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Jean-Paul Sartre's "Nausea", 2007.
This paper discuses the protagonist Roquentin and his discovery of the contingent nature of existence in Jean-Paul Sartre's novel "Nausea".
1,360 words (approx. 5.4 pages), 1 source, APA, £ 28.95
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Abstract
This paper relates that, in Jean-Paul Sartre's "Nausea", the protagonist Roquentin's vocation as a historian entails a process of attributing causality, plausibility, order and even predictability to certain observed events; however, throughout the novel, he comes increasingly aware of the fact that human existence is contingent, which is the very opposite. The author points out that Roquentin's realization of this contingent nature of human existence moves him to acknowledging that all of the actions of Rollebon (a character in the book whom Roquentin has spent years researching and writing about) might have been random. The paper relates that Roquentin's discovery of the contingent nature of human existence makes him re-examine everything and everyone in his life and moves him to a point where he is able to liberate himself from the nauseating awareness of absurdity and nothingness that might otherwise have paralyzed him. The paper includes many quotations from the novel.
From the Paper
"And this is precisely the existential crisis that Roquentin faces as he increasingly realizes the contingent nature of reality - he realizes that what he believes about himself and the world are merely his way of unifying his own knowledge. As such, while it may at times be comforting, it is not real. He observes other people making up such unifying stories, aware that he can no longer do this. ... Roquentin's knowledge of the contingency of human existence increasingly means that he cannot make up such comforting stories to impose rigorous order on random events."
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Jean Paul Sartre?s "No Exit", 2004.
Explores the existentialist theme in Jean Paul Sartre's "No Exit".
1,794 words (approx. 7.2 pages), 2 sources, APA, £ 36.95
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Abstract
This paper summarizes Jean Paul Sartre's play, "No Exit", and discusses its existentialist theme about human nature and loss of freedoms. The paper describes how the play depicts a loss of freedom on several different levels and looks at how the characters in the play experience these losses. The paper also compares Sartre's notion about human nature and the basic need for freedom to the deterministic position as espoused by Robert Blanchford, which holds that the lives of humans are already predetermined.
From the Paper
"Jean Paul Sartre?s ?No Exit? is an apt description of existential hell. (Sartre, 1958) Existentialism attempts to describe our desire to make rational decisions despite existing in an irrational universe. Existentialism requires the active acceptance of our nature. Or, existentialism assumes we are best when we struggle against our nature. In either case, we should want this. Given this brief description of existentialism, what transpires in ?No Exit? is that the players are trapped in their own natures. There is a loss of freedom at several levels. The stage setting reveals that even in writing No Exit, Sartre cannot completely rid himself of his existentialist leanings. He asks for a chandelier in the center of the room. And in the ceiling there is a hole?through which he allows as an escape route."
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"Being and Nothingness" by Jean-Paul Sartre, 2002.
An examination of the concept of freedom in Jean-Paul Sartre's work "Being and Nothingness".
1,041 words (approx. 4.2 pages), 5 sources, MLA, £ 22.95
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Abstract
This paper looks at elements of freedom and choice in the world through Jean-Paul Sartre?s ?Being and Nothingness?. In particular it examines his writings on freedom which appear in ?Being and Doing: Freedom?, Chapter One, part four. The writer focuses on the impact of the industrial age on modern philosophical thought. The paper examines the basic tenets of Sartre?s philosophy and provides an understanding as to how this fit in to the meaning and function of life in the post-industrial age.
From the Paper
"Jean-Paul Sartre wrote in, Being and Nothingness, that the first element of freedom is condition of action and that the fundamental element of free action is one that is a choice of the self in the world and by the same token it is a discovery of the world (Sartre, 461). When examining the foundations of our modern philosophical thought, it is necessary to understand that where religion once provided the sole source of philosophical inquiry, the advent of the industrial age was the moment in time when Man began to take control of the world and society in manners that had never before been witnessed".
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Jean Paul Sartre, 2002.
A biographical account of the philosopher Jean Paul Sartre.
2,703 words (approx. 10.8 pages), 8 sources, MLA, £ 51.95
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Abstract
This paper offers a biography of philosopher Jean Paul Sartre, known for his writings on existentialism and free will. The paper includes some comparisons to other philosophers with similar ideas, as well as a number of direct quotes and explanations of his work. The writer also shows how Sartre explored the concepts of freedom, the individual, genetics, and many others.
From the Paper
"Sartre, or some other theorist who know more about genetics might respond by arguing that genetics, while it might require a slightly larger limitation on the scope of our freedom than previously realized, wouldn?t require us to reject the possibility of freedom. Indeed, we are aware that other factors come to play an intense role in the development of an organism. Indeed, the genetic component is what is responsible for the genotype, but we must also consider what is known as the phenotype."
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Existence and Human Freedom According to Jean-Paul Sartre, 2002.
Explores Jean-Paul Sartre's theory of existence and its significance to his concept of human freedom.
1,150 words (approx. 4.6 pages), 2 sources, £ 27.95
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Abstract
The concepts of existence and human freedom have been presented by Jean-Paul Sartre in his book entitled "Being and Nothingness", and they represent essential parts of his theory. However, Sartre also presents other related concepts, such as bad faith which as been referred to as a device that protects us from the anguish of realising that we are freer than we like to think we are. With this in mind, the purpose of this paper will be to examine why Sartre thought that existence is absurd, as well as the significance of this idea to his view of human freedom.
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Jean-Paul Sartre and Ethics, 2006.
Discusses the existentialism philosophy of Jean Paul Sartre as it relates to ethics.
3,106 words (approx. 12.4 pages), 12 sources, MLA, £ 57.95
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Abstract
This essay begins with the central thesis of Jean Paul Sartre's version of existentialism which is "that in man, and in man alone, existence preceded essence." The paper extends this theory through a discussion of Sartre's literary and philosophical writings, to show that Sartre believed that each individual creates his/her own being and his/her own ethics. Existence, or being, springs from authenticity and subjectively responsible action. The paper concludes that, for Sartre, there can be no wrong or evil action if it comes from an essential, authentic being.
From the Paper
"After the 1956 Soviet invasion of Hungary, Sartre could no longer support the Communist Party, though he still sympathized with the people's movement. True to his philosophy of action, he stated his disillusionment with the Party in May of 1968 in an essay "The Communists are Afraid of Revolution." He was now supporting an even more radical left French group called "les Maos." He was attracted to their ethical and political views, but never became a member."
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Jean-Paul Sartre, 2003.
An analysis of the life and ideals of Jean-Paul Sartre.
1,543 words (approx. 6.2 pages), 6 sources, MLA, £ 31.95
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Abstract
This paper describes the life of Jean-Paul Sartre, French author, literary critic, activist, and most famously, philosopher. It looks at how Sartre was a key figure in the development of existentialism, the idea that destiny depends solely on the individual. It takes examples from his life and analyzes them in terms of how they influenced his theories. Just as the work of the philosopher and his existence are intertwined, the chronological details of Sartre's life are interwoven with explanations of his key ideas.
From the Paper
"Sartre?s most famous book, Being and Nothingness, has infinite ambition: it aims to declare the meaning of being itself. When someone is born, he declares, they are nothing. It is only through choices and experience that they become a self. ?Man invents his road and realizes himself... it is he who must make himself (Lafarge 134). But sometimes people attempt to deny the need to choose. He gives the example of a woman who must decide whether or not to respond to her date?s affections. If he reaches for her hand, she can decide to either pull away or let her hand stay. This choice is one that will be made in passion, for it deals with emotions: love, disgust, contempt, attraction, longing, fear. From this example he introduces the idea of ?acting in bad faith.? When he takes her hand, she tries to avoid the painful necessity of a decision to accept or reject him, by pretending not to notice, leaving her hand in his as if she were not aware of it."
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Jean Paul Sartre?s ?No Exit? (?Hois Clos?), 2004.
This paper discusses Jean Paul Sartre and his contemporary masterpiece, ?No Exit? (Hois Clos), first produced on stage in 1944.
2,815 words (approx. 11.3 pages), 7 sources, MLA, £ 52.95
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Abstract
This paper relates that the existentialist plays of Sartre and his contemporary, Albert Camus, had a big impact on European and American theater as vehicles for the presentation and expression of existential ideas and beliefs. The author points out that Sartre?s ?No Exit?, as existentialist theater, was a new perspective for audiences because, previously, theater had grown out of a surrealist tradition, led by writers like Jean Cocteau. The paper relates that there are many adaptations of ?No Exit?, but they all use Sartre?s attitudes in their presentation of the play?s relationships, language, indifference, desire, sadism, masochism, love, and hate.
From the Paper
"The host of sufferings that evolved from World War II also led to the formation of a new ideology that affected the theater of entertainment at that time (Lein). A growing dissatisfaction over superficial entertainment could not be denied or stifled any more, along with the increasing rejection of the criteria of pure art in any field of the time. It was simply that the shattering effects of war bore on French complacency, hence a change of popular taste into or preference for serious entertainment, which satisfied audiences as artistic, useful and meaningful (Lein). Sarter?s and Camus? existentialist theater was that literary theater that was grounded both on ideology and philosophy and, at the same time, responsive to the honest yearnings of a new public."
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A Discussion on Jean-Paul Sartre, 2008.
A study of Jean-Paul Sartre and his brand of existentialism.
2,941 words (approx. 11.8 pages), 12 sources, MLA, £ 55.95
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Abstract
This paper gives a history on the life of Sartre and talks about his works and brand of philosophy. The paper discusses how Sartre was influenced by other philosophers and how these opinions helped shaped his own views on existentialism, fear and self-deception.
From the Paper
"For Sartre, God is not necessary and is in fact non-existent, and so man is free in a way that can be terrifying and that imposes responsibility. Jean-Paul Sartre was not only a leading philosopher of his generation but also a playwright, novelist, political theorist, and literary critic. Sartre in his writings in the 1940s and after was reacting to the horrors of the war, but he viewed the devastation of war not in terms of its effect on a specific country or people but on humanity. He was continuing in an intellectual tradition extending back to the nineteenth century and to the works of Dostoyevsky, Kierkegaard, and Nietzsche. His philosophy is not collective in the way Marxism is nor built on social classes and hierarchies in the way Hitler's is. His view is described as a contemporary form of humanism, with the individual at the center and with a belief in the ability of each individual to shape his or her own existence."
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Jean Paul Sartre?s ?No Exit?, 2004.
Summarizes Jean Paul Sartre's play, "No Exit", and analyzes its theme.
2,400 words (approx. 9.6 pages), 4 sources, MLA, £ 46.95
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Abstract
This paper briefly summarizes the play, "No Exit", and then takes a look at the play's theme of freedom and responsibility. The paper also considers how Sartre's life experiences influenced his existentialist beliefs and writings.
From the Paper
"Jean Paul Sartre?s play, ?No Exit,? describes the eternal punishment of three characters, Garcin, Ynez and Estelle, and their physical and mental torments, together and individually. A mysterious valet puts them in one room that has no windows or mirrors and with only one door that is closed. The lights never turn out and the three characters have no hope of ever leaving this particular room, garnished with Second Empire furniture (Sartre 1960), What heightens the torment is their mutual hatred that will stay with them and punish one another without end."
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Jean-Paul Sartre and Existentialism, 2004.
A consideration of Jean-Paul Sartre's existentialist account of human reality as existence preceding essence.
1,908 words (approx. 7.6 pages), 1 source, MLA, £ 38.95
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This paper explains Sartre's beliefs on non-human reality and examines the existentialist moods (psychological states where our freedom and subjectivity are made evident to us). It also argues against the four basic criticisms of existentialism, questions existentialism and God and lastly explains the author's reasoning for choosing existentialism as the best explanation for human reality and behavior.
From the Paper
"If we consider the criticisms of the theory, and Sartre's rebuttal, again I find that it strengthens the existentialist view. The four basic criticisms are the focus on negativity, promoting quietism, being too individualistic, and too permissive. While the arguments might seem reasonable their source seems to be fear, and not necessarily rational arguments. Sartre's responses to these criticisms are so practical they strengthen the existentialist theory and, thus make it easier for me to agree. While it is true that existentialism focuses on the negative side of humanity, it is necessary to show because this side does exist. "
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Jean-Paul Sartre On Perception, 1999.
Examines this French existentialist's views on nature and the role of human perception in knowledge, reality, self-image, responsibility.
2,475 words (approx. 9.9 pages), 11 sources, £ 55.95
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Abstract
"Before beginning a discussion of Jean Paul Sartre's views on the importance of different types of perception the focus of this paper it will be useful to lay a groundwork that covers the basic overall philosophy of this great French thinker, dramatist, novelist, and political journalist, for his writings about perception are not in any way ancillary to his major philosophical contributions but lie at the core of his theoretical and political positions.
From the Paper
"Before beginning a discussion of Jean Paul Sartre's views on the importance of different types of perception the focus of this paper it will be useful to lay a groundwork that covers the basic overall philosophy of this great French thinker, dramatist, novelist, and political journalist, for his writings about perception are not in any way ancillary to his major philosophical contributions but lie at the core of his theoretical and political positions.
Sartre, who was born in Paris, June 21, 1905, and educated at the ?c?le Normale Sup?rieure in Paris, the University of Fribourg in Switzerland, and the French Institute in Berlin, taught philosophy at various lyc?es (essentially analogous to American high schools) from 1929 until the outbreak of World War II, when he was called into military service. In 1940-41 he was ..."
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"Phaedo" ( Plato ) and "The Wall" ( Jean-Paul Sartre ), 1997.
Compares their attitudes toward imminent death (serenity vs. terror) of Socrates and the protagonist in the short story.
1,350 words (approx. 5.4 pages), 2 sources, £ 29.95
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From the Paper
"In Plato's dialogue Phaedo, Socrates expresses a spiritual and accepting view of death in general and of his own imminent, personal death in particular. In contrast, Pablo, in Jean-Paul Sartre's story "The Wall," faces what he believes to be his own death with abject terror, although he tries to hide his fear behind a mask of toughness: "I wanted to stay hard" (Sartre 9). The differences between the two men in their attitudes toward death are the results of the ways they have lived their lives. Socrates is a man who has diligently sought the truth about life, death, virtue, wisdom, and himself, while Pablo seems to have lived his life with little self-examination or seeking after deeper truths. The results are two men facing their deaths, one with serenity, one with terror. Socrates would say that Pablo has not lived a life of philosophy, has not lived a pious, wise or ..."
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No Exit ( Jean-Paul Sartre ), 1987.
Summary & analysis of plot (life in hell), thematic structure, existentialist approach, characters & relationships, stark style and author's life related to play.
1,575 words (approx. 6.3 pages), 3 sources, £ 34.95
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From the Paper
"The purpose of this research is to examine No Exit by Jean-Paul Sartre. The plan of the research will be to summarize and analyze the play with a view toward providing a definition of its main ideas. To this end, examination will be made of the pattern of ideas emerging by means of the work, as well as of the means by which these ideas are expressed.
The plot of No Exit is quite straightforward. Garcin, Inez, and Estelle have arrived in hell and are to share a room for eternity. Why they are in hell is simple enough. Garcin was a political journalist who informed on his friends. Inez was a homosexual who seduced her cousin's wife. Estelle, a fickle nymphomaniac, killed her baby before its father's eyes and drove him to suicide. But the cause-and-effect nature of the characters' histories is not the core of the play. Rather, the (...)"
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