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The Feel of the Past

Sartre on Memory and Imagination

Kathleen Lennon

Abstract

This article addresses the distinction which Sartre draws between memory and imagination. The article is in two parts. In the first part it is suggested that, in common with the distinction he draws between imagining and perceiving, the separation of memory and imagination is undermined by Sartre's own phenomenology. Memories are part of the family of imaginings to which Sartre directs us. Nonetheless, in the second part of the article, Sartre's distinction is revisited. The working of imagination in memory does not mean that we are making up our past. Utilising Barthes’ discussion, in Camera Lucida it is argued that memory provides a distinctive relation to our past, which makes evident to us what it is to live a life in time.

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From Jean-Paul Sartre to Critical Existentialism

Notes for an Existentialist Ethical Theory

Maria Russo

Abstract

This article examines Sartre's works in which his attempt to find an existentialist ethics is evident. Most of the clues to this project are to be found in texts published posthumously since during his lifetime he never managed to fulfil the promise he made at the end of Being and Nothingness. It will be argued that this existentialist ethics owes a strong debt to Kantian philosophy, even if it confronts more directly the historical dynamics of violence and oppression. Despite the fact that this project is unfinished and only sketched out, it is possible to ask what Sartre's direction of development would have been, pointing to the outline of a normative theory, Critical Existentialism, that could have its place in contemporary ethical debate.

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Introduction

Joachim Frenk and Lena Steveker

The prologue of Thomas Heywood's tragicomedy The English Traveller, which was first performed around 1627 and first printed in 1633, seeks to focus the minds of its audience on what is to follow on stage:
A Strange Play you are like to haue, for know,
We use no Drum, nor Trumpet, nor Dumbe shew;
No Combate, Marriage, not so much to day,
As Song, Dance, Masque, to bumbaste out a play: […]
                                                            (The English Traveller, n.p.)
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John Ford's Strange Truth

Lisa Hopkins

Abstract

From the 1620s to the 1630s, John Ford revisited Shakespeare and made him strange. ’Tis Pity She's a Whore inverts Romeo and Juliet by making its core relationship endogamous rather than exogamous. Perkin Warbeck is a sequel to Richard III, but undoes its original by telling a story fundamentally incompatible with Shakespeare's. The Lover's Melancholy echoes both Twelfth Night and King Lear, collapsing the distinction between comedy and tragedy. Above all, Ford reworks Othello, which lies behind the plots of four of his plays. The estranging effect produced by these reshapings is underlined by Perkin Warbeck's subtitle ‘A Strange Truth’ and the word ‘strange’ appears forty-nine times in his plays. Ford uses familiar Shakespearean stories to highlight the strangeness of the stories which he himself tells.

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La question identitaire dans l'itinéraire de Présence Africaine

Etienne Lock

Abstract

This article examines the issue of identity as expressed in the historical journey of the intellectual movement Présence Africaine. It highlights a fundamental dimension of the commitment of that movement not yet explored in academic research. The current study uncovers the challenges and the great events that shaped the reputation of Présence Africaine as an African intellectual movement with a journal and a publishing house. It also deals with the identity issue through philosophical and theological debates as well as in reference to the independence era in Africa. The relevance of such a study is due to the topicality of the identity issue for contemporary societies.

Résumé

Cet article est une réflexion sur la question identitaire telle que portée et exprimée dans l'itinéraire historique du mouvement Présence Africaine. Il met en exergue une dimension fondamentale, voire l'essence même de l'engagement de ce mouvement, jusqu'ici non explorée. Tout en faisant redécouvrir les défis et de grands événements qui ont fait la notoriété de Présence Africaine soutenue par une revue et une maison d'édition, cette réflexion s'articule aussi autour des débats philosophiques et théologiques au sein de ce mouvement, et se déploie par ailleurs en référence aux indépendances africaines. L'opportunité d'une telle réflexion s'explique par le fait que la question identitaire reste un enjeu important pour les sociétés contemporaines.

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The Leftist “Imagined Community”

The Transnational Imagination of Left-Wing Subversive Organizations in Western Europe

Mikuláš Pešta

Abstract

This article concerns radical leftist subversive organizations in Western Europe in the 1970s and 1980s and their transnational shared imagination. It shows that despite the scarcity of direct contacts, there existed a sense of belonging to the same transnational current, the “imagined community.” On selected criteria (Images – Semantics – Practice), the article provides analysis of the shared tropes in self-perception and in the communication. The patterns were shared among the Western European subversive organizations but also imported from the countries of the Global South. The article further presents the lack of effort of the subversive organizations to create their own mark and graphic identity, whether consciously or not, to become a part of the “global anti-imperialist front.” It puts into question the utility of the traditional categorization of subversive organizations and discusses the use of the term “terrorism” regarding its self-perception and global context.

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Massinger's Strange Pirates

Strangeness, Law(s) and Genre in The Double Marriage and The Unnatural Combat

Susanne Gruss

Abstract

This article analyses the pirate figures in The Double Marriage (1619–22) and The Unnatural Combat (1624–26) by delineating the crucial role of strangeness in the depiction of piracy on the one hand and the generic status of these plays on the other. In both texts, the main pirate figure moves from strange outsider to morally upright anti-hero. Strangeness (and with it, piracy) thus serves to question and undermine the stability of the social status quo. Strangeness and unnaturalness also inherently affect the generic status of both plays. In The Unnatural Combat, a revenge plot becomes obsolete with the death of one of the protagonists; and The Double Marriage becomes strange in its undermining of generic expectations, generating a tragicomic plot and at least three different revenge plots.

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Performative and Eidetic Simulations

Three Imaginary Regimes

Elad Magomedov

Abstract

Different kinds of fakery and imposture can be differentiated by means of the imaginary regimes within which a performative simulation unfolds. Engaging with Sartre's analysis of the imaginary, we will identify three such regimes, calling them the objective, the reflective, and the phantasmatic. Each of these regimes involves its own kind of image and accordingly a specific type of simulation. It is proper to the objective image to attain dissimulation of the self by replacing the real with fiction. In the reflective regime, the real is not substituted by the imaginary, but rather contaminated by it. Finally, whereas the objective and the reflective regimes operate within the sphere of intentional (dis)simulation, the phantasmatic image carries us beyond Sartre's findings, as it shapes the very structure of pre-reflective disclosedness which provides the background for our projects.

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Poetry

Giles Watson

Rivets and The Hanney Brooch By Giles Watson

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Putting Strangeness in Perspective

John Fletcher's The Island Princess

Anja Müller-Wood

Abstract

I consider ‘strangeness’ as a performative phenomenon directly related to the experimental multiperspectivity of the early Stuart stage. As such, it is not a quality ascribed to individual characters, but the norm ruling interactions between them: all characters are strangers to each other. This constellation drives theatrical agon and suspense, turning spectators into privileged witnesses to an all-encompassing strangeness of which characters are often unaware. This theatrical take on strangeness supplements and potentially undercuts contextual and thematic explanations of the early modern stage's fascination with the odd and exotic. Thus in John Fletcher's The Island Princess (1621), the conflict between Christianity and Islam ostensibly depicted in this tragicomedy is challenged, if not superseded, by a more existential and ubiquitous notion of strangeness at the play's core.