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Gilles Deleuze's assertion that 'Sartre knew how to invent the New' suggests a vital aspect of the French philosopher, one that departs from the image that has often been presented of him. Sartre’s post-1956 critique of the Stalinist USSR, together with the increasing prominence of anti-colonial struggles and a series of experiences that would find their condensation in 1968, pushed him to a continuous rearticulation of his political ideas, on the basis of an intense confrontation with Marx. In Basso’s lucid study, here newly translated into English, the expression 'singular universal' seeks to capture the revolutionary potential of individual and collective subjects, illuminating the close but also unstable relationship between history and politics.
A reading of Sartre's later works, charting his transformation from existentialist to committed Marxist defender.
There are perpetual debates about the extent of freedom in politics. Are we free to choose? Are we overdetermined by our material conditions? Some hybrid between the two? What is more, how are we to comprehend ourselves as creators of history if freedom itself is a problematic concept? And what would it mean if self-comprehension were foreclosed by this problematic? In this text, Austin Hayden Smidt analyzes an oft-overlooked text by Jean-Paul Sartre in order to ground a logical framework for exploring this paradox. In Critique of Dialectical Reason, Sartre sought to develop an historical and structural heuristic; one that would enable future theorists and activists alike to assess the pressing problems facing the various milieux of capitalist life. Through this heuristic, his intent was to develop an orientation enabling humans to transform their world in their perpetual creation of themselves (and vice versa). However, the stylistic difficulties of the text, as well as a general agreement among previous interpreters, has prevented the richness of the investigation from taking root. This book sets a new course, and invites further collaboration as – together – we create society as a work of art.
This book offers an assessment of Sartre as an exemplary figure in the evolving political and cultural landscape of post-1945 France. Sartre's originality is located in the tense relationship that he maintained between deeply held revolutionary political beliefs and a residual yet critical attachment to traditional forms of cultural expression. A series of case-studies centred on Gaullism, communism, Maoism (Part 1), the theatre, art criticism and the media (Part 2), illustrate the continuing relevance and appeal of Sartre to the contemporary world.
Presents a collection of critical essays on the works of Jean-Paul Sartre.
Examines the image of "the Jew" in Sartre's work to rethink not only his oeuvre but also the role of the intellectual in France and the politics and ethics of existentialism. This book explores how French identity is defined through the abstraction and allegorization of "the Jew".
In this major new reading of Sartre's life and work, Paige Arthur traces the relationship between the philosopher's decades-long commitment to decolonization and his intellectual positions. Where other commentators have focused on the tensions between Sartre's Marxism and his account of existential freedom, usually to denigrate one in favor of the other, Arthur shows how Sartre's political engagement with global liberation movements and his philosophical framework developed alongside one another. Closely following the postwar movements for decolonization, and then supporting the war of independence in Algeria, Sartre proposed an influential and uncompromising view of imperialism. Analyzing the Western attitude to the 'subhuman' colonial subject, he offered an account of the social constraints that applied to both ruler and ruled, and came to argue that political violence-on both sides-was a systematic consequence of the colonial order. Arthur's rich and nuanced book locates Sartre within the political discussions of his time, whilst also looking forward to contemporary debates about new forms of imperialism and resistance.
In 1906, for the first time in his life, F.T. Marinetti connected the term ‘avant-garde’ with the idea of the future, thus paving the way for what is now commonly called the ‘modernist’ or ‘historical avant-garde’. Since 1906 the ties between the early twentieth-century European aesthetic vanguard and politics have been a matter of debate. With a century gone by, The Invention of Politics in the European Avant-Garde takes stock of this debate. Opening with a critical introduction to the vast research archive on the subject, this book proposes to view the avant-garde as a political force in its own right that may have produced solutions to problems irresolvable within its democratic political constellation. In a series of essays that combine close readings of texts and plastic works with a thorough knowledge of their political context, the book looks at avant-garde works as media producing political thought and experience. Covering the canonised avant-garde movements of Futurism, Expressionism, Dadaism and Surrealism, but also focussing on the avant-garde in Europe’s geographical outskirts, this book will appeal to all those interested in the modernist avant-garde.