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This article deepens themes from Sartre's Being and Nothingness by studying the relevance of the mirror in his play Huis Clos. The mirror can be understood as a means for escaping anguish by identification with the reflected image-object, but also as a figure of the sado-masochistic relationship between two of the play's characters. What is at stake is our possibility of conceiving ourselves as objects independently of the Other. In truth, it is the Other's look that first reveals our objectivity, and is our being-for-Others that allows us to have objectivity at all. This is not to be overlooked in our attempt to avoid bad faith. Keywords: bad faith, look, Huis Clos, mirror, object, the Other, Nevertheless, the mirror is not the Other. The Family Idiot Although the theme of self-representation is dear to Sartre's philosophical production, the theme of the mirror as a device for [...]

We provide a phenomenological explanation of the particular function mental images play in the realization of enjoyment and their significance for human freedom on the basis of the idea, drawn from Sartre, that images are not things but rather a way consciousness behaves towards objects. The mental image's matter, which consists of affectivity, knowledge, and kinaesthetic operations, allows imagination to conjure up an unreal item to satiate a desire. However, by foreshadowing enjoyment in the imaginary, the mental image urges consciousness toward a change in the world that would make that enjoyment real. This is accomplished through the development of tools, which rely on the ability to overcome not just a given situation but also courses of goal-oriented behaviour that have already been prepared by the environment. Through this creation, consciousness exerts its freedom within reality, and marks the world as meaningful. [ABSTRACT FROM AUTHOR]