia.org/wiki/The_Stranger_(novel)">
<cite>The Stranger</cite></a> (1942), the plays
<a href="https://en.wikipedia.org/wiki/The_Misunderstanding">
<cite>The Misunderstanding</cite></a> (1942) and
<a href="https://en.wikipedia.org/wiki/Caligula_(play)">
<cite>Caligula</cite></a> (1944), and especially the essay
<a href="https://en.wikipedia.org/wiki/The_Rebel_(book)">
<cite>The Rebel</cite></a> (1951).</p>
</section>
<section id="main">
<h2 id="summary">Summary</h2>
<p>The essay is dedicated to
<a href="https://en.wikipedia.org/wiki/Pascal_Pia">Pascal Pia</a>
and is organized in four chapters and one appendix.</p>
<section id="chapter_1">
<h3>Chapter 1: An Absurd Reasoning</h3>
<p>Camus undertakes the task of answering what he considers to be the only
question of <a href="https://en.wikipedia.org/wiki/Philosophy">
philosophy</a> that matters: Does the realization of the meaninglessness
and absurdity of life necessarily require suicide?</p>
<p>He begins by describing the absurd condition: Much of our life is built
on the hope for tomorrow, yet tomorrow brings us closer to death,
the ultimate enemy; people live as if they didn't know about the
certainty of death. Once stripped of its common romanticism, the world
is a foreign, strange and inhuman place; true knowledge is impossible,
and rationality and science cannot reveal the world—such explanations
ultimately end in meaningless abstractions and metaphors. "From the
moment absurdity is recognized, it becomes a passion, the most harrowing
of all."</p>
<p>It is not the world that is absurd, nor human thought: the absurd
arises when the human need to understand meets the unreasonableness
of the world, when "my appetite for the absolute and for unity" meets
"the impossibility of reducing this world to a rational and reasonable
principle."</p>
<p>He then characterizes a number of philosophies that describe and
attempt to deal with this feeling of the absurd, by
<a href="https://en.wikipedia.org/wiki/Martin_Heidegger">Heidegger</a>,
<a href="https://en.wikipedia.org/wiki/Karl_Jaspers">Jaspers</a>,
<a href="https://en.wikipedia.org/wiki/Lev_Shestov">Shestov</a>,
<a href=
"https://en.wikipedia.org/wiki/S%C3%B8ren_Kierkegaard">Kierkegaard</a>,
and <a href="https://en.wikipedia.org/wiki/Edmund_Husserl">Husserl</a>.
All of these, he claims, commit "philosophical suicide" by reaching
conclusions that contradict the original absurd position, either
by abandoning reason and turning to God, as in the case of Kierkegaard
and Shestov, or by elevating reason and ultimately arriving at
ubiquitous <a href="https://en.wikipedia.org/wiki/Theory_of_Forms">
Platonic forms</a> and an abstract god, as in the case of Husserl.</p>
<p>For Camus, who set out to take the absurd seriously and follow it to
its final conclusions, these "leaps" cannot convince. Taking the absurd
seriously means acknowledging the contradiction between the desire of
human reason and the unreasonable world. Suicide, then, also must be
rejected: without man, the absurd cannot exist. The contradiction must
be lived; reason and its limits must be acknowledged, without false
hope. However, the absurd can never be accepted: it requires constant
confrontation, constant revolt.</p>
<p>While the question of human
<a href="https://en.wikipedia.org/wiki/Free_will">freedom in the
metaphysical sense</a> loses interest to the absurd man, he gains
freedom in a very concrete sense: no longer bound by hope for a better
future or eternity, without a need to pursue life's purpose or to create
meaning, "he enjoys a freedom with regard to common rules".</p>
<p>To embrace the absurd implies embracing all that the unreasonable world
has to offer. Without a meaning in life, there is no scale of values.
"What counts is not the best living but the most living."</p>
<p>Thus, Camus arrives at three consequences from fully acknowledging
the absurd: revolt, freedom, and passion.</p>
</section>
<section id="chapter_2">
<h3>Chapter 2: The Absurd Man</h3>
<p>Camus then goes on to present examples of the absurd life. He begins
with <a href="https://en.wikipedia.org/wiki/Don_Juan">Don Juan</a>,
the serial seducer who lives the passionate life to the fullest.
"There is no noble love but that which recognizes itself to be both
short-lived and exceptional."</p>
<p>The next example is the <a href="https://en.wikipedia.org/wiki/Actor">
actor</a>, who depicts ephemeral lives for ephemeral fame.
"He demonstrates to what degree appearing creates being." "In those
three hours he travels the whole course of the dead-end path that
the man in the audience takes a lifetime to cover."</p>
<p>Camus's third example of the absurd man is the conqueror, the warrior
who forgoes all promises of eternity to affect and engage fully
in human history. He chooses action over contemplation,
aware of the fact that nothing can last and no victory is final.</p>
</section>
<section id="chapter_3">
<h3>Chapter 3: Absurd Creation</h3>
<p>Here Camus explores the absurd creator or artist. Since explanation
is impossible, absurd art is restricted to a description of the myriad
experiences in the world. "If the world were clear, art would
not exist." Absurd creation, of course, also must refrain from judging
and from alluding to even the slightest shadow of hope.</p>
<p>He then analyzes the work of
<a href="https://en.wikipedia.org/wiki/Fyodor_Dostoyevsky">
<cite>Dostoyevsky</cite></a> in this light, especially
<a href="https://en.wikipedia.org/wiki/A_Writer%27s_Diary">
<cite>The Diary of a Writer</cite></a>,
<a href="https://en.wikipedia.org/wiki/Demons_(Dostoyevsky_novel)">
<cite>The Possessed</cite></a> and
<a href="https://en.wikipedia.org/wiki/The_Brothers_Karamazov">
<cite>The Brothers Karamazov</cite></a>. All these works start from
the absurd position, and the first two explore the theme
of philosophical suicide. However, both The Diary and his last novel,
The Brothers Karamazov, ultimately find a path to hope and faith
and thus fail as truly absurd creations.</p>
</section>
<section id="chapter_4">
<h3>Chapter 4: The Myth of Sisyphus</h3>
<p>In the last chapter, Camus outlines the legend of Sisyphus who defied
the gods and put Death in chains so that no human needed to die. When
Death was eventually liberated and it came time for Sisyphus himself
to die, he concocted a deceit which let him escape from the underworld.
Finally captured, the gods decided on his punishment for all eternity.
He would have to push a rock up a mountain; upon reaching the top,
the rock would roll down again, leaving Sisyphus to start over. Camus
sees Sisyphus as the absurd hero who lives life to the fullest, hates
death, and is condemned to a meaningless task.</p>
<p>Camus is interested in Sisyphus' thoughts when marching down
the mountain, to start anew. After the stone falls back down
the mountain Camus states that "It is during that return, that pause,
that Sisyphus interests me. A face that toils so close to stones
is already stone itself! I see that man going back down with a heavy yet
measured step toward the torment of which he will never know the end."
This is the truly tragic moment, when the hero becomes conscious of his
wretched condition. He does not have hope, but "there is no fate that
cannot be surmounted by scorn." Acknowledging the truth will conquer it;
Sisyphus, just like the absurd man, keeps pushing. Camus claims that
when Sisyphus acknowledges the futility of his task and the certainty
of his fate, he is freed to realize the absurdity of his situation
and to reach a state of contented acceptance. With a nod to
the similarly cursed Greek hero
<a href="https://en.wikipedia.org/wiki/Oedipus">Oedipus</a>, Camus
concludes that "all is well," indeed, that "one must imagine Sisyphus
happy."</p>
</section>
<section id="appendix">
<h3>Appendix</h3>
<p>The essay contains an appendix titled "Hope and the Absurd in the work
of <a href="https://en.wikipedia.org/wiki/Franz_Kafka">Franz Kafka</a>".
While Camus acknowledges that Kafka's work represents an exquisite
description of the absurd condition, he maintains that Kafka fails as
an absurd writer because his work retains a glimmer of hope.</p>
</section>
</section>
<section id="sources">
<h2>Sources</h2>
<ul>
<li><cite>The Plague, The Fall, Exile and the Kingdom, and Selected
Essays</cite>, Albert Camus,
<a href="https://en.wikipedia.org/wiki/Alfred_A._Knopf">
Alfred A. Knopf</a> 2004, <a href=
"https://en.wikipedia.org/wiki/Special:BookSources/1400042550">
ISBN 1-4000-4255-0</a></li>
</ul>
</section>
<section id="see_also">
<h2>See also</h2>
<ul>
<li><a href="https://en.wikipedia.org/wiki/Absurdism">Absurdism</a></li>
<li><a href="https://en.wikipedia.org/wiki/Eternal_return">
Eternal return</a></li>
<li><a href="https://en.wikipedia.org/wiki/Theatre_of_the_Absurd">
Theatre of the Absurd</a></li>
<li><a href="https://en.wikipedia.org/wiki/The_Sickness_Unto_Death">
The Sickness Unto Death</a> by <a lang="da" href=
"https://en.wikipedia.org/wiki/S%C3%B8ren_Kierkegaard">
Søren Kierkegaard</a></li>
</ul>
</section>
<section id="external_links">
<h2>External links</h2>
<ul>
<li><a href="http://dbanach.com/sisyphus.htm">Chapter 4 of the essay
The Myth of Sisyphus</a>, by Albert Camus</li>
<li><a href="http://www.sparknotes.com/philosophy/sisyphus/summary.html">
SparkNotes on The Myth of Sisyphus</a></li>
<li><a href="https://web.archive.org/web/20071012140207/http://www.geocities.com/a_and_e_uk/Sisyphus.htm">
Suicide and Atheism: Camus and The Myth of Sisyphus</a> at the
<a href="https://en.wikipedia.org/wiki/Wayback_Machine">Wayback
Machine</a> (archived October 12, 2007) by Richard Barnett</li>
<li><a href="https://www.viu.ca/events/albert-camus-absurd-hero">
The Absurd Hero</a> by Bob Lane</li>
</ul>
</section>
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<h4>Created by Name Surname<br>Source: <a href="https://en.wikipedia.org/wiki/The_Myth_of_Sisyphus">https://en.wikipedia.org/wiki/The_Myth_of_Sisyphus</a></h4>
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答案 1 :(得分：0)
我使用这个jquery插件轻松实现＃3 http://leafo.net/sticky-kit/它就像使用以下内容一样简单：$("#sidebar").stick_in_parent();它会在滚动后停止顶部的元素。具有可根据您的需求进行定制的其他功能。这不是我的插件，只是我找到了成功的插件。