addition to Sartre's dramatic criticism. Jean-Paul Sartre Our Interviews: Jean-Paul Sartre Teatr 1956 Returning to France after a trip to China, the well-known French writer and social activist, Jean-Paul Sartre, stopped in Moscow for a few
The Russian Teatr Interviews of 1956 and 1962
Dennis A. Gilbert and Diana L. Burgin
From Jean-Paul Sartre to Critical Existentialism
Notes for an Existentialist Ethical Theory
The aim of this article is to sketch an existentialist ethical theory based on a Kantian interpretation of Jean-Paul Sartre's ethics of authenticity. Between 1947 and 1948, Sartre wrote several notebooks on the possibility of developing an
Théorie et pratique du dialogue romanesque chez Jean-Paul Sartre
parvenir à transmettre au lecteur l’épaisseur de la durée et l’opacité des consciences ? Ce renversement différencie également nettement la pratique du dialogue de Jean-Paul Sartre de celle d’un écrivain comme André Malraux. Bien qu’ils partagent tous deux
"The Man Who Lived Underground": Jean-Paul Sartre And the Philosophical Legacy of Richard Wright
Kathryn T. Gines
Is Jean-Paul Sartre to be credited for Richard Wright's existentialist leanings? This essay argues that while there have been noteworthy philosophical exchanges between Jean-Paul Sartre, Simone de Beauvoir, and Richard Wright, we can find evidence of Wright's philosophical and existential leanings before his interactions with Sartre and Beauvoir. In particular, Wright's short story "The Man Who Lived Underground" is analyzed as an existential, or Black existential, project that is published before Wright met Sartre and/or read his scholarship. Existentialist themes that emerge from Wright's short story include flight, guilt, life, death, dread, and freedom. Additionally, it is argued that "The Man Who Lived Underground" offers a reversal of the prototypical allegory of the cave that we find in the Western (ancient Greek) philosophical tradition. The essay takes seriously the significance of the intellectual exchanges between Sartre, Beauvoir, and Wright while also highlighting Wright's own philosophical legacy.
Sarah Richmond's Translation of Jean-Paul Sartre's Being and Nothingness
Adrian van den Hoven
was very much upset when, in 1987, Timothy O'Hagan and Jean-Pierre Boulé published A Checklist of Errors in Hazel Barnes English Translation of Jean-Paul Sartre's L'Etre et le néant. 4 In it, the authors compiled a list with four categories: (1
Paris Under the Occupation
Upon arriving in Paris, many Englishmen and Americans were surprised that we were not as thin as they had expected. They saw women wearing elegant dresses that appeared new and men in jackets that, from afar, still looked good; they rarely encountered that facial pallor, that physiological misery that is usually proof of starvation. Concern that is disappointed turns into rancor. I am afraid that they were a little annoyed with us because we didn’t conform completely to the pathetic image that they had previously formed of us. Perhaps some of them wondered in the depth of their heart if the occupation had been quite so terrible after all and if France shouldn’t consider the defeat as a lucky break that would allow her to regain its place as a great power without having deserved it through great sacrifices; perhaps they thought as did the Daily Express that, in comparison to the English, the French didn’t fare so badly during these four years.
Fairy Tale (from "Une Défaite”)
This is an extract from “Une défaite,” an unfinished novel which, according to Simone de Beauvoir, Sartre wrote in 1927. Apparently, Sartre was inspired by Charles Andler's biography of Nietzsche and the triangular relationship of Nietzsche, Wagner and Cosima Wagner. The latter, Franz Liszt's daughter, was initially married to Hans von Bülow with whom she had two daughters, and then she married Wagner with whom she had two more daughters. Nietzsche admired her greatly. Sartre became fascinated by this ambiguous, complex and conflictual triangle. Sartre also identified with Nietzsche and “the destiny of the solitary man.” The protagonist, Frédéric, who is one year older than Sartre, is also an ironic self-portrait of Sartre, while Cosima is a prototype for Anny in Nausea; both are modelled on Simone Jollivet. Cosima plays both mother and sister to Frédéric. The triangular relationship is often repeated in Sartre's affective existence. The fairy tale is the best written chapter in the novel.
To Be Hungry Already Means That You Want To Be Free
Les Temps modernes is publishing here for the first time a film script written by Sartre during the winter of 1943-1944. We thank Daniel Accursi for generously passing it along and Michel Contat for preparing it for publication. Sartre’s article entitled “A film for the postwar period,” which appeared [unsigned] in L’Ecran français and was incorporated into the Lettres françaises [clandestine], no. 15, April 1944, clearly indicates the purpose of this project: “On screen—and only on screen—is there place for a panic-stricken, a furious or a serene crowd. The novelist can evoke the masses; if the dramatist wants to represent them on stage, he must symbolize them by using half a dozen characters who assume the name and function of the chorus; only films show them. And it is to the masses themselves that they do so: to fifteen million or twenty million spectators. It is in this manner that film can speak about the crowd to the crowd. That is what the great pioneers of film, such as Griffith, Cecil B. de Mille and King Vidor understood so well. This does not mean that films cannot show love stories or conflicts between individuals. Far from it. But they must reinsert them into their social setting. The speed with which the camera can move from place to place also permits it to situate a story in the whole universe. The wellknown rule of theatrical unity in French classical drama does not apply at all to film. One can even introduce several plots simultaneously, have them unfold in different settings and have their very diversity contribute to the creation of a complete social situation. The film’s unity therefore emanates from its profound meaning, from the epoch it restores, and not from the concatenation of the circumstances that make up a minuscule and unique anecdote.
Reflection, Memory and Selfhood in Jean-Paul Sartre's Early Philosophy
The article advances an interpretation of the self as an imaginary object. Focusing on the relationship between selfhood and memory in Sartre's The Transcendence of the Ego, I argue that Sartre offers useful resources for thinking about the self in terms of narratives. Against interpretations that hold that the ego misrepresents consciousness or distorts it, I argue that the constitution of the ego marks a radical transformation of the conscious field. To prove this point, I turn to the role of reflection and memory in the creation of the self. Reflection and memory weave past, present and future into a consistent and meaningful life story. This story is no other than the self. I propose to understand the self as a fictional or imaginary entity, albeit one that has real presence in human life.