This volume deals with a number of topics that have not previously been specifically addressed before in a single text. A chapter on Sartre and religion talks about his thought in relation to Christianity, Judaism and Buddhism, while one on Sartre and children discusses his work in relation to the issues of freedom, pregnancy and autism. Beyond this, there are an additional seven chapters covering a wide variety of topics by leading scholars in the fields of philosophy, literature psychology, history (...) and political thought. While prior publications on Sartre have generally divided his work into two periods, pre-and post-Marxist, this volume deliberately stresses a middle and final period as well. As representative of the middle period, there is an emphasis on Notebooks for an Ethics, while Sartre's last work, Hope Now, is also treated as being philosophically significant in its own right. This approach helps to cast a new light on what Sartre has to say about authenticity, childhood and consciousness as embodied, among other subjects. The volume also addresses many and diverse issues of current interest, including those of freedom, Marxism and Sartre's relation to ethics. There are sections of the book that deal with history and the historical situations that helped to shape Sartre's thought, as well as articles that deal with Sartre as a specifically French thinker. A chapter deals with Sartre's relation to women , and here the issues of maternity as problematic, plus authentic, adult relationships are discussed. Finally, in addition to authors in philosophy and literature, there are articles by a child psychiatrist and a clinical psychologist to help to provide new insights on Sartre's work. Even as an academic philosopher Sartre always remained an iconoclast and the aim of this book is, at least partially to capture and provide the reader with insight into this spirit. (shrink)

In March of 1980, _Le Nouvel Observateur_ published the final interviews between the philosopher Jean-Paul Sartre, then blind and debilitated, and his young assistant, Benny Lévy. Readers immediately denounced the interviews as distorted and fraudulent for portraying a Sartre who had abandoned his leftist convictions, rejected his most intimate friends, and cast aside his fundamental beliefs in favor of a messianic Judaism. Sartre's supporters argued that it was his orthodox interlocutor, Lévy, who had twisted the words of the ailing philosopher. (...) Yet, shortly before his death, Sartre confirmed the authenticity of the interviews and their puzzling content. Here presented in translation, the interviews are framed by two provocative essays by Benny Lévy, accompanied by a comprehensive introduction from noted Sartre authority Ronald Aronson, which places the interviews in biographical and philosophical perspective to demonstrate how they confirm and contribute to Sartre's overall philosophy. This absorbing volume at last contextualizes and elucidates the final thoughts of a brilliant and influential mind. (shrink)

In March of 1980, just a month before Sartre's death, _Le Nouvel Observateur_ published a series of interviews, the last ever given, between the blind and debilitated philosopher and his young assistant, Benny Levy. Readers were scandalized and denounced the interviews as distorted, inauthentic, even fraudulent. They seemed to portray a Sartre who had abandoned his leftist convictions and rejected his most intimate friends, including Simone de Beauvoir. This man had cast aside his own fundamental beliefs in the primacy of (...) individual consciousness, the inevitability of violence, and Marxism, embracing instead a messianic Judaism. No, Sartre's supporters argued, it was his interlocutor, the ex-radical, the orthodox, ultra-right-wing activist who had twisted the words and thought of an ailing Sartre to his own ends. Or had he? Shortly before his death, Sartre confirmed the authenticity of the interviews and their puzzling content. Over the past fifteen years, it has become the task of Sartre scholars to unravel and understand them. Presented in this fresh, meticulous translation, the interviews are framed by two provocative essays from Benny Levy himself, accompanied by a comprehensive introduction from noted Sartre authority Ronald Aronson. Placing the interviews in proper biographical and philosophical perspective, Aronson demonstrates that the thought of both Sartre and Levy reveals multiple intentions that taken together nevertheless confirm and add to Sartre's overall philosophy. This absorbing volume at last contextualizes and elucidates the final thoughts of a brilliant and influential mind. Jean-Paul Sartre 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)

*Full article is in FrenchEnglish abstract:The five lectures of La Lyre havraise constitute an attempt to elucidate the techniques of the modern novel. For this, Jean-Paul Sarture considers the dis - tinction between the novel and the récit introduced by Alain and Fernandez. The lectures consider Les Faux-Monnayeurs by André Gide; Point Counter Point by Aldous Huxley; Ulysses by James Joyce; The Waves, Mrs. Dalloway and Orlando by Virginia Woolf; Men of Good Will by Jules Romains; and The 42nd Parallel (...) by John Dos Passos. The analysis prefigures the techniques employed by Sartre in the novels published later in his literary career.French abstract:Les cinq conférences de La Lyre havraise constituent une tentative d’élucidation des techniques du roman moderne. Pour cela, Sartre se base sur les distinctions entre le roman et le récit introduites par Alain et Fernandez. Ces conférences traitent des Faux-Monnayeurs d’André Gide, de Contrepoint d’Aldous Huxley, du monologue intérieur d’Ulysse de James Joyce, des Vagues, de Mrs. Dalloway et d’Orlando de Virginia Woolf, des Hommes de bonne volonté de Jules Romains et du 42ième Parallèle de John Dos Passos. Ces analyses préfigurent les techniques employées par Jean-Paul Sartre dans ses oeuvres romanesques qu’il publiera plus tard dans sa carrière littéraire. (shrink)

Neither the apparently cold-blooded murder of a complete stranger, the central event in The Stranger, nor Hugo's murder of Hoederer in Dirty Hands—a political assassination or crime of passion, depending on how one views it—can be considered unusual acts, in literature or in life. The topic of murder has itself created an extremely popular genre: the detective novel or "whodunit," which has become a huge industry and has aficionados everywhere, Sartre being one. In French theater, the topic of political assassination (...) has resulted in such famous plays as de Musset's Lorenzaccio (1834), which ostensibly deals with Florence in the sixteenth century and the tyrannical Alexandre de Médicis, who is assassinated by his young cousin, but is in fact "a limpid transposition of the failed revolution of July 1830." It is well known that Sartre was an admirer of Musset and Romantic theater. In 1946, Jean Cocteau, who helped with the staging of Les Mains sales (Dirty Hands), wrote L'Aigle ` deux têtes (The Two-Headed Eagle), which was inspired "by the sad life of Empress Elisabeth of Austria and her tragic death by the hand of the Franco-Italian assassin, Luigi Lucheni." Sartre himself, in Nausea, has Anny use the engraving in Michelet's Histoire de France depicting the assassination of the Duke de Guise as a perfect illustration of "privileged situations.". (shrink)

This article analyzes articles and interviews published in Sartre on Theater and focuses on five plays ( Bariona , The Flies , No Exit and The Condemned of Altona ) in order to arrive at a coherent conception of Sartre's theater. Sartre views the stage as “belonging to a different imaginary realm“ in which the characters' language, gestures and the props function in a synecdochical relationship in respect to the spectators. It is their task to grasp these “signs“ and bundle (...) them into a coherent and meaningful whole. Because Sartre views the theater as an imaginary realm, he can free himself from the strictures of his philosophy: 1) the irreversibility of time; 2) the fact that life does not give us a second chance; and 3) that death means that our life falls into the public domain. This freedom allows Sartre to deal with temporality in a novel way and to deal with “life after death“ as life simply continued. Conversely, he can scramble temporality for psychological reasons in order to bring out deep rooted personal conflicts, as he does in The Condemned of Altona. (shrink)

Sarah Richmond’s translation makes an important contribution to Sartrean scholarship. L’Etre et le néant was first translated by Hazel Barnes in 1956 but it contained various errors. Richmond also had access to the internet and to Sartre’s French and German sources. Her edition also contains an Introduction and a ‘Notes on the translation’ section.Sartre published his work in 1943 and, unable to access all the works he cited, he often did so from memory. He also adopted certain translators’ neologisms: for (...) example, Corbin’s translation of Heidegger’s Qu’est-ce que la métaphysique?, and when he quoted Nietzsche, he used two different translations, and he quotes Spinoza using a text by Hegel. He quotes a line from the playwright Beaumarchais without clarifying the context.Sarah Richmond deals with many of these problems and also notes that the French gender system can be problematic. Also, Sartre’s neologisms rendered finding English equivalents difficult. This is an excellent translation. (shrink)

Introduction Sartre at One Hundred — a Man of the Nineteenth Century Addressing the Twenty-First? THOMAS R. FLYNN We are celebrating the centennial year of ...

_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 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)