DOCSLIB.ORG

E. • S. Ex Director of the Departbaent of English SI

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

PHILOSOPHICAL IDEAS IN FIVE PLAYS BY JEAN-PAUL SARTRE APPROVED: F, hjMT ajor Professor / Minor Professor e. • s. ex Director of the Departbaent of English SI Dean of the Graduate School 3 Fii, T jOS OP HIC AI j IDEAS IN FIVE PLAYS JEAN-PAUL. SARTRE THESIS Presented f:o the Graduate Couik.il ot the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS . By Sreuhea G. Porlxnan, B, A. A. * D eri'l'oru T e x a s Juiis;. \ TABLE OF CONTENTS Page Chapter I. INTRODUCTION 1 II. BEING AND NOTHINGNESS; THE FLIES 8 The Structure of Being The~F"iies III. FREEDOM AND BAD FAITH; THE RESPECTFUL . PROSTITUTE ...... .~77 . ~ 7~" , . 33 Bad Fajth and The Structure of Being Patterns of Bad Faith IV. FREEDOM ANDJ3TIiER .PEOPLE: NO EXIT. ..... 54 The Structure of Being and the Other The laexitability of Conflict The Eternal Triangle V. FREEDOM AND ACTION: DIRTY HANDS. , 75 Freedom as the Fundamental Condition, of Action The Intellectual Th," Leader The Worker 'VI. FREEDOM AND RESPONSIBILITY: THE CONDEMNED OF AI.TQNA . "T . 94 Situations as Only Human The Responsibility of Freedom Coif-emnef! to Freedom. VII. CONCLUSION ; <ll0 B JB.L (OCR A PHY . ........ .114 iii CHAPTER I INTRODUCTION Jean-Paul Sartre is one of the -profound arc] Interesting innovators of modern drama today. To know the urmia of Sartre is to know some- thing about the problems that face modern man. To know the drama of Sartre is to know som^thin.i? of en,: -of the most irTluerjtk:il philosophies of the century, i?iis dramatic themes and the char actors in his drama 4** emerge from the structure of his philosophy. Sartre has said that; ''existentialism's first move is to make every man avvsre, oC what he is and to make the full resp./m ibiJily of his existence rest on him. Ha uses the theater to pursue t.ie hl'xi stential task. Hi 3 drama is <A tool of bis philosophy. Beeavse Sartre is primarily a philoaepher, it is r.sces- sa ry to investigate rus phiio:,v phy ui order to thoroughly understand his draffs. Insotar or ne carnc-j his task into the thealer; He is a moral i.st.„ He has a message to convey, and his medium of conimun 3 c a t i on with the ordinary man. is i.he :N.;ater. However, It must not be forgot tea that this ifitssr.go ;s a philosophical message ar.d ihst the serious student of Sartre's drama hat, en obligation to penetrate beneath the surface of .lean-Paul Sir! frc./u;.i i> ted by Bernard Freclmnan (J\e*v York. 1047), y, j Q. • the existential framework. The student of Sartre :f he is r<~ -nderst'-md SarlrVs drama, ravist seek the ''essence15 of the [nwo far 3, s he put.sues the nossenceM oi the s illation, the f^jjiueiit "wil necessarily become eniayj^led m Sartre -- ph d OSO pay. The raior idea behind each of Sartre's dramas is grounded In his philosophy. Sartre js able to,, turn to. to expo and h i s phile & ophy he cans e the^ rne taphy s ^al_g th e ^ ria tur £ ^ut Be ing, for him, is a question of the he i ng^fjiiiap, Sa r t r e! s phi io so < :\h y.. -i s - a pb i 1 o 3 o p h y pji h un xa nac t io a ii^r_u£ ifee Jrama,a_ sit!tia I i o n, B e c a u se !:is philosophy is subjective, it lends itself particularly well to tne theater* Dramazeic j>lots arebjult arcvod a u: na a situatlon action. , Sartre's sub j e c t i vj. he attexnptr3„ tq^^ s tudy man |7titro?roeciiv 'ely and as a bpnclle_ of,cocon fHc *1n g e^ojions, Eric "Rentley In The Plj*.YwZr has characterized ? Sartre1 s drama as ' 'philosophic melodrama. 11There is a, good reason why Sa rrre4 s drama appears meiodrarnac;c, a reason that Beuti ey tax^s into consideration. Because Sartre's philosophy.,is. subjective and sees man in terms of the '"inner eye., n his dramatic characters seem over- a rri() t i o r a 1 an d o v e r d r a w a * B a c h a c t i o a rn a y s e c i n u i \ rx ^ c e s s a r l by paramount, hut: it mast be remembered that a>r Sartre nkn is defined in te Tills oj a is eels, iS ! o be is to act. si Axua on alone changes the world. 1") en u c y. 1di e r - I a y <^ r ^ ^ hi. A s T h i 11 ka; r (N e v./ Y o r k, i ° 4 6) ? p. &$(. Action alone defines the individual; and, the refore, each act Is taken seriously. Each aci is serious because the life o£ Hie actor depends upon it. Action is dangerous because .it changes what_already,.exists ,r}.ew* daiigf;.r_ o£._d/-arnatic and creative language is what the German poet Holderlin^had in mind \yhg.ri..f}<;,\vrote: But man .dwelj,s in hut<s,£ig,p,s, himseIf jLn _ the bashful garment,^ sinco_ he is jrriore fervent and inore^jxttejitive too over e spirit, as the pjJ^gtess the divine flamej thijs is "his .undejc&tajad£rig7~~Cnd therefore he has been given arbitrarine.ss, and to him, godlike, has been fc' lv©n higher Fowec3:Q..^P4msa6.d and. to accomplish*. "and therefore has languoge,. mosx^ange„ixiU,§_ja4M9,ss,e..ssions, so that creating, destroying, %nd perishing and returnirig. to the ever-living. to the mistress *n$J?39#?-2-r' he _affii,r^what.lie., 1 fe.S.e • - tJiX " r> v e s e r vin g lo\"X. J Viheuever man acts, he is creating himself, Ti existential drama 33 LLiLgjordC-_it.i s 1?ecanso creatingJhe meaning of j?xi ste^ic e Js serious. it is cangei oas because tne fixture of tne wor 1 d depends on it. Oresi.cs in _ine r lie:.: i,-? laceo with the problem of creating meaning out oi what Sa.itre calls "the Nothingness of Being, i! Orestes, and all men, roust make something from nothing. He must give his life meaning v/ll?fe t^ere is none. A conte>np_orary_ esample of the encounter with Nothingru'-.vs and the search for Being is the old man in Hemingway's "Martin Heidegger, "Holder]in and the Essence of Poetry, " translated by Douglas Scott, .^istence vnd Bein^ (Chiea go, 1949), p. 296, 4 nA Clean, Well-.Lighted Place. M Hemingway describes the nothingness and loneliness that the old man feels when the lights go out in the only public place in town that is worthy of frequenting. Hemingway asks; What.jdld-.he fear? It was not feax^ax^dxcad. It wa&^nothing that he knew too well. It was all a nothing_and was notjun^ioo. It was onlyj^ J^t jiegded^and a certciin cleanne ss and order. Some lived jn^t and never felt it but he knew it all was nada y pues nada y na-da y pues nada. Our nada who art in nada, nada be thy name thy king- dom nada thy will be nada in nada as it is in nada. Give us this nada our daily nada and nada us our nada as we nada our nadas and nada us not into nada but deliver us from nada; 7 « pues nada. Hail nothing fall of nothing, nothing is with thee. Ke smiled and stood before a bar with a shilling steam pressure coffee.machine. Like the old man in the cafe, Orestes .Ls faced with a cold and empty life. He tries to overcome his nothingness by making Argos his home and the people of Argos his responsibility. The- lies oecUul Prostitute is a study oi "bad, faith. " Bad faith is <'.h--attitude that grows out of man's inevitable struggle to overcome the Nothingness of Beitig, To i. ho roughly understand The Respectful Pros - tltute it is necessary to understand Sartre's concept of bad faith. If J-.be phcnomenpa is not consjctergtijn ;,bilosophy, ,_then xt ® •pttt" v>f" pla c e andjh^e cha racj:gr s. whjah. illustrate .patterns of b^L«iK",Ll'^"aein ^:t^us f;:d A lack of philosophic understanding cau lead the drama critic to a misinterpretadon of the liJrnef-L Hemingway, "A Clean Well-Light-id Place, " The Snows of Kilimanjaro and Other Stories {New York, 1927), pp. 32-33""" role that each character plays, Frederick Lamley in New Trends in Twentieth Centiiry Drama writes; La Putain respectucuse is an example of the supreme dangers of Sartrian theatre, 'the dangers of trying to over- simplify by crude melodrama and surface logic a problem which defies simplification. In dramatising the colour bar problem in the Southern States, Sartre stumbles into all the pitfalls that a blatant propagandist in the name of Soviet realism might deliberately choose; the result is - so outra- geously false that this treatment is only one stage removed from mock-melodrama. Lumley fails to understand that though Sartre chooses Mthe colourjbar problem in the Southern States" as the particular mode of illustration, the problem under study is universal in nature. Not t?Jdn<7 into account Sartrers philosophy has led him to misinterpret the theme °- 'he drama.
Recommended publications
  • Review of Being and Nothingness

    Review of Being and Nothingness

    Being and Nothingness: An Essay in Phenomenological Ontology by Jean-Paul Sartre, translated by Sarah Richmond. Abingdon: Routledge, 2018. Jonathan Webber Review published in Mind 2019 Author’s post-print. Please cite only published version. Legend has it that when Jean-Paul Sartre’s first epic tome L’Être et le néant appeared in 1943 the publishers were rather surprised by how well it sold. Who were all these people in the midst of war yet eager to read a 722-page philosophical analysis of the structures of human existence? They discovered that the book, which weighed exactly one kilo, was mostly selling to greengrocers, who were using it to replace the kilo weights that had been confiscated by the Nazis to be melted down for munitions. Sarah Richmond’s superb new translation weighs in at nearly a kilo and a half. The text itself is supplemented by a wealth of explanatory and analytical material. Richmond has taken full advantage of the extensive scholarly and critical analyses of Sartre’s book published over the past three-quarters of a century. The book has been translated into English only once before, by Hazel Barnes over sixty years ago. Richmond’s strategy has not been to edit that version, but to translate the text anew, informed by its reception in both its original form and its Barnes translation. Richmond traces the main contours of this reception in her introduction to the book, which relates the text to the main currents of anglophone and European thought since the war and, in so doing, indicates the influences on her own reading of the text.
  • Why Hell Is Other People: Distinctively Human Psychological Suffering

    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.
  • European Academic Research

    European Academic Research

    EUROPEAN ACADEMIC RESEARCH Vol. II, Issue 9/ December 2014 Impact Factor: 3.1 (UIF) ISSN 2286-4822 DRJI Value: 5.9 (B+) www.euacademic.org Condemned to be Free: Orestes in Sartre’s The Flies MOHSIN HASSAN KHAN Research Scholar Department of English A.M.U., Aligarh, India Abstract: Jean Paul Sartre’s Orestes’ is one of the strong characters as far as literary sketch of any existential character is concerned. Embodiment of Sartrean philosophy, Orestes, in the play The Flies (1943) is a representation of the philosophy of freedom in which Sartre has put his literary thesis with the philosophic. In doing so with the character of Orestes, he comes back again to his lifelong pursuit of freedom and tries to explore it in the most possible and natural sense making freedom as an absolute and a strong value. The idea of freedom has been smoothly sketched in the play and its strident treatment matches the doctrines of freedom by the playwright. In this play, Sartre expresses the idea of condemned freedom and an attempt has been made in this paper to show this particular Sartrean brand of freedom expressed in Orestes. Key words: Existentialism, Existence, Freedom, Condemned, Absolute, No. Enlightenment Jean Paul Sartre, an avowed existentialist and a militant atheist, being at the centre of the modern philosophy is a very important figure in French existentialism. Truly a philosopher in the traditional sense like Heidegger and also a political figure protesting in the student’s revolution of 1968 in which he was almost close to becoming a rebel, he is a fine amalgamation of 20th century thought in which letters and actions go together 11954 Mohsin Hassan Khan- Condemned to be Free: Orestes in Sartre’s The Flies simultaneously.
  • Existential Aspect of Being: Interpreting J. P. Sartre's Philosophy

    Existential Aspect of Being: Interpreting J. P. Sartre's Philosophy

    Existential aspect of Being: Interpreting J. P. Sartre’s Philosophy Ivan V. Kuzin, Alexander A. Drikker & Eugene A. Makovetsky Saint Petersburg State University, Russia Abstract The article discusses rationalistic and existential approaches to the problem of existence. The comparison of Sartre's pre-reflective cogito and Descartes' reflective cogito makes it possible to define how Sartre’s thought moves from the thing to consciousness and from consciousness to the thing. At the same time, in Being and Nothingness Sartre does not only define the existence of the thing in its passivity—which in many respects corresponds to Descartes' philosophy, but also as an open orientation towards consciousness, the latter concept not being fully developed by him. This statement may be regarded as a hidden component of Sartre’s key thesis about the role of the Other in the verification of our existence. The most important factor in understanding this is the concept of the look. Detailed analysis of Sartre’s theses in Being and Nothingness enables us to demonstrate that the concept of the look makes it possible to consider the identity of being-in-itself and being-for-itself (consciousness). Keywords: Sartre, rationalism, existentialism, thing, being, the look, existence, nothingness, consciousness, the Other 1. Introduction E. Husserl said that being of the object is such “that it is cognisable in itself” (“daß es in seinem Wesen liegt, erkennbar zu sein”). (Ingarden 1992: 176) This statement is important if we are to accept the fact that the possibility of looking at the object correlates with being of the object itself.
  • Existentialism in Two Plays of Jean-Paul Sartre

    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.
  • Nausea and the Adventures of the Narrative Self Ben Roth1

    Nausea and the Adventures of the Narrative Self Ben Roth1

    How Sartre, Philosopher, Misreads Sartre, Novelist: Nausea and the Adventures of the Narrative Self Ben Roth1 Besides, art is fun and for fun, it has innumerable intentions and charms. Literature interests us on different levels in different fashions. It is full of tricks and magic and deliberate mystification. Literature entertains, it does many things, and philosophy does one thing. Iris Murdoch (1997, p. 4) If there is something comforting—religious, if you want—about paranoia, there is still also anti-paranoia, where nothing is connected to anything, a condition not many of us can bear for long. Thomas Pynchon, Gravity's Rainbow (p. 434) Both those who write in favor of and against the notion of the narrative self cite Sartre and his novel Nausea as exemplary opponents of it. Alasdair MacIntyre, a central proponent of the narrative self, writes: “Sartre makes Antoine Roquentin argue not just [...] that narrative is very different from life, but that to present human life in the form of a narrative is always to falsify it” (1984, p. 214). Galen Strawson, a critic of narrativity, writes that “Sartre sees the narrative, story-telling impulse as a defect, regrettable. [...] He thinks human Narrativity is essentially a matter of bad faith, of radical (and typically irremediable) inauthenticity” (2004, p. 435). I think that this type of interpretation of Nausea is blindered and bad and relies on an impoverished approach to reading fiction typical of philosophers: of taking one character at one moment as mouthpiece for both a novel as a whole and author behind it. Beginning as it does in description, the novel challenges these conceptual orders rather than taking one side or the other; it thus invites us to rethink the terrain of narrativity.
  • The Power of the Gaze in Jean-Paul Sartre's No Exit

    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.
  • Elektra 2017

    Elektra 2017

    B Y J ANE G ANAHL The Many Faces of S E G A M I N A M E G Elektra D I R B ou may have seen her in the form of Jennifer YGarner’s sword-wielding assassin in the 2005 film Elektra , on stage as a bitter Civil War spin - ster in Eugene o’Neill’s Mourning Becomes Electra , in the words of Sylvia Plath’s controversial poem “Electra on Azalea Path,” in the famed portrait by Frederic Leighton, Electra at the Tomb of Agamemnon , and indeed, in Richard Strauss’ opera Elektra* . K U , In the 2,000-plus years since her name was first S M U etched on paper, Electra—the myth, the character—has E S U inspired dozens, if not hundreds, of works of theater, lit - M L L erature, art, opera, and psychoanalysis. Around a cen - U H , tury ago, Swiss psychiatrist Carl Jung suggested there y R E L was an “Electra complex” suffered by many little girls L A G who were in love with their fathers in competition with T R A their mothers, thus tainting forever the innocent tag S N E “Daddy’s little girl.” R E F Even today, the vengeful, father-worshipping anti-heroine / S E of Sophocles’ tragedy continues to fascinate and perturb G A M I us—perhaps in part because her story of familial murder N A and mayhem makes Game of Thrones pale in comparison. M E G In the years following the Trojan War, Electra has waited D I R B for nearly a decade for the return of her brother orestes *When referring to the Sophocles play, the standard English spelling is “Electra.” “Elektra” is the German spelling.
  • The Phenomenological Ontologies of Kierkegaard and Sartre: an Existential Theory of Addiction

    The Phenomenological Ontologies of Kierkegaard and Sartre: an Existential Theory of Addiction

    Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1994 Love and Addiction: The Phenomenological Ontologies of Kierkegaard and Sartre: An Existential Theory of Addiction Ross Channing Reed Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the Philosophy Commons Recommended Citation Reed, Ross Channing, "Love and Addiction: The Phenomenological Ontologies of Kierkegaard and Sartre: An Existential Theory of Addiction" (1994). Dissertations. 3461. https://ecommons.luc.edu/luc_diss/3461 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1994 Ross Channing Reed LOYOLA UNIVERSITY CHICAGO "LOVE" AND ADDICTION: THE PHENOMENOLOGICAL ONTOLOGIES OF KIERKEGAARD AND SARTRE AN EXISTENTIAL THEORY OF ADDICTION A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF PHILOSOPHY BY ROSS CHANNING REED CHICAGO, ILLINOIS MAY 1994 Copyright by Ross Channing Reed, 1994 All rights reserved. ii ACKNOWLEDGEMENTS I wish to thank the following people and institutions for their support, encouragement, and prayer during the many years that led up to the production of this dissertation, as well as its actual writing: Texas A&M University Library, Millersville University Library, Franklin and Marshall College Library, Dr. John Ellsworth Winter, John Albert Cavin III, Christopher John Broniak, Richard J. Westley, John D.
  • Jean-Paijl Sai?Tre

    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.
  • Chicago B.Pdf

    Chicago B.Pdf

    '., 1996 ACF Regionals Questions by Chicago B Written by C. Edstrom, M. Zarren, R. Chenault, J. Hendrix, and N. Pagedar Edited by V. Jejjala . 1. This army officer served in the Revolutionary War and became governor of part of the new Louisiana territory following its purchase. He sent Zebulon Pike in 1806 to explore the most favorable route for the conquest of the Southwest. The United States was not the only country he worked for, however; to the Spanish government, he was known as Number Thirteen. FTP, name this conspirator, who along with Aaron Burr plotted to conquer part of Mexico and set up an independent government in the Southwest. Answer: James Wilkinson 2. Used in a non-Newtonian formulation of classical mechanics, this quantity is a function of the generalized coordinates of a system and the corresponding generalized velocities. Hamilton's Principle states that its time integral is minimized over any motion. FTP name this quantity, equal to the difference between kinetic and potential energy, named after the mathematician who invented the method of undetermined multipliers. Answer: Lagrangian 3. A monk at the Northumbrian monastery at Jarrow, he wrote over thirty works of history, grammar, science, and theological commentary. His writings are a major source of historical and legendary information and also provided the material for the early part of The Anglo-Saxon Chronicle. FTP, name this English scholar, the author of Ecclesiastical Historv of the English People. Answer: Venerable Bede 4. It is about 2500 miles long, lasts 21 days, and always includes the Hors Categorie climb of Alpe de Huez.
  • Indelible Shadows Film and the Holocaust

    Indelible Shadows Film and the Holocaust

    Indelible Shadows Film and the Holocaust Third Edition Annette Insdorf published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Annette Insdorf, 1983, 1989, 2002, 2003 Foreword to 1989 edition C Elie Wiesel This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First edition published 1983 by Random House Second edition published 1989 by Cambridge University Press Reprinted 1990 Third edition first published 2003 Printed in the United States of America Typefaces Minion 10/12 pt. and Univers67 System LATEX2ε [TB] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data Insdorf, Annette. Indelible shadows : film and the Holocaust / Annette Insdorf. – 3rd ed. p. ; cm. Includes bibliographical references and index. ISBN 0-521-81563-0 – ISBN 0-521-01630-4 (pb.) 1. Holocaust, Jewish (1939–1945), in motion pictures. I. Title. PN1995.9.H53 I57 2002 791.43658 – dc21 2002023793 ISBN 0 521 81563 0 hardback ISBN 0 521 01630 4 paperback Contents Foreword by Elie Wiesel page xi Preface xiii Introduction xv I Finding an Appropriate Language 1.