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1
Silvester, Rosalind Karen. "Language and philosophy in Jean-Paul Sartre's Les chemins de la liberte." Thesis, University of Nottingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325683.
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Demelis, Kostas D. "A comparative study of the tragic and the existential hero : Agamemnon in Aeschylus and Ritsos." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1119469180.
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Keys, Charlotte. "Shakespeare's existentialism." Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/0e721b8c-8965-dfc5-ec3f-a95a0b56fb0f/8/.
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This thesis undertakes a fundamental reappraisal of Shakespeare's existentialism. The drama of Shakespeare and existentialist philosophy, I contend, are equally fascinated by issues such as inwardness, authenticity, freedom, and self-becoming. In recent years, Shakespearean criticism has shied away from these fundamental existentialist concerns reflected in his drama, preferring to investigate the historical and cultural conditioning of human subjectivity. However, as this thesis argues, a failure to acknowledge and address the existential problems and intensities at the heart of Shakespeare's plays prevents a full appreciation of both the philosophical and the theatrical dimensions of his drama. This thesis treats Shakespeare as existentialism's prolific precursor, as a writer who experimented with existentialist ideas in his own distinctive theatrical and poetic terms long before they were fully developed in the philosophical and literary terms of the twentieth century. The introductory chapter of this thesis provides a preliminary sketch of existentialist thought and surveys the influence of existentialism on readings of Shakespeare. This paves the way for the second chapter, which offers a historical account of the inception of existentialist thought in the early modern period. By identifying existentialist concerns and ideas in the work of writers such as Montaigne, Pico, Raleigh, Bacon, Donne and others, I argue that an embryonic form of existentialism was beginning to emerge in the literary, philosophical and religious discourses of the Renaissance. The third chapter suggests that Shakespeare and modern existentialist thinkers share a deep interest in the creative fusion of fiction and philosophy as the most faithful means of articulating the existentialist immediacy of experience and the philosophical quandaries that existence as a human being entails. The subsequent three chapters explore the existentialist predicaments and problems dramatised in three Shakespearean tragedies. My readings trace the broad trajectory of existentialist thought in these plays, firstly by looking at the ontological and subjective concerns of Hamlet, then by examining Shakespeare's treatment of ethics in Coriolanus, and finally by considering the existential resonance of the politics in King Lear.
4
Sakkos, Tiina. "Existentialism and feminism in Kezilahabi`s novel Kichwamaji." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-94160.
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Makala hii inachambua riwaya ya pili ya mwandishi maarufu wa Kiswahili, Euphrase Kezilahabi (*1944) iitwayo Kichwamaji (1974). Inajaribu kuzingatia mikondo miwili ya uchambuzi yaani inajadili kwa ufupi nadharia ipi au mkondo upi wa kimawazo unafaa zaidi katika kuichambua riwaya hiyo: udhanaishi au ufeministi. Je, inawezekana kuunganisha yote mawili?<br>In this essay, I would like to analyse the novel Kichwamaji (‘Empty-head’; 1974) by the well-known Tanzanian writer Euphrase Kezilahabi against the background of two philosophical theories: existentialism and feminism. I will first discuss existentialism and the existentialist elements in the novel. Then I will present feminist theory and focus on the female characters in Kichwamaji. I will argue that a feminist reading of the novel is impossible due to its predominant existentialist character
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Tan, Tijen. "Existentialism And Samuel Beckett." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608995/index.pdf.
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This thesis carries out an analysis of the plays by Samuel Beckett, Endgame and Happy Days. It achieves this by exploring how the playwright&rsquo<br>s characterization, setting and use of language in these plays display his tendency to employ some existentialist concepts such as despair, anxiety and thrownness on the way to authenticity. This study argues that there are some similarities between Beckett&rsquo<br>s two plays and Existentialism, and some characters in both plays display the existentialist man who is looking for becoming an authentic man. In other words, although there are some differences, these plays show that Samuel Beckett&rsquo<br>s view of Existentialism is quite similar to the Sartrean view.
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Deramchia, Y. "William Faulkner and existentialism." Thesis, University of Essex, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.374716.
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Thompson, Neil. "Existentialism and social work." Thesis, Keele University, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293995.
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Furuhashi, Ryutaro. "Deconstruction, existentialism, and art /." Online version of thesis, 1996. http://hdl.handle.net/1850/12262.
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Grassano, Matteo. "Il territorio dell'esistenza : Francesco Biamonti (1928-2001)." Thesis, Université Côte d'Azur (ComUE), 2018. http://www.theses.fr/2018AZUR2003/document.
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Cette thèse est consacrée à l’étude de l’œuvre et de la poétique de Francesco Biamonti (1928-2001). Elle propose un parcours critique qui montre les liens entre l’écriture de l’auteur, aussi bien dans ses thématiques que dans ses choix stylistiques, et l’expérience culturelle qui la sous-tend. Les romans biamontiens apparaissent comme une tentative d’exprimer sous forme artistique une vision personnelle du monde et de l’homme, que l’écrivain italien élabora en autodidacte pendant sa vie. Il s’agit d’une vision qui ne peut ne pas tenir compte de la réflexion sur le territoire du Ponant ligurien, représenté par Biamonti dans ses transformations du XXe siècle et dans son actualité. Ainsi, la juxtaposition des termes territoire et existence dans le titre suggère une première clef de lecture de cette étude.Cette thèse s’articule en trois grandes parties. Dans la première partie, l’étude de l’espace romanesque favorise l’analyse de la vision biamontienne de l’histoire méditerranéenne et européenne, et montre les mécanismes de transfiguration et les processus mythopoïétiques caractérisant la représentation du Ponant ligurien et de l’« ailleurs » français dans les romans. La deuxième partie porte sur l’analyse des personnages et propose une interprétation de la conception biamontienne de la réalité humaine sur la base des théories existentialistes et phénoménologiques. Enfin, la dernière partie explore l’idée de création artistique et souligne certaines caractéristiques de la prose biamontienne et de son lyrisme dans une perspective aussi bien textuelle que théorique<br>The PhD Thesis is devoted to the study of the work and the poetics of Francesco Biamonti (1928-2001). It proposes a critical analysis showing the connections between the writing of the author, in both its themes and its stylistic choices, and its underlying cultural influences. Biamonti’s novels appear as an attempt to express his personal vision of the world and the human condition, which the Italian writer developed as autodidact all along his life. Framing this vision cannot ignore the considerations of the author about the Ligurian west territory, represented through its twentieth century transformations and its contemporary topics. Thus, the juxtaposition of the words territory and existence in the title suggests the first key to read this work by.The PhD Thesis is articulated in three main parts. The first part, through the study of the narrative space, analyses Biamonti’s reflections on the Mediterranean and European history; moreover, it contains the literary mechanisms and the mythopoietic processes characterizing the representation of the Ligurian territory and the French “Elsewhere” in the novels of the author. The second part is concerned with the study of the characters and, in light of a series of philosophical readings, it examines Biamonti’s conception of the human reality and existence. The third and final part explores the idea of artistic creation and highlights specific characteristics
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Shanahan, Colin P. "Essentialist and Existentialist: Two Visions of Authenticity." University of Dayton / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=dayton15331374568137.
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Rooney, Victoria. "Shestov's religious existentialism - a critique." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315018.
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Walker, Kaylin Marie. "The Existentialism Behind Nolan's Batman." Thesis, Boston College, 2012. http://hdl.handle.net/2345/2611.
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Thesis advisor: John Michalczyk<br>Despite a long affiliation with film dating back to the French New Wave, existentialism has remained a fascination reserved for art film producers and intellectual viewers for decades. In the early twenty-first century, director Christopher Nolan’s Batman trilogy marked the first time existentialism bubbled over from niche art films into the most blatant form of popular culture: the summer blockbuster. This analysis explores Batman Begins and The Dark Knight as up-to-date pictures of modern existentialism, embodied by Bruce Wayne’s journey through fear, chaos and rebirth, mirroring the existentialist advancement through uncertainty to freedom and self-creation<br>Thesis (BA) — Boston College, 2012<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: College Honors Program<br>Discipline: College Honors Program
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Rettová, Alena. "Lidství utu? Ubinadamu baina ya tamaduni." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-97671.
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Taking its depature point in a translation of a play by a Czech playwright and philosopher, Václav Havel, into Swahili, the article strives at a cross-cultural comparison of a pivotal concept of Havel`s thought, lidství (`humanity´), and an equally central concept of Swahili moral and philosophical thought, utu. The basis of this copmparison is, on the Czech side, an explanation of Havel`s concept and its grounding in existentialist philosophy. The Swahili side is presented in a two-step procedure. First, the semantic field of `humanity´in the Swahili language, comprising utu and several concepts related to it (especially ubinadamu), is analyzed. Second, the concepts belonging to the semantic field of utu are traced in the development of Swahili literature, as a prominent representative of intellecual discourses in the Swahili culture.
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Boag, Cara Ingrid. "Solitude, suffering, and creativity in three existentialist novels." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1713.
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Thesis (MA (English Studies))--University of Stellenbosch, 2009.<br>ENGLISH ABSTRACT: As existent beings, we identify with the world through our thoughts and perceptions. Man is driven
to seek meaning by the very complexities and contradictions of existence. As self-conscious
beings, we cannot live without a sense of awareness and understanding. Creativity allows an
individual to develop a unique understanding of the nature and destiny of man. This study draws
attention to writers who were able to transcend their external environment and immerse
themselves in a setting where man’s individuality is fundamental to living an authentic life.
Camus, Dostoevsky and Kafka made every effort to live consciously and authentically. They
believed that inwardness was not to be defined by an external, social setting, but rather through an
intimacy of consciousness. This awareness and unveiling of being enables us to create meaning.
These authors removed their social mantles and were willing to sacrifice acceptance in the pursuit
of this cause. They believed that every man has a responsibility to live an individual and authentic
life. This psychological and even physical isolation is not easy, however, and often causes much
suffering. Using existentialism as a framework, this thesis will focus on solitariness, suffering and
creativity, all of which point to the importance of individual consciousness rather than living a life of
societal pressures and conformity.<br>AFRIKAANSE OPSOMMING: As lewende wesens identifiseer ons onsself met die wêreld deur middel van gedagtes en
waarnemings. Die mens word gedryf deur die soeke na betekenis in die kompleksiteit en
teenstellings van sy bestaan. As wesens met selfkennis kan ons nie leef met ‘n gebrek aan
bewustheid en begrip nie. Kreatiwiteit laat die individu toe om ‘n unieke begrip van die aard en lot
van die mens te ontwikkel. Hierdi verhandeling vestig die aandag op skrywers wat verby hul
uiterlike omgewings kon uitreik en hulself kon indompel in ‘n mileu waar die mens se individualiteit
grondliggend is om ‘n onvervalste lewe te lei.
Camus, Dostoevsky en Kafka het alles in hul vermoë gedoen om bewustelik en suiwer te lewe.
Hulle het geglo dat die innerlike nie gedefinieer kan word deur die uiterlike, sosiale omgewing nie,
maar eerder deur ‘n intimiteit van bewustheid. Hierdie bewustheid en openbaring van bestaan laat
ons toe om betekenis te skep. Hierdie skrywers het hul sosiale mantels afgewerp en was bereid
om sosiale aanvaarbaarheid op te offer in hul strewe na hierdie doelwit. Hulle het geglo dat elke
mens oor ‘n individuele en onvervalste lewe beskik. Die sielkundige en selfs fisieke afsondering is
egter nooit maklik nie en het dikwels groot lyding tot gevolg. Met eksistensialisme as raamwerk sal
hierdie tesis focus op afsondering, lyding en kreatiwiteit.
15
Gustafson, Andrew B. "Lev Shestov the faith of a Russian existentialist /." Theological Research Exchange Network (TREN), 1994. http://www.tren.com.
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Samuelsson, Erik. "Kristen Existentialism : Är målet att tro?" Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-32238.
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The purpose of this essay is to analyse Søren Kierkegaard’s “Fear and Trembling”, Karl Jaspers “Philosophy of Existence” and Paul Tillichs “Systematic Theology part 2” on their stand on Christian existentialism. The method used in the analysis is Hermeneutic, which is a must, when reading and understanding these three philosophical works. The essay will also have a comparative approach to obtain depth in the conclusions. Another purpose is to link the conclusions of the essay to the school values and the school curriculum. The link will not be strong but a correlation will become visible. The conclusions of this essay will show that the three authors have similarities and differences. The three authors unite in the idea that the purpose of life is faith in the Christian God. But how to reach that faith differs; Kierkegaard writes that an infinite resignation is a must, so that faith in the absurd will bring you everything back. Jaspers writes that science is a mean to create a framework for every individual. The framework will give you a perception of existence but can’t be used to achieve Existenz. Existenz is the goal in the search for the truth of yourself and what being means. Tillich writes that the purpose of life is to return to your being of essence, which means how man was supposed to be before “the fall”. Tillich writes an ontological analysis of being.
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Clayton, Leigh. "Authentic heroes : existentialism and film noir." Thesis, University of Aberdeen, 1996. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU099168.
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Film exhibits an existential time structure. It presents characters and events in the present moment and as the film progresses the future of the characters is built from their past within the film. Characterisation in film differs from that of the novel primarily in that characters are seen as they become what they are through their actions. In the novel a character is already fixed. Film also differs from theatre in that the differing use of space allows for a more intimate acting style on the part of the actor and more involvement on the part of the viewer. Film noir, in particular, manifests existential themes in its plot lines and characterisation, e.g. alienation, anxiety and the developmental nature of personality. A number of theorists have attempted to define film noir and to account for its distinctive look. These include David Bordwell, Borde and Chaumeton and Christine Gledhill. So far no definition has successfully accounted for all the features present in these films. An existential analysis offers a new way to approach this problem. Due to its distinctive use of philosophical themes film noir constitutes a separate and continuing genre. A noir paradigm can be established by isolating these philosophical themes and the stylistic methods which express them. This can be used as a criterion to identify noir films. Noirs can be divided into different periods by identifying the dominant theme of various decades. These reflect the social conditions of the time as well as popular response to existential philosophers, for instance, Sartre and Nietzsche who have both been considerable popularised. In addition noir can be seen as a response to restrictive Hollywood practices.
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Olivier, Jacques. "Les thèmes existentialistes dans l'œuvre romanesque de Siegfried Lenz." Paris 10, 1985. http://www.theses.fr/1985PA100131.
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Großheim, Michael. "Politischer Existentialismus : Subjektivität zwischen Entfremdung und Engagement /." Tübingen : Mohr Siebeck, 2002. http://catalogue.bnf.fr/ark:/12148/cb410082212.
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Texte remanié de: Habilitationsschrift--Philosophische Fakultät--Universität Rostock, 2000. Titre de soutenance : Die unheimliche Welt absoluter Selbstlosigkeit: entfremdete Subjektivität und politischer Existenzialismus.<br>Bibliogr. p. 474-520.
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Faubert, Michelle Rae. "Hopkins and Kierkegaard, the Christian Existentialist method of selving." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq30469.pdf.
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Brodersen, Rupert. "Rage, rancour and revenge : existentialist motives in international relations." Thesis, London School of Economics and Political Science (University of London), 2014. http://etheses.lse.ac.uk/3061/.
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Emotions are gaining an increasingly prominent role in the study of International Relations. As a relatively new frontier, there is still considerable work to be done in streamlining various efforts into a systematic study. These efforts have largely circled on describing the cognitive and action potential of specific emotions, such as anger, fear and trust. This thesis is concerned with an extreme emotion, the emotion of rage. I stress the action potential of revenge, as well as the cognitive elements at play here, most specifically the issue of abrupt changes to morality. I use both Greek and Nietzschean philosophy to construct a binary approach to rage that acknowledges both the violent and bloody manifestation - we still witness today - as well as the silent, non-violent rancour that searches for an opportune moment before exploding into action.
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Van, Velzen Nicolas Herman. "Literature and existentialism, the case of Dostoyevsky." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ40179.pdf.
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Gatt-Corona, Luis Ernesto. "Existentialism in the cinema of Michelangelo Antonioni." Thesis, University of Reading, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395178.
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This thesis discusses the scope for philosophy in and about film. It applies philosophical analysis to both the form and the content of Antonioni's films, and is thus both a philosophical approach to Antonioni's cinema as well as an exploration of his philosophical thought. The first part of the thesis reviews worthwhile discussions that are relevant to the complex relationship between film and philosophy. It also assesses the way in which the trend of philosophical thought known as existentialism fits into this relationship. General notions about existentialism are thus reviewed, as well as those that bear more particularly on art and cinema, and especially on the world as it is represented by Antonioni. Parallel to this, the thesis explores the role of time and space in film, and the philosophical implications of the way they are used by Antonioni. The second part of the thesis is devoted to the analysis of specific themes in Antonioni's films that relate them to an existentialist interpretation of reality. Chapter six is devoted to the early Antonioni, from his documentary shorts up to I1 grido, a period in which the phenomenological quality of his exploration of reality is already clearly noticeable. Chapter seven deals with Antonioni's peculiar narrative style and the way in which this style reflects his philosophical stances. The final chapters of the thesis are devoted to Antonioni's second important core of films and discuss the shift in Antonioni's central concerns. In films such as Deserto rosso, Blow Up, The Passenger, or Zabriskie Point, the connection with existentialism is related both to specific themes, such as anxiety and alienation, as well as to the more abstract philosophical stances that are implied by an existentialist worldview. In these films Antonioni questions reality itself, and discusses the limits of both our perception and representation of it.
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Pilkington, Marilyn E. (Marilyn Elizabeth) Carleton University Dissertation English. "Existentialism in the novels of Graham Greene." Ottawa, 1988.
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Williams, Michael T. "The epistemological subject/object relationship in existentialism." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Benjamin, Elizabeth Frances. "The authenticity of ambiguity : Dada and existentialism." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5600/.
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Dada is often dismissed as an anti-art movement that engaged with a limited and merely destructive theoretical impetus. French Existentialism is often condemned for its perceived quietist implications. However, closer analysis reveals a preoccupation with philosophy in the former and with art in the latter. Neither was nonsensical or meaningless, but both reveal a rich individualist ethics aimed at the amelioration of the individual and society. It is through their combined analysis that we can view and productively utilise their alignment. Offering new critical aesthetic and philosophical approaches to Dada as a quintessential part of the European Avant-Garde, this thesis performs a reassessment of the movement as a form of (proto-)Existentialist philosophy. The thesis represents the first major comparative study of Dada and Existentialism, contributing a new perspective on Dada as a movement, a historical legacy, and a philosophical field of study. The five chapters analyse a range of Dada work through a lens of Existentialist literary and theoretical works across the themes of choice, alienation, responsibility, freedom and truth. These themes contribute to the overarching claim of the thesis that Dada and Existentialism both advocate the creation of a self that aims for authenticity through ambiguity.
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Nicoll, Laurence. "Existentialism in the novels of James Kelman." Thesis, University of Edinburgh, 2001. http://hdl.handle.net/1842/22523.
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There has to date been no attempt at a detailed explication of James Kelman's novels from a consistently existential standpoint: this thesis constitutes an attempt to do so. Whilst a number of the critical responses engendered by Kelman's work mention the presence of existentialist motifs, this is usually done in passing. My central claim however is that it is impossible to comprehend Kelman's fictions without a thorough understanding and appreciation of the extent to which existential concerns inform both his fictional and critical work. I argue that a consequence of viewing Kelman as an existential writer is that the critical debate surrounding his work must be relocated and positioned outwith the dual contexts of nation and nationalism. Chapter one delineates the constitutive elements of Kelman's existential aesthetic, focusing on five pivotal concerns: tradition, freedom, the everyday, locality and narrative. The next chapter considers several classic texts in the existential literary tradition, Notes from Underground, The Trial, The Outsider and Nausea. The techniques and themes brought out here, along with the observations generated in chapter one, provide a prism through which to read Kelman's novels. Ensuing chapters both build upon and refer back to this preparatory material. Chapter three analyses A Chancer, in terms of its narrative mode and how this relates to the existential theme of contingency which permeates the text. Next, I consider the role of the existential issues of temporality, negation and 'the nothing' in The Busconductor Hines. Chapter five examines A Disaffection, reading the novel in terms of Camusian absurdity and Kierkegaard's criticisms of Hegel. Chapter six is a reading of How Late it Was, How Late, which treats the novel as a fictional exposition of Sartre's theory of 'the look'. The final chapter offers some conclusions and criticisms, and considers the implications of Kelman's existential position, particularly with regard to what might be termed 'cultural nationalism'. Here I also assess Kelman's place within the tradition of the committed intellectual.
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Bogaerts, Jo. "Transcendence Estranged: Sartre, Kafka and French Existentialism." Doctoral thesis, Université d'Anvers, Anvers, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/264950.
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Théron, Julien. "L'expérience du trouble. Œuvre de liberté chez Sartre et Saint Augustin." Thesis, Paris Est, 2017. http://www.theses.fr/2017PESC0088.
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Chez Augustin et chez Sartre, l’homme se confronte au trouble tout au long de son existence. Cette existence est un processus de réalisation pratique fondé sur la liberté de ses actions dans le monde. Toutefois, en l’absence de compréhension de ce que cette existence pourrait être, perdu, ignorant et isolé, il recherche le sens à lui donner. Son expérience initiale du trouble le mène à comprendre qu’il peut intentionnaliser un devenir, c’est-à-dire affirmer par ses actes une vérité qui lui est révélée par son expérience, que cette vérité soit immuable (Augustin) ou relative(Sartre). C’est en se confrontant activement à l’hostilité du monde dont il est partie que l’homme peut alors façonner son devenir. Contraint néanmoins dans son élan parles conditions du monde qui s’exercent à son encontre, il prend conscience de la limitation de sa liberté et de la nécessité de la transformer afin de la réaliser pleinement. Il comprend alors que la socialité, qui conditionne et trouble l’homme tout au long de son existence, peut et doit être utilisée afin de faire émerger sa liberté conjointement avec celle des autres, et que des liens forts peuvent être créés.L’affirmation collective d’une vérité constituante du groupe fonde alors le processus politique, aboutissement de l’existence. Cet épanouissement est pourtant lui aussi porteur de trouble, au sein du groupe comme entre les groupes. L’homme, singulier comme collectif, doit alors défendre sa liberté en projetant sa vérité avec abnégation vers une universalité historique (Sartre) ou eschatologique (Augustin)<br>In Augustine and Sartre, the man is confrontated to the trouble all his existencelong. This existence is a practical realization process based on the liberty of hisactions in the world. Nonetheless, missing the understanding of what this existencemight be, lost, ignorant and isolated, he looks for the meaning to give to hisexistence. His initial experience of trouble leads him to understand that he can decidethe direction of his becoming through his intentionality, which means to affirm byhis actions a truth revealed by his experience, whether this truth is immutable(Augustine) or relative (Sartre). It is by confrontating himself to the hostility of thisworld he is a part of that the man can therefore shape his becoming. Constrainedhowever in his impetus by the world’s conditions against him, he realizes thelimitation of his liberty and the necessity to transform it in order to realize it totally.He thus understands that sociality, which preconditions and trouble the man all alonghis existence, can and should be used to bring his liberty out, together with the one ofthe others, and that strong ties can be establish. The collective affirmation of aconstituting truth found therefore the political process, outcome of the existence.This fulfillment is however also carrying troubles, inside the group as between thegroups. The singular as collective man should therefore defend his liberty byprojecting his truth with abnegation toward a historical (Sartre) oreschatological (Augustine) universality
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Le, Borgne Catherine. "Écritures des voyages et vision existentialiste dans l'œuvre d'André Suarès." Brest, 2010. http://www.theses.fr/2010BRES1023.
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En 1888, le jeune André Suarès (1868-1948) établit qu’il ne peut exister que par l’Art, les oeuvres et le monde qu’il crée; lui seul se choisit et se fait lui-même, est responsable de son existence. Ainsi l’homme suarésien va partager les préoccupations des philosophes existentialistes (bondissement, engagement, néant, angoisse, mort, altérité, aliénation), proche en cela de Jean-Paul Sartre, de Louis Lavelle entre autres. Au-delà du romantisme, la vision existentialiste que l’écrivain va développer implique alors un regard sur soi (dépasser la contingence pour tendre vers une supériorité) et sur le monde (rejet d’un monde corrompu où règnent médiocrité, mensonge et infamie), un esprit de conquête (liberté, action) qu’il va exploiter sa vie durant et transparaît, notamment, dans les écritures de ses voyages (Bretagne, Italie) qu’il publia entre 1902 et. 1937 entre Le Livre de l’Emeraude et Temples grecs, maisons des dieux, sans oublier l’ouvrage posthume Rome. Ce travail de recherche s’attache à mettre en relation voyages et pensée existentialiste en s’appuyant sur les textes littéraires mais aussi sur des citations extraites des Carnets inédits de Suarès ; la pseudonymie, la revendication d’une filiation bretonne s’inscrivant pleinement dans cette thématique<br>In 1888, young André Suarès (1868-1948) establishes that he can live solely through Art, his works and the world he creates; only he chooses who he is, only he builds up himself and is responsible for his life. Thus the “suaresian” man will share the concerns of the existentialist philosophers (leaping, commitment, emptiness, fear, otherness, alienation), close in this to Jean-Paul Sartre and to Louis Lavelle among others. Beyond romantism, the existentialist vision which the writer will develop thus implies a critical look at himself (bypassing contingency to strive towards superiority) and at society (rejecting a corrupted world governed by mediocrity, lie and infamy), a spirit of conquest (liberty, action) which lie will make the most of during his whole life and which shows in particular through his travel stories (Brittany, Italy) he published between 1902 (Le Livre de 1‘Emeraude) and 1937 (Temples grecs, maisons des dieux), not to mention his posthumous work Rome. This research endeavors to make the connection between travels and existentialist vision by leaning on literary materials but also on quotations from Suarès’ unpublished notebooks ; the fact of using pen names and claiming a Breton filiation falling fully within the scope of this subject
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Quémerais, Marie-Pierre. "Existentialisme et absurde dans l'oeuvre de John Fowles." Rennes 2, 1996. http://www.theses.fr/1996REN20023.
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Les ouvrages de John Fowles font apparaître un réseau si riche et en même temps si cohérent de mots-thèmes tels que la liberté, le choix, la responsabilité, l'authenticité, que nous sommes amenés à nous interroger sur la dimension existentialiste et absurde de l'oeuvre. Les personnages sont animes du désir extrême de faire de leurs actes une constante transcendance et de la volonté d'affirmer sans retenue leurs convictions. Par les comportements qu'ils développent, les idées qu'ils défendent, ces personnages cherchent à donner un sens à leur vie. Mais contrariés parfois dans leur démarche, ils font la dure expérience de l'absurde. A partir de ces constats, le travail de recherche s’articule autour de la problématique suivante : "dans quelle mesure, suivant quelles modalités les personnages de John Fowles traduisent-ils les notions d'existentialisme et d'absurde"? L'existentialisme et l'absurde sont abordés sous un angle psychologique, sociologique, philosophique; l'analyse des personnages, pour être pertinente, impose l'usage des concepts clés empruntés à ces trois domaines. De plus, une approche narratologique comprenant une étude du temps et de l'espace vient corroborer les grands principes existentialistes et absurdes décryptés au cours des exposés d'ordre psychologique, sociologique et philosophique<br>In John Fowles's books appears such a rich and coherent thematic network made up of concepts such as freedom, choice, responsibility, authenticity, that we almost inevitably end up questioning about the absurd existentialist dimension of the whole work. The characters are driven both by their utmost desire for constant transcendence through their own acts and by their will to assert without restraint their convictions. They try to give meaning to their lives through the behaviour they adopt and the ideas they uphold. Yet, during their quest they encounter obstacles of moral and sociocultural nature. So, they become prey to the harsh reality of the absurd. We have chosen to tackle the notions of existentialism and the absurd in John Fowles's work from the psychological, social and philosophical angles because we consider that if the analysis of the characters is to be relevant, it must incorporate key concepts drawn from these three domains. Moreover, we think that a narratological approach consisting of a study of time and space corroborate the principles of existentialism and the absurd deciphered in the course of our examination of the psychological, sociological and philosophical aspects of John Fowles's work
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Podlasli, Heidi M. "Freedom and existentialist choice in the fiction of Kate Chopin." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/774759.
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Kate Chopin, 1851-1904, gained national fame when her local color stories became published in acclaimed magazines such as Vogue and the Atlantic. Her novel, The Awakening (1899), however, criticized for its controversial content and its heroine, Edna Pontellier, whose ambiguous actions and final suicide were focus of the critical attention, received only negative reactions and silenced Chopin as a writer. Interpretations by feminists, realists, or culturalhistorians proved insufficient in their attempts to explain the dilemma of the heroine. Approached from an existentialist point of view, the novel seems to derive new meaning, but the few extant critical discussions remain either too superficial or too general in scope. A thorough explication of J.-P. Sartre's existentialism, in particular, however, would provide a fresh, insightful interpretation not only of The Awakening, but also of selected short stories that had critics equally torn when faced with the seemingly ambivalent decisions of their heroines.Following the literature review of Chapter I, Chapter II will provide background information on Sartrian existentialism while focusing on such terms as anguish, bad faith, and authenticity that are especially relevant for a better understanding of Chopin's works. How several of her short stories and The Awakening will derive new significance when approached from an existentialist perspective will be shown in Chapters III and IV, respectively, the interpretation mainly centering on the argument that the dilemmas of the heroines, formerly described as "female" or "romantic," are essentially "human" and derive universal, therefore existential significance. Finally, I will try to account for Kate Chopin's "existentialism" in Chapter V by not only taking a closer look at the social issues she was surrounded by, and also her personal life that was the foundation of her thinking, being expressed in ideas that would put her way beyond the "Zeitgeist" of her times.<br>Department of English
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Heller, Maya. "An aesthetic consciousness : an existentialist reading of William Faulkner's fiction." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20118/.
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This thesis presents an existentialist reading of William Faulkner’s early fiction (1925-31). Moving away from a regionalist perspective the thesis argues that Faulkner’s work can be viewed as part of a universal and aesthetic exploration of the human condition. By focusing specifically on Jean-Paul Sartre’s early philosophy (1930s-40s) and the concepts of consciousness, the duality of being: being-in-itself (the world of objects) and being-for-itself (human consciousness), the thesis investigates the way in which consciousness operates ontologically in Faulkner’s prose. It argues that a decidedly existentialist consciousness can be traced in Faulkner, one in which a linked relationship between imagination and reality lays bare the fragility of the characters and a sense of displacement in Faulkner’s fiction. Within the context of existentialism, the thesis also emphasizes the importance of the artist figure within Faulkner’s writing. As the embodiment of existential action and choice, the artist in Faulkner’s fiction reflects a sense of liberation and freedom. In this context, the existentialist reading re- examines the way the artist’s sense of reality hinges on the interaction between human consciousness and the world of objects, between Faulkner’s representation of art (text, painting and sculpture) and form and technique (fragmentation and multiple perspective).
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O'Dwyer, Graham M. "Nationalism as existentialism: Charles de Gaulle's worldview reconsidered." Thesis, University of Kent, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.593920.
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This work looks at the thought and rationale of Charles de Gaulle and offers an alternative view than that traditionally offered by AngloAmerican political science. De Gaulle has so often been understood as a nineteenth-century nationalist who was only ever concerned with the grandeur of France and is habitually seen as a disruptive element in the Cold War world. The thesis rejects this interpretation and argues that this is a product of explaining de Gaulle from a decidedly Anglo-American perspective that predominantly concentrates on the political aspects of de Gau!le and 'Oaullism' as opposed to the national. By attempting to understand the national element of de Gaulle 's thought we may begin to study him as a thinker, rather than as a pol itician, and in doing so we are able to rethink his worldview. It is from this point of departure that we may see and understand his perception of nations as products of historically imbued culture and the entirely subjective way in which national character develops over long periods of time. The thesis argues that such was de Gaulle's sensitivity to these national characteristics that nations, for him, were individuals and individuals very much in an existential sense. Hence once we change the human individual for the nat;onal individual we may see that de Gaulle speaks the language of existentialism in re lations to nations and nationhood. As such, and in using the lens of existentialism to rationalise de Gaulle, we are able to better understand and appreciate him as a thinker on nations in terms of how they develop and exist, but also how they should relate to one another on the international stage. In doing so we may bener rationalise France's actions during the 1950s and 1960s but also begin to appreciate de Gaulle as an existential thinker on nationhood .
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Jönsson, Ola. "Autobiographical Existentialism in Norman Mailer's The Executioner's Song." Thesis, Blekinge Tekniska Högskola, Institutionen för humaniora, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1666.
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This essay investigates how Norman Mailer’s “true-life” novel The Executioner’s Song may also be read as an autobiography. The novel contains strong traces of Mailer’s existential philosophy as related to sexuality, non-conformity and death. The essay discusses the nature of the relationship between truth as defined by the author and the function of autobiography to tell the truth about a life. The discussion centres around Mailer’s conviction that the novel is a better, i.e. more accurate vehicle for truth than is the autobiography. The essay argues that the truth which Mailer imparts is less the “true” story of Gary Gilmore and more the “true” story of Norman Mailer.
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Hardwick, Joseph Brian. "Romans et theses : french "existentialist" fiction, literary history and literary modernism /." St. Lucia, Qld, 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16410.pdf.
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Řehák, Vilém. "Kazimoto and Meursault: `Brothers´in despair and loneliness." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-97684.
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Makala haya yanashughulikia maswahli ya udhanaishi katika fasihi ya Kiswahili. Makala yanalinganisha riwaya mbili, Mgeni ya mwandishi wa Kifaransa anayeitwa Albert Camus na Kichwamachi ya mwandishi wa Kiwahili, Euphrase Kezilahabi, na kuonyesha jinsi riwaya hizo zinayofanana na zinavyotofautiana. Kwa vile Kichwamaji inafanana na Mgeni, ni sahihi humwita Kezilahabi mwandishi ya udhanaishi, lakini kuna tofauti nyingi pia baina ya riwaya hizo mbili. Tofauti moja ni kwamba Albert Camus anamtazama mtu peke yake na hali yake iliyotengwa kabisa na watu wengine, na Kezilahabi, licha ya mtu peke yake, anaizingatia jamii nzima na hali yake vilevile. Tofauti hii ni tokeo la sifa za communalism katika mawazo Kiafrika ya kimapokeo yanayotilia mkazo jamaa na jami, siyo mtu peke yake<br>This article analyses and compares the the two writings Kichwamaji by Euphrase Kezilahabi and L´etranger by Albert Camus. Written in the tradition of existentialism, the two writings have many similarities but also differ in some important aspects. While Camus sees the individual just by itself, Kezilahabi also includes the whole family and is writing with it in the tradition of the african communalism
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Moore, Cody Earl. "Movement in being an existential reading of Habakkuk /." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.
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Pauly, Jason. "Designing Byron's «Dasein»: the anticipation of existentialist despair in Lord Byron's poetry." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21912.
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In the broadest sense this paper exhibits an existentialist impulse in Byron's poetry. More particularly, I examine four of Byron's major works to analyze the similar ways in which his characters become alert to their being through the emotion of despair, and as a result I contend that Byron can be read anticipating the existentialist aim to explore being in terms of angst. Achieving awareness of being through despair means that Byron's characters fall back on nothing but themselves, that is to say, on the presence of their being, which suggests that an embedded ontology is at work in Byron's poetical thinking. This ontology is best understood in terms of his Dasein, which similarly conceives of being by virtue of its presence, its thereness.<br>Au sens le plus large cette thèse expose une impulsion existentialiste dans la poésie de Lord Byron. De façon plus particulière, j'examine quatre des principales oeuvres de Lord Byron afin d'analyser les similitudes entre les manières qu'ont ses personnages de réaliser pleinement leur propre existence à travers l'émotion du désespoir. Je soutiens donc que Lord Byron peut être lu comme anticipant le désir existentialiste d'explorer l'être en termes d'angoisse. En prenant conscience de l'être à travers le désespoir, les personnages de Byron se rabbattent sur eux-mêmes, en d'autres mots, sur la présence de leur être. Cela me permet de proposer la présence d'une ontologie incrustée dans la pensée poétique de l'auteur. Cette ontologie se comprend le plus aisément par le terme Dasein, qui de façon similaire conçoit l'être simplement en vertu de sa présence.
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Ashman, Ian. "The meaning and utility of organisational commitment : an existentialist critique and reconceptualisation." Thesis, Manchester Metropolitan University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405304.
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Balça, Jorge. "When a voice is not enough : the existentialist opera performer as auteur." Thesis, University of Portsmouth, 2017. https://researchportal.port.ac.uk/portal/en/theses/when-a-voice-is-not-enough(2aa0b16d-7a79-4249-8ab7-e96c7089197d).html.
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This document is the written component of a Practice-as-Research (PaR) doctoral project exploring opera training and opera production, with a particular focus on the creativity of the opera performer. It is submitted alongside a DVD evidencing a two-week-long training workshop with professional opera performers based on the Jacques Lecoq method of actor training. The four main research questions ask how performers can be included in the creative process as auteurs; what characterises a type of training model capable of unlocking the performers’ creativity and what skills it develops; how opera can evolve and outgrow definitions constrained by specific production models; and what impact the PaR processes had on the artistic practice. Chapter 1 starts by giving an overview of opera training and production practices and establishes the research within the radical humanist paradigm of the social sciences. Chapter 2 introduces the existentialism of Jean-Paul Sartre, the theory of multiple intelligences of Howard Gardner and aspects of the creativity theory of Ken Robinson as the three major philosophical pillars of the study. Chapter 3 positions the research in the history and debates of PaR. It also details the Lecoq-inspired content of the workshop and offers a rationale for the use of studio-based group training, semi-structured interviews and training diaries as primary research methods. Chapter 4 complements the accompanying DVD to present the data that is further analysed in Chapter 5. Finally, Chapter 6 concludes the thesis by establishing the need for a safe exploratory ensemble environment, if the performer is to achieve his/her creative potential. That, however, requires the fostering and application of ‘multiple intelligences’ to performance and a non-deterministic view of the material. Ultimately, the thesis establishes the notion of an opera beyond the confinements of the structures that define what opera currently is, and presents a vision of opera as what we will it to become.
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Gallon, Stéphane. "L’emploi du Temps dans "L’Emploi du temps" de Butor." Thesis, Rennes 2, 2013. http://www.theses.fr/2013REN20016/document.
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Dans la perspective de réhabiliter la stylistique herméneutique, L’emploi du Temps dans L’Emploi du temps de Butor cherche à montrer comment le style non seulement permet d’entrevoir les Visions du Monde passées ou présentes mais contribue à mieux comprendre le monde et offre même des pistes éthiques aidant à dépasser crises et impasses.Puisque ramenant constamment aux mêmes faiscsèmes (sèmes inhérents à plusieurs stylèmes et se retrouvant à des niveaux d’analyse différents), les stylèmes des architextes, énonciations, récit, histoire et écriture de L’Emploi du temps révèlent en effet qu’au Temps linéaire traditionnel issu du judéochristianisme, de la pensée bourgeoise et de lamécanique classique, Butor substitue non pas comme certains de ses contemporains un Temps labyrinthique et absurde mais un Temps stratifié, un Temps rendant compte à la fois des acquis de la pensée mythique et de certaines des conceptu-alisations philosophiques de Kierkegaard, Bergson, Husserl, Heidegger, Sartre et Bachelard.Dépassant ces penseurs, prenant doublement à contre-pied Bergson, illustrant certaines des remarques d’Heidegger sur l’art, Butor en arrive même à mettre peu à peu en place, par le jeu complexe des stylèmes associés en faiscsèmes, un Temps structuré, spatial et musical. En découle un « emploi du Temps » bien moins anxiogène et tyrannique que celuique nous subissons depuis l’avènement de la révolution industrielle, un emploi du Temps qui aide à passer de l’inauthentique à l’authentique, donne épaisseur et poids aux actes, est source d’unification et de liberté, musicalise et poétise le réel, en un mot, permet de toucher du doigt monde, être et éternité<br>With a view to rehabilitating hermeneutic stylistics, L’emploi du Temps dans L’Emploi du temps de Butor seeks to show how style not only offers glimpses of past and present world views, but also enhances understanding of the world, even providing ethical pointers to help get over crises and deadlocks. Since they constantly bring us back to the same “faiscsèmes” (“asemeblies” ?) (semes inherent to several stylemes, found at different levels of analysis), the stylemes of the architexts, enunciations, accounts, story and writing of L’emploi du Temps reveal that instead of the traditional linear Time that comes from the Judeo-Christian view, bourgeois thinking and the classical physics/mecanics, Butor proposes, not like some of his contemporaries an absurd, labyrinthine Time, but a stratified Time, a Time reflecting both the experiences of mythical thought and some of the philosophical conceptualisations of Kierkegaard, Bergson, Husserl, Heidegger, Sartre and Bachelard. Going further than these thinkers and doubly opposing Bergson, illustrating certain comments made by Heidegger on art, Butor even comes gradually to install a structured, spatial and musical Time through a complex interplay of stylemes combined into sembeams. This gives rise to a much less stressful and tyrannical use of time than has been imposedsince the industrial revolution, a use of time that helps us move from the unauthentic to the authentic, gives substance and weight to actions, is a source of unification and freedom, makes reality musical and poetic, in a word, brings us closer to a full grasp of world, being and eternity
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(basar), Baskaya Dilek. "Camus: A Rebel At The Junction Of Existentialism And Skepticism." Phd thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613263/index.pdf.
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ABSTRACT
CAMUS: A REBEL AT THE JUNCTION OF EXISTENTIALISM AND SKEPTICISM
(Basar) Baskaya, Dilek
Ph.D., Department of Philosophy
Supervisor: Prof. Dr. S. Halil Turan
May 2011, 190 pages
The purpose of this thesis is to examine Albert Camus&rsquo<br>s stance in existentialism and scepticism, to discuss his philosophy by referring to his life, which, in many respects, forms a foundation for his philosophy and to exhibit that he maintains his contemporariness in the 21st century.
As existentialism is treated differently by different philosophers, the main concern of the thesis is to discuss how Camus handles it. This is done by focusing on his approach to issues appearing commonly in existentialism, such as the absurd, suicide, God, rebellion, freedom, and alienation and by scrutinising the link between existentialism and skepticism.
According to Camus, the absurd is the paradoxical condition caused by a contradiction or a confrontation of two unequal concepts or situations. The merit, for Camus, is to survive despite the disillusionment the absurd brings about. Consequently, he is against suicide because he regards it as surrender to the absurd. Camus claims that it is man himself who can make his own life meaningful. Thus, man may question the existence of God and revolt metaphysically against the absurdity and injustice in the world. The metaphysical rebel can then establish the unity and order that he believes is lacking in the world.
Camus attaches great importance to rebellion because it brings man freedom. And freedom is indispensable because being deprived of freedom means submission to an authority and, therefore, loss of human dignity.
Alienation is a major issue for Camus, too, as it is a result of man&rsquo<br>s &lsquo<br>thrownness&rsquo<br>on to the world and displays the human situation.
The thesis analyses the above items in detail with reference to all Camus&rsquo<br>s major works.
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van, Velzen Nicolas Herman. "Literature and existentialism, the case of Dostoyevsky (Fyodor Dostoyevsky, Russia)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ44894.pdf.
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Dulley, Paul Richard. "'In front of your nose' : the existentialism of George Orwell." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/56743/.
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George Orwell's reputation as a writer rests largely upon his final two works, selected essays and some of his journalism. As a novelist, he is often considered limited, and it is for this reason that his writing has perhaps received less serious attention than that of many of his contemporaries. Some recent publications have sought to redress this balance, identifying an impressive level of artistry, not only in his more recognised works, but in the neglected novels of the 1930s. Yet, aside from studies focused upon his political beliefs, there has been a lack of attention given to the wider ideas underpinning Orwell's writing, in particular, those which might be considered, in popular terms, ‘existential'. Given its unusually firm grounding in the many experiences he underwent, Orwell's thought, I argue, can be viewed profitably from this philosophical standpoint. By engaging his writing in a dialogue with that of the phenomenological-existentialist thinkers, Martin Heidegger, Jean-Paul Sartre, and Emmanuel Levinas, this project aims to make sense of the ideas implicit within his work. Where the work of the aforementioned figures is often opaque and highly abstracted, it will be shown that Orwell's offers the reader literary and real-life exemplars as a means of making difficult ideas understood. The study is divided into four two-part chapters, which track the Orwell canon in a broadly chronological fashion. In parallel with this, the ideas of the existential philosophers are, too, introduced chronologically: Heidegger, Sartre and, Levinas. The thesis attempts to argue that understanding the implicit existentialism in the work of Orwell not only offers a more complete insight into the man, and the tensions inherent in his character, but also affords the reader many much-needed exemplifications, and in some cases augmentations, of some of the most important ideas in existentialist philosophy.
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Germain, Rosie. "The British and American reception of French existentialism, 1939-1972." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708183.
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Theobald, Tom Paul. "Existentialism and baseball : the French philosophical roots of Paul Auster." Thesis, University of Newcastle upon Tyne, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436163.
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Green, Claire Catherine. "Authentic existence : its individual and social dimensions." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/41442.
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The aim of this thesis is to provide an explication and analysis of the existential concept of authentic existence, through an
examination of Sartre, Nietzsche, Heidegger and Buber. It is primarily Sartre's treatment of authenticity, only implicit in his writings,
which this thesis seeks both to make explicit and to defend.
The positions of Nietzsche, Heidegger and Buber are each used to
compare or contrast with key aspects of Sartre's concept of authentic existence, in order to establish the strengths and weaknesses
of the Sartrean position.
Sartre's concept of individual authenticity rests upon an ethics designed to liberate the individual from living in 'bad faith'
by means of a reflective comprehension of the nature of human reality. It is an ethics of self-recovery or authentic existence, having
as its ideal the development of the morally autonomous individual
who chooses to take freedom as his ultimate value.
Sartre also maintains that authenticity requires that we take
the freedom of others, as well as our own, as our goal. At the same
time, however, his discussion of relations with others in Being and
Nothingness is a profoundly negative one, which contends that conflict is the original meaning of 'being-for-others'.
It will be argued that Sartre's theory of groups in Critique
of Dialectical Reason provides an account of how positive social relations are indeed possible within the parameters of his ontology.
The theory of groups thus renders intelligible that aspect of his
concept of authentic existence which requires of us common action
on behalf of the freedom of all.
Finally, Sartre's sociopolitical ideal, or that towards which authentic action is ultimately directed, is identified as a 'direct
democracy'. Such a community would be the concrete embodiment
of a free society of disalienated individuals mutually choosing to
promote each other's freedom.<br>Arts, Faculty of<br>Philosophy, Department of<br>Graduate
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Hohman, Xiamara Elena. "Transcending the "malaise" : redemption, grace, and existentialism in Walker Percy's fiction." Dayton, Ohio : University of Dayton, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1272680647.
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Thesis (M.A. in English) -- University of Dayton.<br>Title from PDF t.p. (viewed 06/23/10). Advisor: Albino Carrillo. Includes bibliographical references (p. 72-75). Available online via the OhioLINK ETD Center.
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Brydon, James. "Writing World War Two in French Literarure from Existentialism to Postmodernism." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.516993.
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