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By David Detmer

Jean-Paul Sartre may be the main well-known of the existentialists, and by way of a long way the main recognized thinker of the post-war period. Sartre used to be a hugely prolific author and philosopher, and delving into his novels, performs, tales, essays, and memoirs may be difficult. so much books on Sartre concentrate on just one sphere of his mind-blowing mind — both his philosophical treatises or his forays into fiction. input Sartre Explained, a entire advisor to Sartre's flexible paintings, in addition to a priceless evaluation of his existence and scholarly context. Detailing the philosophical notions important to all of Sartre's paintings, together with his fictional items, this advisor is a vital source for an individual drawn to Sartre's complete variety of abilities.

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Extra resources for Sartre Explained: From Bad Faith to Authenticity

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But this desire is in vain, and the project of acting on it ends in failure. It is the nature of consciousness to introduce all sorts of gaps and skips into being, and, in particular, always to remain at a distance from itself. While this aspect of Sartre's philosophy is often thought to be a product of his experiences and preoccupations of the 1 940s, we find it already present in the "Intentionality" essay, where it is apparently derived solely from his investigations into the nature of consciousness: "When consciousness tries to recoup itself, to coincide with itself once and for all, closeted off all warm and cosy, it destroys itself" ( INT, 5 ) .

In other words, the tree does not present itself as existing in your mind; rather, it is given as standing out there in the world. And when we turn our attention to consciousness, we are forced to conclude, even more strongly, that the tree not only does not enter into consciousness, but "could not" do so, "for it is not of the same nature as consciousness" ( INT, 4 ) . For it is the nature of consciousness to intend objects, that is, to point away from itself and out toward the things with which it is concerned.

Unfortunately, however, Sartre does not make it very clear just how these differ­ ent modes of affectivity--emotions, moods, feelings, sentiments, and so forth­ differ from one another. 38 Phenomenology adapted than this behavior which hands me over defenseless to the danger. And yet it is a behavior of escape. Here the fainting is a refuge. Let it not be thought that this is a refuge for me, that I am trying to save myselfin order not to see the wild animal any more. I did not leave the unreflective level, but, lacking p ower to avoid the danger by the normal methods and the deterministic links, I denied it.

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