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Judith Butler and the Sartrean Imaginary

Kathleen Lennon

Sartre’s Imaginary Personages In his early work The Imaginary , 1 Sartre discusses the performance artist Franconay, ‘a small stout brunette woman’ who is imitating Maurice Chevalier. In this performance ‘that black hair we did not see as black

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Performative and Eidetic Simulations

Three Imaginary Regimes

Elad Magomedov

In a famous section of The Imaginary , Sartre discusses a performance of the French actress Claire Franconnay, a short, plump, dark-haired woman who in imitating the actor Maurice Chevalier becomes ‘possessed’ by this tall, thin, light-haired man

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John Gillespie and Sarah Richmond

the light of the influence of existentialism and phenomenology. Sartre’s imaginary personages make up his account of individual and social identities. He sees identity as a performance of the individual, whereas Butler sees it as emerging within a

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Jean-Paul Sartre

The Russian Teatr Interviews of 1956 and 1962

Dennis A. Gilbert and Diana L. Burgin

thing is to find an audience. All other problems are secondary to this basic one. An audience exists, of course, and if its response to a play is positive, the play can run for two to three hundred performances. However, the overwhelming majority of this

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Two Failures of Left Internationalism

Political Mimesis at French University Counter-Summits, 2010–2011

Eli Thorkelson

counter-summits, which sought to appropriate the gravitas of international summits like the European Council or the G20, and to acquire political recognition by imitating the official performance of discursive authority. The Brussels counter-summit, for

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Book Review

Mabogo Percy More, Sartre on Contingency: Antiblack Racism and Embodiment

Thomas Meagher

human values. The differences between the two text are more formal than argumentative. Gordon's texts is, in effect, a phenomenological performance utilizing the phenomenon of antiblack racism to demonstrate the phenomenon of bad faith and vice versa

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’s organizational gambit to wrest local political control from the mainstream parties. This article analyzes the FN’s performance in these elections from the standpoint of political demand and supply. First, it elaborates the social, economic, and partisan

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Disruptive Technology

Social Media from Modiano to Zola and Proust

Elizabeth Emery

lies in its apparent simplicity. Where Houellebecq’s press stunts are so over the top as to be identifiable as such, Modiano’s performance of “literarity” is so subtle it does not register as performance. The discarded cartable and cardboard box in

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Book Reviews

Nik Farrell Fox and Bryan Mukandi

of what Fanon said, while avoiding the trap of seeking to legitimate that by means of an appeal to the thinking of white, male philosophers. This is not only a work of exegesis but also a literary, philosophic performance that retraces and recites

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After the Party

Trump, Le Pen, and the New Normal

Anne Sa’adah

use violence”…. Last spring, this was a kind of right-wing performance art. Now it is the language of the man leading in the Republican polls, a man who … could, not inconceivably, become President of the United States. Imagine that. 39 Gingrich