Online research in philosophy

It is claimed, in a recently published introductory text book on ethics, that Jean-Paul Sartre did not accept a principle of universalizability. In this paper, I will briefly demonstrate that Sartre did indeed accept such a principle, and I will support my claim by reference to Sartre’s own words.

Jean-Paul Sartre''s position on religion has traditionally been reduced to variations of his well-known atheism. This is a result of collapsing the distinction between religion and theism, as both critics and supporters of Sartre have commonly done. Consequently, attention to Sartre''s persistent and pervasive concern with religious ideas, symbols, and experiences has been neglected. While the religious implications of Sartre''s thought have mostly been considered in relation to Christian theology, other newer areas of religious studies suggest additional avenues for considering Sartre. Sartre''s possible connections to four such areas are discussed: 1) Eastern religions; 2) Jewish studies; 3) feminist theology, and 4) the psychoanalysis of religion.

It is well known that Sartre describes his form of existentialism as atheistic, and much of the rhetoric of Sartrean existentialism draws off the image of God's absence from the world. There are nevertheless, I argue, deep grounds for thinking that the coherence and well-groundedness of Sartre's thought requires that his phenomenological ontology take finally the form of an onto-theology: Sartre's ontology runs into difficulties concerning the origin of the for-itself and the unity of being; an onto-theology like Schelling's, which avoids the ‘ontological optimism’ that Sartre objects to in Hegel, both releases Sartre's ontology from its difficulties and furthers Sartre's central philosophical purposes. (Published Online July 10 2006).

Existentialism, by A. Macintyre.--Sartre the philosopher, by S. Hampshire.--The phenomenological philosophy in France, by I.W. Alexander.--Imagination, by H. Ishiguro.--Authenticity and obligation, by F.A. Olafson.--Pessimism and optimism in Sartre's thought, by F. Jeanson.--Sartre as critic, by H. Wardman.--Sartre's literary criticism, by O. Hahn.--Sartre as a playwright: The flies and Dirty hands, by W. Kaufmann.--Sartre as dramatist, by D. Bradby.--The existentialist rediscovery of Hegel and Marx, by G.L. Kline.--Sartre's ideal of social unity, by H.R. Burkel.--Praxis and dialectic in Sartre's critique, by A. Manser.--Sartre and the humanist tradition in sociology, by M.A. and D. Weinstein.--Bibliography (p. [387]-390).

Jean-Paul Sartre is one of the most famous philosophers of the twentieth century. The principal founder of existentialism, a political thinker and famous novelist and dramatist, his work has exerted enormous influence in philosophy, literature, politics and cultural studies. Jean-Paul Sartre: Basic Writings is the first collection of Sartre's key philosophical writings and provides an indispensable resource for readers of his work. Stephen Priest's clear and helpful introductions make the volume an ideal companion to those coming to Sartre's writing for the first time.

part 1: lecture 1. What is existentialism? ; lecture 2. Albert Camus : The stranger, part I ; lecture 3. Camus : The stranger, part II ; lecture 4. Camus : The myth of Sisyphus ; lecture 5. Camus : The plague and The fall ; lecture 6. Camus : The fall, part II ; lecture 7. Soren Kierkegaard : On becoming a Christian ; lecture 8. Kierkegaard on subjective truth ; lecture 9. Kierkegaard's existential dialectic ; lecture 10. Friedrich Nietzsche on Nihilism and the death of God ; lecture 11. Nietzsche, the immortalist ; lecture 12. Neitzsche on freedom, fate and responsibility -- Part 2: lecture 1. Nietzsche, the Ubermensch and the will to power ; lecture 2. Three grand inquisitors, Dostoevsky, Kafka, Hesse ; lecture 3. Husserl, Heidegger and phenomenology ; lecture 4. Heidegger on the world and the self ; lecture 5. Heidegger on authenticity ; lecture 6. Jean-Paul Sartre at war ; lecture 7. Sartre on emotions and responsibility ; lecture 8. Sartre's phenomenology ; lecture 9. Satre on bad faith ; lecture 10. Sartre's Being-for-others and No exit ; lecture 11. Sartre on sex and love ; lecture 12. From existentialism to postmodernism.

There is a sort of natural closeness between Sartre and violence. Many have claimed that Sartre was fascinated by violence. Authors as diverse as Michel-Antoine Burnier and Mohamed Harbi have criticised the violence in Sartre, and even Bernard-Henri Lévy sees in Sartre's preface to Fanon's Les Damnés de la Terre a 'Sartre possédé'. Unlike these authors, we claim that Sartre was in no way fascinated by violence. In his eyes, violence was an historical fact that was characteristic of his time and which he, personally, discovered at an early age. What is more, Sartre's violence is situational. If he discovered the world in books, it was also in books that he discovered violence. Books and history were the melting pots of a violence that haunts Sartre's work. The historical situations in which he found himself explain the omnipresence of violence in his work.

Nihilism in Postmodernity is an exploration of the nature of the problem of meaninglessness in the contemporary world through the philosophical traditions of nihilism and postmodernism. The author traces the advent of modern nihilism in the works of Nietzsche, Sartre, and Heidegger, before detailing the postmodern transformation of nihilism in the works of three major postmodern thinkers: Lyotard, Baudrillard, and Vattimo. He presents a qualified defense of their positions, arguing that while there is much under-appreciated value in their responses to nihilism, they fail to address adequately the problem of contingency in contemporary life. Drawing on the critical encounters with nihilism in both existentialist and postmodern traditions, the author concludes by staking out future directions for combating meaninglessness.

This is an extract2 from “Une défaite,” an unfinished novel which, according to Simone de Beauvoir, Sartre wrote in 1927. Apparently, Sartre was inspired by Charles Andler's biography of Nietzsche and the triangular relationship of Nietzsche, Wagner and Cosima Wagner. The latter, Franz Liszt's daughter, was initially married to Hans von Bülow with whom she had two daughters, and then she married Wagner with whom she had two more daughters. Nietzsche admired her greatly. Sartre became fascinated by this ambiguous, complex and conflictual triangle. Sartre also identified with Nietzsche and “the destiny of the solitary man.” The portagonist, Frédéric, who is one year older than Sartre, is also an ironic self-portrait of Sartre, while Cosima is a prototype for Anny in Nausea; both are modelled on Simone Jollivet. Cosima plays both mother and sister to Frédéric. The triangular relationship is often repeated in Sartre's affective existence. The fairy tale is the best written chapter in the novel.