Dissertations / Theses on the topic 'Jean-Paul Sartre'
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Töllner, Uwe. "Sartres Ontologie und die Frage einer Ethik : zur Vereinbarkeit einer normativen Ethik und/oder Metaethik mit der Ontologie non "L'étre et le néant /." Frankfurt am Main : P. Lang, Europäischer Verl. der Wissenschaften, 1996. http://catalogue.bnf.fr/ark:/12148/cb36187177k.
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Guigot, André. "L'ontologie politique de Jean-Paul Sartre." Paris 1, 1999. http://www.theses.fr/1999PA010704.
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Le but de ce travail est de proposer une introduction à la philosophie de l'histoire de Jean-Paul Sartre à partir d'une analyse précise de la critique de la raison dialectique. Aux impasses formelles des ouvrages de Sartre, à leur inachèvement correspondent précisément l'inachèvement revendique de l'histoire humaine et donc l'inachèvement ontologique des catégories mises en œuvre pour le penser. Ce triple inachèvement - la clôture - ferme la représentation de l'historicité sur l'irréductibilité et l'immanence de la rareté, négation intériorisée de l'homme par le besoin naturel historiquement déterminé. La première approche de Sartre concernant le rapport de l'homme au monde est la violence. L'homme socialise vit sa relation à la matière et aux autres sur le mode du besoin et du danger. L'enjeu de la réévaluation historique de la violence est de parvenir à intégrer l'inhumanité présente au cœur de l'action humaine a une authentique anthropologie historique. Cela conditionne le renouvellement sartrien de l'idée de rationalité qui s'exprime à travers sa lecture de la révolution française, ainsi que par son refus de toute naturalisation marxiste ou libérale de la violence. L'anti-juridisme sartrien n'est pas une conséquence extérieure au projet de l'ouvrage mais ce qui conditionne la nature conflictuelle et la représentation dialectique de la socialité. Si la critique du formalisme semble hériter de la critique marxiste du droit, l'analyse dialectique de la genèse du groupe place l'immanence, le tiers et le multiple comme facteurs déterminant le serment. Une comparaison de la raison juridique et de la raison dialectique en fait apparaitre les conditions et les limites. Enfin, la constitution d'un sens de l'histoire postule une épistème de la causalité négative et un statut particulier accorde à la causalité, à partir de laquelle la totalisation d'enveloppement prend toute son ampleur critique. Ainsi, les perspectives de l'anthropologie sartrienne dépassent le cadre d'une polémologie avec le marxisme, si l'on mesure la place qu'il convient d'accorder à l'entreprise de l'idiot de la famille : le prolongement herméneutique de la raison dialectique.
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Gray, Kevin. "Jean-Paul Sartre and neo-marxism." Master's thesis, Université Laval, 2005. http://hdl.handle.net/20.500.11794/43586.
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Between his first philosophical works and his last, Jean-Paul Sartre radically changed his philosophical outlook. The reasons for this change can be found in European history and Sartre's detailed study of twentieth-century protest movements. Between the end of the Second World War and the 1960s, French intellectuals began an intensive period of introspection, examining the complex relationship between History and social justice. Sartre and the group of intellectuals associated with him combined to fight against Stalinism while searching for a new theory of political action. This thesis discusses the abrupt termination of the ethical project that Sartre proposed to base on his original phenomenological examinations, and discusses his and Simone de Beauvoir's first attempts to construct an Existentialist ethic. Sartre changed from being an Existentialist to a Marxist to finally, late in life, abandoning Marxism in favour of a never well-defined philosophy. But in the Critique of Dialectical Reason, the last of his serious philosophical works, he responded to his ex-friends's critiques in the light of his study of Eastern European history, particularly, the Revolution in Hungary. (Abstract shortened by UMI.)
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Tognonato, Claudio. "Jean-Paul Sartre : conoscenza e metodologia /." Roma : Pontificia università laternense, 1990. http://catalogue.bnf.fr/ark:/12148/cb35724036n.
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Galster, Ingrid. "Le Théâtre de Jean-Paul Sartre devant ses premiers critiques. "Les Mouches" et "Huis clos /." Tübingen : Paris : G. Narr ; J.-M. Place, 1986. http://catalogue.bnf.fr/ark:/12148/cb36147597g.
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Bueno, Isaque Jos? "Liberdade e ?tica em Jean-Paul Sartre." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2007. http://tede2.pucrs.br/tede2/handle/tede/2957.
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Previous issue date: 2007-07-04A liberdade ? um tema fundamental da realidade humana. A ?tica ? condi??o para que possamos viver e conviver em sociedade, respeitando o diferente e nos responsabilizando por nossas pr?prias escolhas. Deste modo, Sartre faz uma reflex?o profunda sobre a liberdade humana, desde sua condi??o de exist?ncia at? a suas conseq??ncias diretas sobre a vida do indiv?duo. Assim do bin?mio liberdade-responsabilidade, conceitos indissoci?veis em Sartre, podemos inferir, uma proposta conseq?ente para uma conduta ?tica. Desta maneira, refletir sobre o sujeito livre em uma sociedade que coloca a liberdade como um valor central, ? pensar no fazer humano, nas suas rela??es, ou seja, no seu encontro com o outro, na possibilidade de respeitar ou n?o a liberdade do outro. Em s?ntese, procuramos demonstrar que a liberdade humana ? um aspecto constitucional da exist?ncia de cada indiv?duo, que n?o podemos pensar em um homem ora livre ora n?o, dispomos de uma liberdade fundante que nos compromete durante todo o nosso existir, e por essa raz?o somos chamados a assumir com responsabilidade as conseq??ncias de todas as nossas escolhas e a??es, n?o podendo delegar ou atribuir a responsabilidades a outros ou a for?as misteriosas, somos absolutamente respons?veis pelo homem que queremos ser.
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Gonçalves, Nádia Mariana Gomes. "Liberdade e escolha em Jean-Paul Sartre." Universidade Federal de Uberlândia, 2013. https://repositorio.ufu.br/handle/123456789/15563.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorThis work intends to conduct a handling the concepts of Freedom, Choice and Others, from the perspective of the French existentialist philosopher Jean-Paul Sartre as having reference works Being and Nothingness, Existentialism is a Humanism and No Exit.The principle will be exposed to the theme of freedom is inseparably linked to the condition of man\'s choice to do so, leave the deep thinking that Sartrean man first exists, lives according to their freedom responsibly and choose what you want to be, not because there is no metaphysical being who can determine its path, so that later the man can attain its essence. However, during the search for the essence encounters freeman Other freemen taking ai to a series of conflicts. This question about the existence of other free subject is better explored in the second chapter, which is also seen in phenomenology, the existence and the problem of the existence of other free conscience, moreover, will be presented in the second chapter the question of looking relations and limited freedom for Others. And finally, the last chapter will be a detailed analysis of the play No Exit, about the prospect of the two previous chapters.
A presente dissertação pretende realizar uma abordagem dos conceitos de Liberdade, Escolha e os Outros, sob a ótica do filósofo existencialista francês Jean-Paul Sartre tendo como referencia as obras O Ser e o Nada, o Existencialismo é um Humanismo e Entre Quatro Paredes. A princípio será exposto o tema da liberdade que está indissociávelmente ligado à condição de escolha do homem, para isso, partiremos da profunda reflexão sartreana de que primeiro o homem existe, vive em função de sua liberdade e responsavelmente escolhe o que deseja ser, pois não existe nenhum ser metafísico que possa determinar o seu caminho, para que posteriormente o homem possa atingir sua essência. Porém, durante essa busca pela essência o homem livre se depara com Outros homens livres levando-o a uma série de conflitos. Essa questão sobre a existência de Outros sujeitos livres será mais bem explorada no segundo capítulo, em que serão visto também a fenomenologia, a existência e o problema da existência de outra consciência livre; além disso, será apresentada nesse segundo capítulo a questão do olhar, as relações e a liberdade limitada pelos Outros. E finalmente, no último capítulo será feita uma análise minuciosa da obra teatral Entre Quarto Paredes, sobre a perspectiva dos dois capítulos anteriores dessa dissertação.
Mestre em Filosofia
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Bueno, Isaque José. "Liberdade e ética em Jean-Paul Sartre." Pontifícia Universidade Católica do Rio Grande do Sul, 2007. http://hdl.handle.net/10923/3494.
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Previous issue date: 2007Freedom is a fundamental theme of human reality. Ethics is the condition for which we can live and cohabit in a society respecting the differences in one and being responsible for our own choices. So that, Sartre makes a deep reflection about human freedom, from its condition of existence up to its direct consequences on the individual’s life. So, from the freedomresponsibility binomial - inseparable concepts in Sartre’s theory - we can infer a consequent proposition for an ethical conduct. So that, reflecting about the individual being free in a society that places freedom as a central value, is the same as thinking on human deeds, on human relations or, in other words, on the individual contact with each other, being responsible, and on respecting -or not - the other’s freedom. In brief, we try to demonstrate that human freedom is a constitutional aspect of each individual’s existence. We try to demonstrate, also, that we cannot think on a man first being free than not-free. Man disposes a freedom that compromises him during his whole existence and that’s why he must assume responsibility with all the consequences of his deeds and choices, not being able to delegate or attribute such responsibility on others or on mysterious powers. Man is absolutely responsible about the man he wish to be.
A liberdade é um tema fundamental da realidade humana. A ética é condição para que possamos viver e conviver em sociedade, respeitando o diferente e nos responsabilizando por nossas próprias escolhas. Deste modo, Sartre faz uma reflexão profunda sobre a liberdade humana, desde sua condição de existência até a suas conseqüências diretas sobre a vida do indivíduo. Assim do binômio liberdade-responsabilidade, conceitos indissociáveis em Sartre, podemos inferir, uma proposta conseqüente para uma conduta ética. Desta maneira, refletir sobre o sujeito livre em uma sociedade que coloca a liberdade como um valor central, é pensar no fazer humano, nas suas relações, ou seja, no seu encontro com o outro, na possibilidade de respeitar ou não a liberdade do outro. Em síntese, procuramos demonstrar que a liberdade humana é um aspecto constitucional da existência de cada indivíduo, que não podemos pensar em um homem ora livre ora não, dispomos de uma liberdade fundante que nos compromete durante todo o nosso existir, e por essa razão somos chamados a assumir com responsabilidade as conseqüências de todas as nossas escolhas e ações, não podendo delegar ou atribuir a responsabilidades a outros ou a forças misteriosas, somos absolutamente responsáveis pelo homem que queremos ser.
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Gaudeaux, Jean-François. "Engagements et marxismes chez Jean-Paul Sartre." Paris 1, 2000. http://www.theses.fr/2000PA010519.
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Cette thèse traite de la notion de totalité au travers de la totalité de l'œuvre de Sartre. Le fil conducteur en est les mots. Ce travail permet d'établir la continuité de la philosophie de Sartre, depuis La nausée jusqu'à L'idiot de la famille. Avec les mots, l'engagement de Sartre se révèle : faire une œuvre. Dès ses premiers écrits, le rapport à l'engagement passe par la philosophie à partir d'une réflexion sur la liberté. Une des caractéristiques de Sartre réside dans son écriture simultanée : la nausée en même temps que l'imaginaire, les carnets de la drôle de guerre en parallèle avec l'être et le néant, Saint Genet et le diable et le bon Dieu, la critique de la raison dialectique et les textes contre le colonialisme et les séquestrés d'Altona, ces exemples ne sont pas les seuls. L'engagement dans l'œuvre se fait sous l'égide de la philosophie, il précède l'engagement politique et le conditionne. Il affirme la nécessité de penser par soi-même (et contre soi-même) comme moyen de comprendre et de transformer le monde. Aussi, le marxisme pour Sartre s'inscrit dans cette même démarche. Très tôt, nous l'établissons, avant la guerre de 1939, Sartre conçoit l'importance de l'histoire et du marxisme. Cela ne remet pas en cause l'importance de la philosophie, mais l'engage davantage. Pour Sartre, le rapport philosophie/histoire/marxisme/liberté est indissociable : c'est par la prise de conscience individuelle de la liberté que la liberté se réalise dans l'histoire et les luttes de classe. Ainsi, si Jean-Paul Sartre reste l'archétype de l'intellectuel engagé, il l'est au nom de la philosophie et par la philosophie. La philosophie de Sartre se donne à lire à travers toute l'œuvre de Sartre, la philosophie excède largement les classements thématiques habituels, on la trouve au centre des romans de Sartre, elle s'anime et s'illustre par son théâtre, elle s'affirme dans les polémiques avec les marxistes de son époque.
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Kim, Huilin. "Le langage dramatique de Jean-Paul Sartre." Clermont-Ferrand 2, 1988. http://www.theses.fr/1988CLF20011.
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Cette étude du langage dramatique de J. -P. Sartre est basée sur la double préoccupation. Si les oeuvres théatrales de Sartre témoignent de son assidue pratique de cet art, un abondant corpus d'entretiens affirme son souci d'établir une théorie dramatique qui le satisfasse. Or, l'importance et l'acuité du langage est remarquable dans le genre dramatique. Pour étudier tous les éléments théatraux, nous examinerons deux grandes questions. Les élements paraverbaux qui sont en dehors des paroles prononcées, comportent le décor, le geste, et la structure dramatique. Ensuite, pour les éléments verbaux, nous étudierons quelques rapports entre le langage et la vie, ainsi qu'entre le langage et sa fonction, et les différents registres du langage utilisés par Sartre. Cette recherche nous permet d'apprécier la vertu et la qualité du langage dramatique de SartreThis essay on "the dramatic language of J. -P. Sartre" is based on the twofold preoccupation. Whereas Sartre's plays bear witness with his assiduous practing on this art, a corpus of numerous conversations assert his aim to set up a theory of drama, that would satisfy him, when the importance and the sharpness of this specific language is outstanding in this drama genre. In order to examine all the component of the play, we will study the subject in the two differents parts. Out of the words said, paraverbal elements including scenary, gesture and drama's structure. Verbal elements including the relationship between language and life, and the between language and its function, the various level of language used by sartre. This essay permit us to appreciate both the quality and the virtue of the dramatic language of Jean-Paul Sartre
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Coulibaly, Bassidiki. "Totalité et totalisation selon Jean-Paul Sartre." Paris 10, 1999. http://www.theses.fr/1999PA100128.
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Le present travail est un examen philosophique de la notion ambigue et statique de totalite dans ses rapports avec la notion heuristique et dynamique de totalisation et ce, a partir de sartre. Dans le champ de la philosophie, la notion de totalite a subit (de l'antiquite grecque a nos jours) un traitement teleologique qui a occulte son caractere ambivalent et dialectique. De definitions en analyses, la rationalite occidentale a fait du mot grec << nav >> (dont l'incarnation divine pan est decrete mort depuis plutarque) un concept a contenu variable en fonction de celui qui en parle et ce, d'un domaine de la connaissance a un autre. C'est cette scolastique dogmatique de la totalite qui est fondamentalement remise en question par sartre au profit d'une totalite qui a pour point de depart et seul garant le coeur. La premiere partie de ce travail montre comment sartre conteste cette teleologie de la totalite et forge sa propre conception de la totalite <
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Labidi, Najet. "La dramaturgie existentielle de jean-paul sartre." Toulouse 2, 1986. http://www.theses.fr/1986TOU20056.
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La dramaturgie existentielle est en rapport avec la vie de l'auteur dans differentes situations, la est sa definition du theatre "s'il est vrai que l'homme est libre dans une situation donnee et qu'il se choisit lui-meme dans et par cette situation, alors il faut montrer au theatre des situations simples et humaines et des libertes qui se choisissent dans ces situations". Il y eut pendant la seconde guerre une "situation" propice qui donna bariona, piece realisee dans un stalag allemand. Outre le message de resistance, elle traite des aspects sociaux universels. Cette piece est surtout l'eclosion d'une vocation theatrale et l'esquisse d'un itineraire de liberte. Les mouches, en pleine guerre se veulent appel a "extirper du remords" introduit par l'occupant nazi et le gouvernement de vichy. Oreste, heros, veut conquerir sa liberte, camouflee sous de bonnes intentions patriotiques. Refusant le pouvoir, oreste correspond a l'intellectuel individualiste et anarchiste qu'etait sartre. Les mains sales, amorcent une amelioriation, le heros, hugo, concoit la lutte pour la liberte comme une entreprise collective et s'engage au parti communiste. Intellectuel profondement idealiste, il echoue. Le diable et le bon dieu se veut la suite, le protagoniste cherche l'"absolu" dans le "mal", puis dans le "bien", les deux entreprises echouent. La fin de la piece amorce une nette progression du heros (et de l'auteur) vers la realite. Goetz se ralliant aux paysans adopte la morale de la praxis et oublie son utopie. L'adhesion a la realite evolue en interet pour l'histoire, presentee dans les sequestres d'altona comme transcendance, tragedie. Enfin, l'itineraire personnel de sartre n'est jamais expressionnisme, l'auteur a toujours essaye de s'objectiver dans une situation en la depassant vers une realite universelleThe existential dramaturgy is in heebing with the author's life in various situations, there is his definition of theatre "if it is true a man is free in a given situation and that he chooses himself in and by this situation, then easy and human situations and freedoms that are choosen in these situations must be shown in theatre plays". During the second world war there was a favorable "situation" wich gave bariona which was realised in a german stalag. Beyond the resistance message, it treats of social and universal aspects. This play is above all the birth of a theatrical vocation and the outline of a path to freedom. Les mouches in the middle of the war wants to be a call for "remorse extirpation" remorse driven in by occupying nazi and vichy government. Oreste, the hero, wants to win his freedom by hiding it under good patriotic intentions. Refusing power, oreste corresponds to the individualistic and anarchist intellectual sartre was. Les mains sales starts an inprovement, the hero, hugo, thinks the struggle for fredom as a collective entreprise and engages in communist party. Being a deeply idealistic intellectual, he fails. Le diable et le bon dieu wants to be the following. The protagonist looks for "absolute" in "evil" and "good" but both of the two entreprises fail. The end of the play shows a clear progression of the hero (and of the author himself) towards reality. Goetz joining the peasants adopts praxis morality and forgets utopian. The author's adhesion to reality turns into interest for history, as shown in les sequestres d'altona as transcendence, tragedy. At last, sartre's personnal path is never expressionism. The author has always tried to objectify himself in a precise situation by going beyond it to universal reality
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Goebel, Eckart. "Der engagierte Solitär : die Gewinnung des Begriffs Einsamkeit aus der Phänomenologie der Liebe im Frühwerk Jean-Paul Sartres /." Berlin : Akademie Verl, 2001. http://catalogue.bnf.fr/ark:/12148/cb38810396r.
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Pitt, Rebecca Elizabeth. "Jean-Paul Sartre and the question of emancipation." Thesis, University of Essex, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.574460.
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This thesis examines the concept of emancipation inrelation to the writings of Jean- Paul Sartre. I interpret emancipation as a series of what I call transjormative moments. These moments reveal a conceptual continuity of Sartre's engagement with this theme which unites his early and late philosophy whilst also challenging common readings of his oeuvre. I begin the investigation by exploring the implications of Being and Nothingness as an example of what Sartre claims is an unconuerted ontology. Explicating the unique way in which Sartre presents the concepts of the "individual" and "social" I provide evidence for the varied ways in which Sartre's early writings display an awareness of power structures and social/political critique. The emancipatory devices I call transformative moments are play, and two types of Apocalypse (the festival and the group-in-fusion). I proceed with a senes of close textual readings which focus on the importance of play. Play acts as a foundation for the final two transformative moments. In both types of moments my interpretation reveals underacknowledged, recurrent motifs (appropriation and the problem of the "Self') throughout Sartre's work. Considering Sartre's controversial statement regarding the revolutionary as serious, I argue against commentators who interpret this passage as an example of political naivety. I contend that Sartre's critique of the revolutionary is a unique example of political analysis in his early writing.
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Fox, Nicholas Farrell. "Jean-Paul Sartre and the question of postmodernism." Thesis, University of the West of England, Bristol, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327309.
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Alves, Igor Silva. "O teatro de situações de Jean-Paul Sartre." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-09012008-100852/.
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Esta dissertação busca mostrar as questões envolvidas no teatro de Sartre. Para tanto, partese de uma descrição da consciência em geral para atingir uma caracterização da consciência imaginante - é esta consciência que toma o objeto estético como tal, posto que tal objeto é um objeto imaginário. A partir dessa caracterização da obra de arte em geral, busca-se descrever a especificidade da obra de arte teatral, de forma a mostrar a formulação do gênero teatral proposto por Sartre, o teatro de situações, a maneira como sua descrição sobre o evento teatral lhe serve como recusa do teatro burguês e para a crítica da produção dramatúrgica de sua época, e como o teatro opera uma descrição da vivência humana concreta que a filosofia descreve de forma estrutural.This dissertation aims at opening up questions involved in Sartre\'s theatre. Firstly, beginning with a description of the consciousness in general one comes to a characterisation of the imaging consciousness - the one that takes into account the aesthetic object as such, given that this is an imagined object. Secondly, considering this characterisation of the work of art in general one intends to point out the characteristics of the theatrical work of art. The elaboration of the theatrical genre proposed by Sartre, i.e., the theatre of situations, is a description of the theatrical event that allows him to refuse the bourgeois theatre and to criticise the dramaturgical production of his period. For the French philosopher, the theatre operates a description of the concrete human lived experience that philosophy can only describe in a structural way.
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Gómez, Rodríguez Fernanda Itzel. "Jean-Paul Sartre. Fenomenología existencial de la conciencia." Tesis de Licenciatura, UNIVERSIDAD AUTÓNOMA DEL ESTADO DE MÉXICO, 2017. http://hdl.handle.net/20.500.11799/67147.
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Ferreira, Sônia Maria Lira. "Fenomenologia, liberdade e moral em Jean-Paul Sartre." Universidade Federal da Paraíba, 2006. http://tede.biblioteca.ufpb.br:8080/handle/tede/5649.
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Previous issue date: 2006-12-01Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Phénoménologie, liberté et morale sont thèmes discutés pour Jean-Paul Sartre dans s´ oeuvre L´être et le néant. Dans l´élaboration de ces thèmes, le penseur a parcouru chemins théoriques ont institués pour trois grands pensateurs de la histoire de la philosophie: Renée Descartes, Edmund Husserl e Martin Heidegger. Ce parcours théoriques ont realisés pour Jean-Paul Sartre les lui donnèrent un subside essentiel pour la constituition, de forme sui generis, de chez conception de la morale e de la liberté, comme consequence de nouvelles possibilités elaborés pour Sartre de la terminologie cartesièenée, husserliènnée et heideggeriènée. Le resultat de celles a allé l´elaboration de une épuisante discussion sur le traitement realisé pour la tradition philosophique aux les concepts de la morale e de la liberté comme libre exercice. Jean-Paul Sartre dans l`oeuvre L´être et le néant expose les présuppositions ontologiques de sa théorie de la liberté e de la morale: l´ être-pour-soi ; l´êtreen- soi et l´être-pour-outre comme éléments constitutives de tous son édifice d´idées. La liberté et la morale seulement pourront être comprises dans le perspective philosophique de Sartre pendant que dimension originaire, dans la mesure en quoi s´établit la relation entre la constitution de la liberté sartriènnée avec le novelle dimension elaborée pour Sartre de la phénoménologie husserliènnée, déjà que c´est en travers de la liberté originaire qu´effectivement sont réalises tous les décisions essentielles de les fins de l´existence humaine; ainsi, plus avant d´être la volonté que nous permet agir librement; c´est la liberté que doit être aie pris comme fondament de la réflexion et de l´action morale. Tous la choix fait pour l´être-pour-soi aura comme référence le néant de fondament de la liberté. Ainsi, c`est l´être-pour-soi, la realité humaine, que doit s´attribuer la responsabilité de choisir. C´est justement dans la liberté ontologique avec le importance de le néant que se peux reconnaître la responsabilité absolue. C´est dans la liberté ontologique realisée pour le néant que se peux reconnaître la responsabilité absolue, c´ést a dire, que consiste dans le faute de conditionnement préalable que le rend sens justification, que se trouve le terrain fértile elaboré pour Sartre, pour la justification de la création de les valeurs dans le monde pour l´action sans fondament de l´être-pour-soi, c´est a dire, le création de le senti de le monde e de soi même sans aucune cause a determiné. Voilà la relation emblématique de la morale e de la liberté dans l´intérieur de l´oeuvre L´être et le néant. Mots clé: Phénoménologie ; Liberté; Morale; Valeur; Conscience; Choix; Responsabilité.
Fenomenologia, Liberdade e Moral são os temas principais discutidos por Jean-Paul Sartre na sua obra O Ser e o Nada. Para essa discussão se tornar profícua, o filósofo teve que decidir sobre determinados percursos teóricos, os quais se tornaram o subsídio essencial na constituição, de forma suis generis, da sua concepção de fenomenologia, liberdade e moral, decorrente do redimensionamento dado por ele à terminologia cartesiana, husserliana e heideggeriana. O resultado desse redimensionamento foi a elaboração de uma exaustiva discussão sobre o tratamento dado pela tradição filosófica aos conceitos da liberdade e moral como livre exercício. Jean-Paul Sartre, em O Ser e o Nada, expõe os pressupostos ontológicos da sua teoria da liberdade e da moral a partir dos conceitos de ser-para-si; ser-em-si e serpara- outro, como elementos constitutivos de todo o seu edifício de idéias. A liberdade e a moral só poderão ser compreendidas na perspectiva filosófica de Sartre enquanto dimensão originária, na medida em que se estabelece a relação entre a constituição da liberdade e perspectiva moral sartreana e a nova dimensão, engendrada por este filósofo, da fenomenologia husserliana. Sabe-se que é através da liberdade originária que existe uma consciência totalmente desprovida de qualquer tipo de conteúdo, afinal é através dessa liberdade que efetivamente são tomadas todas as decisões essenciais da existência humana, de modo que, muito antes de ser a vontade que nos permite agir livremente, é a liberdade que deve ser tomada como fundamento da reflexão e da ação moral. Toda escolha feita pelo parasi tem como parâmetro o nada de fundamento da liberdade. Dessa forma, é ao para-si, isto é, à realidade humana que deve ser atribuída a responsabilidade por sua realização. É justamente na liberdade ontológica alicerçada no nada que se pode reconhecer a responsabilidade absoluta, ou seja, é na liberdade absoluta que consiste a falta de condicionamento prévio, que a torna injustificável, e é nela que se encontra o terreno fértil constituído por Sartre, para a justificação da criação dos valores no mundo pela ação sem fundamento do para-si, ou seja, da criação do sentido do mundo e de si mesmo sem nenhuma causa determinada. Eis a relação emblemática fenomenologia, liberdade e moral no interior da obra O Ser e o nada.
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Baranowske, Durval. "A autenticidade na ética de Jean-Paul Sartre." Universidade Federal de Uberlândia, 2012. https://repositorio.ufu.br/handle/123456789/15574.
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The guidelines for this dissertation are to be found in two of Sartre s works, Being and
Nothingness and Existentialism and Humanism. These two works form part of the
composite body of texts written by Jean-Paul Sartre on ethics and authenticity. Other
bibliographies have been drawn upon, with parts referred to at strategic points
throughout this work. Ethics and authenticity in Sartre s philosophy form the basis for
what I aim to examine, with three main areas of focus: uncovering what authenticity
means to Sartre as a writer, how it can be an ethical concept and what its presence in
human behaviour indicates. It would be meaningless to speak of authenticity if it were
not for the notion of freedom always having Sartrean ontology at its core.
To this end, the two initial chapters of this dissertation make an attempt to look
more closely at the topic of ontology and to understand and recount the writer s main
concerns with regard to authenticity and ethics. Following this, the major references
comprise the commentators, all of whom have been duly cited in the final bibliography,
and Sartre s literary works.
And finally, ethics and authenticity would not have full meaning if it were not
for the fact that they are grounded in existential ontology, because thinking of being, for
Sartre, is thinking that one ought to be, which is being For-Itself, and reflecting on
ethics means thematizing the original unity of its moral which lies in the authenticity of
being and recognizing For-itself.Dois livros de Sartre, O Ser e o Nada e O Existencialismo é um Humanismo, nos dão as diretivas dessa dissertação. As duas obras formam parte do complexo corpo de textos escritos por Jean-Paul Sartre para falar de ética e autenticidade. Outras bibliografias são levantadas, contudo, parte delas, mescladas em pontos estratégicos do trabalho. Ética e autenticidade na filosofia de Sartre é o que tentamos apresentar com três grandes preocupações; desvelar o que é a autenticidade para nosso autor, como ela pode ser um projeto ético e o que significa sua presença dentro do comportamento humano. Não teria sentido falar de autenticidade se não fosse por causa da liberdade tendo sempre em vista a ontologia sartriana. É por isso que os dois capítulos iniciais dessa dissertação tentam aprofundar o tema da ontologia para compreender e elencar as principais preocupações do autor em relação a autenticidade e a ética. A seguir as grandes referências são, os comentadores, que estão devidamente citados na bibliografia final, e as obras literárias de Sartre. E, finalmente, ética e autenticidade não encontrariam seu pleno sentido, se não fossem fundamentadas numa ontologia existencialista, porque pensar o ser, para Sartre, é pensar o dever-ser (que é Para-si) e refletir sobre ética, significa tematizar a unidade originária de sua moral que está na autenticidade de ser e se reconhecer Para-si.
Mestre em Filosofia
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Hajj, Hassan. "Une morale de l'engagement individuel : Jean-Paul Sartre." Nice, 1989. http://www.theses.fr/1989NICE2013.
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Cette thèse comprend trois parties : la première traite la question morale chez Sartre où on constate l'effort sartrien pour fonder une morale concrète qui puisse concilier l'universel et le singulier dans l'Histoire, afin de guider l'homme pour affirmer son authenticité et sa liberté. La deuxième partie est consacrée à la question de l'engagement individuel : la conception sartrienne de l'individu et la théorie de l'engagement. On note que, même dans l'engagement, Sartre voulait affirmer la liberté de l'homme, puisque tout engagement est assumé librement par une subjectivité humaine. La troisième partie représente un exemple pratique de l'engagement sartrien dans ses quinze dernières années qui furent riches en grands événements historiques tels que la guerre de Viet-Nam, la guerre au Moyen-Orient, l'intervention soviétique en Tchécoslovaquie et le mouvement de mai 68 en France. En effet, dans tout cela, Sartre avait un mot à dire ou une action à faire. A travers ses positions, il confirmait et défendait les droits de l'homme a la liberté et à la dignitéThis thesis is divided into three parts : the first one deals with the problem of ethics in Sartre's, and there we notice the "sartrian" effort to lay the basis of a concrete ethics which could reconcile the universal and the peculiar in history, so as to guide man towards the assertion of his singleness and freedom. The second part refers to the question of individual engagement : the "sartrian" concept of the individual and the theory of engagement. We remark that Sartre wanted to assert the freedom of man, even when engaged; since every engagement is freely assumed by human subjectivity. The third part shows a practical example of the "sartrian" engagement during the last fifteen years wich have seen many historical events such as the war in Viet-Nam, the war in the Middle-East, the societic intervening in Czecho-Slovakie, the outburst in may 68 in France. In fact, speaking or acting, Sartre had reacted to all these events. And when taking sides, he assertedthe right or every man, to freedom and dignity
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Lamouchi, Noureddine Idt Geneviève. "Jean-Paul Sartre et le Tiers-monde : rhétorique d'un discours anticolonialiste /." Paris : Éd. l'Harmattan, 1996. http://catalogue.bnf.fr/ark:/12148/cb358224384.
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Giroux, Natacha. "De la psychanalyse existentielle (L'Être et le néant) à la méthode progressive-régressive (Questions de méthode) ou de Charles Baudelaire à Stéphane Mallarmé : une tentative pour l'explication d'une vie." Sherbrooke : Université de Sherbrooke, 2000.
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Alves, Igor Silva. "História e ontologia na obra de Jean-Paul Sartre." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-21072017-152520/.
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Nesta pesquisa, busca-se analisar alguns aspectos da vinculação entre dois momentos da obra de Jean-Paul Sartre a partir da relação entre ontologia e história. O primeiro momento, marcado pela ontologia fenomenológica de O ser e o nada, apresentaria estruturas caracterizadas por uma a-historicidade; o segundo momento, marcado principalmente pela aproximação do marxismo e um grande peso dado à história, encontra-se principalmente em Questão de método e Crítica da razão dialética. Ao contrário das interpretações que afirmam a incompatibilidade entre esses dois momentos da obra de Sartre, mostra-se ao longo do texto que as estruturas da ontologia fenomenológica, se não apresentam uma formulação sobre a história, são uma abertura para ela, pois descrevem um processo de totalização de si do sujeito que o lança em uma totalização de totalizações a qual, por sua vez, é o próprio processo histórico.This research aims to analyze some aspects of the link between two moments of Jean-Paul Sartre\'s philosophy regarding the relation between ontology and history. The first moment, marked by the phenomenological ontology of Being and Nothingness, would present structures characterized by a-historicity; the second moment, marked by an approach of Marxism and by a great weight being ascribed to history, is found mainly in Question of method and in Critique of dialectical reason. Contrary to the interpretations that sustain the existence of an incompatibility between these two moments of Sartre\'s thought, this work argues that the structures of phenomenological ontology, if they do not present a formulation about history, they nonetheless hold an opening towards it, since they describe a process through which the subject carries out a totalization of herself that throws her into a totalization of totalizations which, in turn, is the historical process itself.
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Santos, Tiago Soares dos. "Fenomenologia e ontologia da consciência em Jean-Paul Sartre." Universidade Estadual do Oeste do Parana, 2012. http://tede.unioeste.br:8080/tede/handle/tede/2128.
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The problem that motivated us in the preparation of this study was to answer the question: how does the appearance of the world and how to become aware of such an appearance? Problem that Sartre and became the maximum of existentialism where the existence precedes the essence. We`ll try, in the course of our work, presenting the arguments used by Sartre that justify such affirmation and check if, in fact, it is possible to agree with an existential philosophy along the sartrianos lines. For that, we`ll see the phenomenological method that will assist us in the reflection on the fundamental structures of mundane appearance, central theme present in the husserliana phenomenology and sartriana`s foundation. This appearance will reveal the human reality as emanating from the most intimate of be; this human reality will be described in phenomenological philosophy of Sartre as consciousness, which conceptualizes as intentionality. Being intentionality is to take the constant motion of transcendence, that is, the exit of yourself. So it is necessary to expel everything there is or inhabits the consciousness. Making empty consciousness or translucent, requires that we understand the consciousness. Being conscious is to exist and the question of existence arises immediately with the human reality that asks about your way of being in the world. We will approach the existential problems of consciousness and the need for recognition of the same existence from reflexivity. In this way, we will develop how consciousness exists immediately, this is, how the consciousness appears intended to the objects of the world, how if seizes, first as a way thoughtless as a phenomenon of world. This mundane phenomenon that reveals the consciousness and is, at the same time, revealed by it. In this way, the appearances of world and consciousness occur simultaneously and interdependent. This concurrency between world and consciousness are the poles of the same phenomenon. It is the monism of the phenomenon that is constituted of these two realities of being, that is, the object appeared the In-himself and the consciousness - the To-himself - are constituent parts of the same reality that cannot be seized separately. The existence, although unique, is paradoxically, constituted of two modalities of being. Despite having to recognize these two modalities to be as amalgamated, we can only recognize them from a long journey argumentative of phenomenological reflection, once we can only recognize the existence of the world and consciousness from the phenomenological process of reflexivity. In other words, we can only know what already exists since the knowledge doesn´t have itself the creative force or the power to confer being what is not yet or does not exist. Thus, the knowledge or the reflection are fundamental to the development of phenomenology, although this same phenomenology requires the recognition of something prior or immediate that precedes it and enables your cognitive achievement.
O problema que nos motivou na elaboração desse trabalho foi responder à questão: como ocorre o aparecimento do mundo e como se torna consciente de tal aparecimento? Problema posto por Sartre e que se tornou a máxima do existencialismo onde a existência precede a essência. Intentaremos, no curso de nosso trabalho, apresentar os argumentos utilizados por Sartre que justificam tal afirmação e verificar se, de fato, é possível concordar com uma filosofia existencial nos moldes sartrianos. Para tanto, valer-nos-emos do método fenomenológico, que nos auxiliará na reflexão sobre as estruturas fundamentais do aparecimento mundano, tema central presente na fenomenologia husserliana e alicerce da sartriana. Tal aparecimento revelará a realidade humana como emanada do mais íntimo do ser; essa realidade humana será descrita na filosofia fenomenológica de Sartre como consciência, que se conceitua como intencionalidade. Ser intencionalidade é assumir o constante movimento de transcendência, isto é, de saída de si. Por isso, faz-se necessário que se expulse tudo o que há ou habita a consciência. Tornando a consciência vazia ou translúcida, exige-se que nós compreendamos a consciência. Ser consciente é existir e a questão da existência surge imediatamente com a realidade humana que indaga sobre seu modo de ser no mundo. Abordaremos a problemática existencial da consciência e a necessidade do reconhecimento dessa mesma existência a partir da reflexividade. Desse modo, apresentaremos como a consciência existe imediatamente, isto é, como a consciência aparece intencionada aos objetos do mundo, como se apreende, primeiramente de modo irrefletido como um fenômeno do mundo. Esse fenômeno mundano que revela a consciência e é, ao mesmo tempo, revelado por ela. Assim, os aparecimentos do mundo e da consciência ocorrem de modo simultâneo e interdependente. Essa simultaneidade entre mundo e consciência são polos de um mesmo fenômeno. É o monismo do fenômeno que se constitui dessas duas realidades do ser, ou seja, o objeto aparecido o Em-si e a consciência o Para-si são partes constituintes de uma mesma realidade que não podem ser apreendidas isoladamente. A existência, apesar de única, é paradoxalmente, constituída de duas modalidades de ser. Apesar de ter de reconhecer essas duas modalidades de ser como amalgamadas, só podemos reconhecê-las a partir de um longo percurso argumentativo da reflexão fenomenológica, pois só podemos reconhecer a existência do mundo e da consciência a partir do processo fenomenológico da reflexividade. Em outros termos, só podemos conhecer aquilo que já existe visto que o conhecimento não tem em si a força criadora ou o poder de conferir ser àquilo que ainda não é ou não existe. Assim, o conhecimento ou a reflexão são fundamentais para o desenvolvimento da fenomenologia, embora essa mesma fenomenologia exija o reconhecimento de algo prévio ou imediato que o precede e possibilita sua realização cognitiva.
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Kirkpatrick, Kate. "Between being and nothingness : sin in Jean-Paul Sartre." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:727cbb39-8929-48c0-8952-2751edeb23bf.
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This thesis argues that Jean-Paul Sartre's early philosophy retained a recognizable inheritance from the Christian doctrine of original sin. On the standard reading, Sartre's most fundamental and attractive idea - the idea that brought him his reputation as 'the philosopher of his generation' - is freedom. But, as Sarah Richmond notes, Sartre's interest in phenomenology 'co-existed with and was an instrument for his wish to demonstrate the existence of human freedom, and his sense that the way to do this was by establishing an essential connection of consciousness with nothingness.' Taking Being and Nothingness as its primary exegetical focus, this thesis argues that the early, anti-humanist Sartre retained a recognizable descendant of the Christian doctrine of original sin in his concept of le néant. Previous scholars have noted the resemblance between Sartre's and Augustine's ontology: to name but one shared theme, both thinkers describe the human as the being through which nothingness enters the world. But no in-depth examination of this 'resemblance' has been made. Using historical, exegetical, and conceptual methods, my research demonstrates that Sartre's intellectual formation prior to his discovery of phenomenology included theological elements which are often overlooked by Sartre scholars - especially in the English-speaking philosophical community, where his phenomenological influences receive greater attention. The thesis therefore (i) outlines the French Augustinianisms by which, I argue, Sartre's account of the human as 'between being and nothingness' was informed; in order to (ii) undertake a close reading of Being and Nothingness, which shows (a) that the psychological, epistemological, and ethical consequences of Sartre's le néant closely resemble the consequences of its theological predecessor and (b) that his account of freedom can be read as an anti-theodicy; and finally (iii) to argue constructively that Sartre is a useful resource for contemporary hamartiology. In doing so it contributes to both Sartre scholarship and the theological sub-discipline of modern doctrine.
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Abdellaoui, Amor. "Altérité et corporéité dans l'oeuvre de Jean-Paul Sartre." Nice, 2008. http://www.theses.fr/2008NICE2025.
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Il s’agit dans ce travail d’une étude de deux thèmes majeurs de l’œuvre sartrienne : l’altérité et la corporéité. La première partie est consacrée à la réfutation sartrienne du solipsisme dans La transcendance de l’égo et L’être et le néant et à la critique que fait Sartre du Mitsein heideggérien et de la notion husserlienne d'intersubjectivité. Dans la deuxième partie nous avons entrepris de montrer que la notion d'altérité fait son apparition dès les années de jeunesse de Sartre dans ses nouvelles et ses romans qui témoignent de son intérêt pour l’individualisme et la théorie de « l’homme seul ». Puis nous avons mis en évidence le grand tournant de sa pensée en 1943 avec ses analyses ontologiques de la notion du regard et de l’être-pour-autrui qui débouchent sur la mise en évidence d’une dimension négative et de la lutte des consciences. Notre troisième partie traite de la corporéité et des conduites concrètes envers autrui dans le cadre de son ontologie phénoménologique. Il s’agit dans cette partie d'analyser les trois dimensions ontologiques de la corporéité : le corps-pour-soi, le corps-pour-autrui et le corps-aliéné. Dans notre dernière partie nous avons suivi l’évolution de la pensée sartrienne depuis le début de la seconde guerre mondiale qui se caractérise par l’apparition de la notion de l’inter-subjectivité et de la morale de la solidarité dans sa conférence de 1945 et dans ses Cahiers pour une moraleThis thesis is the study of the two major topics of Sartre's work: otherness and corporeity. The first part is devoted to Sartre’s refutation of solipsism in The Transcendence of the ego and Being and Nothingness and to his critique of Heidegger's notion of Mitsein and Huserl's notion of intersubjectivity. In the second part we have tried to show that the notion of otherness appears already in the young Sartre, in his short stories and novels which are the proof of his interest for individualism and the theory of “the man alone”. Afterwards we have brought to light the major turn of his thought in 1943 with his ontological analyses of the notion of the look and being-for-others which lead to the description of a negative dimension and fight between consciousnesses. The third part deals with the notion of corporeity and concrete behaviours towards others in his phenomenological ontology. The question in this part is to analyse the three ontological dimensions of corporeity: body-for-oneself, body-for-others and alienated body. In our last part we have followed the evolution of Sartre's thought since the beginning of the Second World War which is characterised by the appearance of the notion of inter-subjectivity and morals of solidarity in his 1945 lecture and his Notebooks on morals
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Vassallo, Sara. "Imaginaire et biographie dans l'oeuvre de Jean Paul Sartre." Aix-Marseille 1, 1996. http://www.theses.fr/1996AIX10083.
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Le but de cette these est de degager de l'ensemble du corpus sartrien (biographies, essais philosophiques et critiques, romans) un sujet textuel qui pense son propre rapport a l'ecriture. Cette demarche, qui problematise l'idee d'un sujet empirique, permet de reperer un sujet qui "s'arrache" a la nature, se separe de la vie (role preponderant de l'imaginaire sartrien), remplace la "chair" par un "style", la mort externe par une mort "interne" ou "fausse mort". Ce sujet dont le projet existentiel est defini par j. P sartre comme "desir d'etre", est le meme sujet des biographies et des mots. Le verbe etre depasse ainsi le sens qui lui est assigne par son opposition au terme d'"existence" et devient un signifiant qui se lie selon les contextes au fantasme d'une totalite non brisee, a la beaute, a l'annulation symbolique de la difference sexuelle, enfin a un "epaississement du langage" reussi par l'ecriture. Le sujet textuel qui se degage de ce parcours n'efface pas le contenu de l'ethique sartrienne, laquelle en sort au contraire renforcee. La "conversion" de j. P. Sartre nait elle-meme en effet des impasses du desir d'etre et ne saurait s'articuler dans le corpus independamment d'une tension incessante vers l'absolu de l'acte, que le sujet ne saurait accomplir mais seulement accepter comme brise par l'alteriteThe aim of this study is to elucidate, through the multifarious works of j. P. Sartre - biographies, philosophical or critical essays, novels - a "textual subject" which is thinking its own relation to the act of writing. By this approach, which calls in question the idea of an empirical self, we can point out a subject which breaks itself out from nature and life (as it is the mainfunction of the sartrian "imaginary), replaces the "flesh" by a "style", and actual death by an "inward death" or "false death". That subject, the existential project of which j. P. Sartre describes as a "desire of being", is the very subject of the biographies and of les mots. So, the verb "to be", beyond the sense it accepts as opposed to the notion of "existence", becomes a special significant linked, according to the contexts, with the phantasm of unbroken totality, with the beautiful, with the symbolic abolishing of sexual difference, with a new consistency ("thickening") of language, materialized by writing. The "textual subject" which becomes patent throughout this process does not obliterate the contents of j. P. Sartre's ethics, which in the contrary comes up more strength. For the "conversion" according to j. P. Sartre, rises from the dead-lock of the desire of being, and cannot be connected with the corpus independently of an unremitting attempt to the absolute act, which the subject cannot effect, but only admit as being broken by alterity
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Casseville, Caroline. "Francois mauriac sous le regard de jean-paul sartre." Montpellier 3, 1995. http://www.theses.fr/1995MON30039.
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S'opposant a la conception romanesque de francois mauriac, un jeune ecrivain, jean-paul sartre, fait paraitre le 1er fevrier 1939 dans la nouvelle revue francaise un article s'intitulant "m. Francois mauriac et la liberte". Apres avoir presente la critique de sartre, l'analyse du double point de vue de mauriac et de sartre sur le roman mauriacien, la fin de la nuit, montre que le critique et le romancier defendent une ethiqueet, par consequent, une esthetique differentes. Enfin, la mise en lumiere du sns veritable de la conception romanesque de mauriac, en fonction de sa vision personnelle du monde, permet de cerner les limites de la validite de la critique sartienne et de son influence sur le romancier francois mauriacIn his article "m. Francois mauriac et la liberte" (m. Francois mauriac and freedom), published in the nouvelle revue francaise on 1 february 1939, jean-paul sartre, as a joung writer, attacked francois mauriac's concept of the novel. Sartre's criticismof mauriac is examined and the points of view adopted by sartre and mauriac on the latter's novel la fin de la nuit (the end of the night) are then analysed. The analysis demonstrates that the critic and the novalist were defending different ethical codes and consequently different aesthetic positions. By examining the meaning of mauriac's concept of the novel in the light of his personal view of the world, it is possible to establish the limitations of sartres' criticism and to show also the limits of his influenceon mauriac as a novelist
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Putchay, Vèle. "Jean-Paul Sartre : la recherche d'une coi͏̈ncidence avec soi." Université Marc Bloch (Strasbourg) (1971-2008), 2002. http://www.theses.fr/2002STR20011.
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La création littéraire, maintient-elle un lien étroit avec le devenir du moi-créateur ? A travers la littérature de Jean-Paul Sartre, de La Nausée (1938) aux Mots (1964), nous nous efforçons de répondre à cette question. Les motivations d'un auteur sont multiples. Mais, l'orientation de notre étude a pour objet de déterminer la présence dans l'œuvre d'un désir d'être qui aurait agi comme force créatrice, de montrer comment un moi idéal hante l'écriture et comment écrire, c'est vouloir coi͏̈ncider avec soi. Tous les projets de l'auteur se résument en un seul : la recherche d'une rencontre avec soi par-delà l'écriture. Nous essayons de montrer comment la littérature sartrienne, brisant encore la règle de l'art pour l'art, se fait un moyen à la recherche d'autres moyens pour réaliser la fusion de l'auteur avec son idéal. Mais, en littérature le moi est insaisissable. Le projet sartrien se révèle alors une utopie. Nous comprenons enfin le sens profond d'un adieu à la littérature : la coi͏̈ncidence avec soi n'aura pas lieu.
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Levy, Lior D. "Memory in the Early Philosophy of Jean-Paul Sartre." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/204811.
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PhilosophyPh.D.
Memory is a recurring theme in Jean-Paul Sartre's work. However, Sartre never formulated an explicit theory of memory. When he did discuss memory he reached two conflicting conclusions: (1) in his theory of imagination and in his early text The Transcendence of the Ego memory is presented as a mimetic power and memories are repetitions of the past; (2) in his other texts, among them Being and Nothingness, memory is portrayed as a creative force that reconstructs experience rather than repeats it. I argue that Sartre held two conflicting notions of memory since he thought that recollection as a whole--understood either in mimetic or reconstructive terms--stifles consciousness and obstructs freedom. In the dissertation I explore the ways in which memory becomes responsible, according to Sartre, for the constitution of selfhood and for the creation of a solid character with a defined history, which eventually leads to the evasion of the free agency of consciousness. Against the mimetic and reconstructive models of memory I pose the notion of "existential memory", which is not a term that Sartre himself used but which emerges from his work on human temporality. The notion of "existential memory" provides an opportunity to conceive of a possibility of relating to the past in an authentic manner, without objectifying it or losing sight of one's freedom. In response to the challenges raised by Sartre's concerns with bad faith, existential memory is a model of authenticity.
Temple University--Theses
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Mathieu, Anne. "Aspects de la vehemence journalistique et litteraire : paul nizan, jean-paul sartre." Nantes, 1999. http://www.theses.fr/1999NANT3015.
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La production journalistique de paul nizan et jean-paul sartre constitue une part considerable de leur activite d'ecriture. L'optique d'etude choisie, la vehemence, a permis de faire ressortir les motifs topiques et paradigmatiques de ces deux ecritures, ainsi que leurs caracteristiques rhetoriques. Paul nizan y apparait comme un journalistique militant, soucieux d'etablir la verite pour son lecteur, voulant se battre contre les mystifications du monde, orchestrees par la classe a combattre, la bourgeoisie. Communiste orthodoxe, son discours vehement s'inscrit dans les thematiques et le lexique communistes, mais apparait aussi une volonte d'affirmation individuelle, qui transparait notamment dans l'utilisation des figures rhetoriques, dans un humour ironique qui forment un style specifique. Militant, sartre l'est aussi, mais sans appartenir a un parti - hormis l'episode du r. D. R. - : son processus d'enonciation differe donc de celui de nizan, mais les memes conviction de detenir la verite et volonte de se battre contre les mystifications apparaissent. Le choix de faire une etude chronologique de la vehemence sartrienne a permis de souligner les differences de cette ecriture suivant les engagements de sartre - notables pendant la periode de compagnonnage avec le p. C. F. ; et de degager la constance d'une influence vehemente nizanienne sur sa plume, s'etablissant notamment dans l'utilisation de l'ironie et dans la presence de diverses figures sartriennes de nizan. Enfin, l'etude de la vehemence permet de montrer l'actualite de ces articles litteraires ou politiques, qui appellent d'autres investigations.
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Vandelli, Ernesto. "Sartre e Pirandello." Université Stendhal (Grenoble), 2009. http://www.theses.fr/2009GRE39020.
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Les dettes contractées par la dramaturgie sartrienne à l'égard du théâtre de Pirandello, particulièrement visibles dans Les Séquestrés d'Altona, ont été signalées depuis longtemps. Notre confrontation entre le drame de Franz et celui de Enrico IV, qu'on a utilisé aussi pour mettre en evidence les positions tenues par Sartre et Pirandello à l'égard du problème de la folie, a réaffirmé et souligné cette influence pirandellienne sur le théâtre sartrien déjà bien documentée. Mais avec notre étude on a essayé surtout de prouver que la connaissance de Sartre ne se limitait pas au seul théâtre de l'auteur sicilien et que l'influence de Pirandello a touché aussi la narrative et la pensée philosophique de l'auteur français. On a montré avant tout que La Nausée est pleine de références soit à Uno, nessuno e centomila que à Quaderni di Serafino Gubbio operatore. Attiré par le monde du cinéma présenté dans ce dernier roman, Sartre semble en avoir repris et transféré dans La Nausée la structure, la stylisation de certains personnages, le climat, et plusieurs argumentations. Dans Quaderni di Serafino. . . On trouve aussi l'épisode de la maladie du baron Nuti qui à notre avis à fourni à Sartre l'idée pour sa nouvelle La Chambre: les similitudes entre ce deux textes au fait sont plutôt frappantes. Et puis dans La Nausée il y a un face à face de Roquentin avec le miroir et un discours sur les couleurs qui semblent presque une photocopie d'épisodes presents dans Uno, nessuno e centomila. Les conclusions que cet autre roman pirandellien exhibe à propos de notre corps et de notre identité personnelle, ainsi que sur notre contingence fondamentale, trouvent aussi une étonnante correspondence avec certaines affirmations présentes dans L'Être et le néant. De même que les mésaventures avec le regard des autres et son pouvoir objectivant du protagoniste pirandellien Moscarda semblent anticiper les points fondamentaux de la phénoménologie du regard contenue dans cet essai sartrien. La sensibilité exacerbée vis à vis du regard des autres que présente un autre personnage sartrien, Daniel, semble aussi avoir été modelé sur le comportement de Moscarda, dont Daniel reprend également, comme hypothèse, la solution finale: une immersion totale dans la nature. En plus, l'idée du mariage de Daniel avec une femme enceinte d'un autre homme pourrait dériver de l'histoire de Baldovino, protagoniste de Il piacere dell'onestà, drame pirandellien que Sartre connaissait surement très bien. Ce drame nous a servi pour mettre en evidence un autre point de contact entre l'œuvre de Sartre et celle de Pirandello: les constantes préoccupations d'ordre moral, omniprésentes dans les textes de ces deux auteurs de même que le thème du déracinement. Plus en general, nous pensons que Sartre s'est bien reconnu dans le fond existentialiste de la pensée de Pirandello, qu'il a absorbé et transmis dans ses textes, de façon qu'on peut certainement parler d'un "pirandellisme sartrien".
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Boulé, Jean-Pierre. "Sartre médiatique : la place de l'interview dans son oeuvre /." Fleury-sur-Orne : Minard, 1993. http://catalogue.bnf.fr/ark:/12148/cb355814974.
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Louette, Jean-François. "Sartre la littérature, herméneutique du silence /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37615478t.
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Aboodi, Mohamed al. "L'oeuvre romanesque de Jean-Paul Sartre : la banalité, l'ennui, l'angoisse /." [S.l.] : [s.n.], 1988. http://catalogue.bnf.fr/ark:/12148/cb35462905p.
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Schneider, Daniela Ribeiro. "Novas perspectivas para a psicologia clínica-um estudo a partir da obra "Saint Genet : comédien et martyr" de Jean-Paul Sartre /." São Paulo : Universidade católica de São Paulo, 2002. http://catalogue.bnf.fr/ark:/12148/cb39190418t.
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Martinelli, Bruno Oliveira. "A filosofia camuflada de Jean-Paul Sartre e Albert Camus." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-15122011-162509/.
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Em nosso trabalho, procuramos demonstrar as fundamentações éticas de Albert Camus e de Jean-Paul Sartre perceptíveis em seus primeiros escritos. Partimos de uma análise da situação histórica dos autores no momento da composição de seus ensaios fundamentais, O ser e o Nada e O mito de Sísifo, para, em seguida, atribuir às iniciativas dramatúrgicas, As Moscas e O mal-entendido, uma fidelidade e complementareidade em relação aos ensaios. Notamos que nessa transposição de idéias para a dramaturgia não ocorrreu prejuízo no que toca às concepções ou recomendações éticas opostas surgidas na década de 1940. No entanto, a diferença fundamental entre os autores permaneceu camuflada até o momento da querela da década de 1950. Apresentar suas inconciliáveis noções éticas inscritas nos dramas concebidos e montados durante a Segunda Guerra Mundial, e analisar o percurso literário e filosófico até o momento da polêmica e rompimento definitivo, nos dará a oportunidade de aventar e demonstrar que a camuflagem de ambas filosofias era provisória e que estavam, desde As Moscas e O mal-entendido, condenadas a combater-se.We intend demonstrate the ethics fondations of Albert Camus and Jean-Paul Sartre, as we can perceive it dans the beginning of both authors . We start with an analisys of the historic situation at the time of de composition of L\'Être et le Néant , Le Mithe de Sysiphe and, after, we intend to show that the dramaturgie works, Les Mouches and Le Malentendu, maintain fidelity to the test works. We note that in dramatic discussion of the ideas there is a significate continuity in the ethic opposition and in the recomendations appeared in 1940. We think that fondamentals differences between the authours remain hidden until the polemic that ocurred in 1950. We pretend to present the inconciliable notion that appeared in the ethic dramas conceived during the Secon War; we also pretend to analyse their littéraire and philosofic journey at the moment of the controverse and rupture, and at this moment we\'ll may show that camouflage was temporary and theirs philosophies had, since Les Mouches et Le Malentendu, a contradictory destination.
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Chen, Qi. "Sartre en Chine : (1980-1990)." Bordeaux 3, 1994. http://www.theses.fr/1994BOR30020.
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Le but de notre these consiste a repondre a deux questions: la premiere, pourquoi y a t=il eu un "phenomene sartre" en chine dans le debut des annees 80 ?; et la seconde, comment sartre a-t-il ete recu en chine, notamment dans le domaine litteraire, par les chercheurs chinois tout au long des annees 80 ? elle comporte donc deux parties: la premiere tente d'eclairer l'arriere-plan historique de la societe chinoise au moment ou sartre a ete decouvert et a provoque immediatement un grand retentissement. Nous estimons que l'enthousiasme qu'eprouverent certains intellectuels et certains etudiants a l'egard de sartre et de l'existentialisme manifeste en effet une crise ideologique a la suite de la grande perturbation sociale provoquee par le revolution culturelle. L'oeuvre de sartre, de ce point de vue, a repondu a un besoin urgent de l'epoque, celui de l'humanisme et a contribue a l'evolution des mentalites. Les deuxieme partie est consacree a l'etude de la facon dont les chercheurs chinois percoivent l'oeuvre et la creation litteraire de sartre. Un probleme majeur a ete releve dans les etudes sartriennes: la predominance ideologique qui fait que le critere politique est omnipresent dans les etudes litteraires, ce qui rend souvent difficiles le debat et les discussions entre chercheurs et aboutit a simplifier abusivement l'interpretation de ses oeuvresThe aim of our thesis consists of the response to two questions: the first, why did there exist a "sartre phenomenon" in china in the early days of the 80s ?; and the second, how was sartre received in china, particularly in respect of literature, by chinese researchers throughout the 80s thus it is composed of two parts: the first attempts to clarify the historical background of chinese society when sartre was discovered and which gave rise immediately to great repercussions. We estimate that the enthusiasm for sartre and the existentialism of certain intellectuals and certain students strikes an ideological crisis after a heavy social perturbation provoked by the cultural revolution. From this point of view, sartre's works were geared to the urgent needs of that times which was humanism and contribud to the evolution of the mentality. The second party was used to study the comprehension of these chinese researchers to sartre's works and his literary creation. A major problem has been revealed in the study of sartre: the ideological superiority shows that the political standard is entangled in the literary study which usually makes debate and discussion between the researchers difficult. This then leads to excessive simplicity of the interpretation of his works
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Oh, Eun Ha. "Les figures féminines dans l'oeuvre fictionnelle de Jean-Paul Sartre." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030143.
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Les figures féminines dans l’oeuvre fictionnelle de Jean-Paul Sartre nous semblent se situer au croisement de toutes les ambivalences sartriennes, et pouvoir éclairer ses prises de position dans le contexte socio-historique. Ses figures féminines lui permettent fréquemment de condamner l’inauthenticité des marginaux, en illustrant les formes de l’aliénation ‘féminine’, dont les constituants représentatifs sont 'se séquestrer', 'se faire l’objet du regard', et 'jouer la comédie maniérée'. Mais ce mode d’exister de la ‘féminité’ est mobilisé moins pour la différence sexuelle que pour la hiérarchie sociale. En dépit de la transgression provocatrice de la limite entre les deux sexes, l’idée liée à la féminité et à la masculinité demeure intacte : il s’agirait d’une stratégie, d'une collusion avec ses lecteurs. Néanmoins, sur un plan symbolique, des expressions métaphoriques liées au ‘visqueux’ unissent le féminin à la nature proliférante, rejoignant ainsi le dualisme traditionnel. Face à ce ‘féminin’ qui offre l’occasion de se confronter à l’altérité, l’horreur et la fascination sont toujours liées : la tentation de fuir l'altérité cache d’autre part le rêve d’une symbiose avec elle. Cette symbiose prend la forme de la ‘fraternité incestueuse’ ; face à son échec, naît une intense exigence portée aux femmes, comme celle à l’égard de la mère ; enfin, l’auteur en vient à édifier la femme en tant que 'ni l’un ni l’autre'. Face à l’Autre-femme, l’homme sartrien fuit, mais se refuse à l'exclure tout à fait de son chemin : ce glissement incessant caractérise la représentation des figures féminines sartriennesThe female figures in Jean-Paul Sartre’s fictional work can be seen as standing at a crossroads where all the forms of ambivalence in his work intersect, and thus illuminate his viewpoints in the context of social history. Sartre often uses his female figures to condemn the inauthenticity of marginal persons by showing the forms of ‘feminine’ alienation, represented by such expressions as ‘be sequestered,’ ‘become the object of the gaze’ and ‘play affected comedy.’ However, this mode of existence of femininity is summoned for social hierarchy rather than sexual difference. In spite of the provocative transgression of the border between the two sexes, the idea related to femininity and masculinity remains intact: it seems to be a strategy in collusion with his readers. Nevertheless, at a symbolic level, the metaphorical expressions related to ‘viscosity’ link the feminine to proliferating nature, thus connecting with traditional dualism. In front of the ‘feminine’ that offers an opportunity to confront otherness, fear and fascination always intertwine: in the desire to escape otherness is hidden a dream of symbiosis with it. This symbiosis takes the form of ‘incestuous fraternity’; its failure gives birth to an intense craving for women - like that for a mother. In the end, for the author, the woman becomes ‘neither one nor the other.’ Faced with ‘the Other-woman,’ the Sartrian man runs away, but also refuse to completely rule her out of his life: this constant shift is characteristic of the representation of female figures in Sartre’s work
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Stephens, Bradley Clifton William. "Jean-Paul Sartre, Victor Hugo, & the liability of liberty." Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614017.
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Romano, Luiz Antonio Contatori. "A vertigem do sentido na obra de Jean-Paul Sartre." [s.n.], 1992. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269434.
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Orientador: Luis Carlos da Silva DantasDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Não informado
Abstract: Not informed.
Mestrado
Teoria Literaria
Mestre em Letras
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Sass, Simeão Donizeti. "O problema da totalidade na ontologia de Jean-Paul Sartre." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280623.
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Orientador: Marcos Lutz MullerTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A partir dos movimentos iniciais de O Ser e o Nada Sartre indica que a investigação do modo como o Ser pode "ser todo" deve fazer parte do trabalho de constituição de sua ontologia. Esta preocupação é demonstrada desde o momento em que o ser do fenômeno e o cogito pré-reflexivo passam a figurar em sua reflexão. Consideramos que este problema ocupa um lugar de destaque em sua filosofia e solicita um tratamento privilegiado. Diante desta constatação, este estudo tem como intenção principal demonstrar que a análise do modo como o ser projeta a sua totalidade pode servir como fio condutor para o entendimento de alguns tópicos relevantes da ontologia de Jean-Paul Sartre. Para efetuar esta análise, consideraremos quatro dimensões da estrutura de O Ser e o Nada: 1°) o cogito pré-reflexivo instantâneo; 2°) a temporalidade originária e psíquica; 3°) o ser-para-outrem e 4°) o ser em-si-para-si. Após a apresentação das teses fundamentais, lançamos, nas considerações finais, algumas interpelações ao modo como Sartre aborda a questão
Abstract: Since the first steps of Being and Nothingness, Sartre has shown us that his investigation of how Being may tum into the "Whole-being" makes part of the building of his ontology. lt concerns most of his thoughts as the being of the phenomenon and the pre-reflective cogito come to be the essential moments of his reflection. We consider that this problem has an outstanding position in his philosophy and therefore, it asks for a privileged treatment. By coming to this conclusion, this study has the main goal of demonstrating that the analysis of how the being projects its totality may lead us to the understanding of some relevant topics of Jean-Paul Sartre' s ontology. In order to make such analysis, we take four basic moments of Being and Nothingness into consideration: 1 - the immediate pre-reflective cogito; 2 - the psychical and originating temporality; 3 - the being-for-others; 4 - the being-initself- for-itself. After the presentation of the fundamental theses under this proposal of interpretation, we raise, by the end of our work, some doubts about the way Sartre deals with the matter
Doutorado
Doutor em Filosofia
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Cotrina, Cosar Juan Pablo. "La intencionalidad en la fenomenología ontológica de Jean-Paul Sartre." Bachelor's thesis, Universidad Nacional Mayor de San Marcos, 2014. https://hdl.handle.net/20.500.12672/10953.
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Publicación a texto completo no autorizada por el autorEl documento digital no refiere asesor
Señala como la fenomenología de Sartre, surge para hacer frente a un problema que gira en torno a la concepción de una conciencia inmanente. Esta concepción, para Sartre, se da a través de dos posturas: la del psicologismo francés y la de la filosofía proveniente de la modernidad. Ambas, a su modo, defienden una especie de “intimidad” en la conciencia que la escinde del mundo. Así, por un lado, el psicologismo francés, representado sobre todo por Léon Brunschwicg, considera a la conciencia como “un gran receptáculo” o “estomago” que asimila al mundo, a través del conocimiento, disolviéndolo en “contenidos de conciencia”. Por ello, Sartre considera al psicologismo francés como una “filosofía digestiva”. Por otro lado, la filosofía proveniente de la modernidad salvaguarda un cierto tipo de inmanentismo en la conciencia a través de la introducción de un yo en ella. Este yo, para Sartre, le otorga a la conciencia una inmanencia innecesaria y perjudicial que la hace rozar con el solipsismo. De esta manera, es contra estos dos tipos de concepciones inmanentistas de la conciencia que Sartre dirige su crítica apelando a una idea crucial para su propia filosofía: la intencionalidad. La intencionalidad desempeña para Sartre, y para la fenomenología en general, una idea renovadora para la concepción de la conciencia. Por ello, esta idea será una de las más importantes para su filosofía, por lo menos para su etapa fenomenológica. A través de esta idea Sartre, influenciado por el Husserl de las Investigaciones Lógicas y de las Lecciones de fenomenología de la conciencia interna del tiempo, opone a toda conciencia inmanente una “conciencia intencional” la cual tiene como característica esencial la de ser siempre una “conciencia de algo”, es decir, una conciencia que, lejos de estar encerrada en su inmanencia, está abierta hacia “algo” trascendente a ella. Este “algo” es, para Sartre, el mundo. Así con esta idea Sartre se ocupará, en primer lugar, de hacer frente a la posición inmanentista del psicologismo francés.
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Magdaleno, Danieli Gervazio [UNESP]. "As bases hegelianas da literatura dramática de Jean-Paul Sartre." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151925.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
A presente dissertação se volta para as diferentes formas de linguagem nas obras literárias de Jean-Paul Sartre e o que determina sua escolha pelo teatro como meio privilegiado para expressar o engajamento do indivíduo junto à coletividade. Sartre se mostra importante no panorama do drama moderno, visto que, ao mesmo tempo em que os personagens de suas peças, partindo de uma situação de total isolamento e desamparo, manifestam sua incapacidade de agir, ainda assim conseguem resgatar a liberdade de atuação constitutiva do gênero dramático. Sartre se empenhou por preservar as características do drama, mesmo diante das investidas épicas e líricas que tomaram conta do gênero dramático a partir do século XIX. A retomada do drama empreendida pela filosofia existencialista tenta sanar o estado de impotência que teria assolado o homem moderno. Nossa hipótese é de que Sartre parece buscar uma forma de legitimar seus dramas na sistematização dos gêneros literários exposta por Hegel em seus Cursos de Estética.
This dissertation's object are the different language forms in Jean-Paul Sartre's literary work and his choice for theatre as privileged means of expressing individual engagement in the collectivity. Sartre has been as an important name in the modern drama panorama, because his characters show an incapacity to act, coming from a situation of total isolation and abandonment, and at the same time are still able to rescue the liberty of acting. This liberty constitutes the drama, so Sartre strove diligently for preserving drama's features, even against the assaults from the epic and the lyric genders, which took over the dramatic gender from the nineteenth century onwards. Retaking the drama, a task undertaken by the existential philosophy, is one step towards solving the state of impotence that had devastated the modern man. We support the hypothesis that Sartre seems to seek for a way of legitimating the drama by means of the literary genders exposed by Hegel in his Lectures on Aesthetics.
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Jang, Guene-Sang. "L'utilisation de l'histoire dans le théâtre de Jean-Paul Sartre." Paris 10, 1990. http://www.theses.fr/1990PA100024.
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Cette étude peut être intitulée aussi comme une réflexion sur la dimension de l'histoire dans l'évolution du théâtre sartrien. Six pièces de Sartre sont caractéristiques à cet égard et illustrent en gros trois étapes différentes : Bariona ou le fils du tonnerre, Les mouches, pièces écrites pendant l'occupation sous les formes symboliques, Morts sans sépulture, Les mains sales, celles présentées sous les formes de l'actualité et dépouillées, et Le diable et Le bon dieu, les séquestres d’Altona, comme celles d'un dramaturge éprouvé, rejoignant le genre historique. Ce point de vue "impose" une étude diachronique sur l'évolution de l'esthétique théâtrale de l'auteur. Le refus du genre "rétrospectif" dans le manifeste de 1947 sera suivi de la reconnaissance tardive du théâtre historique, telle que l'on voit dans la dernière interview sur son théâtre, accordée en 1979. Ce refus qui est aussi celui du théâtre mythologique se manifeste dans une série de pièces d'actualité sans exclure néanmoins une dimension historique, mais Sartre sera "de plus en plus acquis au théâtre historique", d'une part, par le besoin du climat historique - apte à la réflexion sur la morale - et, d'autre part, par le besoin de la distanciation qui rend possible la réflexion politique a deux niveaux : historique et actuel, ou formel et allusif. Chemin faisant, la lecture des pièces sartriennes se formule dans nos propositions, telles "lecture historique" et "lecture intertextuelle"This work can be entitled also as a reflexion on the dimension of history in the theatre of sartre. In this regard, his six pieces are characteristic, showing three different periodes. Firstly, Bariona or The son of thunder, the flies, secondly, Deaths without sepulture, Red glove and finally, The demon and the good god, The prisoners of Altona. This point of view "impose" a diachronical study on the evolution of his esthetic. The reject of "retrospectif" genre, shown in the declaration of 1947 will be followed by the slow moving toward the historical theatre. Historical climate is suitable to the reflexion on the moral, and "distance" makes the political reflexion possible in two degrees : historical and actuel, or formal and allusive. So, this lecture of sartrien theatre can be formulated such as "historical lecture" and "intertextuel lecture". Historical and mythic frames outline ficticios stories. In spite of the author's anachronical attitude, in general, it's also possible to see his respectful description regarding historical facts, and historicity is revealed slowly. In this regard, his discovery of epical theatre and historical theatre is significant, and his care for the popular theatre based on the subjectivity can be explained
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Al-Abood, Mohamed. "L'oeuvre romanesque de jean-paul sartre. La banalite, l'ennui, l'angoisse." Paris 4, 1987. http://www.theses.fr/1987PA040352.
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La banalite, l'ennui et l'angoisse dans l'oeuvre romanesque de sartre sont les donnees immediates de la structure litteraire a laquelle l'auteur a recours pour exprimer ses idees et ses reflexions metaphysiques. Ces romans qui elevent un defi aux valeurs bourgeoises - en les banalisant - se sont fondes sur : - un langage vulgarise, vulgarisant; - des personnages simples et amorphes; - des emotions eclipsees, etc. . . Face a ce monde monotone, l'ennui constitue chez les personnages la seule issue; indifferents, donc, aux valeurs materielles et meme"spirituelles", ils continuent a vivre dans l'inertie et l'oubli. Cet ennui qui, dans l'absurdite totale, ne finit guere de presenter devant eux leur etre detache a jamais de la vie quotidienne se mue progressivement en une angoisse profonde et infinie : c'est leur conscience malheureuse marquee par l'absurdite indepassable de l'existence. La solitude qui devient finalement leur refuge ne cesse de son cote, de les enfermer dans cette meme angoisse, ce meme ennui et face a la meme banaliteBanality, boredom, and anxiety in sartre's novels constitute the immediate givens of a literary structure employed by the author for the expression of his ideas and his metaphysical insights. These novels challenge bourgeois values through banalization, and are based on : - a vulgar, vulgarizing language; - simple, amorphous characters; - and emotions that are muted and stiffled. Boredom constitutes the only possible response for the characters when confronting this monotonous world. They are indifferent to material and even to "spiritual" values, and live on in inertia and oblivion. In a context of absolute absurdity, boredom continuously brings them up against their own inner being severed forever from everyday life, and it is gradually transformed into a profound and infinite anxiety : their miserable awareness of the insurmountable absurdity of existence. But the solitude in which they find their ultimate refuge also imprisons them in the same anxiety; the same boredom in response to the same banality
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Baniounga, Fabrice Satou. "L'intersubjectivité dans l'œuvre de Jean-Paul Sartre et Emmanuel Levinas." Electronic Thesis or Diss., Amiens, 2019. http://www.theses.fr/2019AMIE0038.
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Cette thèse se propose d'analyser un problème qui hante la philosophie moderne depuis Descartes : le problème de la connaissance d'autrui dans un monde intersubjectif. En effet, le geste radical par lequel Descartes inaugure la philosophie moderne, sa volonté de n'accorder un statut de certitude qu'aux objets de la connaissance indubitable du cogito, soulève le problème épineux de la connaissance de l'autre qui ne se présente qu'indirectement, par le biais de son corps. A partir du questionnement sur la connaissance de l'autre qui fournit d'ailleurs le point de départ de nos recherche, cette thèse montre avec précision la grande postérité de ce problème au 20ème siècle, notamment à partir du moment où Edmund Husserl, en renouant avec le point de départ radical de la philosophie cartésienne, cherche une nouvelle méthode phénoménologique pour la philosophie. C'est dans ses leçons présentées au Collège de France en 1929, Les méditations cartésiennes, traduites en français par Emmanuel Lévinas et Gabrielle Peiffer, que Husserl tente de résoudre le problème de la connaissance de l'autre et du statut du monde intersubjectif légué par la démarche cartésienne. Cette thèse montre l'aspect très insatisfaisant de la solution proposée par la phénoménologie husserlienne à ce problème. Ce problème fera l'objet d'une réflexion très importante élaborée d'une part par Jean-Paul Sartre dans L'Être et le néant et d'autre part par Emmanuel Levinas, notamment dans Totalité et infini et Autrement qu'être ou au-delà de l'essence. Ce travail, déroule une analyse "originale" des réponses données par Sartre et par Levinas au problème de la connaissance d'autrui et de la configuration du monde intersubjectif en montrant toute l'importance de leurs réflexions respectives sur l'altérité, sur le rôle de la corporéité et le thème de l'opacité dans la connaissance de l'autre trop souvent délaissé par la tradition cartésienne, puis par la phénoménologie husserlienne. Cette analyse nous a conduits de prendre en considération les enjeux proprement éthiques des deux positions critiques que Sartre et Levinas élaborent à l'égard de Husserl. A partir de perspectives différentes, la question de la connaissance d'autrui est renforcée dans les deux cas par une réflexion en profondeur sur la responsabilitéThis thesis proposes to analyze a problem that haunts modern philosophy since Descartes : the problem of the knowledge of others in an intersubjective world. Indeed, the radical gesture by which Descartes inaugurated modern philosophy, its desire not place undue reliance status as objects of undoubted knowledge of the cogito, raises the thorny problem of the knowledge of the other who did this indirectly through his body. From the questioning of the knowledge of the other, which provides also the starting point of our research, this thesis shows precisely the great seed of this problem in the 20th century, especially from the time when Edmund Husserl, reconnecting with the radical starting point of the Cartesian philosophy, looking for a new phenomenological method for philosophy. It's in his lectures presented at the Collège de France in 1929, Cartesian Meditations, translated into French by Emmanuel Levinas and Gabrielle Peiffer, Husserl attempts to solve the problem of knowledge of each other and the status of the intersubjective world bequeathed by Cartesian approach.This thesis shows the most unsatisfactory aspect of the solution proposed by the phenomenology of Husserl the problem. This issue will be a very important reflection developed in part by Sartre in Being and Nothingness and secondly by Emmanuel Levinas, particularly in Totality and Infinity and Otherwise than Being or -delà gasoline. This work, conducted an "original" analysis of the answers given by Sartre and Levinas to the problem of knowledge of others and intersubjective world configuration by showing the importance of their reflections on otherness, on the role of corporeality and the theme of the opacity in the knowledge of the other too often neglected by the Cartesian tradition, then by Husserl's phenomenology. This analysis has led us to consider the proper ethical issues two critical positions Sartre and Levinas develop towards Husserl. From different perspectives, the question of the knowledge of others is strengthened in both cases by a deep reflection on the responsibility
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Diop, Cheikh. "Ontologie et politique dans l'existentialisme athée de Jean-Paul Sartre." Nice, 2002. http://www.theses.fr/2002NICE2001.
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Cette présente étude a pour objet de mettre au jour le rapport spécifique entre l'ontologie et la politique dans l'existentialisme de Jean-Paul Sartre. Il s'agit de démontrer s'il y a une continuité ou une rupture entre L'être et le néant et la Critique de la raison dialectique. Celui qui compare ces deux ouvrages ne peut manquer de constater le chemin parcouru. Ce que l'auteur vise surtout à approfondir dans la Critique de la raison dialectique, c'est le problème des relations médiées ou non, entre les hommes. Il ne les aborde plus seulement comme dans L'être et le néant, dans une perspective phénoménologique, mais en tant que réalités concrètes, qui conditionnent des conduites et faits ojectifs de "socialité". On comprend dans ces conditions que Sartre ait été attiré par le marxisme dont les analyses structurales ont fourni des clefs et schèmes dont l'aptitude à dégager la toile de fond de la réalité sociale et la trame générale ne fait plus de doute. Mais peut-on concilier l'existentialisme et le marxisme sans remettre en cause les principes de l'un ou de l'autre ? En tout cas, une telle question a suscité beaucoup de controverses au sein de ses contemporains. Qu'il s'agisse des marxistes (Roger Garaudy, Georges Lukàcs. . . ), des structuralistes (Claude Levi-Strauss, Michel Foucault, Louis Althusser. . . ), ou des penseurs comme Raymond Aron et Maurice Merleau-Ponty, la préoccupation a consisté à montrer le caractère antinomique de l'existentialisme et du marxisme.
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Beaver, Vincent. "Alienation and Vulnerability in the Philosophy of Jean-Paul Sartre." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/177690.
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PhilosophyPh.D.
This project has two aims. First, to provide a comprhensive interpretation of Jean-Paul Sartre's theory of alienation, beginning with the discussion of alienation in Being and Nothingness and concluding with Critique of Dialectical Reason. I argue that the meaning of alienation throughout these works is the revelation or experience of being an object for another freedom. I argue that this experience is fundamentally an experience of vulnerability, in the sense of the capacity to be wounded. The meaning of alienation in Sartre's philosophy is therefore an experience of vulnerability. Understanding alienation as an experience of vulnerability provides an alternative to the conventional understanding of Sartrean alienation as equivalent to violence and oppression. The second aim of this project is to discuss the way alienation is related to the concepts of violence and oppression. Violence and oppression are understood, by Sartre, in terms of alienation, but alienation itself is not identified with either violence or oppression. I explore Sartre's discussions of violence and oppression in the posthumously published Notebooks for an Ethics and in the Critique of Dialectical Reason, and show through these texts, that alienation consistently refers to the experience of vulnerability, but also, that and this experience is the basis of violent actions and oppressive social relations. Although alienation is not equivalent to violence and oppression, and these concepts must not be confused, violence and oppression must be understood in terms of alienation, according to Sartre's thought.
Temple University--Theses
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Magdaleno, Danieli Gervazio. "As bases hegelianas da literatura dramática de Jean-Paul Sartre /." Marília, 2017. http://hdl.handle.net/11449/151925.
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Orientadora: Ana Maria PortichBanca: Pedro Geraldo Novelli
Banca: Silene Torres Marques
Resumo: A presente dissertação se volta para as diferentes formas de linguagem nas obras literárias de Jean-Paul Sartre e o que determina sua escolha pelo teatro como meio privilegiado para expressar o engajamento do indivíduo junto à coletividade. Sartre se mostra importante no panorama do drama moderno, visto que, ao mesmo tempo em que os personagens de suas peças, partindo de uma situação de total isolamento e desamparo, manifestam sua incapacidade de agir, ainda assim conseguem resgatar a liberdade de atuação constitutiva do gênero dramático. Sartre se empenhou por preservar as características do drama, mesmo diante das investidas épicas e líricas que tomaram conta do gênero dramático a partir do século XIX. A retomada do drama empreendida pela filosofia existencialista tenta sanar o estado de impotência que teria assolado o homem moderno. Nossa hipótese é de que Sartre parece buscar uma forma de legitimar seus dramas na sistematização dos gêneros literários exposta por Hegel em seus Cursos de Estética.
Abstract: This dissertation's object are the different language forms in Jean-Paul Sartre's literary work and his choice for theatre as privileged means of expressing individual engagement in the collectivity. Sartre has been as an important name in the modern drama panorama, because his characters show an incapacity to act, coming from a situation of total isolation and abandonment, and at the same time are still able to rescue the liberty of acting. This liberty constitutes the drama, so Sartre strove diligently for preserving drama's features, even against the assaults from the epic and the lyric genders, which took over the dramatic gender from the nineteenth century onwards. Retaking the drama, a task undertaken by the existential philosophy, is one step towards solving the state of impotence that had devastated the modern man. We support the hypothesis that Sartre seems to seek for a way of legitimating the drama by means of the literary genders exposed by Hegel in his Lectures on Aesthetics.
Mestre