...from the point of view of the filmmaker, what is on the screen is a kind of conflict between temporalities: the temporality of expectation-the rain penetrating the bodies and the soul-and the ...possibility of a sort of deviation from a circular, repetitive time to a time when you draw a straight line to move forward. Almanac of Fall is a privileged subject for you, as is the character Anna, who is able both to accommodate the sexual abuses of men and to transform these into opportunities to humiliate others.
Sartre’s Absent God Crittenden, Paul
Sophia,
12/2012, Letnik:
51, Številka:
4
Journal Article
Recenzirano
Sartre’s memoir
Words
turns on his mid-life realisation that, although he had abandoned belief in God, he had hitherto based his work on a religious model. From this point God no longer appears as a ...primary reference in his writings. This is in sharp contrast with the pervasive presence of God in earlier works, especially in his ontology and related reflections on ethics. In ontology Sartre was particularly concerned with the Cartesian idea of the creator God as
ens causa sui.
Adapting this to his own system, he uses the idea of
causa sui
to mark the absolute (but non-substantial) existence of for-itself being (consciousness) as separate from the uncreated plenitude of in-itself being. He then argues that the idea of God as a consciousness that founds its own being is an impossible synthesis of the for-itself and the in-itself. The idea nonetheless remains fundamental for consciousness, for desire, which arises in response to lack, ultimately the lack of in-itself being, reflects an original choice that leads to constant striving towards the impossible goal of being God. This theme haunts the ontology from beginning to end. Sartre offers a system to rival Descartes or Leibniz, but adopts a quasi-religious framework of salvation in which, apart from the promise of a possible escape from ontological destiny, human beings are condemned to futility. In ethics he explores the idea of conversion from original choice to an authentic choice of freedom, but fails to break out of the closed framework set by the ontology.
“Historicity and Holism: The Example of Deleuze” charts new directions for work in the humanities, by offering a relatively novel conception of history as a framework for intellectual work ...(historicity), derived from a relatively novel view of language found in the early Heidegger and some analytic philosophy (holism). To this end, various phases of the project of Gilles Deleuze are examined. First, Deleuze’s setting out of (transcendental) genesis and becoming in the early works is interrogated and shown to be subtended by a dualism that potentially makes such becoming inconceivable (as Felix Guattari in his own way suggested in his essay “Machine and Structure”). Secondly, Deleuze’s approach to discourse, with its privileging of sense, is contrasted to Heidegger’s referential and world-based treatment of speech in Being and Time . On these bases, a new configuration of history, becoming, and truth (historicity) is expounded at the beginning of this paper’s final section, the workings of which are there further disclosed through a treatment of Deleuze and Guattari’s account of stratigraphy in their What Is Philosophy? Stratigraphy begins to model the operation of historicity, though it must be corrected, as stratigraphy, an inherently spatial concept, ultimately retreats from what historicity implies in respect to truth and time.
En Nocturnos (2003), Edna Ochoa usa el modelo del teatro del absurdo para examinar la identidad de género a través de una pareja conyugal. Con el fin de crear un nuevo interés en su relación, los ...personajes de Él y Ella alquilan un cuarto en un motel barato para escuchar a escondidas las conversaciones de sus vecinos y luego imitarlos. El teatro del absurdo nos hace deconstruir los papeles que desempeñamos diariamente y los personajes de Él y Ella intercambian y parodian estos papeles para exponer su carácter artificial. Este artículo utiliza como referencias principales el estudio sobre el teatro del absurdo de Martin Esslin y las teorías de identidad de género de Judith Butler para examinar cómo Nocturnos cuestiona los papeles estereotípicos de los géneros, exponiendo el carácter artificial y teatral de lo masculino y femenino.
In Nocturnos (2003), Edna Ochoa uses the model of the Theatre of the Absurd in order to examine gender identity in a married couple. In an attempt to spark a new interest in their relationship, the characters Él and Ella rent a room in a cheap motel so that they can eavesdrop on the conversations of the couple next door and later imitate them. The Theatre of the Absurd forces us to deconstruct the roles we carry out on a daily basis and the characters Él and Ella exchange and parody these roles in order to expose their artificiality. This article focuses on the study of the Theatre of the Absurd by Martin Esslin as well as theories of gender identity by Judith Butler to examine how Nocturnos questions stereotypical gender identities and exposes the artificial and theatrical nature of the masculine and feminine.
In his classic text,
A Theory of Justice
, John Rawls argues that the structural principles of a society are just when they issue from a procedure that is fair. One crucial feature that makes the ...procedure fair is that the persons who will be subjected to these principles choose them after they have deliberated together in a condition marked by a certain balance of knowledge and ignorance. In particular, these people know enough to consider principles that are workable, yet converse behind a “veil of ignorance,” unable to predict what their place in society will be and hence discouraged from slanting the principles toward any preferential interests. My paper questions whether this attempt to ensure the disinterestedness of the conversation of justice is feasible. I worry that when we approach this question practically, we discover that the education that furnishes us with the knowledge necessary to choose viable principles must at the same time preclude genuine ignorance about our social position and interests. As an alternative, I suggest that we convene the conversation of justice behind a “veil of existence.” In this condition, people possess knowledge about how their society works and even about their places in it; however, this knowledge does not foster preferential interests because all interests are subjected to the question of their existential meaning. As Jean-Paul Sartre explains in his essay, “Existentialism is a Humanism,” for our interests to be truly meaningful, they must be affirmed as free responses to our thrownness into existence. Yet how do we find the wherewithal to make such responsible choices rather than lapse into paralysis before their essentially arbitrary differences? My positive thesis is that we may do so by acknowledging how all of us in this existential predicament critically and mutually provoke each to commit oneself to depart from the others in specific ways. This process of provocation is thus educational. It broaches a conception of non-instrumental, non-mimetic, liberal study, one which I try to enact in a writing that employs direct address, regular returns to questions that put discourse at a loss, and expanding webs of association. In this manner, I hope to demonstrate that liberal study may deepen our appreciation of our communal nature, our camaraderie, and thus motivate us to participate unselfishly in the conversation of justice.
Tamkin, namely implying the kin of Tom, on whom Wilhelm pins great hope and doubt as well, disappears at the time of the sharp slump of lard and rye in the commodity market where they are equal ...partners, but Tamkin only contributes 300 dollars and Wilhelm, 700 dollars. The father driven by American dream also cries out like a baby in the mother's arms after he fails to entertain the young customer and worsely splashes the egg on his body. The event of loss of all his money in the commodity market prompts him to understand that reality alone is what counts, and that dreams, expectations, and hopes warrant no more than to define a man as a disappointed dream, as miscarried hopes, as vain expectations. V. CONCLUSION In Seize the Day, Saul Bellow sketches an alienated person, Wilhelm, and exposes to us how a tortured soul grapples with his humiliating past itching in a youth belief in individual freedom, how a crippled son oscillates between two fathers, a real one and a substitute one, how an illusioned American Jew wrestles with money, yet at the brim of destruction simply survives when all his sobs, regrets, despair, and anguish melt in tears.
This essay studies the emergence of the concept of Stellungnahme in the prose of Peter Weiss. The last long-form text Weiss wrote in Swedish, the unpublished 1956 novel Die Situation, represents a ...serious consideration of the literary theory of Jean-Paul Sartre, whose arguments about the different efficacies of prose and poetry inform much of Weiss's early thinking about the relationship between aesthetics and politics and about his own place in the world of letters and ideas. Connecting Weiss's early encounters with Sartre's critical models to his frequent return to the originary scene of Stellungnahme in his German-language autobiographical writing, this essay recovers Sartrean existentialism's early importance for Peter Weiss's thought, finally reflecting on the persistence of an existentialist vocabulary of situation in Weiss's later, better-known work.
...few poets probe the vexing relationship between reality and words, between the "thing itself" and an imagining, perceiving, language-using mind, with the same fervor, tenacity, and frequency as do ...Stevens and Ponge. Because both writers constantly oscillate between positions, they have left themselves vulnerable to critics choosing to highlight one pole to the exclusion of the other, lining up either on the side of language and imagination, or on the side of things and reality.8 Fortunately, a good many scholars have come to challenge the binary opposition between imagination and ordinary reality, language and things, that has so often structured and distorted how both writers' projects are understood, and have pointed out the dangers of choosing to privilege one side over the other.9 Still, the tendency of Stevens' and Ponge's works to elicit a polarizing and side-choosing critical response indicates precisely what the two poets share most deeply. ...according to these theorists, the strategies we associate with the avant-garde - the use of fragmentation, collage, and parataxis; the appropriation of found language and images; the critique of mimesis, linearity, and unity; the metafictional blurring of theory and practice; the creation of hybrid and mixed-media forms; and so on - have all provided a more fruitful avenue of approach to the everyday than traditional forms of "realism" and representation. By making the familiar fruit strange in this way, Stevens forces us to consider it outside of our existing ideas of it, much like Ponge's approach to a candle or a plate. Because the pineapple has been released from the old, singular descriptions that have pinned it down, new ways of seeing it proliferate wildly, resulting in a stream of fantastic, disorienting images: it becomes a "hut" that "stands by itself beneath the palms," "The sea" that "is spouting upward out of rocks," "yesterday's volcano," or "a table Alp ... a purple Southern mountain bisqued / With the molten mixings of related things" (CPP 695-96). (CPP 180) The poem aims for a precise and clear-sighted description of the object qua object; it strives for a careful presentation of the pears as they are perceived, stripped of all associations with what is not there: they do not resemble nudes or bottles, "They are yellow forms / Composed of curves / Bulging toward the base. / They are touched red" (CPP 180). Because "Study of Two Pears" is one of those poems where Stevens deliberately tries on and undercuts an extreme position, like "The Snow Man," it ends with an overly optimistic statement about the triumph of objectivity: "The pears are not seen / As the observer wills" (CPP 181).
Drives as Original Facticity O'Shiel, Daniel
Sartre studies international,
06/2013, Letnik:
19, Številka:
1
Journal Article
Recenzirano
By introducing 'drives' into a Sartrean framework, 'being-in-itself is interpreted as 'Nature as such', wherein instincts dominate. Being-for-itself, on the contrary, has an ontological nature ...diametrically opposed to this former – indeed, in the latter realm, through a fundamental process of 'nihilation' (Sartre's 'freedom') consciousness perpetually flees itself by transcending towards the world. However, a kernel of (our) nihilated Nature is left at the heart of this process, in the form of 'Original facticity' that we here name drives. Drives are the original feelings and urges of a freed Nature that simply are there; they are the fundamental forces that consciousness qua freedom always has to deal with. Drives, in addition, can be nihilated in their own turn, onto a reflective, irreal plane, whereby they take the form of value. This means Sartre's notion of ontological desire is always made up of two necessary components: drives and value.
Even his suicide resembles a carefully constructed last act from a tragic play; but instead of returning to the stage once the curtain closes, Quentin's final performance relegates his physical ...presence to a physical absence at the narrative's end. ...while Sartre argues that a "closed future is still a future" (271), Quentin's future is self-limited even before the occurrence of the diminutive "i." Quentin can neither land nor leave, reconstructing remembered experience but incapable of repositioning it in order to redefine its consequence. According to Quentin's father, Quentin's grandfather's watch is a symbolic misrepresentation of time: it's rather excruciating-ly apt that you will use it to gain the reducto absurdum of all human experience which can fit your individual needs no better than it fitted his or his father's.
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