During the phony war that preceded the invasion of France, between late 1939 and the summer of 1940, the young Jean-Paul Sartre was stationed in his native Alsace as part of a meteorological unit. He used his considerable periods of spare time, between mundane duties like watching weather balloons, to make a series of notes on philosophy, literature, politics, history and autobiography that anticipate the themes of his later masterpieces, and often surpass them in literary verve and directness. These War Diaries form a portrait of Sartre in his most intense and brilliant phase. With them the twentieth century's most remarkable and public philosopher has provided us with a fitting posthumous monument to his honest and creativity.
First published in 1990, this book argues that any theory of language constructs its ‘object’ by separating ‘relevant’ from ‘irrelevant’ phenomena — excluding the latter. This leaves a ‘remainder’ which consists of the untidy, creative part of how language is used — the essence of poetry and metaphor. Although this remainder can never be completely formalised, it must be fully recognised by any true account of language and thus this book attempts the first ‘theory of the remainder’. As such, whether it is language or the speaker who speaks is dealt with, leading to an analysis of how all speakers are ‘violently’ constrained in their use of language by social and psychological realties.
As a philosophy teacher, mentor, and friend, Jean Grenier (1898?1971) had an enormous influence on the young Albert Camus (1913?1960), who, in fact, acknowledged that Grenier?s Les Iles had touched the very core of his sensibility and provided him with both a ?terrain for reflection, and a format? that he would later use for his own essays. Their correspondence, beginning when the seventeen-year-old Camus was Grenier?s student at the Grand Lycäe of Algiers, documents the younger man?s struggle to become a writer and find his own voice, a period in which he turned frequently to his mentor for advice, comfort, and direction. The letters cover a period of almost thirty years, from 1932 to Camus?s untimely death in 1960. Because Camus destroyed the earlier correspondence he received, the first twenty-six letters in the volume are his only; the full begins in 1940. ø These enlightening letters offer invaluable glimpses into the development of Camus?s aesthetic ideas, literary production, and political stance. In contrast to the correspondence of Grenier, who throughout remains somewhat reticent about his life and doubtful about himself and his works, Camus?s letters are a window into his most profound thoughts and sensitivities, delving deeply into his psyche and, at times, revealing a side of the writer unfamiliar to us. Undoubtedly they allow us a better understanding of Albert Camus, the man and the artist.
Paulhan's seminal work in English for the first time Les Fleurs de Tarbes, ou la terreur dans les lettres, first published as a single volume in 1941, was considered by Jean Paulhan to be the furthest-reaching expression of his thinking about literature and language. It is now recognized as a landmark text in the history of twentieth century literary criticism and in the emergence of contemporary literary theory. This is the first time it has been translated into English. The playful tone and quirky, casual style of Paulhan's writing mask a theoretical intent and seriousness of purpose that are extraordinarily prescient. In The Flowers of Tarbes Paulhan probes the relationship between language, meaning, context, intention and action with unremitting tenacity, and in so doing produces a major treatise on the nature of the literary act, and a meditation on what we might now call the responsibility or ethical imperative of literature itself.
Jean Wahl (1888–1974), once considered by the likes of Georges Bataille, Gilles Deleuze, Emmanuel Levinas, and Gabriel Marcel to be among the greatest French philosophers, has today nearly been forgotten outside France. Yet his influence on French philosophical thought can hardly be overestimated. Levinas wrote that “during over a half century of teaching and research, [Wahl] was the life force of the academic, extra-academic, and even, to a degree anti-academic philosophy necessary to a great culture.” And Deleuze, for his part, commented that “Apart from Sartre, who remained caught none the less in the trap of the verb to be, the most important philosopher in France was Jean Wahl.” Besides engaging with the likes of Bataille, Bergson, Deleuze, Derrida, Levinas, Maritain, and Sartre, Wahl also played a significant role, in some cases almost singlehandedly, in introducing French philosophy to movements like existentialism, and American pragmatism and literature, and thinkers like Hegel, Kierkegaard, Nietzsche, Jaspers, and Heidegger. Yet Wahl was also an original philosopher and poet in his own right. This volume of selections from Wahl’s philosophical writings makes a selection of his most important work available to the English-speaking philosophical community for the first time. Jean Wahl was Professor of Philosophy at the Sorbonne from 1936 to 1967, save during World War II, which he spent in the United States, having escaped from the Drancy internment camp. His books to appear in English include The Pluralist Philosophies of England and America (Open Court, 1925), The Philosopher's Way (Oxford UP, 1948), A Short History of Existentialism (Philosophical Library, 1949), and Philosophies of Existence (Schocken, 1969).
Winner of the French-American Foundation Translation Prize for Nonfiction Jean Gu?henno's Diary of the Dark Years, 1940-1945 is the most oft-quoted piece of testimony on life in occupied France. A sharply observed record of day-to-day life under Nazi rule in Paris and a bitter commentary on literary life in those years, it has also been called "a remarkable essay on courage and cowardice" (Caroline Moorehead, Wall Street Journal). Here, David Ball provides not only the first English-translation of this important historical document, but also the first ever annotated, corrected edition. Gu?henno was a well-known political and cultural critic, left-wing but not communist, and uncompromisingly anti-fascist. Unlike most French writers during the Occupation, he refused to pen a word for a publishing industry under Nazi control. He expressed his intellectual, moral, and emotional resistance in this diary: his shame at the Vichy government's collaboration with Nazi Germany, his contempt for its falsely patriotic reactionary ideology, his outrage at its anti-Semitism and its vilification of the Republic it had abolished, his horror at its increasingly savage repression and his disgust with his fellow intellectuals who kept on blithely writing about art and culture as if the Occupation did not exist - not to mention those who praised their new masters in prose and poetry. Also a teacher of French literature, he constantly observed the young people he taught, sometimes saddened by their conformism but always passionately trying to inspire them with the values of the French cultural tradition he loved. Gu?henno's diary often includes his own reflections on the great texts he is teaching, instilling them with special meaning in the context of the Occupation. Complete with meticulous notes and a biographical index, Ball's edition of Gu?henno's epic diary offers readers a deeper understanding not only of the diarist's cultural allusions, but also of the dramatic, historic events through which he lived.
Jean-Paul Sartre was a man of staggering gifts, whose accomplishments as philosopher, novelist, playwright, biographer, and activist still command attention and inspire debate. Sartre’s restless intelligence may have found its most characteristic outlet in the open-ended form of the essay. For Sartre the essay was an essentially dramatic form, the record of an encounter, the framing of a choice. Whether writing about literature, art, politics, or his own life, he seizes our attention and drives us to grapple with the living issues that are at stake. We Have Only This Life to Live is the first gathering of Sartre’s essays in English to draw on all ten volumes of Situations, the title under which Sartre collected his essays during his life, while also featuring previously uncollected work, including the reports Sartre filed during his 1945 trip to America. Here Sartre writes about Faulkner, Bataille, Giacometti, Fanon, the liberation of France, torture in Algeria, existentialism and Marxism, friends lost and found, and much else. We Have Only This Life to Live provides an indispensable, panoramic view of the world of Jean-Paul Sartre.
More than eighty of the loveliest, most tranquil, and sometimes hidden places in Paris are celebrated in this charming guidebook Quiet Corners of Paris is a beautifully illustrated peek into eighty-one often overlooked, always beautiful, locales: hidden villas, winding lanes, little-known 19th-century passages, serene gardens, and cobblestone courtyards. Some of the places have breathtaking views, others are filled with historic and architectural details, from stone archways, garden follies, boxwood mazes, ornamental statuary, stained glass, and Renaissance fountains. Follow a stone path under a trellis of blossoms or wander through a gate to discoverÉ
Traces the life and career of the French novelist, describing his participation in the Spanish Civil War, command of a World War II resistance brigade, and his position as a government minister.
In the famous conclusion to Being and Nothingness, Jean-Paul Sartre announced that he would devote his next philosophical work to moral problems. Although he worked on this project in the late 1940s, Sartre never completed it to his satisfaction, and it remained unpublished until after his death in 1980. Presented here for the first time in English, Notebooks for an Ethics is Sartre's attempt to articulate a moral philosophy. In the Notebooks he addresses any number of themes and topics relevant to an effort to formulate a concrete and revolutionary socialist ethics, among them the differences between force and violence, the relationship of means and ends, and the relationship of oppression and alienation. Most important, he tries to show that there can be an authentic mutual recognition among free individuals where no one steals another's freedom. While remaining committed to the basic principles of Being and Nothingness, Sartre here seeks to locate the foundation for action in history and society. The Notebooks thus form an important bridge between the early existentialist Sartre and the later Marxist social thinker of the Critique of Dialectical Reason. Sartre grapples anew with such central issues as "authenticity" and the relation of alienation and freedom to moral values. In dealing with fundamental modes of relating to the Other, among them violence, entreaty, demand, appeal, refusal, and revolt, he highlights the notions of conversion and creation as they figure in the necessary transition from individualism to historical consciousness. The Notebooks themselves are complemented here by two appendixes, one on "the good and subjectivity", the other on the problem of blacks in theUnited States as a case study of oppression.
This latest offering from one of the founding figures of postmodernism is a collection of fifteen "fables" that ask, in the words of Jean-Francois Lyotard, "how to live, and why?" Here, Lyotard provides a mixture of anarchistic irreverence and sober philosophical reflection on a wide range of topics with attention to issues of justice and ethics, aesthetics, and judgment. In sections titled "Verbiages, " "System Fantasies, " "Concealments, " and "Crypts, " Lyotard unravels and reconfigures idealist notions subjects as various and fascinating as the French Revolution, the Holocaust, the reception of French theory in the Anglo-American world, the events of May 1968, the Gulf War, academic travelers as intellectual tourists, the collapse of communism, and his own work in the context of others'.
First published in French in 1943, Jean-Paul Sartre’s L’Être et le Néant is one of the greatest philosophical works of the twentieth century. In it, Sartre offers nothing less than a brilliant and radical account of the human condition. The English philosopher and novelist Iris Murdoch wrote to a friend of "the excitement – I remember nothing like it since the days of discovering Keats and Shelley and Coleridge". This new translation, the first for over sixty years, makes this classic work of philosophy available to a new generation of readers. What gives our lives significance, Sartre argues in Being and Nothingness, is not pre-established for us by God or nature but is something for which we ourselves are responsible. At the heart of this view are Sartre’s radical conceptions of consciousness and freedom. Far from being an internal, passive container for our thoughts and experiences, human consciousness is constantly projecting itself into the outside world and imbuing it with meaning. Combining this with the unsettling view that human existence is characterized by radical freedom and the inescapability of choice, Sartre introduces us to a cast of ideas and characters that are part of philosophical legend: anguish; the "bad faith" of the memorable waiter in the café; sexual desire; and the "look" of the Other, brought to life by Sartre’s famous description of someone looking through a keyhole. Above all, by arguing that we alone create our values and that human relationships are characterized by hopeless conflict, Sartre paints a stark and controversial picture of our moral universe and one that resonates strongly today. This new translation includes a helpful Translator’s Introduction, a comprehensive Index and a Foreword by Richard Moran, Brian D. Young Professor of Philosophy, Harvard University, USA. Translated by Sarah Richmond, University College London, UK.
In the companion volume to the acclaimed Witness of my Life, Jean-Paul Sartre reveals his life as a soldier, a German prisoner, and a man of Resistance through letters between himself and his “beloved Beaver,” Simone de Beauvoir. Quiet Moments in a War tells the story of Jean-Paul Sartre at the peak of his powers and renown through the exchanging of ideas and intimacies with Simone de Beauvoir from 1940 to 1963. In the pages of this book, readers will find details on Sartre’s war and his path to fame with the publication of his major works. From September 1939 to June 1940, Sartre wrote Beauvoir almost daily as he waited from the frontlines for a German attack. While it was a time of fear and uncertainty, it doubled as a time of great productivity for Sartre as he completed the novel The Age of Reason and sketched out Being and Nothingness. This collection of the letters between Sartre and Beauvoir completes the extraordinary correspondence of one of modern history’s most celebrated couples while documenting the emergence of a great intellectual figure.
What is Literature? challenges anyone who writes as if literature could be extricated from history or society. But Sartre does more than indict. He offers a definitive statement about the phenomenology of reading, and he goes on to provide a dashing example of how to write a history of literature that takes ideology and institutions into account.
In 1971, French jazz critics Philippe Carles and Jean-Louis Comolli cowrote Free Jazz/Black Power, a treatise on the racial and political implications of jazz and jazz criticism. It remains a testimony to the long-ignored encounter of radical African American music and French left-wing criticism. Carles and Comolli set out to defend a genre vilified by jazz critics on both sides of the Atlantic by exposing the new sound’s ties to African American culture, history, and the political struggle that was raging in the early 1970s. The two offered a political and cultural history of Black presence in the United States to shed more light on the dubious role played by jazz criticism in racial oppression. This analysis of jazz criticism and its production is astutely self-aware. It critiques the critics, building a work of cultural studies in a time and place where the practice was virtually unknown. The authors reached radical conclusions—free jazz was a revolutionary reaction against white domination, was the musical counterpart to the Black Power movement, and was a musical style that demanded a similar political commitment. The impact of this book is difficult to overstate, as it made readers reconsider their response to African American music. In some cases, it changed the way musicians thought about and played jazz. Free Jazz/Black Power remains indispensable to the study of the relation of American free jazz to European audiences, critics, and artists. This monumental critique caught the spirit of its time and realigned that zeitgeist.
Not long ago, two friends Jean Baudrillard and Enrique Valiente Noailles the one having come from Buenos Aires, the other from nowhere, met in Paris. They had a long discussion without any precise aim. It was, rather, a way of rubbing up against metaphysics without risk of contagion. They called it Exiles from Dialogue as a mirrored homage to Bertolt Brecht and shortly afterwards they parted company and went their separate ways. In this remarkable new book based on this gnomic meeting, Baudrillard and Noailles range over the entirety of philosophy and thought underpinning Baudrillards unique work, from In the Shadow of the Silent Majorities (1983) to his recent writings on 9/11. Philosophically, the book takes in its breadth Heraclitus to Wittgenstein by way of Plato, Aristotle, Kant, Hegel, Kierkegaard and Nietzche. Its literary sources are diverse: Gracian and Saul Bellow, Hlderlin and Stanislaw Lec; and the theories of Fukuyama, Barthes and Kristeva are weighed, considered and analysed. With his usual incandescent brilliance, Baudrillard discusses the central themes of his writing: thought as (non-prophetic) anticipation; tragic acceptance of the world; the disappearance of the world into simulation; the death of the social (and with it the Left). Vitally, Baudrillard corrects some of the misconceptions that plague his work (about his fatal strategies, for example), qualifies some of his bolder pronouncements (notably softening his position on the question of the virtual) and pushes other lines of thinking further than ever before. Razor-sharp, volatile and capacious, this book will be essential reading for students and scholars of Baudrillard and those interested in the theories and philosophies that currently abound and rebound in the social sciences and humanities.
Published on the occasion of Sartre's Centenary, this book helps to understand the man behind the work, offering a psycho-social analysis of Jean-Paul Sartre with an emphasis on his masculinity. It sets out to contextualize Sartre in terms of his psycho-sexual formation and processes of self-constitution in view of his childhood. The main period under detailed study is 1905-1945, before Sartre became the Sartre. It concentrates on his early childhood, his teenage years in La Rochelle, the years at the Ecole Normale, and the first few years of his adulthood, with specific attention on the war years. An analysis of Sartre's relationships follows, with Simone de Beauvoir and other women and men (including love and sex), before a postscript covering the period 1973-1980. This essay is not a reductive account. It tells the story of Jean-Paul Sartre, from the inside out, so that the achievements of one of the major intellectuals of the 20th Century can be measured against his own internal struggles.
This first collection of Sartre's key philosophical writings provides an indispensable resource for all students and readers of his work, which has been extremely influential in philosophy, literature and politics.
Educated in the humanities and trained in psychiatry, Jean Starobinski is a central figure in the Geneva School of criticism. For twenty-five years his work has had considerable influence on postmodern European critics (notably Derrida), scholars of French literature, and intellectual historians. Montaigne in Motion is his subtly conceived and elegantly written study of the Essais of Montaigne, whose deceptively plainspoken meditations have entranced readers and stimulated philosophers since their first publication in 1580 and 1595. Starobinski here offers a decidedly postmodern reading of Montaigne. In chapters dealing with the themes of public and private life, friendship, death, the body, and love, Starobinski interprets Montaigne's writings as a constant "working through" that leads Montaigne from a situation of unreasoned dependence to a revolt affirming his independence and self-sufficiency, and finally toward an acceptance and mastery of necessary relations. Placing this ternary movement at the very heart of the Montaignian enterprise, Starobinski reveals much that will remind us that Montaigne's thought is as apropos to our time as it was to his own.
A nomad and a swindler embark on an eccentric road trip in this picaresque, philosophical novel by the author of The Man Who Planted Trees. The south of France, 1950: A solitary vagabond walks through the villages, towns, valleys, and foothills of the region between northern Provence and the Alps. He picks up work along the way and spends the winter as the custodian of a walnut-oil mill. He also picks up a problematic companion: a cardsharp and con man, whom he calls “the Artist.” The action moves from place to place, and episode to episode, in truly picaresque fashion. Everything is told in the first person, present tense, by the vagabond narrator, who goes unnamed. He himself is a curious combination of qualities—poetic, resentful, cynical, compassionate, flirtatious, and self-absorbed. While The Open Road can be read as loosely strung entertainment, interspersed with caustic reflections, it can also be interpreted as a projection of the relationship of author, art, and audience. But it is ultimately an exploration of the tensions and boundaries between affection and commitment, and of the competing needs for solitude, independence, and human bonds. As always in Jean Giono, the language is rich in natural imagery and as ruggedly idiomatic as it is lyrical.
Over the past few decades, the book series Linguistische Arbeiten [Linguistic Studies], comprising over 500 volumes, has made a significant contribution to the development of linguistic theory both in Germany and internationally. The series will continue to deliver new impulses for research and maintain the central insight of linguistics that progress can only be made in acquiring new knowledge about human languages both synchronically and diachronically by closely combining empirical and theoretical analyses. To this end, we invite submission of high-quality linguistic studies from all the central areas of general linguistics and the linguistics of individual languages which address topical questions, discuss new data and advance the development of linguistic theory.
Poetry in a time of upheaval Equal parts dramatic and symphonic, the poetry of Jean-Paul de Dadelsen provides acute insight into the European consciousness of the first half of the twentieth century. With energetic innovation and imaginative depth, Dadelsen extols the somber beauty of his Alsatian homeland, grapples with the elusiveness of meaning, and decries religion’s futile attempts to speak to a continent ravaged by fascism and war. His is an acerbic and humane assessment of French and European identity that draws on the past and imagines the future, while remaining firmly rooted in the present. In these poems, Dadelsen modulates himself in dramatic monologue, exploring a mosaic of voices to form a composite portrait of the postwar landscape. Inhabiting such characters as King Solomon, Johann Sebastian Bach, provincial French women, and a Hungarian resistant in the 1956 uprising, the poems in this new bilingual collection offer an inside look at the shifting cultural topography of midcentury Europe, forged in the war that reshaped our understanding of the human condition.
In the course of a writing career spanning half a century, Michel Butor has produced a remarkable range and volume of publications, including fiction, travel works, poetry, critical essays and various types of mixed-genre works which resist ready categorization. Much of this very diverse oeuvre is marked by his life-long passion for the visual arts. This study is the first full-length analysis of the role played by the references to the visual, plastic and architectural arts in Butor’s work. It addresses a wide range of issues including the role of the artwork, building or monument as narrative generator; the reflexive functions of the visual and architectural references; the interaction between visual/architectural references and intertextual citation; the role of collaboration in Butor’s oeuvre; the relationship between cultural baggage and the workings of the unconscious; the tension between Butor’s fascination for non-European artistic traditions and his continuing dialogue with the Western tradition.
Reflections on life and art from the legendary filmmaker-novelist-poet-genius. By the time he published The Difficulty of Being in 1947, Jean Cocteau had produced some of the most respected films and literature of the twentieth century, and had worked with the foremost artists of his time, including Proust, Gide, Picasso and Stravinsky. This memoir tells the inside account of those achievements and of his glittering social circle. Cocteau writes about his childhood, about his development as an artist, and the peculiarity of the artist’s life, about his dreams, friendships, pain, and laughter. He probes his motivations and explains his philosophies, giving intimate details in soaring prose. And sprinkled throughout are anecdotes about the elite and historic people he associated with. Beyond illuminating a truly remarkable life, The Difficulty of Being is an inspiring homage to the belief that art matters.
Nobody knows how to write'. Thus opens this carefully nuanced and accessible collection of essays by one of the most important writer-philosophers of the 20th century, Jean-François Lyotard (1924-1998). First published in French in 1991 as Lectures d'enfance, these essays have never been printed as a collection in English. In them, Lyotard investigates his idea of infantia, or the infancy of thought that resists all forms of development, either human or technological. Each essay responds to works by writers and thinkers who are central to cultural modernism, such as James Joyce, Franz Kafka, Hannah Arendt, Jean-Paul Sartre, and Sigmund Freud. This volume – with a new introduction and afterword by Robert Harvey and Kiff Bamford – contextualises Lyotard's thought and demonstrates his continued relevance today.
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