initial publications, he called off the first Viennese production of Les Mains sales to prevent the play being used as a propaganda tool. Its plot, set in the fictional country of Illyria, focuses on the confrontation between a revolutionary party
Boycott, Scandals, and the Fight for Peace
Sartre's evocation of ideological socialism in Dirty Hands' protagonist Hugo, as opposed to the pragmatism of the realist, Hoederer, found an attentive audience in April 1948. The means are justified by the ends, Hoederer insists, although that means “getting one's hands dirty.“ Eighteen months later, Camus produced Les Justes, which offers an implicit rebuttal of Sartre's position. Kaliayev-like Hugo, an idealist and an intellectual-is rebuked by his hard-line colleague, Fedorov, for failing to throw his grenade at the Archduke's carriage merely because he was accompanied by children. Kaliayev's vindication of the individual's moral conscience, even in the midst of collective action, counters Hoederer's position. For Camus, the ends do not necessarily justify the means; there are always lines to be drawn in the name of an ethical stance which, ultimately, protects human dignity from the allure of morally compromised “progress.“ Consideration of each playwright's notion of authenticity, as embodied in their respective protagonists, leads us to consider whether Sartre had, in effect, anticipated Kaliayev in the person of Hugo and foreshadowed his critique of Camus's L'Homme révolté, which led to their definitive quarrel.
The autumn of 1998 saw a fiftieth anniversary revival of Sartre’s Les Mains sales at the Théâtre Antoine in Paris, complete with facsimile programme of its premiere, placing emphasis upon the chequered history of this controversial play. The review in Le Monde also privileged an account of the political context of the play’s creation over an assessment of the production’s virtues: ‘Nous regardons la photo un peu passée de ce qui nous avait secoués.’ This reception suggests that Sartre the dramatist is already remembered chiefly as the author of circumstantial and thesis plays whose interest depended largely upon their historical moment. It is noticeable that other pastmasters, more ‘past’ than Sartre – Molière, Racine, Feydeau – attracted greater critical attention in the Parisian rentrée of that year, as did one near-anagrammatic contemporary, Nathalie Sarraute.
This article considers Sartre's relations with the French Communist Party (PCF) in the years immediately following the Liberation when the PCF considered that, of all the prominent French intellectuals, it was Sartre who posed the greatest threat. This article opens by situating the PCF within the French political landscape immediately after the Liberation and addressing its attitudes towards intellectuals. It then examines the main themes of the attacks launched by the PCF, between 1944 and the staging of Les Mains sales (Dirty Hands) in 1948, on both Sartre and existentialism and the reasons for these attacks. It concludes by noting the differences between the PCF and Sartre on three specific political issues during this period.
Adrian van den Hoven
Neither the apparently cold-blooded murder of a complete stranger, the central event in The Stranger, nor Hugo's murder of Hoederer in Dirty Hands—a political assassination or crime of passion, depending on how one views it—can be considered unusual acts, in literature or in life. The topic of murder has itself created an extremely popular genre: the detective novel or "whodunit," which has become a huge industry and has aficionados everywhere, Sartre being one. In French theater, the topic of political assassination has resulted in such famous plays as de Musset's Lorenzaccio (1834), which ostensibly deals with Florence in the sixteenth century and the tyrannical Alexandre de Médicis, who is assassinated by his young cousin, but is in fact "a limpid transposition of the failed revolution of July 1830." It is well known that Sartre was an admirer of Musset and Romantic theater. In 1946, Jean Cocteau, who helped with the staging of Les Mains sales (Dirty Hands), wrote L'Aigle ` deux têtes (The Two-Headed Eagle), which was inspired "by the sad life of Empress Elisabeth of Austria and her tragic death by the hand of the Franco-Italian assassin, Luigi Lucheni." Sartre himself, in Nausea, has Anny use the engraving in Michelet's Histoire de France depicting the assassination of the Duke de Guise as a perfect illustration of "privileged situations."
David Detmer and John Ireland
—Sartre’s participation in the 1952 World Congress of People for Peace in Vienna, and his canceling the premiere of his play Les Mains sales in that city — Juliane Werner sheds new light on Sartre’s political evolution, the reception of his ideas in Austria, and his
Sartrean Ethics in History, 1938–1948 – From Kantian Universalism to Derision
Translator : Ârash Aminian Tabrizi
sépulture , and Les Mains sales . The first text was written before the war. The other two date from 1946 and 1948, that is, from the historical period I discussed above. I am not the first commentator to note that the short story Le Mur re-enacts an
The Genesis of Sartre’s Theatrical Career in Writings to, with, and by Beauvoir
Dennis A. Gilbert
notable productions over the past thirty years: Robert Hossein’s Kean (1987); Claude Régy’s Huis clos (1990); Michel Raskine’s Huis clos (1994); Jean-Pierre Dravel’s Les Mains sales (1998); and Daniel Mesguich’s Le Diable et le Bon Dieu (2001
petite critique de la raison journalistique
Laffont,  1988), 928. 28 Ibid., 929. 29 Cette rapidité est un thème constant chez Sartre, voir Jean-Paul Sartre, Les Mains sales (Paris : Gallimard,  1972), Les Séquestrés d’Altona (Paris : Gallimard,  1972) et la Critique de la