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It is this imperative fusion which makes of ‘Les Mots” en.wikipedia.org/wiki/The_Words_(book) a master-piece. Proof that the existential realization of post-Heideggerian ontology and narrative fiction, as in ‘La Nausee,” en.wikipedia.org/wiki/Nausea_(novel) that partisan political argument, as in the successive volumes of the ‘Situations’ and theater, as in ‘No Exit,’ en.wikipedia.org/wiki/No_Exit arise from, are enacted by the identical defining instrumentality of words. That text is totality precisely in so far as it articulates the self, our being in the world and the adventures of meaning. In this perspective Sartre’s genius is classical. It is a direct beneficiary of the axiomatic conviction -- Pauline, Volatairean, Marxist -- that the act of writing embodies and alters the human status (Existentialism is a Humanism). Nothing informs Sartre’s thirst in the executive means of syntax. ~ Page 187
. . . . The principal philosophic tomes on “Being and Nothingness,” www.ipernity.com/doc/308605/43926758 on “dialectical reason,” on existential ethics exercised formidable influence and contain pages as dynamic, as abstractly “scenic” as any in Hegel. But they are receding into dusty reverence. Among the essay on art, that on Tintoretto in Venice, that on Giacometti retain thir psychological and sociological acumen, their intensities so characteristic of Sartre’s analytic and nervous involvement. The celebrated tract on “the Jewish question is almost certainly erroneous, yet has maintained something of its provocative urgency. There is, moreover, a wealth of autobiographical material whose introspective tension and calculated vulnerabilities rival the self-portrayals on Montaigne and Rousseau. ` Page 187
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