By Nik Farrell Fox
Jean Paul Sartre remains to be largely considered as France's most renowned and influential thinker. but, to many, his paintings has been outmoded by way of the paintings of next poststructuralist and postmodernist philosophers similar to Michel Foucault, Jacques Derrida, Jean Baudrillard and Gilles Deleuze. ''The New Sartre'' offers a thorough reassessment of Sartre's paintings and his dating to postmodernism. It offers the reader with an in depth research of Sartre's complete oeuvre, from the Thirties to the Seventies, focusing specifically on his major philosophical texts, ''Being and Nothingness'' and ''The Critique of Dialectical Reason''. Arguing that Sartre used to be a schizophrenic and transitional philosopher, a philosopher stuck among sleek constructionism and postmodern deconstruction, the e-book explores the diversities and similarities among Sartrean existentialism and French poststructuralism. A primary second look of 1 of the principal figures of twentieth Century inspiration, ''The New Sartre'' highlights the severe price and enduring relevance of Sartre's paintings to our postmodern occasions.
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Extra resources for The New Sartre: Explorations in Postmodernism
Sample text
Although certain aspects of Sartre’s early work fixed themselves firmly to the ‘pole of Lightness’,11 while that of post-structuralists, like Foucault, focused on the ‘Heaviness’ of the subject, in later years this situation would be reversed, with Sartre’s emphasis becoming much more deconstructive and that of the poststructuralists more reconstructive. Sartrean and post-structuralist conceptions of the subject start out in this sense from different positions but eventually converge, both resting upon a conception of the subject as decentred, opaque, material and historical and yet able, through praxis, 9 9 41 THE NEW SARTRE reflection, transgression or aesthetic practice, to escape its conditioning.
The ‘Schizo-Subject’ embodies their conception of the subject as multiple, decentred and fragmented since they do not see their behaviour as belonging to a conscious, encompassing ‘I’, often referring to themself in the third person and refusing to speak the word ‘I’. Their ideal of the Nomad is similarly one who is never static, enduring or fixed, but who must ‘keep moving, even in place, never stop moving’ (1987, 159). In What is Philosophy? they reiterate this idea of multiplicity and becoming, calling for the creation of forms of desubjectification that involve the exploration of different forms of consciousness beyond the confines of molar normality.
Since, Sartre maintains, it is a conscious, intentional activity, praxis involves a definite project, a ‘movement of temporalization’ in which action orientated towards the future totalizes a given field (CDR, 0–1). In contrast to the concept of nihilation which Sartre employs in BN, however, praxis preserves what it totalizes and becomes itself an embodiment of the inert quality of the material world. In order to transform the material field the individual must introduce into himself features of that field and make of his body a tool.