Au croisement d’une histoire culturelle de la presse et d’une anthropologie des actes d’écriture, cet article propose de reconstituer les pratiques militantes et les usages politiques de l’écrit dont ...La Cause du peuple, l’organe de la Gauche prolétarienne, fait la promotion durant la période dite de la “nouvelle resistance” (1969–1971). Nous rappelons d’abord que le thème des pouvoirs de l’écrit structure la poétique du journal, qui ne cesse de mettre en scène des “actions d’écriture” aptes à propager la révolte. Nous suivons ensuite le déplacement de la critique maoïste de la justice de classe vers le front de la liberté de la presse, au terme duquel la Gauche prolétarienne dénonce la loi de 1881 comme un instrument de criminalisation des pouvoirs de l’écrit. Nous analysons enfin les articles consacrés aux émeutes parisiennes du 27 mai 1971, qui décrivent la rue à la fois comme un site d’écriture et comme un tribunal populaire et qui interprètent les actes d’écriture des émeutiers comme autant des gestes de résistance face à la violence de la légalité. Nous montrons ainsi que les maoïstes, devant la performativité contre-insurrectionnelle des écritures du droit, s’efforcent de restaurer la performativité émeutière des écritures de la contestation (graffitis, tracts, affiches, journaux).
In this paper, a number of lines of argument buttress and support the contention that Dirty Hands is a comparatively undervalued part of the Sartrean oeuvre. Using commentary from Bell and Pellauer, ...and employing categories relevant also to the work of Beauvoir and Camus, the paper comes to the conclusion that Hugo, as the central character of the play, is an exemplary Sartrean protagonist, and that the play is worthy of more attention than it has received. An important part of the central assertion is that the play is as critical a part of the Sartrean dramatic canon as The Flies and No Exit.
Robert Boncardo investigates how Stéphane Mallarmé, one of modernity's most ingenious yet obscure poets, became an object of major political significance for French intellectuals. He asks how this ...most refined and seemingly aristocratic of poets became the writer of choice for leftist intellectuals and reflects on the ambivalent relation between literature and its political destiny in modernity. With in-depth studies of Jean-Paul Sartre, Julia Kristeva, Alain Badiou and Jacques Rancière, along with shorter analyses of Jean-Claude Milner and Quentin Meillassoux, he situates Mallarmé within the philosophical and political projects of some of France's greatest thinkers.
The Subject in Question provides a fascinating insight into a debate between two of the twentieth century's most famous philosophers - Jean-Paul Sartre and Edmund Husserl - over the key notions of ...conscious experience and the self. Sartre's The Transcendence of the Ego , published in 1937, is a major text in the phenomenological tradition and sets the course for much of his later work. The Subject in Question is the first full-length study of this famous work and its influence on twentieth-century philosophy. It also investigates the relationship between Sartre's ideas and the earlier work of Descartes and Kant.
Husserl and the Transcendental Ego The I and the Me The Theory of the Material Presence of the Me^l Conclusions
Stephen Priest lectures in the Faculties of Philosophy and Theology in the University of Oxford. He is a fellow of Blackfriars Hall, Oxford and a member of Wolfson College, Oxford. Stephen Priest is the author of The British Empiricists, Theories of the Mind, Merleau-Ponty and The Subject in Question . He is the editor of Hegel's Critique of Kant and Jean-Paul Sartre: Basic Writings and co-editor (with Anthony Flew) of A Dictionary of Philosophy .
De la longue mobilisation des intellectuels pendant la guerre d’Algérie ne demeure souvent dans les esprits que la Déclaration sur le droit à l’insoumission (ou “Manifeste des 121”), cependant loin ...d’être isolée: les pétitions se succèdent à un rythme tel que la “bataille de l’écrit” (Michel Crouzet) qu’est aussi la guerre d’Algérie a pu être assimilée à une “guerre des pétitions” (Jean-François Sirinelli). Pour comprendre le destin singulier de ce Manifeste, il faut se pencher sur ses prémisses, sa genèse et sa postérité. Apparaît alors ce qu’il engage, au-delà de la question de l’insoumission et des mesures répressives auxquelles il donna lieu: l’efficace d’une écriture collective, difficilement assignable puisqu’y contribuent ses adversaires ou contradicteurs. De fait, sa rédaction participe à l’ébranlement de la fonction auteur.
Jean-Paul Sartre's trilogy Roads to Freedom is written against the backdrop of the crises between 1938 and 1940 that led to war and the Fall of France. In this article I argue that Roads to Freedom ...can be read as an IR text, and I concentrate on four areas. First, a refocusing on the international relations of the everyday. Second, the anatomy of a crisis from an existentialist viewpoint that can enrich our understanding of crises. Third how the interactions of the main characters reveal the ‘mediation of estrangement’ at the heart of diplomacy, first explored by Der Derian in his 1987 On Diplomacy. Fourth, it calls into question our emphasis in IR on the centrality of causes to understand a crisis. Rather, Roads to Freedom refocuses our gaze on the diverse effects in everyday IR. The argument of the article is interwoven with my own experiences reading the trilogy for the first time, and how it influenced my decision to study IR.
Sartre directly addresses some of the core issues involved in the contemporary debate about the desirability of immortality. He thinks mortality can never be the source of life's meaning because ...death cuts us off before meaning can be determined, and because any meaning that survives is no longer our own. These claims already put Sartre at odds with immortality nay‐sayers who believe the limitations provided by our chronological finitude are essential to meaning, but he takes it further by arguing that the actual meaning‐generating limitations of our temporal situation would remain intact even if our lives never ended. Thus, Sartre seems like an obvious resource for anyone defending immortality. However, he does suggest one major reason to be wary. The possibility of ending up in a perpetually miserable situation makes truly indestructible immortality less attractive, and this diminished attractiveness suggests that we should not take the ability to die too lightly. With all of this in mind, I argue for a form of immortality involving indefinite life‐extension with the possibility to opt out in case existence becomes irreparably intolerable.
Bu çalışmada, Jean Paul Sartre (1905-1980)’ın Varlık ve Hiçlik başlıklı çalışmasından hareketle şiir öznesinin “yokluk”la ilişkisini varoluşsal bağlamda çözümlemeye çalıştım. “Adem Kasidesi”ndeki ...yokluk fikrini açığa çıkarmada kavram analizi yöntemini kullanarak Sartre’ın “yabancılaşma”, “kendinde varlık”, “kendi için varlık” ve “başkası için varlık” kavramlarından yararlandım. Kavram şiirde, öznenin dış gerçeklikle bağının zayıflaması sonucunda iki farklı şekilde ortaya çıkar. Çalışmanın tezi, kavramın şiirde “kendiliğin nesneleşmesi”nden çok “yüceltme” şeklinde kullanıldığını ortaya koymaktır. Kendiliğin nesneleşmesinden kasıt, öznenin toplumsal alanla bağının kopmasıdır. Ne var ki şiirde özne, dış gerçeklikten bütünüyle kopmaz, kamusal alanı dışlar ve onu hiçlikle tehdit eder. Kavram yüceltilerek varlığı rahatsız eder. Şiir öznesi dış dünyaya yabancıdır, parçalı da olsa yeni bir “ben” inşa eder. Özne kendisini yerleşik bilincin dışında bir kavramla dolayısıyla yoklukla konumlandırır. Bunun sonucunda da yabancılaşmayı başlatır. Ego (kendi-için-varlık), Sartre’a göre ilksel ve doğal olan varlığın (kendinde varlığın) dışında yer alan kültürel özneyi tanımlar. Yabancılaşma kişinin kültürel özneyi fark etmesinin ve reddetmesinin bir sonucudur. Şiirde özne, ilk olarak kamusal alanın dışına çıktığı için yabancılaşır. Sonrasında yokluğu yücelterek dış gerçekliği yabancılaştırır. Böylece varlık-yokluk ilişkisi, yerleşik algıda olduğu gibi birbirini tamamlamaz, yokluk varlığı belirleyen yüceltici bir değer olarak yeniden özneleşme sürecine katkı sağlar. Öznenin eksiklik-arzu-bütünlük ilişkisi, sorunlu bir ilişkidir ve şiirde özne, bu bütünlüğü yoklukla yakalamaya çalışır. Sürekli olarak yoklukla tehdit etme isteği, hiç bitmeyecek özneleşme sürecine işaret eder. Yokluk şiirde özneyi iyileştiren semptom ya da artı değerdir, “kendi için varlık”ın yanılsamalı bir bütünlük kurmasını sağlayan olasılıklardan biri olarak yanılsamalı da olsa bütünlüklü bir özne görüntüsü verir.
Deprivation offers a plausible explanation for the badness of death, so fear is not unreasonable. But horror at the prospect of one's death is not just extreme fear because horror is structurally ...different than fear. Horror requires a different explanation. For Sartre, horror is possible only in unique circumstances. I argue that Sartre's view, when combined with the subjective incomprehensibility of one's annihilation, can explain horror and other negative emotions that are not contingent on deprivation. Further, I argue that while fear can be reasonable if one's death will deprive, Lucretius's Symmetry Argument shows that horror is unreasonable.
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