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I understand Sartre's ontology to develop in three stages: first, through Being and Nothingness and Saint Genet: Actor and Martyr; second, through the Critique of Dialectical Reason; and, finally, as it unfolds in The Family Idiot. Each stage depends upon the former and deepens the original ontology, while still introducing novel elements. For example, in Being and Nothingness, the in-itself, which is the source of our world-making, develops in the Critique into the practico-inert, which is the world made artifact, and in The Family Idiot, both the in-itself and the practico-inert unite to become the Spirit of the Age, joining our adventure with nature to that of our adventure with our family and our history. My reflection will be developed in four stages: first, a general overview; second, a more extended study of what Sartre calls the problematic of human reality; third, a brief reflection on Sartre's methodology; and finally, a concluding survey.

In general, the Sartrean concept of the subject as "being-for-self" and "being-for-others" is read as if Sartre had sketched these structures as given "a priori" and therefore as unalterable. One of the consequences of this interpretation lies in calling Sartre's theory contradictory, especially with regard to his ethics, because of the assumption that, based on this concept, changing the inauthentic structures of the subject into authentic ones would be impossible. Contrary to this interpretation, I argue that Sartre's philosophical theory is by no means contradictory, neither in its relation to ethics nor as it relates to the complete edition of Sartre's philosophical writing, if one tries to understand what kind of theoretical requirements Sartre considered to be relevant and necessary. From this point of view, it is possible to work out an adequate and consistent interpretation. In order for me to argue for the immanent consistency of Sartre's theory and for the resulting possibility of an ethical theory based on it, I will discuss some aspects of the relation between epistemological, ontological and ethical elements within Sartre's philosophical system.

Sartre's analysis of intersubjective relations through his concept of the look seems unable to give an account of intersubjectivity. By distinguishing the look as an ontological conflict from our relation with others in experience, we will see that actually intersubjectivity is not incompatible with this theory. Furthermore, we will see that the ontological conflict with the Other always erupts in experience in the form of an emotion, and thus always involves magic, and we will look into what the presence of the Other adds to such emotion. Emotions I have in front of the Other are directed toward my being-for-others, which escapes me by definition. This has a peculiar consequence when the imaginary is involved, which could help explain complexes such as narcissism and paranoia.

Since Kant, modern philosophy has reacted critically and most often dismissively to any theories or inquiries deemed “metaphysical.” The Critique of Pure Reason shows that although human beings naturally seek knowledge of things that are beyond the limits of all possible experience (i.e., metaphysical knowledge), the categories by means of which we are capable of knowledge are all restricted in their legitimate application to objects of possible experience.

Because Sartre's theatre is one of representation and authenticity, plays like The Victors offer Sartrean philosophical explorations of subjects pushed to the limits of existence by torture and oppressive social edicts. It is in extreme situations that a subject most clearly exercises or fails to exercise his freedom and therefore his authenticity. But Sartre's interest in a complete explication of this process wanes before he fully outlines his project of self formation, which leaves the present paper to prove: (1) the unattainability of any final or permanent authenticity, since each subject represents itself alternately in authentic and inauthentic ways and because the representations of a single subject are constantly in flux; (2) the primacy of representation as the force by which the self is formed and authenticity achieved or avoided; and (3) the criteria for the assessment of authenticity levels and how these processes come to light in plays like The Victors.