By Jonathan Webber
Webber argues for a brand new interpretation of Sartrean existentialism. in this examining, Sartre is arguing that every person’s personality is composed within the initiatives they decide to pursue and that we're all already conscious of this yet desire to not face it. cautious attention of his existentialist writings exhibits this to be the unifying subject matter of his theories of cognizance, freedom, the self, undesirable religion, own relationships, existential psychoanalysis, and the potential of authenticity. constructing this account presents many insights into a number of facets of his philosophy, now not least about the origins, constitution, and results of undesirable religion and the ensuing ethic of authenticity. This dialogue makes transparent the contributions that Sartre’s paintings could make to present debates over the objectivity of ethics and the psychology of service provider, personality, and selfhood. Written in an available kind and illustrated near to Sartre’s fiction, this booklet should still entice common readers and scholars in addition to to experts.
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Extra resources for The Existentialism of Jean-Paul Sartre
This reading is supported by Sartre’s subsequent discussion of what he terms ‘psychological determinism’, a view of human beings that ‘provides us with a nature productive of our acts’ and thereby ‘denies that transcendence of human reality which makes it emerge beyond its own essence’ (B&N: 64). In this passage, Sartre contrasts the notion of an essence with the deterministic notion of a nature. He objects not to the idea that humans have characters that explain their behaviour, which he calls ‘essences’, but to the idea that these characters are fi xed and determine their behaviour, which he calls ‘natures’ (see also B&N: 461–2, 465–6).
It is to say that the sounding of each successive note cannot be explained by the existence of the melody, but only by the intentions of composer and player to produce that melody, although our access to melodies is not through direct awareness of those intentions but through awareness of the notes. The analogy with melodies, therefore, should not be taken to express the idea that egos do not exist, but rather to express a theory of the kind of existence they have and of our epistemic access to them.
After all, the physical world is outside of consciousness for Sartre, but he is not taken to hold that this depends for its existence on our awareness of it. There might seem to be an important difference in Sartre’s system between the kind of transcendent existence had by physical objects and the kind had by the ego. The sense that our surroundings have for us, the patterns of salience and significance we experience in the world, are a function of the ways in which we are aware of our surroundings, the ways in which we ‘constitute’ objects, as we will see in the next chapter.