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Douglas Smith

In June 1951, Sartre’s play The Devil and the Good Lord (Le Diable et le Bon Dieu) was first produced at the Théâtre Antoine in Paris. Set during the German Peasants’ War, the play recounts the story of Goetz, a military leader who transforms himself from a feared and notorious war criminal into a saint and folk hero through a series of arbitrary acts of clemency and generosity. First sparing the besieged town of Worms from total destruction, Goetz then proceeds to break up his own estates and redistribute the land among the peasantry. Far from being presented as an ethical conversion from Evil to Good, however, Goetz’s generosity is twice criticised within the play as a strategem to achieve even greater domination over the beneficiaries of his mercy and munificence.

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Stuart Hanscomb

This article explores the relationship between existentialism and the horror genre. Noël Carroll and others have proposed that horror monsters defy established categories. Carroll also argues that the emotion they provoke - 'art-horror' - is a 'composite' of fear and disgust. I argue that the sometimes horrifying images and metaphors of Sartre's early philosophy, which correlate with nausea and anxiety, have a non-coincidental commonality with art-horror explained by existentialism's preoccupation with the interstitial nature of the self. Further, it is argued that, as with some of the more sophisticated examples of the horror genre, the way for existential protagonists like Roquentin and Gregor Samsa to meet the challenge of the horrifying involves an accommodation of these features of the existential condition within their developing identity, which results in them appearing monstrous to others. Lastly, it is claimed that the association between existentialism and art-horror can explain the (paradoxical) appeal of horror.

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Paul Gyllenhammer

due to the fear of death or the simple need to live. 10 In the modern sense of production ( Gestell ), the natural world is largely taken as something to be transformed entirely for the sake of the human. Form is imposed on matter. 11 Here, the human

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Rolf Dieter Hepp

, by poststructuralist diagnoses), it brings the promise of liberation for nonartistic fields. On the other hand, there is a fear that it may have negative consequences, both for business practice and for art itself. Richard Sennett (2009) , for

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Citizens and Citizenship

The Rhetoric of Dutch Immigrant Integration Policy in 2011

Dana Rem and Des Gasper

dissatisfaction regarding immigration among lower- and intermediate-educated native Dutch [2.2.6]; and widespread doubts over the compatibility of the cultures “of the Western and Islamic worlds”, as well as fears over granting priority to values of cultural

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Too Much of Nothing

Analytic and Sartrean Phenomenological Perspectives

John Graham Wilson

being, as in the case of the imagination and a large number of tiny entities, which for him can meaningfully be objects of judgment (fear, dread, regret, and so on), experiences that are “inhabited by negation.” 26 For ex ample, loss is the intuition

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Nik Farrell Fox and Bryan Mukandi

the same refrain for fear that it might not be heard’ 1 . It feels wrong to harbour and to voice negative thoughts about a work so lovingly crafted and well intentioned, but these stylistic gremlins do, for my part, detract from the quality of Cleary

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The Social Consequences of Brexit for the UK and Europe

Euroscepticism, Populism, Nationalism, and Societal Division

Steve Corbett

in for Europe was a rival, somewhat lukewarm campaign for defending workers’ rights and reforming the EU from within). Like the Scottish Independence Referendum, which was narrowly won by the unionists, the Remain campaign engaged in “Project Fear

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Ananta Kumar Giri

which refers to the “sepia of remembering,” and how “I began to dress myself in goodbyes.” She adds, “Could it be that every landscape starts in solitude? That belonging comes after we detach?” 7 This is related to the fear of language itself going dead

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Jan Berting

shows very clearly that a growing part of the national populations of the EU is very embarrassed by the consequences of modernization. This growing fear is related to the strong growth of international immigration. The first reaction of this part of the