Jean-Paul Sartre's account of the Look in Being and Nothingness is not straightforward and many conflicting interpretations have arisen due to apparent contradictions in Sartre's own writing. The Look, for Sartre, demonstrates how the self gains thematic awareness of the body, forming a public and self-conscious sense of how the body appears to others and, furthermore, illustrates affective and social aspects of embodied being. In this article, I will critically explore Sartre's oft-cited voyeur vignette in order to provide a coherent account of the Look and to illustrate the significance of intersubjectivity and self-consciousness in Sartre's work. Through considering Sartre's voyeur vignette and other examples of reflective self-consciousness, this article will examine epistemological, self-evaluative and ontological concerns in the constitution of reflective self-consciousness. It will be contended that Sartre's accounts of the Look and reflective self-consciousness within social relations can provide insight into the intersubjective nature of the shaping of the body and the significance of self-presentation within the social realm.
This article examines the role played by the nòva cançon occitana (new Occitan song) in disseminating post-1968 regionalist ideologies, particularly the contention that Occitanie constituted an “internal colony” of France. While both the nòva cançon and the internal colonialism thesis proved instrumental in advancing the Occitanist cause, they also raised intractable problems. The depiction of Occitanie as a colonized territory consolidated a fragile sense of regional identity, but in so doing demanded that individuals repress the French dimensions of their identity. In addition, nòva cançon performers did not simply convey regionalist ideals through music, but were compelled to embody these ideals in their behavior, ideological stance, and self-presentation. To illuminate such tensions, the article considerers the controversy triggered when one Occitan singer-songwriter, Joan Pau Verdier, signed with an international label, thereby opening himself up to charges of having betrayed the Occitanist cause.
A Defense of Lacanian Responsibility
Crowell describes it, the fundamental project is “a basic choice of being that expresses itself in all I do as a certain style of self-presentation, a certain pattern of decision-making and responsiveness to the world’s solicitations.” 19 In a similar
Historicizing the Gallic Singularity
Jean Elisabeth Pedersen
the first of the four parts of her article to an examination of Barine's self-presentation as a writer who was also a housewife rather than a feminist, a New Woman, or a woman of letters. In the second part of the article, Walton explores the
Planning, Discourse, and State Power in Post-War France
comments. First, they illustrate how planning orthodoxies are established and then challenged, and how a discipline or practice evolves over time, as one generation is displaced by the next. Notable in this respect is the self-presentation of M. Roulet
Memoirs, Diaries, Biography
Kirkpatrick's biography is the ‘becoming’ of Beauvoir, which she primarily (but not exclusively) understands as a form of self-presentation by a public intellectual that strategically anticipates the hostilities faced by women who acquire such visibility. In