‘No matter how long I may look at an image, I shall never find anything in it but what I put there. It is in this fact that we find the distinction between an image and a perception.' - Jean-Paul Sartre L’Imagination was published in 1936 when Jean-Paul Sartre was thirty years old. Long out of print, this is the first English translation in many years. The Imagination is Sartre’s first full philosophical work, presenting some of (...) the basic arguments concerning phenomenology, consciousness and intentionality that were to later appear in his master works and be so influential in the course of twentieth-century philosophy. Sartre begins by criticising philosophical theories of the imagination, particularly those of Descartes, Leibniz and Hume, before establishing his central thesis. Imagination does not involve the perception of ‘mental images’ in any literal sense, Sartre argues, yet reveals some of the fundamental capacities of consciousness. He then reviews psychological theories of the imagination, including a fascinating discussion of the work of Henri Bergson. Sartre argues that the ‘classical conception’ is fundamentally flawed because it begins by conceiving of the imagination as being like perception and then seeks, in vain, to re-establish the difference between the two. Sartre concludes with an important chapter on Husserl’s theory of the imagination which, despite sharing the flaws of earlier approaches, signals a new phenomenological way forward in understanding the imagination. The Imagination is essential reading for anyone interested in the philosophy of Jean-Paul Sartre, phenomenology, and the history of twentieth-century philosophy. This new translation includes a helpful historical and philosophical introduction by Kenneth Williford and David Rudrauf. Also included is Maurice Merleau-Ponty’s important review of L’Imagination upon its publication in French in 1936. Translated by Kenneth Williford and David Rudrauf. (shrink)

It was to correct common misconceptions about his thought that Jean-Paul Sartre, the most dominent European intellectual of the post-World War II decades, accepted an invitation to speak on October 29, 1945, at the Club Maintenant in Paris. The unstated objective of his lecture was to expound his philosophy as a form of “existentialism,” a term much bandied about at the time. Sartre asserted that existentialism was essentially a doctrine for philosophers, though, ironically, he was about to make (...) it accessible to a general audience. The published text of his lecture quickly became one of the bibles of existentialism and made Sartre an international celebrity. The idea of freedom occupies the center of Sartre’s doctrine. Man, born into an empty, godless universe, is nothing to begin with. He creates his essence—his self, his being—through the choices he freely makes. Were it not for the contingency of his death, he would never end. Choosing to be this or that is to affirm the value of what we choose. In choosing, therefore, we commit not only ourselves but all of mankind. This book presents a new English translation of Sartre’s 1945 lecture and his analysis of Camus’s _The Stranger_, along with a discussion of these works by acclaimed Sartre biographer Annie Cohen-Solal. This edition is a translation of the 1996 French edition, which includes Arlette Elkaïm-Sartre’s introduction and a Q&A with Sartre about his lecture. (shrink)

It was to correct common misconceptions about his thought that Jean-Paul Sartre, the most dominent European intellectual of the post-World War II decades, accepted an invitation to speak on October 29, 1945, at the Club Maintenant in Paris. The unstated objective of his lecture (“Existentialism Is a Humanism”) was to expound his philosophy as a form of “existentialism,” a term much bandied about at the time. Sartre asserted that existentialism was essentially a doctrine for philosophers, though, ironically, he (...) was about to make it accessible to a general audience. The published text of his lecture quickly became one of the bibles of existentialism and made Sartre an international celebrity. The idea of freedom occupies the center of Sartre’s doctrine. Man, born into an empty, godless universe, is nothing to begin with. He creates his essence—his self, his being—through the choices he freely makes (“existence precedes essence”). Were it not for the contingency of his death, he would never end. Choosing to be this or that is to affirm the value of what we choose. In choosing, therefore, we commit not only ourselves but all of mankind. This book presents a new English translation of Sartre’s 1945 lecture and his analysis of Camus’s _The Stranger_, along with a discussion of these works by acclaimed Sartre biographer Annie Cohen-Solal. This edition is a translation of the 1996 French edition, which includes Arlette Elkaïm-Sartre’s introduction and a Q&A with Sartre about his lecture. (shrink)

“He devoured her with his eyes.” This expression and many other signs point to the illusion common to both realism and idealism: to know is to eat. After a hundred years of academicism, French philosophy remains at that point. We have all read Brunschvicg, Lalande, and Meyerson,2 we have all believed that the spidery mind trapped things in its web, covered them with a white spit and slowly swallowed them, reducing them to its own substance. What is a table, (...) a rock, a house? Answer: a certain assemblage of “contents of consciousness,” a class of such contents. Oh digestive philosophy! Yet nothing seemed more obvious: is not the table the actual content of my perception? Is not my perception the present state of my consciousness? Nutrition, assimilation! Assimilation, Lalande said, of things to ideas, of ideas by ideas, of minds by minds. The corpulent skeletons of the world were picked clean by these diligent diastases: assimilation, unification, identification. The simplest and plainest among us vainly looked for something solid, something not just mental, but would encounter everywhere only a soft and very genteel mist: themselves. (shrink)

‘I should like to show here that the Ego is neither formally or materially in consciousness: it is outside, in the world.’ _Jean-Paul Sartre _ _The Transcendence of the Ego_ is one of Jean-Paul Sartre's earliest philosophical publications and essential for understanding the trajectory of his work as a whole. When it first appeared in France in 1937 Sartre was still largely unknown, working as a school teacher in a provincial French town. Attacking prevailing philosophical theories (...) head on, Sartre offers a brilliant and radical account of the self as a product of consciousness, situated in the world. He introduces many of the themes central to his major work, Being and Nothingness: the nature of consciousness, the problem of self-knowledge, other minds, and anguish. This translation includes a thorough and illuminating introduction by Sarah Richmond, placing Sartre's essay in its philosophical and historical context. _Jean-Paul Sartre_. The foremost French thinker and writer of the early post-war years. His books, which include _Being and Nothingness, Nausea, The Age of Reason _and _No Exit_ have exerted enormous influence in philosophy, literature, politics and drama. __. (shrink)

‘I should like to show here that the Ego is neither formally or materially in consciousness: it is outside, in the world.’ _Jean-Paul Sartre _ _The Transcendence of the Ego_ is one of Jean-Paul Sartre's earliest philosophical publications and essential for understanding the trajectory of his work as a whole. When it first appeared in France in 1937 Sartre was still largely unknown, working as a school teacher in a provincial French town. Attacking prevailing philosophical theories (...) head on, Sartre offers a brilliant and radical account of the self as a product of consciousness, situated in the world. He introduces many of the themes central to his major work, Being and Nothingness: the nature of consciousness, the problem of self-knowledge, other minds, and anguish. This translation includes a thorough and illuminating introduction by Sarah Richmond, placing Sartre's essay in its philosophical and historical context. _Jean-Paul Sartre_. The foremost French thinker and writer of the early post-war years. His books, which include _Being and Nothingness, Nausea, The Age of Reason _and _No Exit_ have exerted enormous influence in philosophy, literature, politics and drama. __. (shrink)

First published in France in 1936 as a journal article, The Transcendence of the Egowas one of Jean-Paul Sartre's earliest philosophical publications. When it appeared, Sartre was still largely unknown, working as a school teacher in provincial France and struggling to find a publisher for his most famous fictional work, Nausea. The Transcendence of the Egois the outcome of Sartre's intense engagement with the philosophy of Edmund Husserl, the founder of phenomenology. Here, as in many subsequent writings, (...) Sartre embraces Husserl's vision of phenomenology as the proper method for philosophy. But he argues that Husserl's conception of the self as an inner entity, 'behind' conscious experience is mistaken and phenomenologically unfounded. The Transcendence of the Egooffers a brilliant diagnosis of where Husserl went wrong, and a radical alternative account of the self as a product of consciousness, situated in the world. This essay introduces many of the themes central to Sartre's major work, Being and Nothingness: the nature of consciousness, the problem of self-knowledge, other minds, anguish. It demonstrates their presence and importance in Sartre's thinking from the very outset of his career. This fresh translation makes this classic work available again to students of Sartre, phenomenology, existentialism, and twentieth century philosophy. It includes a thorough and illuminating introduction by Sarah Richmond, placing Sartre's essay in its philosophical and historical context.t of consciousness, situated in the world. This essay introduces many of the themes central to Sartre's major work, Being and Nothingness: the nature of consciousness, the problem of self-knowledge, other minds, anguish. It demonstrates their presence and importance in Sartre's thinking from the very outset of his career. This fresh translation makes this classic work available again to students of Sartre, phenomenology, existentialism, and twentieth century philosophy. It includes a thorough and illuminating introduction by Sarah Richmond, placing Sartre's essay in its philosophical and historical context. (shrink)

A leading authority in contemporary and digital photography places images of the transitions of American cities in the 1980s and 1990s beside Sartre's meditative essays based on an extended visit to America in 1945, in a volume originally published as part of The Aftermath of War.

During the phony war that preceded the invasion of France, between late 1939 and the summer of 1940, the young Jean-Paul Sartre was stationed in his native Alsace as part of a meteorological unit. He used his considerable periods of spare time, between mundane duties like watching weather balloons, to make a series of notes on philosophy, literature, politics, history and autobiography that anticipate the themes of his later masterpieces, and often surpass them in literary verve and directness. (...) These War Diaries form a portrait of Sartre in his most intense and brilliant phase. With them the twentieth century's most remarkable and public philosopher has provided us with a fitting posthumous monument to his honest and creativity. (shrink)

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. (shrink)

We are far removed, in this section of the Encyclopedia on memory, from the mnemotechnic icons described by Francis Yates in The Art of Memory and much closer to Augustine's advice about how to remember and to psalmodize Scripture. Memory, for Hegel, is the learning by rote of names, or of words considered as names, and it can therefore not be separated from the notation, the inscription, or the writing down of these names. In order to remember, one is forced (...) to write down what one is likely to forget. The idea in other words, makes its sensory appearance, in Hegel, as the material inscription of names. Thought is entirely dependent on a mental faculty that is mechanical through and through, as remote as can be from the sounds and the images of the imagination or from the dark mine of recollection, which lies beyond the reach of words and of thought[…]No wonder, then, that Hegel's Aesthetics turns out to be a double and possibly duplicitous text. Dedicated to the preservation and the monumentalization of classical art, it also contains all the elements which make such a preservation impossible from the start. Theoretical reasons prevent the convergence of the apparently historical and the properly theoretical components of the work. This results in the enigmatic statements that have troubled Hegel's readers, such as the assertion that art is for us a thing of the past. This has usually been interpreted and criticized or, in some rare instances, praised as a historical diagnosis disproven or borne out by actual history. We can now assert that the two statements "art is for us a thing of the past" and "the beautiful is the sensory manifestation of the idea" are in fact one and the same. To the extent that the paradigm for art is thought rather than perception, the sign rather than the symbol, writing rather than painting or music, it will also be memorization rather than recollection. As such, it belongs indeed to a past which, in Proust's words, could never be recaptured, retrouve. Art is "of the past" in a radical sense, in that, like memorization, it leaves the interiorization of experience forever behind. It is of the past to the extent that it materially inscribes, and thus forever forgets, its ideal content. The reconciliation of the two main theses of the Aesthetics occurs at the expense of the aesthetic as a stable philosophical category. What the Aesthetics calls the beautiful terms turns out to be, also, something very remote from what we associate with the suggestiveness of symbolic form.Paul de Man, Sterling Professor of the Humanities at Yale University, is the author of Blindness and Insight and Allegories of Reading and is currently completing a book tentatively titled The Resistance to Theory. His previous contributions to Critical Inquiry are "Political Allegory in Rousseau", "The Epistemology of Metaphor", and "A Letter". (shrink)

Jean-Paul Sartre was one of the most important philosophical and political thinkers of the twentieth century. His writings had a potency that was irresistible to the intellectual scene that swept post-war Europe, and have left a vital inheritance to contemporary thought. The central tenet of the Existentialist movement which he helped to found, whereby God is replaced by an ethical self, proved hugely attractive to a generation that had seen the horrors of Nazism, and provoked a revolution in post-war (...) thought and literature. In What is Literature? Sartre the novelist and Sartre the philosopher combine to address the phenomenon of literature, exploring why we read, and why we write. (shrink)

A major event in the history of twentieth-century thought, Notebooks for a Ethics is Jean-Paul Sartre's attempt to develop an ethics consistent with the profound individualism of his existential philosophy. In the famous conclusion to Being and Nothingness , Sartre announced that he would devote his next philosophical work to moral problems. Although he worked on this project in the late 1940s, Sartre never completed it to his satisfaction, and it remained unpublished until after his death in (...) 1980. Presented here for the first time in English, the Notebooks reveal Sartre at his most productive, crafting a masterpiece of philosophical reflection that can easily stand alongside his other great works. Sartre grapples anew here with such central issues as "authenticity" and the relation of alienation and freedom to moral values. Exploring fundamental modes of relating to the Other--among them violence, entreaty, demand, appeal, refusal, and revolt--he articulates the necessary transition from individualism to historical consciousness. This work thus forms an important bridge between the early existentialist Sartre and the later Marxist social thinker of the Critique of Dialectical Reason . The Notebooks themselves are complemented here by two additional essays, one on "the good and subjectivity," the other on the oppression of blacks in the United States. With publication of David Pellauer's lucid translation, English-speaking readers will be able to appreciate this important contribution to moral philosophy and the history of ethics. Jean-Paul Sartre (1906-1980) was offered, but declined, the Nobel Prize for literature in 1964. His many works of fiction, drama, and philosophy include the monumental study of Flaubert, The Family Idiot , and The Freud Scenario , both published in translation by the University of Chicago Press. (shrink)

Jean-Paul Sartre was one of the most important philosophical and political thinkers of the twentieth century. His writings had a potency that was irresistible to the intellectual scene that swept post-war Europe, and have left a vital inheritance to contemporary thought. The central tenet of the Existentialist movement which he helped to found, whereby God is replaced by an ethical self, proved hugely attractive to a generation that had seen the horrors of Nazism, and provoked a revolution in post-war (...) thought and literature. In _What is Literature?_ Sartre the novelist and Sartre the philosopher combine to address the phenomenon of literature, exploring why we read, and why we write. (shrink)

First published in France in 1936 as a journal article, The Transcendence of the Ego was one of Jean-Paul Sartre's earliest philosophical publications. When it appeared, Sartre was still largely unknown, working as a school teacher in provincial France and struggling to find a publisher for his most famous fictional work, Nausea . The Transcendence of the Ego is the outcome of Sartre's intense engagement with the philosophy of Edmund Husserl, the founder of phenomenology. Here, as in (...) many subsequent writings, Sartre embraces Husserl's vision of phenomenology as the proper method for philosophy. But he argues that Husserl's conception of the self as an inner entity, 'behind' conscious experience is mistaken and phenomenologically unfounded. The Transcendence of the Ego offers a brilliant diagnosis of where Husserl went wrong, and a radical alternative account of the self as a product of consciousness, situated in the world. This essay introduces many of the themes central to Sartre's major work, Being and Nothingness : the nature of consciousness, the problem of self-knowledge, other minds, anguish. It demonstrates their presence and importance in Sartre's thinking from the very outset of his career. This fresh translation makes this classic work available again to students of Sartre, phenomenology, existentialism, and twentieth century philosophy. It includes a thorough and illuminating introduction by Sarah Richmond, placing Sartre's essay in its philosophical and historical context. (shrink)

Philosopher, novelist, dramatist and existentialist Jean-Paul Sartre is one of the greatest writers of all time. He was fascinated by the role played by the emotions in human life and placed them at the heart of his philosophy. This brilliant short work - which contains some of the principal ideas later to appear in his masterpiece Being and Nothingness - is Sartre at his best: insightful, engaging and controversial. Far from constraining one's freedom, as we often think, (...) Sartre argues that emotions are fundamental to it and that an emotion is nothing less than 'a transformation of the world'. With a new foreword by Sebastian Gardner. (shrink)

Philosopher, novelist, dramatist and existentialist Jean-Paul Sartre is one of the greatest writers of all time. He was fascinated by the role played by the emotions in human life and placed them at the heart of his philosophy. This brilliant short work - which contains some of the principal ideas later to appear in his masterpiece Being and Nothingness - is Sartre at his best: insightful, engaging and controversial. Far from constraining one's freedom, as we often think, (...) Sartre argues that emotions are fundamental to it and that an emotion is nothing less than 'a transformation of the world'. With a new foreword by Sebastian Gardner. (shrink)

Jean-Paul Sartre's famous autobiography of his first ten years has been widely compared to Rousseau's Confessions. Written when he was fifty-nine years old, The Words is a masterpiece of self-analysis. Sartre the philosopher, novelist and playwright brings to his own childhood the same rigor of honesty and insight he applied so brilliantly to other authors. Born into a gentle, book-loving family and raised by a widowed mother and doting grandparents, he had a childhood which might be described (...) as one long love affair with the printed word. The Words explores and evaluates the whole use of books and language in human experience. (shrink)

"A driving force in all Sartre's writing is his serious desire to change the life of his reader." -- Iris Murdoch.

During the first years of the post-war era, many French scientists travelled in the United States. As they looked for a reference to be used in rebuilding their own scientific landscape, their diaries say as much about the rise of the American biomedical complex as they do about their perception of research in the country. In order to illustrate how the French biologists adopted, competed with, or challenged the American model and how transatlantic exchanges played a critical role in the (...) molecularization of the life sciences, this paper presents three trajectories of laboratories. These include the services respectively led by P. Lépine and J. Monod at the Pasteur Institute, and G. Schapira’s biochemical research unit at the Hôpital des Enfants Malades. The three studies document the massive transatlantic circulation of materials, techniques, instruments, and people during the scientific reconstruction. The reconstruction however produced highly differentiated characters each operating in his own niche: the biotechnological inventor, the neo-clinician, and the fundamental biologist. The comparison situates the rise of molecular biology within the context of a rapidly expanding biomedical research system. It will help in understanding how, in contrast to the American situation, a logic of “demedicalization” became in France a means for developing biology at the molecular level. (shrink)

Philosopher, novelist, dramatist and existentialist Jean-Paul Sartre is one of the greatest writers of all time. He was fascinated by the role played by the emotions in human life and placed them at the heart of his philosophy. This brilliant short work - which contains some of the principal ideas later to appear in his masterpiece Being and Nothingness - is Sartre at his best: insightful, engaging and controversial. Far from constraining one's freedom, as we often think, (...) Sartre argues that emotions are fundamental to it and that an emotion is nothing less than 'a transformation of the world'. With a new foreword by Sebastian Gardner. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 34.2 (2006) 3-13 [Access article in PDF] Biographical Illusion and Methodological Reality Leland De La Durantaye Pierre Bourdieu. Esquisse Pour Une Auto-Analyse. Paris: Raisons d'Agir, 2004. 1 Like his student and friend Nietzsche, Jacob Burckhardt often stressed the necessity for a scholar to work in solitude. Like Nietzsche, he also possessed a gift for acidic analogy and likened the world of academia to a group of (...) dogs sniffing one another.Few observers of the academic interactions of his time had such sharp senses as Pierre Bourdieu, and few have been as torn between solitary reflection and communal exchange. Trained by France's most elite academic institutions (such as the celebrated Parisian lycée Louis-le-Grand and the even more celebrated École Normale Supérieure), Bourdieu was grateful for the opportunities that this training afforded him. And he felt that this gratitude could best be repaid by submitting those elite academic institutions and their insular world to an unsparing critique, to unveiling the distance that separated their stated ideals from their real effects.Like Bergson and Jaurès, like Sartre and Aron, like Foucault and Derrida, Bourdieu studied that which was most difficult and most prestigious where it was most difficult and prestigious: philosophy at the École Normale Supérieure. Like those famous fellow alumni, he was a brilliant student, and like them, he longed to distinguish his personal vision from those around him. This led him to do something surprising, something that, despite their separate and significant dissatisfactions with the philosophy of their day, neither Bergson nor Sartre, neither Foucault nor Derrida ever did: he abandoned philosophy. He left what he saw as the intellectual royal road for the most pedestrian of paths—that of sociology.As he often reminded his readers, sociology was in a sorry state when he entered it. Both in academic appraisal and the popular imagination, it was considered dry and provincial. It was thought to have no true intellectual adventure in it—nothing of the ethnologist tramping through the rain forests of the Amazon, nothing of the lone philosopher working through the night on an opus to end metaphysics. It was laborious and abstract; it dealt in statistical generalities. Bourdieu repeatedly described sociology as "the pariah of disciplines."1 He had, however, a special mission for it in mind. [End Page 3]In Bourdieu's posthumous memoir Esquisse pour une auto-analyse, published in February 2004—two years after his death—by the small publishing house he helped found, Raisons d'Agir, he notes how, "a bit as a joke," he had often defined himself as "the leader of a liberation movement aiming to free the social sciences from philosophy's imperialism" [94].2 From early on in his career, he had wished to revolt against the "empire of the total philosopher"—an empire reigned over by, more than any other, Jean-Paul Sartre [cf. 25].3 Looking back upon this decisive period of his development, Bourdieu goes so far as to state that the shaping of his identity was done "against everything which the Sartrian enterprise represented for me" [37]. In historical accounts, Sartre is often given as counterfigure his friend and fellow normalien Raymond Aron. In his Esquisse, Bourdieu proposes a different, and less conventional, counterfigure for the imperial philosopher: the brilliant Austrian satirist and cultural critic Karl Kraus. Bourdieu notes the particular affection he had always felt for Kraus and attributes it to the latter's singular capacity for "critical reflectivenesss" [37]. Subtly, and appropriately, Bourdieu follows this remark with something that occurs nowhere else in his memoir: an epigram (the composing of which Kraus excelled in). Bourdieu writes: "there are a great many intellectuals who question the world, but there are very few intellectuals who question the intellectual world" [37]. The remark could not more compactly and precisely reflect what Bourdieu had aspired all his life to do: to excel in the art and science of questioning the intellectual world. 2 Leo Spitzer liked to cite Friedrich Gundolf's dictum "Methode ist Erlebnis" (method is lived experience). Nearing the end of his career... (shrink)

This new edition of "What is Literature?" also collects three other crucial essays of Sartre's for the first time in a volume of his.

Named one of the Ten Best Books of 2016 by the New York Times, a spirited account of a major intellectual movement of the twentieth century and the revolutionary thinkers who came to shape it, by the best-selling author of How to Live Sarah Bakewell. Paris, 1933: three contemporaries meet over apricot cocktails at the Bec-de-Gaz bar on the rue Montparnasse. They are the young Jean-Paul Sartre, Simone de Beauvoir, and longtime friend Raymond Aron, a fellow philosopher who (...) raves to them about a new conceptual framework from Berlin called Phenomenology. "You see," he says, "if you are a phenomenologist you can talk about this cocktail and make philosophy out of it!" It was this simple phrase that would ignite a movement, inspiring Sartre to integrate Phenomenology into his own French, humanistic sensibility, thereby creating an entirely new philosophical approach inspired by themes of radical freedom, authentic being, and political activism. This movement would sweep through the jazz clubs and cafés of the Left Bank before making its way across the world as Existentialism. Featuring not only philosophers, but also playwrights, anthropologists, convicts, and revolutionaries, At the Existentialist Café follows the existentialists' story, from the first rebellious spark through the Second World War, to its role in postwar liberation movements such as anti-colonialism, feminism, and gay rights. Interweaving biography and philosophy, it is the epic account of passionate encounters--fights, love affairs, mentorships, rebellions, and long partnerships--and a vital investigation into what the existentialists have to offer us today, at a moment when we are once again confronting the major questions of freedom, global responsibility, and human authenticity in a fractious and technology-driven world. (shrink)

Truth and Existence , written in response to Martin Heidegger's Essence of Truth , is a product of the years when Sartre was reaching full stature as a philosopher, novelist, playwright, essayist, and political activist. This concise and engaging text not only presents Sartre's ontology of truth but also addresses the key moral questions of freedom, action, and bad faith. Truth and Existence is introduced by an extended biographical, historical, and analytical essay by Ronald Aronson. " Truth (...) and Existence is another important element in the recently published links between Sartre's existentialist ontology and his later ethical, political, and literary concerns. . . . The excellent introduction by Aronson will help readers not experienced in reading Sartre."-- Choice "Accompanied by an excellent introduction, this dense, lucidly translated treatise reveals Sartre as a characteristically 20th-century figure."-- Publishers Weekly Jean-Paul Sartre (1906-1980) was offered, but declined, the Nobel Prize for literature in 1964. His many works of fiction, drama, and philosophy include the monumental study of Flaubert, The Family Idiot , and The Freud Scenario , both published in translation by the University of Chicago Press. (shrink)

Truth and Existence, written in response to Martin Heidegger's Essence of Truth, is a product of the years when Sartre was reaching full stature as a philosopher, novelist, playwright, essayist, and political activist. This concise and engaging text not only presents Sartre's ontology of truth but also addresses the key moral questions of freedom, action, and bad faith. Truth and Existence is introduced by an extended biographical, historical, and analytical essay by Ronald Aronson. "Truth and Existence is (...) another important element in the recently published links between Sartre's existentialist ontology and his later ethical, political, and literary concerns.... The excellent introduction by Aronson will help readers not experienced in reading Sartre."—Choice "Accompanied by an excellent introduction, this dense, lucidly translated treatise reveals Sartre as a characteristically 20th-century figure."—Publishers Weekly Jean-Paul Sartre (1906-1980) was offered, but declined, the Nobel Prize for literature in 1964. His many works of fiction, drama, and philosophy include the monumental study of Flaubert, The Family Idiot, and The Freud Scenario, both published in translation by the University of Chicago Press. (shrink)

Nearly forty years after its first publication in French, this collection of Sartre’s writings on colonialism remains a supremely powerful, and relevant, polemical work. Over a series of thirteen essays Sartre brings the full force of his remarkable intellect relentlessly to bear on his own country’s conduct in Algeria, and by extension, the West’s conduct in the Third World in general. Whether one agrees with his every conclusion or not, _Colonialism and Neo-Colonialism_ shows a philosopher passionately engaged (...) in using philosophy as a force for change in the world. An important influence on postcolonial thought ever since, this book takes on added resonance in the light of the West’s most recent bout of interference in the non-Western world. (shrink)

Philosopher Jean-Paul Sartre counted among his friends and associates some of the most esteemed intellectuals, writers, and artists of the twentieth century. In Portraits, Sartre collected his impressions and accounts of many of his notable acquaintances, in addition to some of his most important writings on art and literature during the early 1950s. Portraits includes Sartre's preface to Nathalie Sarraute's Portrait of a Man Unknown and his homages to André Gide, Albert Camus, and Maurice Merleau-Ponty. The (...) essay on Merleau-Ponty casts considerable light on the recent history of French philosophy, particularly with regard to dominant post-war political conceptions. Featured as well are lengthy studies of Sartre's close friend Paul Nizan and of the young André Gorz that are no less revealing, as well as Sartre's "Reply to Albert Camus," which sealed the ideological and personal break between the two writers on its publication in 1952. Alongside these major writings are fascinating articles on Tintoretto and a number of contemporary artists, including Giacometti and Masson. Finally, Portraits concludes with two travelogue-style accounts of Sartre's time in Italy. This new translation by Chris Turner presents these essays in their complete form as originally intended by Sartre when he first published Situations IV in France and is thus essential reading for anyone interested in the artistic and intellectual history of the time. (shrink)

_Critical Essays _ contains essays on literature and philosophy from a highly formative period of French philosopher and leading existentialist Jean-Paul Sartre’s life, the years between 1938 and 1946. This period is particularly interesting because it is before Sartre published the magnum opus that would solidify his name as a philosopher, _Being and Nothingness_. Instead, during this time Sartre was emerging as one of France’s most promising young novelists and playwrights—he had already published _Nausea, The (...) Age of Reason, The Flies, _and_ No Exit_. Not content, however, he was meanwhile consciously attempting to revive the form of the essay via detailed examinations of writers who were to become central to European cultural life in the immediate aftermath of World War II. Collected here are Sartre’s experiments in reimagining the idea and structure of the essay. Among the distinguished writers he analyzes are Francis Ponge, Georges Bataille, Vladimir Nabokov, Maurice Blanchot, and, of course, Albert Camus, whose novel _The Stranger _Sartre endeavours to explain in these pages. _Critical Essays _ also contains a famous attack on the Catholic novelist François Mauriac, studies of the great American literary iconoclasts Faulkner and Dos Passos, and brief but insightful essays on aspects of the philosophical writings of Husserl and Descartes. This new translation by Chris Turner reinvigorates the original skill and voice of Sartre’s work and will be essential reading for fans of Sartre and the many writers and works he explores. “For my generation he has always been one of the great intellectual heroes of the twentieth century, a man whose insight and intellectual gifts were at the service of nearly every progressive cause of our time.”—Edward Said. (shrink)

Charles Taylor’s A Secular Age generated a great deal of attention—and has stimulated important debates—among a diverse range of scholars in sociology, history, politics, religious studies and to a lesser extent, anthropologists. Much of the debate has focused on the implications of Taylor’s work for the so-called secularisation thesis and the place of religion in the so-called public sphere. The essays in this volume arise less out of such concerns and more from Taylor’s discussion of secularism in a third, ‘experiential’ (...) sense. Each paper addresses the question of what it is like to ‘believe’ in the modern world. Among other things the authors of the essays published in this Special Issue are concerned to develop better understandings of the conditions under which belief and unbelief may be experienced as open, rather than closed, to the possibility of other ontological construals, thereby building on Taylor’s insights into the phenomenology of modern secularism. (shrink)

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. (shrink)

L’essence de la BD réside dans l’espace qui existe entre deux cases, ce qui demande un travail de reconstruction au lecteur. Il s’agit d’un « art séquentiel ». Or le dessin animé et le jeu vidéo sont aussi des arts séquentiels. Il s’agit donc, dans cet article, de comparer la culture de labande dessinée avec les autres formes de culture et de technique que l’on trouve dans des médias développés plus tard, comme le dessin animé ou le jeu vidéo. La (...) BD est-elle un média précurseur des autres formes de culture de l’image séquentielle ou y a-t-il des interactions économiques et culturelles entre ces nouvelles formes d’art apparues au XXe siècle?The essence of a comic strip is in the spaces between the frames, which demand reconstruction on the part of the reader. Comic strips are a “sequential” art form, but this is also true of animations and video games. This article therefore sets out to compare the comic strip culture with other cultural and technical forms found in the media which developed later, like film animation and video games. Was the comic strip medium a precursor of other cultural forms based on sequential images, or is there a circular process at work between these new art forms that appeared in the 20th century? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Somaesthetics and Racism:Toward an Embodied Pedagogy of DifferenceDavid A. Granger (bio)IntroductionThe philosopher Ludwig Wittgenstein once remarked that "The human body is the best picture of the human soul."1 There is a basic truth in this assertion that we recognize (I want to say) intuitively: the notion that human beings are parts both mental and physical, that these facets are ultimately interdependent, and that they are in some measure (...) correlated was a commonplace in the intellectual culture of ancient Athens, especially among Socratic thinkers. It can also be found as a central part of the basic ontology and ideals of self-cultivation espoused in much East Asian philosophy. In the West, however, this deep appreciation for the relationship between mind and body appears somewhat sporadically after the Socratics, only to be fervently reasserted as a main plank in the lived philosophy of the early American pragmatists, as when Henry David Thoreau proclaimed that "We are all sculptors and painters, and our material is our own flesh and blood and bones. Any nobleness begins to refine a mean's features, any meanness or sensuality to imbrute them."2I use the word "sporadically" above because it is likewise a basic truism that canonical Western philosophy has a long and storied history of rejecting, ignoring, or degrading the human body—that most formative part of our being and connection to the world and to others. The position of the later, more metaphysical Plato is iconic in this regard, and it effectively set the tone for much Christian theology and the Cartesian philosophy of consciousness. For Plato and his adherents, the longing to escape our embodiedness, conceived as a necessary means to human (or perhaps superhuman) perfection [End Page 69] by achieving a godlike existence, requires effectively divorcing ourselves from the irrational brutes of terra firma. The body is conceived as a static constraint to human flourishing rather than a dynamic enabler. It is more or less an adversary, something that we must endeavor to be freed from or subdue.3 Its base senses and unruly passions deceive us epistemologically, while its inexorable power to situate us in space and time limits our objectivity. In its inevitable pains and infirmities, the body is also a constant reminder of the aging process and of our ultimate mortality. Deeming the body as at best a mere servant of the mind, philosophers typically have portrayed it as a veritable prison of deception, temptation, and suffering. Moreover, it is well-established that such thinking has been particularly pernicious in light of the historical identification of women and other marginalized groups with their variously enfeebled, depraved, or uncivilized bodies.4Against this disquieting backdrop, it is only relatively recently that the human body, and the significance of our existence as embodied beings, has received sustained positive attention by leading lights in Western philosophy and criticism. These luminaries include, among others, "feminist" thinkers like Simone de Beauvoir, Julia Kristeva, Luce Irigaray and, of late, Susan Bordo and Judith Butler (with a nod to Michel Foucault, Pierre Bordeau, and others); pragmatists William James and John Dewey (with a nod to Emerson and Thoreau); phenomenologist Maurice Merleau-Ponty (with a nod to Jean-Paul Sartre); analytic philosopher Ludwig Wittgenstein (with a nod to James); and postmodernist Michel Foucault (with a nod to Friedrich Nietzsche, George Bataille, and the ancient Asian ars erotica tradition5). While these thinkers do not universally praise the body and its active, conscious cultivation for human flourishing (about which more later), they nonetheless acknowledge its necessity for all perception, action, and even thought.6 In short, they all seek to recognize and elucidate the significance—cognitive and affective, discursive and nondiscursive—of our full embodied intelligence.Looking specifically at the architectonics of the body espoused by the trio of Dewey, Foucault, and Wittgenstein, this article uses what philosopher Richard Shusterman terms "analytic somaesthetics" to examine some of the primary embodied dimensions of feeling, perception, action, and thought, particularly through the functioning of habit.7 In doing so, it seeks to expose the way various ideologies of domination (for example, racism, sexism, classism, ableism, heterosexism, ageism, etc.) are covertly (and at times overtly) materialized... (shrink)

Webber's perceptive new introduction helps to decipher this challenging, seminal work, placing it in the context of the author's work and the history of ...

The dynamic development of technology, as well as of AI’s, raises the fundamental question: can machines think? At the beginning of the 20th Century the Austrian philosopher wonders about this problem and analyses it from a logical-philosophical conception which conveys the need to recognize all the elements comprised in the thought-language relationship. An ethical-religious dimension is revealed in certain uses of language. This dimension, which shows the human’s attitude to the world, stems from the human tendency to search for (...) explanations. This attitude does not extend to machines. (shrink)

Sartre’s Critique of Dialectical Reason ranks with Being and Nothingness as a work of major philosophical significance, but it has been largely neglected. The first volume, published in 1960, was dismissed as a Marxist work at a time when structuralism was coming into vogue; the incomplete second volume has only recently been published in France. In this commentary on the first volume, Joseph S. Catalano restores the Critique to its deserved place among Sartre’s works and within philosophical discourse (...) as a whole. Sartre attempts one of the most needed tasks of our times, Catalano asserts—the delivery of history into the hands of the average person. Sartre’s concern in the Critique is with the historical significance of everyday life. Can we, he asks, as individuals or even collectively, direct the course of our history? A historical context for our lives is given to us at birth, but we sustain that context with even our most mundane actions—buying a newspaper, waiting in line, eating a meal. In looking at history, Sartre argues, reason can never separate the historical situation of the investigator from the investigation. Thus reason falls into a dialectic, always depending upon the past for guidance but always being reshaped by the present. Clearly showing the influence of Marx on Sartre’s thought, the Critique adds the historical dimension lacking in Being and Nothingness. In placing the Critique within the corpus of Sartre’s philosophical writings, Catalano argues that it represents a development rather than a break from Sartre’s existentialist phase. Catalano has organized his commentary to follow the Critique and has supplied clear examples and concrete expositions of the most difficult ideas. He explicates the dialogue between Marx and Sartre that is internal to the text, and he also discusses Sartre’s Search for Method, which is published separately from the Critique in English editions. (shrink)

The 20th century is known as a period of awakening and radical movements in the history. New systems of thought emerged during this period. Some systems of thought expressed a direct return to man. The beginning of the return to man was set by S.Kierkegaard with his views related to existentialism. The emergence of existentialism as a philosophical system coincides with the period after the First World War. In this period, the loss of previous values, the problem of secularism, and (...) the failure of the Enlightenment philosophy to justify itself are among the main problems. Existentialism began to take shape in Germany and France at about the same time, and in a short time it spread to many parts of the world - Italy, Spain, Latin America, India, England, the United States, Japan, etc. spread to countries. In Russia, the school of existentialism was created by N. Berdyayev and L. Shestov, and the German existentialism was created by Martin Heidegger and Karl Jaspers. The prominent representatives of French existentialism are Gabriel Marcel (1899), Jean Paul Sartre (1905-1980), Simone de Bavoir (1908-1986) and Albert Camus (1913-1960). It was Jean-Paul Sartre who perfectly placed the idea of individual human freedom at the center of his work. There are two important points in Sartre's philosophy: existence in itself and existence for itself. Sartre writes that; what is generally called consciousness is individual. The purpose of consciousness is to make existence for us. This is the fundamental state of consciousness. The main issue that Sartre took into account is that it is impossible to look at the philosophical problems of the 20th century in the context of general concepts. According to the philosopher, the best existentialism is humanism. In addition to his philosophical novels, Sartre became famous for his existentialist philosophy, which he developed in a unique way. He was one of the thinkers who marked the 20th century with his formation of existential Marxism and his political activity. In the conditions of the Second World War, when the concept of humanity was questioned, the work "Being and Nothingness", which is original and intertwined with life in every way, explains the current state of humanity along with Sartre's philosophical ideas. (shrink)

What is philosophy of mathematics and what is it about? The most popular answer, I suppose, to this question would be that philosophers should provide a justification for our presently most cherished mathematical theories and for the most important tool to develop such theories, namely logico-mathematical proof. In fact, it does cover a large part of the activity of philosophers that think about mathematics. Discussions about the merits and faults of classical logic versus one or other ‘deviant’ logics (...) as the logical basis for mathematical theories, ranging from intuitionist over modal logic to paraconsistent logic, typically belong to this area, as do debates about the natural-number concept, its ‘nature’, its properties, especially its uniqueness, and so on. No doubt sociologists of knowledge could explain why philosophers of mathematics came to select these particular problems and deal with them the way they do. What it does imply, however, is that the question is meaningful whether different kinds of philosophies of mathematics are possible, and—why not?—perhaps even desirable. To a certain extent, the answer is trivial: look at what, e.g., phenomenologists have to say about mathematics and you must notice it does not fit into the scheme sketched above.1 Rather, the question should be whether there are forms that, on the one hand, reinterpret the whole enterprise, and, on the other hand, somehow remain related to the work of ‘mainstream’ philosophers of mathematics today.The book under review here does precisely that. Let me be a bit more precise. The general proposal, present throughout all the contributions, is that even at a first, superficial, glance at what mathematicians do when they do mathematics, it is far more complex than ‘just thinking about and …. (shrink)

It has been commonly argued that there are traces of Jean Paul Sartre on the philosophical system of his partner, Simone de Beauvoir. Some claim that Beauvoir was not original enough when constructing her system and developing her thoughts; according to some others, she even was not a philosopher. From the perspective of Beauvoir, she didn’t even consider herself as a philosopher but as an author. For her, to call somebody a philosopher, they should be (...) class='Hi'>like Spinoza, Hegel, or Sartre who constructs a comprehensive philosophical system, loves philosophy, teaches philosophy, understands philosophy, and uses philosophy in their works. Given these criteria, Sartre was a philosopher for her and she admits that Sartre’s philosophy influenced her a lot. Furthermore, she clearly expresses that there was a mutual influence indeed, which means she also influenced Sartre, but her impacts on him were in terms of literature, not philosophy. To give an example, after writing his biography books, Sartre wrote The Words where the traces of Beauvoir can be seen quite easily. This point can also be derived from Sartre’s admittance that he got the clarity and truth in his works--especially when describing a gesture, analyzing a situation, or observing an incident--by means of Beauvoir’s meticulous style and rich experiences. Sartre also indicates that Beauvoir was a perfect complement and privileged reader for him.In this work, our primary focus will be on the details of the influence of Sartre on Beauvoir. Here, I have to point out that even though the title of this paper is determined as “The Impacts of Sartre on Beauvoir” indeed the word “benefit,” instead of “impact,” would do better for our purpose. It is because though Beauvoir was influenced from Sartre’s philosophical identity, when building her thoughts we must say she mostly “benefited” from Sartre’s philosophy. We can easily see the examples of this point in several contexts: first, in the notion of ambiguity, and second, in her analysis of the position of woman. Also, in her notion of “the other” which is a threat for the independence of an individual, she shares the same ideas with Sartre in her early writings, but later, she changed her direction and adopted a different view.If we examine the notion of Beauvoir’s “ambiguity,” though it has various meanings, what she means is that a person is a free and unique subject on the one hand; and on the other hand that person is an object for others. Here, Beauvoir benefits from Sartre’s existential types. She agrees with Sartre on the idea that human existence contains both being-in-itself and being-for-itself; however, she thinks that having these two types of being together in their existence leads to an ambiguity for human beings. Sartre sees humans as beings that are always in a relationship with the other. And in this relationship, when being-for-itselfsubmit to the other, it becomes an object for the other’s freedom. While being-for-itself perceives the other as subject, she, herself, becomes an object. This fact expresses an ambiguity for Beauvoir.Another issue we can associate with the notion of “ambiguity” is related to the relationship between self and the other, the relationship that relies on the confrontation of the consciousness of the self with the consciousness of the other. At this point, the “I” who identifies himself as an absolute being sees the other’s consciousness as a threat and acts like an enemy towards it. It is because the subject that was exposed to the perspective of the other becomes an object now and she loses her freedom due to the intervention of the other. The other makes her an unguarded being. Now, the subject is not an active being but the object of the other. Thus, due to these restraints of the other on the subject’s freedom, the subject must deny the hegemony of the other and get over the problem by making the other an object. Similar to Sartre, Beauvoir, too, sees the existence of the other or others as a danger for her own freedom at the beginning. She considers freedom in individualistic way and sees the others as barriers for her freedom. But later, she changes her stance, and begins to consider the other as a necessary condition for her own freedom.The last point I am going to focus on is the philosophical source of The Second Sex. One of her masterpieces, The Second Sex, in which she gives the explanation of the oppressions women face and established the principles of modern feminism, is about the women who represent “the other gender” due to fact that women are always identified in terms of the differences of their oppressors, men. In The Second Sex, she examines the essential features that make a woman a woman and at the end she comes up with the notion of “the other.” When reaching this notion, in order to show how she applied existentialist ideas of ontology and ethics, she says that men perceive themselves as “I” or “the subject” and women perceive themselves as “the other.” Beauvoir improves the claims of Sartre in The Second Sex in a unique way, and further put forwards that women are regarded as “the other” and men are called as “the subject.” At this point, if the other becomes a threat for the subject or “I,” then, it can be said that women, too, become a similar threat for men.Surely, there are other points that can be said about the impacts of Sartre on Beauvoir. We will also be examining those points as well as the above ones in this work. (shrink)

Sartre’s Critique of Dialectical Reason ranks with Being and Nothingness as a work of major philosophical significance, but it has been largely neglected. The first volume, published in 1960, was dismissed as a Marxist work at a time when structuralism was coming into vogue; the incomplete second volume has only recently been published in France. In this commentary on the first volume, Joseph S. Catalano restores the Critique to its deserved place among Sartre’s works and within philosophical discourse (...) as a whole. Sartre attempts one of the most needed tasks of our times, Catalano asserts—the delivery of history into the hands of the average person. Sartre’s concern in the Critique is with the historical significance of everyday life. Can we, he asks, as individuals or even collectively, direct the course of our history? A historical context for our lives is given to us at birth, but we sustain that context with even our most mundane actions—buying a newspaper, waiting in line, eating a meal. In looking at history, Sartre argues, reason can never separate the historical situation of the investigator from the investigation. Thus reason falls into a dialectic, always depending upon the past for guidance but always being reshaped by the present. Clearly showing the influence of Marx on Sartre’s thought, the Critique adds the historical dimension lacking in Being and Nothingness. In placing the Critique within the corpus of Sartre’s philosophical writings, Catalano argues that it represents a development rather than a break from Sartre’s existentialist phase. Catalano has organized his commentary to follow the Critique and has supplied clear examples and concrete expositions of the most difficult ideas. He explicates the dialogue between Marx and Sartre that is internal to the text, and he also discusses Sartre’s Search for Method, which is published separately from the Critique in English editions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Raphael PAUL BAROLSKY The essence of all appreciation and analysis of art is the translation of visual perceptions into compelling verbal form. —Ralph Lieberman cultural unity Horace Walpole, Sir Joshua Reynolds, Johann Wolfgang Goethe, Eugène Delacroix, Honoré Balzac, Friedrich Hegel, Charles Baudelaire, Friedrich Nietzsche, Pierre Renoir, Nathaniel Hawthorne, August Wilhelm von Schlegel, Heinrich von Kleist, Franz Grillparzer, Fyodor Dostoyevsky, Ivan Turgenev, Wilhelm Heinrich Wackenroder, George Eliot, Jean-Auguste (...) Dominique Ingres, Roger Fry, Bernard Berenson, Theodor Hetzer, Roberto Longhi, Heinrich Wölfflin, and Stendhal are among the many essayists, critics, novelists, poets, painters and art historians who have responded to Raphael’s work as painter, architect or archeologist over the centuries. I can well imagine all of those listed above, among many others, united in an imaginary painting similar to the School of Athens—in other words, a vision that reconciles their various views of the world in a harmony analogous to the unity of philosophers in Raphael’s great fresco. Raphael is a towering figure in the history of European culture. The year 2020 was the 500th anniversary of the death of the great painter in Rome at the age of thirty-seven. In the wake of recent exhibitions that commemorated the artist’s achievement, I propose to touch briefly and lightly on a few aspects arion 28.2 fall 2020 100 reflections on raphael of Raphael’s life and works. Please think of these remarks as a series of suggestions, not attempts at definitive interpretation. I think of this essay as a rather experimental piece. THE SCHOOL OF ATHENS i should like to begin with a few brief remarks on what must be Raphael’s most famous work of art. I mean his School of Athens (fig. 1), which is, like Leonardo’s Mona Lisa and Last Supper or like Michelangelo’s David and Creation of Adam, an image widely known and admired. What more is there to say about The School Of Athens, one of the central images in the Stanza della Segnatura? You might spend the rest of your life reading about this great work and never understand it fully. Nevertheless, I want to focus for a moment on a central detail of the work and, on the basis of my description, point to a significant aspect of the fresco that has been universally overlooked. First the description, then the aperçu. Fig. 1. School of Athens. Ca. 1510–1512. Photo Credit : Erich Lessing / Art Resource, NY. Paul Barolsky 101 At the center of the School of Athens we behold the two great philosophers of classical antiquity: Plato and Aristotle. Plato holds a copy of his Timaeus, a dialogue that concerns the harmony of the heavens; Aristotle holds a copy of his Ethics, a work that pertains to human relations in this world. It was the goal of Renaissance thinkers to create a harmony or concord of the thought of these philosophers: a Concordia Platonis et Aristotelis. Raphael’s fresco, as is well known, presents the visual ideal of such harmony. Whereas Aristotle gestures downward, alluding to this world, in which his Ethics matter, Plato points heavenward, evoking the order of the cosmic realm described in Timaeus. Raphael makes visible the ideal of concordia when he movingly pictures the way in which the two philosophers gaze into each other’s eyes, as if to suggest this harmony. Borrowing from the language of Raphael ’s friend, Baldassare Castiglione, Raphael renders “the joining” of their souls. The monumental architecture of the scene, which echoes Bramante and has taproots in Piero della Francesca and Perugino, consists of three barrel-vaults beyond which we see patches of blue sky and puffs of cloud (fig. 2). The grandiose architecture of the image magnifies Raphael’s philosophers. Within this architectural framework, Plato’s gesture is deeply meaningful, since it prompts the viewer to look up and thus ascend toward the perfection of the celestial realm, beyond the imperfections of the physical world. Above the first barrel vault in the fresco we behold a section of the drum of a dome which is open to the sky. Within this section of drum there are two columns that are lined up directly... (shrink)

Jean-Paul Sartre (1905–1980), nephew of the Alsatian theologian, Albert Schweitzer, was born in Paris, passed his agrégation at the Ecole Normale Superieure in 1929, and was a lycée teacher between 1931 and 1945. He was called up to the French Army in 1939, captured by the Germans in 1940 and released after the armistice. In 1938 he published a novel, La Nausée, translated by Robert Baldick as Nausea (Harmondsworth: Penguin, 1965), and in 1940, L'Imaginaire: Psychologie phénoménologique de l'imagination, translated (...) by Bernard Frechtman as The Psychology of Imagination (London: Methuen, 1972). His major philosophical work, L'Etre et le Neant, was published in 1943, and translated by Hazel E. Barnes as Being and Nothingness (London: Methuen, 1957). As a novelist he is best known for a trilogy, Chemins de la Liberté (Roads to Freedom), comprising L'Age de raison (1945) translated by E. Sutton as The Age of Reason (Harmondsworth: Penguin, 1961), Le Sursis (1945), translated by E. Sutton as The Reprieve (Harmondsworth: Penguin, 1963) and La Mort dans l'āme (1949), translated by G. Hopkins as Iron in the Soul (Harmondsworth: Penguin, 1965). His main work of literary criticism is Qu'est-ce que la littérature? (1947), translated by B. Frechtman as What is Literature? (London: Methuen, 1950). Plays includeLes Mouches (1943) and Huis Clos (1944), both translated by S. Gilbert and published in one volume, as The Flies and In Camera (London: Hamish Hamilton, 1965). (shrink)

The article reconstructs Jean Cavaillès’s polemical engagement with Edmund Husserl’s phenomenological philosophy of mathematics. I argue that Cavaillès’s encounter with Husserl clarifies the scope and ambition of Cavaillès’s philosophy of the concept by identifying three interrelated epistemological problems in Husserl’s phenomenological method: (1) Cavaillès claims that Husserl denies a proper content to mathematics by reducing mathematics to logic. (2) This reduction obliges Husserl, in turn, to mischaracterize the significance of the history of mathematics for the philosophy of mathematics. (3) Finally, (...) Husserl’s phenomenology distorts the nature of mathematical experience. Accordingly, Cavaillès’s philosophy of mathematics is premised on a threefold affirmation designed to overcome these inadequacies. Cavaillès claims that mathematics is an autonomous field of conceptual production that cannot be reduced to logical, psychological, or phenomenological descriptions of conceptual genesis. Two important corollaries follow: the history of mathematics must guide the philosophy of mathematics, and mathematical experience itself must be described according to the mechanisms of a novel theory of mathematical abstraction. In what follows, I demonstrate that Cavaillès’s encounter with Husserl does not merely describe a polemical engagement with a rival philosophical position; it allows us to reconstruct Cavaillès’s own highly original contributions to the philosophy of mathematics. (shrink)

This collection of essays, by Reding, in the emergent field of Sino-Hellenic studies, explores the neglected inchoative strains of rational thought in ancient China and compares them to similar themes in ancient Greek thought, right at the beginnings of philosophy in both cultures. Reding develops and defends the bold hypothesis that Greek and Chinese rational thinking are one and the same phenomenon. Rather than stressing the extreme differences between these two cultures - as most other writings on these subjects - (...) Reding looks for the parameters that have to be restored to see the similarities. Reding maintains that philosophy is like an unknown continent discovered simultaneously in both China and Greece, but from different starting-points. The book comprises seven essays moving thematically from conceptual analysis, logic and categories to epistemology and ontology, with an incursion in the field of comparative metaphorology. One of the book's main concerns is a systematic examination of the problem of linguistic relativism through many detailed examples. (shrink)

(Spanish) RESUMEN: La libertad absoluta postulada por Viktor Emil Frankl y Jean-Paul Sartre, la Shoah y la creencia en un dios omnipotente, bueno y justo parecen contradecirse. La pregunta por el sentido del sufrimiento de las víctimas del Holocausto (la verdadera catástrofe, el mayor crimen contra la humanidad), simbolizado por Auschwitz, y como punto de inflexión en la historia, es terriblemente dolorosa y parece no tener una respuesta filosófica ni teológica. A mi juicio, es importantísimo distinguir entre las víctimas (...) inocentes de la Shoah que perecieron y las víctimas inocentes que sufrieron un verdadero infierno y perdieron a sus seres queridos, pero que lograron sobrevivir. Ambas son víctimas, por supuesto, pero así como encontrarle un posible sentido al sufrimiento de las víctimas masacradas y gaseadas podría suponer un insulto a su sufrimiento y agonía –en especial, al horror que sufrieron los niños–, el horrible sufrimiento de los supervivientes pudo dar, tal vez, de alguna manera, un sentido a sus vidas después de la liberación de los campos de concentración y exterminio, ya fuera como voz, como protesta o como simple supervivencia. Frankl apuesta por un sentido último (que abraza el sentido del sufrimiento de las víctimas), y Sartre, aunque parezca no apostar por sentido alguno, volcó su vida al compromiso político después de la Segunda Guerra Mundial, y ello parece vislumbrar una minúscula pizca de sentido después de la barbarie. La filosofía de Frankl es un sí a la vida incluso en las situaciones más extremas, un grito casi nietzscheano que exalta el valor de la vida más allá de cualquier sufrimiento. Frankl, padre de la logoterapia y superviviente del Holocausto, abre una puerta a Dios al hablar de un dios inconsciente, una dimensión suprahumana y una fe incondicional, y define la religión como espiritualidad y como la búsqueda del hombre por el sentido último. Según Frankl, la libertad no se contradice con Dios, y la religión existe no a raíz de la barbarie, sino a pesar de la barbarie. El existencialismo sartreano es una filosofía de la libertad radical y de la responsabilidad. El hombre está condenado a ser libre. El ser humano es un ser en el que la existencia precede a la esencia. Somos totalmente responsables de lo que somos. Sartre afirma que la libertad humana es incompatible con Dios. En un mundo sin Dios, la moral la construyen los hombres, con sus propias decisiones y sus acciones, y la existencia y el sufrimiento de las víctimas no tienen sentido alguno. Sartre define al hombre como libertad, responsabilidad, angustia y contingencia. Frankl define al hombre como libertad, responsabilidad, espiritualidad y búsqueda de sentido. Con esta tesis me propongo entrar en la resbaladiza dimensión del dolor, la desesperación, el sentido y sinsentido del sufrimiento de las víctimas (teniendo presente los horrores de Auschwitz, que en teología y filosofía ha simbolizado desde la liberación de los campos la muerte de Dios y la muerte de la moral). Es verdad que no solo los hombres, mujeres y niños judíos fueron víctimas de la barbarie alemana, pero, como reza el mensaje de Elie Wiesel en la exposición permanente del Block 27 del Auschwitz-Birkeanu State Museum: "Not all victims were Jewish in this place, but all Jews were victims". La Shoah no es un episodio dentro de la Segunda Guerra Mundial, sino un punto de inflexión en la historia de la humanidad, y es una catástrofe que nos concierne a todos, hombres y mujeres judíos y no judíos, religiosos e irreligiosos, creyentes e increyentes, como seres libres, responsables y morales que somos –o que deberíamos ser. Muchas de las víctimas del Holocausto, en medio de la desesperación, entraron en las cámaras de gas orando, aferrándose a la esperanza de que ese final espeluznante no era un punto final. Con esta tesis no me propongo de ninguna manera responder a la eterna pregunta de si Dios existe o no, sino que propongo interpretar ese grito hacia Dios como un desesperado anhelo de esperanza. También me propongo encontrar una coherencia en las posturas de estos dos grandes pensadores para quienes la libertad y la responsabilidad definen al hombre: Frankl (quien apuesta por una dimensión suprahumana donde existe un sentido último en el que el sufrimiento de las víctimas tiene que tener algún sentido, aunque ese sentido sea completamente incomprensible en la dimensión humana) y Sartre (el existencialista ateo por excelencia, para quien el mundo, la existencia y el sufrimiento son absolutamente contingentes). En el primer capítulo expongo la logoterapia y el existencialismo sartreano: describo las tres dimensiones del hombre y las tres búsquedas de sentido propuestas por Frankl, y expongo las cinco consecuencias de "l'existence précède l'essence", centrándome en la libertad y la responsabilidad, y hablo del suicidio. El segundo capítulo está dedicado al dios inconsciente frankleano, la dimensión suprahumana, la búsqueda por el sentido último y la fe incondicional. En el tercer capítulo ilustro la libertad sin Dios sartreana, la ontología sartreana, el ateísmo sartreano y el humanismo sartreano, y hablo sobre la responsabilidad, la mauvaise foi, la contingencia, la situation y la angustia. El cuarto capítulo es necesariamente histórico (sin dejar de ser filosófico): me pregunto por la muerte de Dios después de Auschwitz, argumento y defiendo la unicidad del Holocausto (la Shoah es un punto de inflexión en la historia de la humanidad), describo las masacres antes de los campos de exterminio (Einsatzgruppen, Ordnungspolizei y Wehrmacht), el gigantesco complejo de Auschwitz (Stammlager, Auschwitz-Birkenau y Monowitz-Buna), reflexiono sobre Dios y el mal (centrándome en los niños de Auschwitz), describo los días de Frankl en Auschwitz, hablo de Dios como esperanza, de la inmortalidad y la escatología, de la crueldad de Dios, de la relación entre el cristianismo y el antisemitismo, del islam y el antisemitismo, critico el silencio de Dios, hablo de la muerte de Dios y del juicio contra Dios. En el quinto capítulo expongo la moral frankleana (una moral que atañe al hombre y no a Dios), basándome en su teoría del amor y en su única obra de teatro (Synchronisation in Binkerwald), y la moral sartreana (una moral que atañe a una humanidad sin Dios), recordando a Dostoyevsky, analizando la famosa cita de Garcin en Huis clos "L'enfer, c'est les Autres", criticando el marxismo de Sartre y cuestionando (con la mirada de Frankl y Sartre) el verso de Brecht "Erst kommt das Fressen, dann kommt die Moral"; al final del capítulo incluyo una reflexión propia y las críticas frankleana y sartreana sobre la impunidad de los verdugos y colaboradores después del Holocausto (con el permiso de Dios). Después de la Conclusión, añado un Apéndice sobre las vidas de Frankl y Sartre, para poder entender mejor su obra. PALABRAS CLAVE: logoterapia, existencialismo sartreano, búsqueda de sentido, libertad, responsabilidad, moral, angustia, sufrimiento, supervivientes, víctimas, contingencia, espiritualidad, religión, Dios, esperanza, antisemitismo, culpa, Auschwitz, Holocausto, Shoah. /// (English) ABSTRACT: The absolute freedom defended by Viktor Emil Frankl and Jean-Paul Sartre, the Shoah and the belief in an omnipotent, benevolent and just God seem to contradict each other. The question of the meaning of the victims' suffering of the Holocaust (the true catastrophe, the biggest crime against humanity), simbolised by Auschwitz and as a turning point in History, is terribly painful and doesn't seem to have an answer. In my opinion, it's crucial to distinguish between the innocent victims of the Shoah who perished and the innocent victims who sufferend a real hell and lost their loved ones, but managed to survive. Both are victims, of course, but just as finding a possible meaning to the suffering of the massacred and gassed victims could result in an insult to their suffering and agony –especially to the horror that the children suffered– the gigantic suffering of the survivors could, maybe, somehow, give a meaning to their lives after the liberation of the concentration and extermination camps, either as a voice, as a protest, or as a simple survival. Frankl believes in an ultimate meaning (that embraces the meaning of the victims' suffering), and Sartre, even if it appears not to embrace any meaning, turned his life to political engagement after War World II, and that attitude seems to give a tiny glimpse of meaning after the barbarity. Frankl's philosophy says yes to life even in the most extreme situations, and it's a Nietzschean-like scream that exalts the value of life beyond any monstrous suffering. Frankl, the father of logotherapy and a Holocaust survivor, opens a door to God when he talks about an unconscious God, a supra-human dimension and an unconditional faith; he defines religion as spirituality and as man's search for ultimate meaning. According to Frankl, freedom is not contradictory with God, and religion exists not because of the barbarity but in spite of the barbarity. Sartrean existentialism is a philosophy of radical freedom and responsibility. Men are condemned to be free. We are beings where the existence precedes the essence. We are completely responsible of what we are. Sartre argues that human freedom is incompatible with God. In a godless world, morality is constructed by people, with their own choices and actions, and human existence and the suffering of the victims don't have any meaning. Sartre defines man as freedom, responsibility, Angst and contingency. Frankl defines man as freedom, responsibility, spirituality and search for meaning. With this dissertation I attempt to enter in the slippery dimension of the pain, despair, meaning and meaninglessness of the victims' suffering (having in mind the horrors of Auschwitz, that in theology and in philosophy have simbolised, since the liberation of the camps, the death of God and the death of morality). It's true that not only Jewish men, women and children were victims of the German barbarity, but, as Elie Wiesel's message from the permanent exhibition from Block 27 of the Auschwitz-Birkeanu State Museum reads: "Not all victims were Jewish in this place, but all Jews were victims". The Shoah is not an episode inside War World II, but a turning point in the history of humankind, and a catastrophe that embraces us all, Jewish and not not Jewish men and women, religious and not religious, believers and not believers, as the free, responsible and moral beings that we all are –or that we should be. A lot of the victims, in the midst of their desperation, entered into the gas chambers praying, holding to the hope that their horrifying end was not the ultimate end. With this dissertation I do not attempt to answer the eternal question of the existence of God, rather, I will try to interpret that scream to God as a longing for hope. I also intend to find a coherence between the thought of these two great thinkers for whom freedom and responsibilty define man: Frankl (who argues that there is a suprahuman dimension where an ultimate meaning exists and where the victims' suffering has to have a meaning, even if this meaning is completely incomprehensible in the human dimension) and Sartre (the atheist existentialist par excellence, for whom the world, human existence and suffering are absolutely contingent). In the first chapter I expose logotherapy and Sartrean existentialism: I describe the three dimensions of man, the three searches for meaning, the five consequences of "l'existence précède l'essence" and I speak about suicide. The second chapter delves into the unconscious God, the supra-human dimension, the ultimate meaning and the unconditional faith. In the third chapter I expose the freedom without God defended by Sartre, Sartre's ontology, Sartre's atheism, Sartre's humanism, and his ideas about responsibility, mauvaise foi, contingency, situation, and Angst. The fourth chapter is necessarily historical (while being philosophical too): I wonder about the death of God after Auschwitz, I argue and defend the uniqueness of the Holocaust (the Shoah is a turning point in the history of humankind), I describe the massacres before the extermination camps (Einsatzgruppen, Ordnungspolizei y Wehrmacht), the gigantic Auschwitz camp complex (Stammlager, Auschwitz-Birkenau y Monowitz-Buna), I reflect on God and evil (focusing on the children of Auschwitz), I describe Frankl's days in Auschwitz, I talk about God as hope, about immortality and escathology, I discuss God's cruelty, the relationship between Christianity and antisemitism and Islam and antisemitism, I question the silence of God, and I talk about the death of God and about the trial against God. In the fifth chapter I talk about the Franklean morality (a morality that concerns man and not God), on the basis of his love theory and his only work of theater (Synchronisation in Binkerwald), and the Sartrean morality (a morality that concerns a humanity without God), remembering Dostoyevsky, analysing Garcin's famous quote in Huis clos "L'enfer, c'est les Autres", crticizing Sartre's marxism and questioning (with Frankl's and Sartre's eyes) Brecht's verse "Erst kommt das Fressen, dann kommt die Moral"; at the end of the chapter I include my own reflection (and Frankl and Sartre's critique) about the impunity of the executioners and collaborators after the Holocaust (with God's permission). After the Conclusion, I add an Appendix about the lives of Frankl and Sartre, which helps understanding better their work. KEYWORDS: logotherapy, existentialism, search for meaning, freedom, responsibility, morality, Angst, suffering, survivors, victims, contingency, spirituality, religion, God, hope, antisemitism, guilt, Auschwitz, Holocaust, Shoah. (shrink)

As the title of this paper suggests, these remarks on Foucault should be understood as an attempt to complete the picture that McDonell has provided of Michel Foucault's work, rather than as a critique of that picture. I find myself in agreement with much that McDonell has said, but would nevertheless like to comment on a few points. There are two main features of McDonell's introduction to Foucault. First, the overall bearing of Foucault's work is held to have to (...) do with the history of ideas, with a special concern with the methodology that such a type of history should follow. Second, the work of Michel Foucault possesses a rather strong unity that can be stressed in taking L'archéologie du savoir as, so to speak, the sun of a small theoretical system around which revolve such planets of written words as Histoire de Ia folie à l'âge classique, Naissance de Ia clinique, Les mots et les chases and, eventually, Surveiller et punir. (shrink)

The Transcendence of the Ego may be regarded as a turning-point in the philosophical development of Jean-Paul Sartre. Prior to the writing of this essay, published in France in 1937, Sartre had been intimately acquainted with the phenomenological movement which originated in Germany with Edmund Husserl. It is a fundamental tenet of Husserl, the notion of a transcendent ego, which is here attacked by Sartre. This disagreement with Husserl has great importance for Sartre and facilitated the (...) transition from phenomenology to the doctrine of Being and Nothingness. (shrink)