Existentialist Themes in Three Works
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Why Hell Is Other People: Distinctively Human Psychological Suffering
Review of General Psychology Copyright 2008 by the American Psychological Association 2008, Vol. 12, No. 1, 1–8 1089-2680/08/$12.00 DOI: 10.1037/1089-2680.12.1.1 Why Hell Is Other People: Distinctively Human Psychological Suffering Jesse M. Bering Queen’s University Just as there is remarkable continuity between the structures, abilities, and behaviors of closely related species, so too are there equally remarkable differences. Because only our species has evolved the social cognitive mechanisms that enable a heightened sensitivity to the minds of others, only our species suffers the psychological conse- quences. Using Sartre’s famous play No Exit to illuminate the interplay between evolved psychology and social conscious experience, I show how theory of mind is both biologically adaptive and the common denominator in distinctively human types of psychological suffering. Keywords: social cognition, theory of mind, evolutionary psychology, loneliness, intersubjectivity You remember all we were told about the torture it would make even the most rapacious sinner chambers, the fire and brimstone, the “burning marl.” repent if only to escape the unbearable fate of an Old wives’ tales! There’s no need for red-hot pokers. Hell is—other people! eternity spent with others. As a psychologist who studies social cogni- —the character of Garcin, in Jean-Paul Sartre’s No Exit tion within an evolutionary framework, I am In his play No Exit, Jean-Paul Sartre (1946/ drawn to Sartre’s play because it serves to elu- 1989) introduces us to three characters who find cidate what I believe is a distinctively human themselves in the unenviable position of having type of psychological suffering, one that is so- just been cast to hell. -
Existentialism in Two Plays of Jean-Paul Sartre
Journal of English and Literature Vol. 3(3), 50-54, March 2012 Available online at http://www.academicjournals.org/IJEL DOI:10.5897/IJEL11.042 ISSN 2141-2626 ©2012 Academic Journals Review Existentialism in two plays of Jean-Paul Sartre Cagri Tugrul Mart Department of Languages, Ishik University, Erbil, Iraq. E-mail: [email protected]. Tel: (964) 7503086122. Accepted 26 January, 2012 Existentialism is the movement in the nineteenth and twentieth century philosophy that addresses fundamental problems of human existence: death, anxiety, political, religious and sexual commitment, freedom and responsibility, the meaning of existence itself (Priest, 2001: 10). This study tries to define what existentialism is and stresses themes of existentialism. This research finally points out these themes of existentialism by studying on two existentialist drama plays written by Jean-Paul Sartre who was a prominent existentialist writer. The plays by Sartre studied in this research are ‘The Flies’ and ‘Dirty Hands’. Key words: Existentialism, freedom, absurdity, anguish, despair, nothingness. INTRODUCTION Existentialism is the philosophy that makes an religious, political, or sexual commitment? How should authentically human life possible in a meaningless and we face death? (Priest, 2001: 29). We can briefly define absurd world (Panza and Gale, 2008: 28). It is essentially existentialism as: ‘existentialism maintains that, in man, the search of the condition of man, the state of being and in man alone, existence precedes essence’. This free, and man's always using his freedom. Existentialism simply means that man first is, and only subsequently is, is to say that something exists, is to say that it is. -
The Power of the Gaze in Jean-Paul Sartre's No Exit
1 Foucault‘s panoptic disciplinary power and torture: the power of the gaze in Jean-Paul Sartre‘s No Exit (1944) َظشيح فٕكٕ نقٕج اﻻَضثاط ٔانؼزاب انقائى ػهٗ ذطثيق ًَٕرج " انثإَتريكٌٕ": قٕج انُظشج انثاقثح فٗ يسشديح جٌٕ تٕل ساسذش " ﻻ يخشج" (1944) Presented by: Silvia Elias, PhD Lecturer at the Faculty of Languages and Translation, Department of English language, Pharos University, Alexandria, Egypt 2 Abstract The effect of the Panopticon – introduced by Bentham - is to induce in the inmate a state of permanent visibility/exposure that assures the automatic functioning of the observer‘s (in tower) power. The key lies in the sustained power of surveillance despite its discontinuity in action. It does not matter who exercises the power or the motive behind it, but the more conscious a person is of another person‘s presence: the more a person‘s freedom is threatened by feeling objectified. According to Michel Foucault, discipline is maintained without the need to use force to dictate a certain behavior due to the power of the gaze. Disciplinary power based on knowledge (power-knowledge) defines what is normal, acceptable or deviant. Thus, power becomes a source of social discipline and conformity. Consequently, microcosmic systems of surveillance used in schools or panoptic prisons for example no longer require force or violence. My paper uses Michel Foucault‘s book Discipline and Punish: the Birth of the Prison as its main theoretical framework and applies his theories to Sartre‘s masterpiece No Exit (1944). The play setting is an example of a panoptic prison that is described by its residents as inescapable hell, born from the need to derive validation and identity from others as long as they are the objects of each others‘ gaze. -
Jean-Paijl Sai?Tre
t\O EXIT AND BY JEAN-PAIJL SAI?TRE VINTAGE INTERNATIONAL RANDOM HOUSE, INC' . NEW YORK VINTAGE BOOKS . A DIVISION OF + Vintage International Edit ion, October 1989 xorr: All inquiries regarding professional or amateur performance rights should be addressed to LEs EDrrIoNs NAGBL-IARIs, 7 Rue de Savoie, Paris 6, France. Permission to use for such performances the translations ap- pearing in this volume must be obtained in writing from AIFnBD A. KNopF, INc., 201 East 50th Street, New York, New York 10022. Copyright 1946, 1947 by Stuart Gilbert Copyright 1948, 1949 by Alfred A. Knopf, Inc. Copyright renewed 1974 by Maris Agnes Mathilde Gilbert Copyright renewed 1976 by Alfred A. Knopf, Inc. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Vintage Books, a division of Random House, Inc., New York. By arrangement with Alfred A. Knopf, Inc. No part of this book may be reproduced in any form without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review to be printed in a magazine or newspaper. No Exit and The Flies, first published in the United States on February 20, 1947, by Alfred A. Knopf, Inc., and in Great Britain under the title The Flies and In Camera by Hamish Hamilton, Ltd., in 1946. The Flies, published in France as Les Mouches, Copyright by Librairie Gallimard, 1943, and No Exit as Huis CIos, Copyright by Librairie Gallimard, 1945. The Respectful Prostitute and Dirty .Elands were published in the United States in rHREE pI,Ays on August 22, L949, by Alfred A. -
The Problem of Dirty Hands: Can Public Guilt Produce Public Awareness?
The Problem of Dirty Hands: Can Public Guilt Produce Public Awareness? By Boris Litvin The Department of Political Science in partial fulfillment of the requirements for the degree with honors of Bachelor of Arts The University of Michigan March 2011 Advised by Jennet Kirkpatrick ii Abstract What implications does a dirty-handed politician‟s assertion that dirty hands are necessary for certain political achievements have on our understanding of the relationship between political actors and the political community? The problem of dirty hands, as described in Michael Walzer‟s “Political Action: The Problem of Dirty Hands,” occurs when a political actor finds that he must transgress one of his moral principles to accomplish what he sees as the right (and necessary) political action. While various political theorists have suggested that a political actor facing the problem of dirty hands ought to act as a consequentialist (and value the political outcomes of his actions above the “moral transgressions” they may require) or as a moral absolutist (and value his or her moral principles above any political goals), Walzer argues that a political actor can meet both moral-absolutist and consequentialist moral demands provided he does what is politically necessary (thereby violating his morals) but understands himself to be guilty as a result. Through guilt, we know the politician truly values the moral principles he has had to violate. As a result, Walzer suggests that a public display of guilt may help the dirty-handed political actor meet his or her moral and political obligations. My thesis explores the implications of Walzer‟s public guilt from the standpoint of the political community at which the declaration of guilt is directed. -
Drones and Dirty Hands Ben Jones University of Kansas
Drones and Dirty Hands Ben Jones University of Kansas John M. Parrish Loyola Marymount University Forthcoming in Preventive Force: Targeted Killing and Technology, ed. Kerstin Fisk and Jennifer Ramos (New York University Press) The period known as the “War on Terror” has prompted a revival of interest in the problem of “dirty hands”: the idea that political actors frequently confront choices where they cannot fulfill their responsibilities to the public welfare without violating ordinary moral obligations to avoid violence, deception, and similar forms of wrongdoing (Walzer 1973). Several motifs from the dirty hands literature have migrated into public discourse: in particular, the image of the anguished public leader committed to protect the public’s safety but seemingly forced into distasteful acts of violence to achieve this noble end. This renewed interest is hardly surprising, given that the September 11th attacks led policymakers anxious to prevent another attack into a reconsideration of just the kinds of morally troubling tactics that the literature about dirty hands addresses. Popular news stories regularly characterize President Obama as personally wrestling with the insoluble moral dilemmas inherent in “the president’s attempt to apply the ‘just war’ theories of Christian philosophers to a brutal modern conflict,” yet ultimately resolving these conflicts in favor of the more aggressive course of action (Becker and Shane 2012). It is easy to understand why the notion of dirty hands appeals to political actors concerned with polishing the president’s image. More surprising, however, some political theorists have begun adopting a similar interpretation of contemporary targeted killing policies. Notable in this regard is political theorist Stephen de Wijze (2009), who contends that a policy of using preventive (lethal) force against terrorist actors is (under specified but not uncommon circumstances) an instance of a dirty-handed moral dilemma (see also Kaag and Kreps 2014, 11-14). -
SARTRE's NO EXIT a Thesis Submit
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE ROLE OF PRESENTATIONAL FORM IN EXISTENTIAL THEATRE: SARTRE'S NO EXIT A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Speech Communication by Tracey Lynne Ross May 1985 The Thesis of Tracey Lynne Ross is approved: William F. Eadie Christie A. Logan, Cha~ California State University, Northridge ii ,, . ACKNOWLEDGEMENTS This thesis would not have been possible without the substantial direction and support of several individuals. I would like to take this opportunity to thank them. First I want to express my extreme gratitude to my thesis committee: Dr. William Freeman, Dr. William Eadie, and Dr. Christie Logan. Dr. Freeman and Dr. Eadie were in valuable in terms of production and organizational advice. Especially though, I must thank Dr. Christie Logan for all of her guidance. I am most fortunate to have benefitted from her expertise, style, and professionalism. She kept me focused and sane. Thank you, Christie! I must also thank all of the Speech Communication faculty and staff for all of the support and encouragement. Like wise, all of the Speech Communication graduate students who were so wonderful. You kept me going. Thanks go to my roommate, Janet Angevine, who put up with all of the whining and self-doubts. She is a one-woman cheerleading squad! Who else would put up with me, smile and then make me popcorn! To my No Exit cast: Jackie Martinez, Keri Vermillion, Leslie Klinger, and Mike Valdez, you are all very dear to me. You worked hard and accomplished much. -
The Problem of Dirty Hands in Democracies
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by White Rose E-theses Online The Problem of Dirty Hands in Democracies Christina Nick Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Philosophy, Religion, and History of Science September 2019 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Christina Nick to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. © 2019 The University of Leeds and Christina Nick 1 Acknowledgements This thesis has only been possible because of the huge support that I have received over the last four years from the amazing people around me. I owe all of you my eternal gratitude (and probably a lot of pints). First and foremost I have to thank my supervisors Carl Fox and Rob Lawlor for painstakingly tearing apart everything that I have written over the years and making me re-write it until it started to vaguely resemble a philosophical argument. Thank you for taking the time to read through all of my ramblings and assuring me that I could finish this project when I didn’t believe it myself. I would not have been able to write this thesis without the financial support from the IDEA Centre. -
Existentialist Narrators in the Novels of Albert Camus, Jean Paul Sartre, and Don Delillo Courtney Mullis Coastal Carolina University
Coastal Carolina University CCU Digital Commons Honors College and Center for Interdisciplinary Honors Theses Studies Spring 5-15-2015 Unlikely Heroes in Despair: Existentialist Narrators in the Novels of Albert Camus, Jean Paul Sartre, and Don DeLillo Courtney Mullis Coastal Carolina University Follow this and additional works at: https://digitalcommons.coastal.edu/honors-theses Part of the English Language and Literature Commons Recommended Citation Mullis, Courtney, "Unlikely Heroes in Despair: Existentialist Narrators in the Novels of Albert Camus, Jean Paul Sartre, and Don DeLillo" (2015). Honors Theses. 13. https://digitalcommons.coastal.edu/honors-theses/13 This Thesis is brought to you for free and open access by the Honors College and Center for Interdisciplinary Studies at CCU Digital Commons. It has been accepted for inclusion in Honors Theses by an authorized administrator of CCU Digital Commons. For more information, please contact [email protected]. '' Unlikely Heroes in Despair: Existentialist Narrators in the Novels of Albert Camus, Jean Paul Sartre, and Don DeLillo 2015 BY Courtney Mullis English Submitted in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts In the Honors Program at Coastal Carolina University May 2015 Mullis I Introduction Existentialism is a field of philosophy concerned with questions about existence, death God, and consciousness. It is "a doctrine that concentrates on the existence of the individual, who, being free and responsible, is held to be what he makes himself by the self-development of his essence through acts of the will" (OED Online). Writing by existentialist philosophers "often belongs more to literature than to philosophy" (Bigelow 173). -
What Is Politics?
What is Politics? Note: This collection of definitions and quotations is drawn from the Columbia Encyclopedia and other reference works available on-line at www.bartlebys.com. Interspersed are printed selections from H.L. Mencken, A New Dictionary of Quotations. It was prepared for students taking PS101 What is Politics?, the introductory course to the Political Science major at Colorado College, and is available tree of charge to all majors. David Hendrickson, Chair of Department Table of Contents What is Politics? Social Contract Peace Liberalism Church and State War and Peace Conservatism Sovereignty Morality Socialism Revolution Justice Quotations on the preceding Power Government Fascism Constitution, Principles of Government Truth Historian Totalitarianism Political Science Knowledge Communism Natural Rights Quotations on the preceding Natural Law Law Capitalism International Law Mercantilism Federal Government Feudalism Imperialism Enlightenment International Relations Nationalism Balance of Power Democracy What is Politics? Politics is not an end, but a means. It is not a product, but a process. It is the art of government. Like other values it has its counterfeits. So much emphasis has been placed upon the false that the significance of the true has been obscured and politics has come to convey the meaning of crafty and cunning selfishness, instead of candid and sincere service. ATT'RIBUTION: Calvin Coolidge (1872-1933), U.S. president. Have Faith in Massachusetts, ch. 12, Houghton, Mifflin (1919). Politics is war without bloodshed while war is politics with bloodshed. ATTRIBUTION: Mao Zedong (1893-1976), Chinese founder of the People's Republic of China. Lecture, May 1938. "On Protracted War," Selected Works, vol. -
Political Action: the Problem of Dirty Hands Author(S): Michael Walzer Reviewed Work(S): Source: Philosophy & Public Affairs, Vol
Political Action: The Problem of Dirty Hands Author(s): Michael Walzer Reviewed work(s): Source: Philosophy & Public Affairs, Vol. 2, No. 2 (Winter, 1973), pp. 160-180 Published by: Wiley-Blackwell Stable URL: http://www.jstor.org/stable/2265139 . Accessed: 24/08/2012 11:57 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Princeton University Press and Wiley-Blackwell are collaborating with JSTOR to digitize, preserve and extend access to Philosophy & Public Affairs. http://www.jstor.org MICHAELWALZER Political Action: The Problem of Dirty Hands' In an earlier issue of Philosophy & Public Affairs there appeared a symposium on the rules of war which was actually (or at least more importantly) a symposium on another topic.2 The actual topic was whether or not a man can ever face, or ever has to face, a moral dilemma, a situation where he must choose between two courses of action both of which it would be wrong for him to undertake. Thomas Nagel worriedly suggested that this could happen and that it did hap- pen whenever someone was forced to choose between upholding an important moral principle and avoiding some looming disaster.3 R. -
Introduction
INTRODUCTION Movies exercise a hold on us, a hold that, drawing on our innermost desires and fears, we participate in creating. To know fi lms objectively, we have to know the hold they have upon us. To know the hold fi lms have on us, we have to know ourselves objectively. And to know ourselves objectively, we have to know the impact of fi lms on our lives. No study of fi lm can claim intellectual authority if it is not rooted in self-knowledge, our knowledge of our own subjectivity. In the serious study of fi lm, in other words, criticism must work hand in hand with the perspective of self- refl ection that only philosophy is capable of providing. (Rothman and Keane 2000: 17–18) At the heart of this volume is the understanding that Sartrean existentialism, most prominent in the 1940s particularly in France, is still relevant as a way of interpreting the world today. And fi lm, by refl ecting philosophical concerns in the actions and choices of characters, continues and extends a tradition in which art exemplifi es the understanding of this philosophy. This book, therefore, seeks to revalidate the Sartrean philosophical project through its application to fi lm. ‘I am an existentialist.’ What does this statement mean? What kind of existentialism is one talking about? There are a variety of philosophical tenets held by those who call themselves existentialists, some of whom are phenomenologists, a philosophy that deals with consciousness and that goes ‘back to the things themselves’, asking the question: what does existing mean? Existentialism is a philosophy derived from the Danish and German philosophers Kierkegaard and Heidegger; the former was Christian and the latter an atheist.