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Copyright of Contrastes: Revista Internacional de Filosofia is the property of Contrastes: Revista Internacional de Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present study aims to find out the existential elements in the Selected Characters of The Prologue to the Canterbury Tales by Chaucer. Further, the study analyzes the existential themes of freedom, choices, and bad faith as presented by the existential philosopher Jean-Paul Sartre. The Selected characters are Friar, The Summoner, The Wife of Bath, and The Knight. Chaucer's The Prologue to the Canterbury Tales though written in the fourteenth century, has universal appeal. The themes, dilemmas, and conflicts presented through the fourteenth-century characters are for all ages. These characters have traces of being existential characters. Existentialism as a theory or philosophy emphasizes the importance of freedom and choices made by man. Chaucer's character which comprises of different classes, professions, and gender assert their sense of freedom in many ways and hence falls either into the category of being-in-itself or being-for-itself. Existentialism is used as a methodological framework for the textual analysis of the Prologue. [ABSTRACT FROM AUTHOR]

Copyright of Felsefe ve Sosyal Bilimler Dergisi (FLSF) is the property of Felsefe ve Sosyal Bilimler Dergisi (FLSF) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Estudios de Filosofía is the property of Universidad de Antioquia, Instituto de Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this work, it is proposed to highlight the significance of religious experience in Jean-Paul Sartre, who is notably recognized as the proponent of atheistic existentialism. The objective is to examine how religion and theological themes emerge in his thought through a critical reading of his works, with particular attention to "Bariona, ou le fils du tonnerre." Specifically, the reading of "Bariona" offers the opportunity to rethink Sartre's atheism and his philosophy of existence, following the fundamental stages of his philosophical thought. Although Sartre is known for his rejection of traditional religion, this play presents a complex and nuanced view of the religious theme. [ABSTRACT FROM AUTHOR]

The relevance of the proposed research is determined by the reviving the interest of modern literary studies of the figure of Volodymyr Vynnychenko, determining the place of his creativity in the context of European modernism, the ambiguity of assessments of this phenomenon in the context of Ukrainian fine literature. The article examines Volodymyr Vynnychenko’s novels in the discourse of French Existentialism. Attention is focused on outlining the similarities and differences between J.-P. Sartre, A. Camus and V. Vynnychenko’s worldviews and aesthetic views. The origins of the existentialist method in the work of the Ukrainian émigré writer and its inclusion in the discourse of French atheistic of Existentialism are also analysed, and some conclusions of the “Mougins” cycle of Vynnychenko’s works are investigated using summarized prospects for its study in a broad and its European context is also outlined. The authors examine the forms and methods of aesthetic refraction of the basic concepts of existentialism (absurdity, rebellion, freedom, choice, and relationships at the level “I – the Other”). The purpose of the work and the tasks involve analyzing the philosophical and artistic texts of Vynychenko in the discourse of French existentialism, as well as revealing the main philosophical ideas and functions of the novels of the Ukrainian writer, consistent with the creative guidelines of J.-P. Sartre and A. Camus. The set of goals determines the need for the use of hermeneutic (analysis of artistic texts), historical-literary, comparative-typological (posing and solving a number of literary problems in the context of equal national literature, and biographical (using diary entries) research methods. The problem is determining the place of ideology in the context of French existentialism and the “Mougins’” cycle of Vynnychenko’s works, was raised in literary studies as early as the 70s of the last century, in particular by diaspora researchers S. Naumovych and L. Zaleska-Onyshkevych, who tried to show the priority of Vynnychenko’s writing compared to Sartre and Camus. The problem of existentialism as a philosophical direction was considered in the late 1940s among the members of the Artistic Ukrainian Movement, attempting to formulate the concept of “Ukrainian existentialism”. The Ukrainian researcher Ya. Kotets includes diaspora representatives 70 years later in the article “The Formula of Ukrainian Existentialism” (2021). There are several Ukrainian and Soviet writers who produce some existential ideas and elements of existential interpretation of human life, but they should not be called conscious writers-existentialists. Among modern Ukrainian works need to name “Existentialist philosophy. Traditions and perspectives” by S. Raida (2009), as well as the comparative study “Ukrainian version of artistic existentialism: B.I. Antonych, V. Svidzinsky, T. Osmachka in the European context” (2020) by H. Tokman, where is introduced the concept of “artistic existentialism”. The critical optics of the research make it possible to combine the historical and philosophical specificity of the interwar twenty years and the post-war period, on which are built the works of Vynnychenko, Sartre and Camus. It is an attempt to show the originality of the philosophical and aesthetic views of the emigrant Vynnychenko in the paradigm of French existentialism, to demonstrate the similarity of the Ukrainian type of philosophizing (from Skovoroda, Franko, Lesya Ukrainka to Vynnychenko), to analyze his characteristic orientation towards a person who faces the eternal problems of life, death, and evil. Such non-scientific philosophizing gave birth to special genre forms: essay, aphorism, portrait, dialogue, drama, and novel, which can be found in V.Vynnychenko’s literary work. Vynnychenko belongs to those thinkers who went beyond the boundaries of traditional philosophy in order to comprehend the broader meaning of the entire spiritual culture, developing the ideas of A. Schopenhauer, F. Nietzsche, A. Bergson, the theosophical theory of R. Steiner, in their writings. Vynnychenko set himself the goal of revealing prospects for further development to man, to give meaning to its existence, to point it to certain positive values, that is, to overcome the extremes of German and French existentialism and develop a positive philosophical platform. [ABSTRACT FROM AUTHOR]

This paper takes the movement of transcendence in Sartre and examines it in relation to another understanding of transcendence in relation to God circulating in Paris in Sartre's formative years: that of Karl Jaspers. Through exploring the transmission and reception of Jaspers' thought in French philosophy, different understandings can be advanced as to why he engages with the figure of God as that which we transcend towards, however impossibly, and why he counts Jaspers as a Catholic existentialist. [ABSTRACT FROM AUTHOR]

The Nuclear Age is said to be defined by the notion of existential threat. The ability to destroy human societies in their entirety with a single class of weaponry raises profound questions about human existence. It even gives us a new form of species extinction – 'thermonuclear omnicide'. Unsurprisingly, existentialism was a philosophy that found its feet in the shadow of the bomb. This article explores the possibilities and limits of an existentialist approach to nuclear dangers. It contrasts the views of two figures central to early existentialism: Jean-Paul Sartre and Raymond Aron. Sartre responded to the existential threat of nuclear war with moral outrage about the 'unreality' of the Cold War politics driving the arms race and an existentialist call to reject militaristic social norms. Aron, a key figure in early IR realism, famously rejected existentialism and turned instead to outlining norms for an international society that might better restrain nuclear-armed decision-makers. Bringing Sartre's and Aron's post-Second World War discussions into the new century, this article argues that the ongoing, and even growing, threats posed by nuclear weapons highlight the limits of Sartre's approach as a guide to authentic existence in modern life. Instead, it supports Aron's more conservative approach but also draws on Existentialism to extend it, strengthening the nuclear taboo for the sake of human survival as a persistent but urgent political project. At a moment in IR when scholars and other analysts are once again critiquing the fragile norms of global order and speculating about the dawn of a 'Third Nuclear Age', theoretical reflection on the politics of existential threats and the hard choices they entail remain indispensable aspects of IR's theoretical toolkit. While Sartre and other existentialists argued convincingly that existence precedes essence, Aron reminds us that survival remains a precondition for both. [ABSTRACT FROM AUTHOR]

أكد "سارتر" في كتابه " الوجودية نزعة إنسانية" على أن المبدأ الرئيس للفكر الوجودي هو "الوجود يسبق الماهية"، قاصداً أن الإنسان ليست له "ماهية" سابقة محددة سلفاً، إنما هناك أفراد يأتون إلى العالم، وهم يشكلون ماهيتهم بأنفسهم من خلال أفعالهم واختياراتهم، ولكن هذا المبدأ لم يكن ينطبق على أصحاب البشرة السوداء، فكان لون بشرتهم يحدد ماهيتهم، و ساهم التراث الإنساني سواء الديني والفلسفي والاجتماعي والأدبي في رسم تلك الماهية المسبقة، وظهر الاقتران بين اللون الأسود والكثير من الصفات السلبية كالشر والعبودية، والانحراف الجنسي، والهمجية، مما نتج عنه حالة من الازدراء والدونية لأصحاب البشرة السوداء، وكرد فعل لهذه الحالة ظهر مصطلح "الوجودية السوداءBlack Existentialism "، كصورة جديدة للفكر الوجودي تتناول الأسئلة الفلسفية الخاصة بالوجود الإنساني ومشكلاته كالاغتراب والقلق والحرية والمعاناة والمسؤولية والتحرر في ضوء التجربة المعاشة للسود وسط المجتمع الأبيض. ومن خلال هذا البحث سنحاول التعرف على سمات هذا الاتجاه كما ظهر عند الفيلسوف الفرنسي صاحب البشرة السوداء "فرانز فانون"(1925-1961). In his book, “Existentialism is a Humanism,” Sartre emphasizes that the main principle of existential thought is “Existence Precedes Essence,” meaning that man does not have a predetermined prior “essence.” Rather, there are individuals who come into the world, and they form their essence themselves through their actions and choices. However, this principle dose not apply to people with black skin, as the color of their skin determines their essence. The human heritage in all its forms contributed to drawing that prior essence and many negative characteristics for black people such as evil, slavery, sexual deviance, and barbarism. As a response to this situation, the term “Black Existentialism” appeared, as a new form to existential thought that addressed philosophical questions related to human existence and its problems such as alienation, anxiety, freedom, suffering, responsibility. This is in the light of the experience of the black among white society. In this paper, we will try to identify the characteristics of this trend as it appeared among the black-skinned French philosopher Frantz Fanon (1925-1961).

In this article, I examine Peter Morgan's TV series The Crown (2016–present) through the lens of Sartrean and Beauvoirian existentialism. I argue that the character of Queen Elizabeth II holds a special place in the royal family, as the monarch who demonstrates the compatibility of duty and tradition with existential freedom and authenticity. I also demonstrate the series’ commitment to breaking the illusion of inhumanity that the royal family tries to maintain, by showing that the royals are not out-of-reach ideals, but humans who struggle to transcend their exceptionally binding facticity. As portrayed in The Crown, Queen Elizabeth's lucidity on her situation leads to honest introspection, which dispels any attempt at self-deception, and therefore prevents her from slipping into bad faith.

After a brief review of different definitions and types of loneliness I offer an analysis of the concept of existential loneliness and its philosophical background. In contrast to the interpersonal aspects of other types of loneliness, existential loneliness has been characterized as an intrapersonal default state of incommunicability or profound aloneness, part of or based on a fundamental ontological or transcendental structure in human existence. There are both conceptual and practical issues with the notion of existential loneliness, with implications for psychotherapy. I offer a critical approach, and argue that there is no good philosophical basis for this conception of existential loneliness, and that although loneliness can be existential in some respect, it typically manifests itself in interpersonal contexts, and should not be considered a fundamental ontological structure of human existence. [ABSTRACT FROM AUTHOR]

In this paper, we discuss how existentialism was criticized, disseminated, and gradually autochthonized in the main philosophical journals of Socialist Romania. We show that the early critique of existentialism was both a statement against contemporary bourgeois philosophy in general and a condemnation of the local philosophical production of the interwar period. In the 1950s, this kind of critique was attuned to the growing fame of several Romanian authors who had emigrated to the West (e.g., Emil Cioran, Mircea Eliade) and targeted both past and contemporary irrationalism. Following a period of critique of existentialism without existentialists (i.e., without reference to individual authors), the 1960s discussions of existentialism were mainly driven by interest in a small number of existentialist authors. In particular, the evolution of Jean-Paul Sartre's work and politics was analyzed as it straddled existentialism and Marxism. The 1970s saw the integration of selected existentialist concepts and themes, in an attempt to offer a Marxist alternative to existentialism in the form of philosophical anthropology. This led to a period of engagement with existentialists without existentialism across an increasing number of separate disciplines within the humanities and social sciences. In the 1980s, following the failure of Marxist philosophical anthropology and at the height of national communism, existentialism could also be autochthonized through the recovery of selected philosophers from the interwar period whose work had been previously criticized as irrationalist. [ABSTRACT FROM AUTHOR]

The article discusses the historical background and transnational context of the dialogue between East-European communist philosophy and Western existentialism. It does so by first outlining the exchanges between Lukács, Sartre and Merleau-Ponty between the late 1940s and the early 1960s. Subsequently three major forums of East–West philosophical dialogue are surveyed, that took place during the 1960s: the 'Morals and Society' colloquium, organized by Instituto Gramsci in Rome in May 1964; the Korčula summer school, organized by the Praxis group between 1964 and 1975; and the International Congress for Philosophy organized in Vienna in September 1968. This series of events and the dialogue and confrontations that they engendered prove that, contrary to the exclusively negative reception of existentialism in the socialist camp in the 1950s, but also contrary to the distorted representation, which can be found in dissidents' recollections and which became dominant after the fall of communism, which excluded any possibility of dialogue between the two sides during socialism, such a dialogue has taken place, and led to mutual appropriations on both sides. [ABSTRACT FROM AUTHOR]

In this article, I examine Peter Morgan's TV series The Crown (2016-present) through the lens of Sartrean and Beauvoirian existentialism. I argue that the character of Queen Elizabeth II holds a special place in the royal family, as the monarch who demonstrates the compatibility of duty and tradition with existential freedom and authenticity. I also demonstrate the series' commitment to breaking the illusion of inhumanity that the royal family tries to maintain, by showing that the royals are not out-of-reach ideals, but humans who struggle to transcend their exceptionally binding facticity. As portrayed in The Crown, Queen Elizabeth's lucidity on her situation leads to honest introspection, which dispels any attempt at self-deception, and therefore prevents her from slipping into bad faith. [ABSTRACT FROM AUTHOR]

The current article discusses the issue that the hero in Sartre's existentialist attitude lives alone and confused in an absurd world where moral foundations are not very important. He is forced to choose and by choosing values, he creates his desired ethics and by this means he invites others to those self-created values. In this way, Sartre gives a new meaning to the word hero. Sartre's hero becomes even more limited by the "other" with his terrifying decisions, the only way to save him is conscious self-deception. Although he knows that he is free and has to choose, and he is also familiar with the responsibility and commitment. The current research was carried out with a fundamental purpose and its main issue is to investigate the characteristics of the hero in Sartre's existentialism philosophy and the conditions of its emergence. In this research, in search of the conditions for the emergence of the hero from Sartre's point of view, it shows that originality is the result of practical actions in the situations in which Sartre's hero is placed, so it is connected with consciousness and freedom is the relationship of consciousness with the world. The research method is qualitative and in order to reveal the research problem, the Paris-Texas film has been selected and analyzed as a case of study based on the purposeful selection. The result indicates that every action of today's hero is original and self-determining because it was formed in freedom. He is nothing but what he makes of himself; This construction happens in the public sphere, so authenticity is no longer an individual action, but a conflict in social relations.

The paper taps the agency of the imaginary interlocutor in the Mūlamadhyamakakārikā of Nāgārjuna to delineate existential anguish in the Madhyamaka. The paper asks whether the protestations of the imaginary interlocutor cannot be recast as anguished. It claims that an objection to emptiness (śūnyatā) can be voiced even after the metaphysical commitment to intrinsic existence (svabhāva) has been relinquished. By interpolating anguish into the Madhyamaka, the paper posits an unorthodox phenomenological objection to śūnyatā. [ABSTRACT FROM AUTHOR]

Women in the pre-revolution Russia lived in a miserable predicament. Relegated to subservient positions, they were denied volition, were often treated like slaves, and were left at the mercy of fate. This social crisis finds voice in Russian fiction which is on most occasions reflective of women’s plight: Maxim Gorky’s Mother is one such instance. It examines the tragic plight of the Russian women in the pre-revolution milieu. This paper reads the female protagonist of Mother, Nilovna in light of the existentialist notions, mainly those espoused by Jean-Paul Sartre, exploring how Nilovna finds her way out from sheer passivity and deterministic domesticity to the world of possibility and volition by marching forth with the revolutionaries, playing her significant role in the revolutionary movement. Using the broad theorization of existentialism, focusing precisely on Sartre’s notions of bad faith and choice of free will, the study explores how a miserable woman in her existentialist journey traverses from the mundane domesticity to the purposeful revolution as an active political worker committed to the cause of revolution. The study foregrounds how Nilovna finds a purpose in her meaningless and passive life by helping her son who becomes a socialist after his father's death.

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The current article discusses the issue that the hero in Sartre's existentialist attitude lives alone and confused in an absurd world where moral foundations are not very important. He is forced to choose and by choosing values, he creates his desired ethics and by this means he invites others to those self-created values. In this way, Sartre gives a new meaning to the word hero. Sartre's hero becomes even more limited by the "other" with his terrifying decisions, the only way to save him is conscious self-deception. Although he knows that he is free and has to choose, and he is also familiar with the responsibility and commitment. The current research was carried out with a fundamental purpose and its main issue is to investigate the characteristics of the hero in Sartre's existentialism philosophy and the conditions of its emergence. In this research, in search of the conditions for the emergence of the hero from Sartre's point of view, it shows that originality is the result of practical actions in the situations in which Sartre's hero is placed, so it is connected with consciousness and freedom is the relationship of consciousness with the world. The research method is qualitative and in order to reveal the research problem, the Paris-Texas film has been selected and analyzed as a case of study based on the purposeful selection. The result indicates that every action of today's hero is original and selfdetermining because it was formed in freedom. He is nothing but what he makes of himself; This construction happens in the public sphere, so authenticity is no longer an individual action, but a conflict in social relations. [ABSTRACT FROM AUTHOR]

Copyright of Internationale Neerlandistiek is the property of Amsterdam University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

While the traditional understanding of the look views it in terms of shame and oppression, I read Sartre's Notebooks for an Ethics with Beauvoir's Ethics of Ambiguity to argue that the look always gives me the world and inaugurates my freedom. Even the oppressor's look reveals that I am free and that my existence is conditioned by the existence of other free beings. Because the look gives me the world as the arena within which I act freely, it is a means of grace, and receiving it only in shame is bad faith. Although my existence remains unjustifiable and this grace cannot promise salvation, the look calls me out of shame to the pursuit of my and others' freedom, and this call is a gift. [ABSTRACT FROM AUTHOR]

This paper argues that Sinophobia and its relationship to American imperialism can be understood through Jean-Paul Sartre's analysis of anti-Semitism, which is characterized by an evasive attitude. Under this attitude, the bivalent values of good and evil are pre-existing ontological properties such that the agent promotes the good insofar as she destroys evil. This evasive attitude can also be seen in the economy of the American empire. Revenue for the which exists through undermining the economies of non-pliant states, selling weapons and a disaster-capitalist industry that profits from the chaos that is created. The idea that the states to be imperialized are bivalent others both motivates and justifies this behavior whereby the agent evades self-critique and the need to cultivate her own value. [ABSTRACT FROM AUTHOR]

Sartre's belief that God is dead does not imply that God has never existed or is not there now. It indicates that God does not have roles to play in people's lives, which generates and inspires humans' freedom and the consequent sense of responsibility. This unique association between the death of God, on the one hand, and freedom and responsibility, on the other, constitutes the spine of Sartre's No Exit (1989). Thus, this paper examines Sartre's No Exit (1989) in terms of his Being and Nothingness (1969) and Existentialism Is a Humanism (2007). The paper deciphers several scenes through which Sartre's freedom-oriented viewpoints are articulated, concluding that Sartre's characters in this play are entirely free due to their belief in the death of God. Yet, they are not ready to acknowledge their freedom due to its inevitable association with anguishing responsibility. [ABSTRACT FROM AUTHOR]

Jéan-Paul Sartre crafted himself a controversial profile that radically deviated from his natural identity. How do we reconcile the paradox of his national-intellectual heritage of a bourgeois white male native of the République française with his role as the collaborator with the founders of the Negritude Movement and the later Africanist anticolonial struggle? This paper accounts for this apparently paradoxical life-acts by explicating that they germinated from his novel philosophical postulation on the nature of consciousness and self-knowledge, his doctrine of the constantly self-creating 'egoless consciousness' which he developed during his monumental critique of Edmund Husserl in The Transcendence of the Ego (1937). It is here argued that his insistence on the Ego as being reflective consciousness in its self-transcendence, which became a foundational tenet of his phenomenological existentialism, was demonstrated in his own life, framing himself a de-absolutised self-identity. Besides demonstrating this genitive link between the development of his philosophy and his consequent life of selfless solidarity with the un-free globally, it is highlighted that Sartre's philopraxis may bear an efficacious contribution to contemporary debates on the force of the facticity of racial and national identity. [ABSTRACT FROM AUTHOR]

Copyright of Veritas is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Lesia Ukrainka's early lyrics are analyzed from the point of view of the ethics of overcoming - Stoicism, taking into account her struggle with an incurable disease. In this they belong entirely to the epoch of late modernism, but also differ significantly from decadence, with its cult of sickness, death, withering, and remoteness from social problems, as well as from postmodernism, with its ethical simulacra. Emphasis is placed on the organic nature of such stoicism, which was not only a poetic theme, but also the life position of the poet. Poetic examples are considered in terms of a proposed poetic motif - excelsior ("above and beyond"). Traces of contact with the ethics of Kant, Fichte, Nietzsche, Sartre, and others can be traced. Lesia Ukrainka, for whom there were no happy or unhappy historical epochs, unlike for the "fatalists" O. Spengler or M. Berdiaev, believed that each epoch, being tragic, at the same time stimulates the manifestation of the power of the human spirit in spite of insurmountable circumstances. In her dramas, individuals seek harmony and homeostasis with their epoch, in order to, based on their resistance, discover and strengthen their "I". We define Lesia Ukrainka's worldview as pan-Stoicism. The idea of internal self-determination always remains for the poetess the initial authorial position, the "regulatory principle" (I. Kant). This constitutes Lesia Ukrainka's historical optimism. A connection with the philosophy of the German Romantics exists, in particular J. G. Fichte, with his main activity postulate as the main criterion of his own identity; at the same time, a person must set a distant high goal and thus consciously create a difficult obstacle and overcome it. Such an ethic of self-overcoming on the verge of the impossible is present in the poetess on a higher level than, for example, in J.-P. Sartre, according to whom a person discovers the abilities of one's own spirit only when accidentally the will of circumstances puts a person in a passive position in relation to an obstacle; moreover, it is not about a high and worthy goal, for which all this must be done. Thus, in Lesia Ukrainka's work, not just a "neo-romanticism" is formed, but a much more complex phenomenon, which we formulate as a completely original version of Ukrainian existentialism. We find in it organically fused elements of inherited German philosophy and humanism, elements of the philosophy of the same Nietzsche and elements of Stoicism, which fed the entire Ukrainian national liberation movement. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Pensamiento Americano is the property of Corporacion Universitaria Americana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

I examine the Lacanian concept of misrecognition (méconnaissance) by comparing it with the Sartrean notion of bad faith (mauvaise foi). I focus on Jacques Lacan's 1946 article 'Presentation on Psychical Causality' in which Lacan criticises organicist psychology for misrecognising the cause of madness to be essentially organic and consequently failing to distinguish between 'mad' and 'true' ideas. I argue that bad faith, discussed by Jean-Paul Sartre in Being and Nothingness in 1943—and referred to six times in the Écrits by Lacan—has essential similarities with misrecognition in the Lacanian sense. By juxtaposing these concepts, I argue that this early Lacanian text is marked by an existentialist attitude which views human reality—and madness—as meaningful and grounded in being. [ABSTRACT FROM AUTHOR]

This article examines Sartre's works in which his attempt to find an existentialist ethics is evident. Most of the clues to this project are to be found in texts published posthumously since during his lifetime he never managed to fulfil the promise he made at the end of Being and Nothingness. It will be argued that this existentialist ethics owes a strong debt to Kantian philosophy, even if it confronts more directly the historical dynamics of violence and oppression. Despite the fact that this project is unfinished and only sketched out, it is possible to ask what Sartre's direction of development would have been, pointing to the outline of a normative theory, Critical Existentialism, that could have its place in contemporary ethical debate. [ABSTRACT FROM AUTHOR]

A comparative analysis of the confessional texts of romanticism and existentialism is undertaken in the article. We turn to the texts of F. R. de Chateaubriand («Rene») and J.-P. Sartre («Nausea») in order to identify common features and to distinguish between the two types of confessional traditions. Turning to the peculiarities of world perception and self-reflection of the individualist characters of the two works allows to distinguish between the Chateaubriand’s melancholy way of reacting to reality and the Sartre’s phenomenological method of exploring the world. The socially critical aspect is important for both texts in its own way: Chateaubriand shows the impossibility of combining Renee’s complicated spiritual life with social standards; Sartre emphasizes the fictitious ordering of the social world, condemning a person to an inauthentic existence. A special role in both texts is played by female images (Amelie at Chateaubrian and Annie at Sartre), emphasizing the impossibility of transparent communication. The similarity in the type of the character, plot, and character system prescribes the key problems characteristic of both traditions in the texts, which at the same time have different interpretations in the works of romanticism and existentialism.

In chapters three and four of Simone de Beauvoir, Philosophy, and Feminism, Nancy Bauer attempts to divide the ontological explanations from Sartre and Hegel on the master/slave dialectic. She suggests that Sartre's ontology of the master/slave dialectic results in an explanation of the in-itself, the for-itself, and being-for-others as essentially immobile, pessimistic and rooted in a misogynistic perception that one must be master over the Other in order to obtain radical freedom. Bauer believes De Beauvoir to reappropriate the Hegelian view over the Sartrean view, leading to a more optimistic account in support of a more egalitarian feministic approach to the issues of self-consciousness. [ABSTRACT FROM AUTHOR]

In Ukraine, as in the rest of the world, Heidegger is often called an existentialist. However, Heidegger denied his attitude to Existentialism. The reason of this confusion is, firstly, when German-language titles, such as Existenzphilosophie, existentielle Philosophie, Existentialismus, Existentialphilosophie are translated into other languages, often they are replaced each other or translated they all with just one title. Secondly, Sartre provided his own classification of existentialists, which was very popular and generally used. In Heidegger's statement "the essence of Dasein lies in its existence" Sartre saw a new atheistic explanation for human existence. Since Sartre's views were under the influence of Heidegger's ideas, he decided that their philosophies could be called as atheistic Existentialism. Sartre considered, that the main thesis of Existentialism was the assertion, that "human existence precedes its essence", and which is directly opposite to Essentialism. Nevertheless, Heidegger didn't write about "essence" in the Platonic, scholastic, or Sartre's meanings, but in the ontological-historical sense. In response to Sartre's classification, Heidegger denied his affiliation with Existentialism. He also accentuated on the fallacy of Sartre's understanding of his concept of existence (Existenz), which Heidegger defined as only human existence, in which human ask about being and is in a relationship with being. Heidegger saw his own philosophy as a fundamental ontology, the main task of which was the problem of being, but not the problem of existence. If Heidegger's philosophy should be included in the existential tradition, it should rather be called as Existential Philosophy (Existentialphilosophie) - philosophical theory of existentials (Existenzialien), but not as Existentialism. [ABSTRACT FROM AUTHOR]

This article explores the concept of bad faith as conceptualized by Sartre within the context of the existential lived experiences of those Fanon (1965) refers to as the condemned, the racialized, and the dehumanized subjects of the world. I explore the logic of authenticity as a liberatory intervention in relation to decolonial interventions and anti-racist movements such as Black Lives Matter in the USA and across the globe and recently, the #EndSars movement in Nigeria. I will therefore argue that the repudiation of the entrenched universal logic of Euro-American modernity requires one to be authentic in their praxis in order to escape bad faith. [ABSTRACT FROM AUTHOR]

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Essay deals with existential phenomenology, focusing on question its nowadays importance especially regarding freedom and authenticity in current society. The author describes development of existentialism on the background and with respect to the book At the Existentialist Cafe by S. Bakeweell, and states that there is increasing interest in what existential phenomenology means todays. [ABSTRACT FROM AUTHOR]

The aim of this paper is to describe the problem of God in Sartre's philosophy. Even if Sartre has always been on the side of atheism, God has undoubtedly been a very important issue in his thought, at least during the 1940s, with the studies on the onto-phenomenology of Being and Nothingness (1943) and on the ethics of Notebooks for an Ethics (1947-48). We would like to demonstrate that Sartre, like all existentialists, had to make a bet regarding the role and the existence of God in humans' world. This bet allowed him to think about God in a double way: the first path leads to the concept of God as the highest value of anyone, embedded in the being of everyone, of which we should get rid in order to be free; the second one brings to the hypothesis of the divinity of the mankind, i.e. of God thought as Humanity, a situation of ontological authenticity that opens the field of a true existentialist ethics. We will purpose to focus the attention of the theme of creation as the link between Sartrean ontology and his ethics: what should be a man, in order to be causa sui? [ABSTRACT FROM AUTHOR]

This paper examines the existential aspects of Georgiy Daneliya's films during the Soviet Era of Stagnation under Leonid Brezhnev. By looking at certain thematic elements employed by the director, we can see a larger critique of the time and place in which these films were created. Coupling Daneliya's films with theories posited by existential philosophers such as Nietzsche, Sartre and Camus, this paper draws on the thematic similarities and pinpoints specific examples in the films that may apply to the Soviet society at large. [ABSTRACT FROM AUTHOR]

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Neil Gaiman's The Sleeper and the Spindle (2014), a retelling of 'Snow White' and 'Sleeping Beauty', can be read as a work of children's fiction that explores existential freedom as seen in Jean-Paul Sartre's works. The evil forces in the tale that use magic to impose sleep as a control mechanism that robs people of free will can be said to represent predetermination as inherently negative. In opposition, there is a recognition that knowing your own emotions and making your own choices is essential to live authentically. In this chapter, I argue that the townsfolk forced to sleep can be interpreted as an allusion to the Allegory of the Cave, and that assuming agency necessarily makes the female protagonist question her life to eventually build her own identity. Furthermore, I propose that choosing a female protagonist allows Gaiman to elaborate on the question of existential freedom. Existentialists believe that the pressure of expectations prevents people from being free, and this becomes reinforced in the case of women, who have to deal with the pressure imposed on them by gender expectations. [ABSTRACT FROM AUTHOR]

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