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1  General / Sartre Information Request / Dan la Rue del Blanc Monteaux
 on: 12/28/11 at 14:35:56 
Started by Forum Admin | Post by Forum Admin
Hello there at
maybe you can answer to my question...
I'm finishing my cd album,
there will be a song that will use the text by J.P.Sartre: Dan la Rue del
Blanc Monteaux
do you know if there is any copyright pending on it?
is there someone or a structure where I have to ask about this issue?
Waiting for your reply
Best Regards
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2  General / Book Reviews / Nora’s Exit/No Exit
 on: 12/28/11 at 14:28:35 
Started by Forum Admin | Post by Forum Admin
Nora’s Exit/No Exit
A Sartrean Look Inside Ibsen’s Doll House
The three protagonists of Jean-Paul Sartre’s “No Exit” are literary progeny of Henrik Ibsen’s Nora of “A Doll House.”  As 20th-century existentialism is both a response to and an intensification of 19th-century social realism, Sartre’s triumvirate of the condemned is both a response to and an intensification of Ibsen’s proto-feminist rebel.  Sartre’s characters are a distorted but illuminating counterpart of the stages of Nora’s journey from idealism through disillusionment to liberation.  The nature of this liberation is what Sartre leads us to call into question.  Was Nora’s liberation merely a step from one hell into another?
Henrik Iben’s A Doll House (1879)  deserves to be noticed as a significant precursor text for Jean-Paul Sartre’s No Exit (1944).   As 20th-century existentialism is both a response to and an intensification of 19th-century social realism, Sartre’s triumvirate of the condemned is both a response to and an intensification of Ibsen’s proto-feminist rebel.
     When Nora slammed the door, the sound that reverberated was a critical challenge to conventional views on the proper role of women and the nature of love and marriage.  How can human beings--women in particular--attain personal fulfillment within a society that encloses them within rigid roles and expectations that they themselves had no part in creating?  When Garcin exclaimed, “Hell is--other people,”  the gasp that was evoked from audiences signified the radical impasse between our fundamental human aspirations for love (or at least personal validation by others), and the self-directed, egoistic means we use to fulfill them.  How can human beings--women and men--attain an ideal of fulfillment when the very resources we can put to such use compel us by their very nature into alienating forms of behavior toward others?  The two questions are different, and yet somehow the same.
     Garcin, Estelle, and Inez are literary progeny of the self-liberated Nora Helmer.  Sartre’s characters, trapped in an endless cycle of bad faith and frustration, are a distorted but illuminating counterpart of the stages of Nora’s painful journey from self-deceptive idealism through despairing disillusionment to final liberation.  The nature of this liberation is what they lead us to call into question.  Just as beyond No Exit’s small room in Hell there lies only “more rooms, more passages, and stairs,”   beyond the Helmers’ house of Victorian confinement there lies only more houses of the same type, governed by the same repressive values.  And even when, three generations after Ibsen, most of the old social strictures have been dismantled, intimate human relationships can still appear as hopelessly oppressive to individuals.  Is Nora’s liberation, then, merely a step from one hell into another?
     The distinct forms of Sartrean bad faith manifested by Garcin, Estelle, and Inez can, in fact, all be seen in Nora.  Before her moment of awakening, she largely exhibits the type that Sartre delineated through the character of Estelle; during her struggle to tear herself free, she resembles the bad faith of Inez; and after her decision, when she explains herself and makes her exit, she resembles the bad faith of Garcin.  Ibsen’s final tone of hopefulness requires significant qualification--liberation is haunted throughout by questionability.
     It was Bernard Shaw, in 1913, who pointed out, in his The Quintessence of Ibsenism,  that Nora’s progress is one from happy idealism, through unhappy idealism, to disillusioned realism.  In the Helmer household, we at first have “the sweet home, the womanly woman, the happy family life of the idealist’s dream.”   After Nora perceives the consequences of her committing forgery in order to borrow enough money to send her husband on a life-saving vacation in the south, she falls into despair, and “resolves to kill herself rather than allow him to destroy his own career by taking the forgery on himself to save her reputation.”    But Torvald’s  self-serving rage in response to his discovery of Nora’s forgery leads Nora to an epiphany in which “she sees that their whole family life has been a fiction: their home a mere doll’s house in which they have been playing at ideal husband… and wife…  So she leaves him then and there and goes out into the real world to find out its reality for herself.”  
     The happy young wife and mother that Nora is in her first phase--the one Torvald likes to call “skylark” and “squirrel”--already has an unseen shadow self, the one who carries out a business arrangement and runs a domestic money-making enterprise intended to preserve that very carefree conventional surface.  Her young-wifely mannerisms are all literally an act, a performance.  This is in fact a woman in the throes of desperation; her private entrepreneurial activities and her contrasting public persona are both linked to a desperate attempt to preserve the all-important appearance of domestic respectability.  Individual initiative has been placed in the service of a classically “feminine” form of bad faith; this is what we will later see delineated from Sartre’s perspective in the character of Estelle.  The threatened destruction of the respectable surface then drives Nora into a despairing self-destructiveness that thinly conceals a will to destroy the institutions that are oppressing her; we will see this delineated in Sartre’s character of Inez.  ....
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3  General / Sartre Information Request / Permission to use quote
 on: 12/28/11 at 14:22:36 
Started by Forum Admin | Post by Forum Admin
Dear Sirs,
I am wanting to use a quote by JPS in a book I am writing and wondered if
you know where I apply to get permission?
'The best gift a father can leave his son is to die young.'
Also do you know from which book it comes?
Any help would be most helpful.
Many thanks.
Best wishes R*** D***
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4  General / Jean Paul Sartre / Jean-Paul Sartre's play No Exit as a poly fable
 on: 12/28/11 at 14:16:41 
Started by Forum Admin | Post by Forum Admin ml
A while ago Sparkler and I went to see a production of the play No
Exit. Even if you've never heard of it, you've probably heard
Jean-Paul Sartre's signature line from it:
"Hell is other people."
I came away thinking something I've never seen anywhere: that Sartre
surely wrote the play with a polyamory theme in mind, which reviewers
and commentators have missed over the years because they didn't lead
Sartre's poly life.
So here goes. (If you're not into lit-crit type stuff, move along now,
nothin' to see here....)
The play goes like this. Three strangers, freshly dead and just
arrived in Hell, are escorted by a demon valet into a nice hotel room,
where they will be sealed up together for all eternity. They are a man
and two women, one of them a lesbian. Within the first hour and a half
they are trying to kill each other and themselves, using a
letter-opener that the managers of Hell thoughtfully left in the room
for them. Only to discover that in Hell, you can't even die. Bwahaha!
I'd never seen the play performed before. But I knew about it ever
since I had deep discussions of it in high school with my first love,
when I was 16. (Sartre was taught in high school back then.) I
insisted to her that if hell is other people, heaven must be too. The
difference is *all up to us.*
Watching the play, it became clear that the hotel room is meant to be
not a hell but a purgatory, a place where salvation is still possible
— if the characters could only get it together. For instance: early
on, when the characters realize that they are intended to be each
others' torturers (no demons required), the man proposes that they can
beat the system and save themselves by sitting silently apart from
each other in the corners and contemplating repentance.
Of course they can't keep this up for long. The lesbian behaves as a
vicious domme toward the bubblehead socialite girl; the socialite
displays stupid hots for the guy; the guy is disgusted with her but
goes along with it in order to spite the jealous lesbian to her face.
Along the way, we learn that a defining sin for each of these three
people in life — a reason why each one has been sent to Hell — was his
or her behavior in a truly horrid triangle relationship of one sort or
another. And here they are locked together forever, in another three.
Now, Sartre had one of the first famously open relationships involving
threesomes: with his lifelong partner, Simone de Beauvoir (though he's
often judged to have treated her poorly.) I looked up some biography,
and found that the two of them at times brought a third partner into
their couple relationship. In fact, says a recent biographer, de
Beauvoir's own first novel, *She Came to Stay,* "was based on the trio
that she and Sartre formed with a younger woman called Olga
Kosakievicz." And if I'm reading the history right, Olga was
apparently in the first group of three actors to rehearse No Exit when
Sartre wrote it!
So Sartre was quite familiar with living and functioning in MFF threes
(yes, de Beauvoir was actively bi). And even when not in one, he and
de Beauvoir (their relationship lasted 50 years) famously agreed to
tell each other everything about their other lovers.
This had to affect his thinking and writing about bound-together,
sexually interested threes.
I say that No Exit has a little-noticed poly message that's quite
different from the unrelenting bleakness that most people see in
Sartre. If the characters were literally at each others' throats 90
minutes after their arrival in the room, where will they be after a
year in there, or 20 years, or 600? Their hell was arranged to fit
their sins. It is up to them to redeem themselves: by learning to
treat partners in a triad with the love and kindness and devotion they
failed to show in life, and thus create their own salvation there in
that room — since they'll be in it for eternity. If they want to get
to heaven, *this* is where they must make it.
Consider: Sartre makes a big point of stating that the room is
furnished with no mirrors, and that even the women's make-up mirrors
have vanished out of their purses. Therefore, as he has a character
say, the only way they can ever see themselves again is by the tiny
reflections that show when they look deep into one another's eyes.
There's a message of redemption here overlooked by critics who lack
Sartre's poly life experiences (even considering how dysfunctional
those experiences sometimes were). Because if hell is other people,
heaven is too.
Heck, if it was just a man and a woman in the room, and they'd been
sent to Hell for their bad behavior as parts of couples, every
reviewer would say it's obvious they're supposed to save themselves by
learning to love well as a couple. Duhh.
And then, I found a statement by Sartre himself (in the preface he
narrated for the Deutsche Grammophon recording of No Exit), that the
characters in the play are indeed supposed to be able to create their
own redemption:
    What I wanted to suggest is precisely that many people are
encrusted in a series of habits and customs... but that they don't
even try to change.... I wanted to show by way of the absurd the
importance freedom has for us, that is, the importance of changing our
actions by acting differently. No matter what circle of Hell we're
living in, I think we're free to break out of it.
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5  General / Book Reviews / Phenomenology and Human Science Research Today
 on: 12/28/11 at 14:04:33 
Started by Forum Admin | Post by Forum Admin
Massimiliano Tarozzi & Luigina Mortari (eds.)
**Phenomenology and Human Science Research Today**
< phenomenology-and-human-science-research.html>
 Availability: Paperback & Electronic (pdf)
 Publication date: April 2010
 Size: 13 x 20 cm
 Pages: 325
 Language: English
 ISBN: 978-973-1997-44-5 (paperback)
 ISBN: 978-973-1997-45-2 (ebook)
 Paperback: 20 EUR (shipping not included)
 eBook Individuals: 8 EUR
 eBook Institutions: 80 EUR
 Like the Phoenix, the phenomenological movement has been reborn many
times from its own ashes during the last century. In the present
volume the editors decided to address the rich multiplicity and the
fruitful complexity of the phenomenology as a philosophy of thought
and as a style of thinking. Contributions from all over the world and
from a wide range of disciplines are presented here, along three main
axes in which phenomenology can be seen within human science
research: theoretical framework, methodological thinking and research
practice.We are convinced that the essence of phenomenology can be
found in its practice. In this sense, the key question for understand
this philosophy is not “what is phenomenology”, but “how to do
it.”Phenomenology is a way to educate our vision, to define our
posture, to broaden the way we look at the world. That is why
phenomenology is not only explicable as a method (or style) for
philosophical research, but also as a powerful tool for research in
human science.
< phenomenology-and-human-science-research.html>
 *Luigina Mortari and Massimiliano Tarozzi*, Phenomenology as
Philosophy of Research: An Introductory Essay
 /Phenomenology as a Method: Concrete Studies /
 *Mia Herskind*, Changing a Shared Repertoire in the Kindergarten: A
Moving Process
 Giancarlo Gola, Narrative Research on Adult’s Informal Learning
 *Solfrid Vatne*, Development of Professional Knowledge in Action:
Experiences from an Action Science Design Focusing on
“Acknowledging Communication” in Mental Health
 *Luigina Mortari and Chiara Sità*, Analyzing Descriptions of Lived
Experience: A Phenomenological Approach
 /Phenomenological Practice: Methodological Reflections/
 *Scott D. Churchill*, Methodological Considerations for Human
Science Research in the Wake of Postmodernism: Remembering Our Ground
while Envisioning Our Future
 *Letizia Caronia*, Rethinking Post Modernism: On Some Epistemic and
Ethical Consequences of the Researcher’s Commitment to Postmodern
 *Joseph J. Tobin*, Susanna Mantovani and Chiara Bove, Methodological
Issues in Video-Based Research on Immigrant Children and Parents in
Early Childhood Settings
 *Peter Willis and Sally Borbasi*, The Ethical Work of Expressive
Research: Revealing the Remoralizing Power of Pathic Action
 /Phenomenology as Theoretical Perspective /
 *Christopher M. Aanstoos*, Holism and the Human Sciences
 *Daniela Verducci*, Going through Postmodernity with the
Phenomenology of Life
 *Alan Pope*, Metabletics in the Light of Indo-Tibetan Buddhism
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6  General / Book Reviews / Invitation to ArchiPhen
 on: 12/28/11 at 13:55:04 
Started by Forum Admin | Post by Forum Admin
**Iris Aravot & Eran Neuman (eds.)**
**Invitation to ArchiPhen
Some Approaches and Interpretations of
Phenomenology in Architecture**
 Availability: Paperback & Electronic (pdf)
 Publication date: March 2010
 Size: 21 x 25 cm
 Pages: 60 glossy, full-color
 Language: English
 ISBN: 978-973-1997-36-0 (paperback)
 ISBN: 978-973-1997-37-7 (ebook)
 Paperback: 14 EUR (shipping not included)
 eBook Individuals: 7 EUR
 eBook Institutions: 70 EUR
 ArchiPhen is simultaneously architecture and phenomenology,
architecture's phenomenology, phenomenology in architecture. The name
was coined in a moment of conviction that an invitation to ArchiPhen
is timely for practitioners, scholars and students unaware of the
importance of phenomenology for architectural discourse and making
within a contemporary context. Phenomenology is rooted in the first
person perspective and seeks inter-subjectivity, the shared cognition
that shapes our ideas and relationships with the world surrounding us.
With reference to architecture, the study of phenomenology may inform
architectural discourse by borrowing from
phenomenologists-philosophers, by implementing phenomenological
thought in architectural making, analysis and interpretation, and by
applying phenomenology, as radical empiricism, to the realm of
architecture. Although phenomenology has been practiced in various
guises for centuries, it came into its own in the early 20th century,
and was explicitly related to architecture for the first time in the
1950's. Many scholars have since contributed, to the discussion of
architecture-phenomenology, themes for consideration that have evolved
with the metamorphosis of architectural history and its context.
Shedding light on the most profound concerns of architecture, the
field is attracting new generations of scholars in a variety of
events, among them participants in the Architecture and Phenomenology
Conference, held at the Technion, Israel Institute of Technology in
May 2007. Based on a selection of conference presentations, this
publication of short, illustrated essays intends to provide an
accessible entrance into the field of architecture and phenomenology.
(Iris Aravot)
 * Iris Aravot*: Preface
 * Iris Aravot*: Phenomenology as Architectural Method
 * Eran Neuman*: The Present State of Phenomenology in Architecture
 * Danit Baruch*: Bangkok (or a Tel-Aviv love song)
 * Michael Asgaard Andersen*: Utzon’s Bayview House
 * Ana Paula Baltazar dos Santos*: Trans_Ports 2001: A Virtual
 * Aviv Livnat*: Space that Sees: James Turrell (1992)
 * Derya Yorgancioglu*: Steven Holl: A Translation of
Phenomenological Philosophy into the Realm of Architecture
 * Gianluca Fedi*: Church of Saint John Baptist in Florence
 * Benoit Jacquet*: A place of Immanence: Hiroshima’s Ground Zero
 * Jin Baek*: Empty Cross and Shintai: Tadao Ando’s Church of the
 * Leslie Kavanaugh*: Koen van Velsen’s Folded Cinema:A Plea for Le
 * Nili Portugali*: Taken on the Site Itself - A transformational
Planning Process
 * Kasper Lægring Nielsen*: The Phenomenology of Daniel Libeskind's
Jewish Museum Berlin
 * Alexander (Sasha) Ortenberg*: Of Diamonds and Dust
 * Ulrike Passe*: House Marxen, Germany, 2001
 * Stephanie Brandt*: The Art of Memory Peter Zumthor’s Therme Vals
 * Uri Jacob Matatyaou*: Memorial Architecture as Storyteller
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7  General / Existentialism / mauvaise foi/bad faith
 on: 02/08/10 at 12:25:39 
Started by arcturus | Post by arcturus
I am getting interested in applying the concept of mauvaise foi/bad faith to understand better literary characters, does anyone of you any researchers that have done this before or if not this concept applied any of Sartre's existentialist theories to understan better litterary charcters, to use Sartre's existentialist theories for literary research?
Thank you in advance
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 on: 05/28/09 at 14:03:00 
Started by Forum Admin | Post by Forum Admin
If you would like to contribute to, you are welcomed. Please send us materials to:           mail  @   sartre   .   org (all together)
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 on: 05/28/09 at 13:28:13 
Started by Forum Admin | Post by Forum Admin
Hello All,
Due to increased number of spam, auto registration has been disabled. If you want to register, please send an email to    mail  @  sartre .  org (all together) with the following information:
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10  General / Events / Expression Productions Presents a Double Bill
 on: 05/26/09 at 21:56:08 
Started by Forum Admin | Post by Forum Admin
Expression Productions Presents a Double Bill:HELLUVA NIGHTTwo critically acclaimed one acts:  NO EXIT by Jean Paul Sartre & TAPE by Stephen Belber NO EXIT- Three darned souls are brought to
the same room in hell by a mysterious valet. As they  
expect medieval torture devices to punish them for
eternity, they eventually realize that the punishment is
going to be far more cruel and unusual.  The three of
are forced to confront and interrogate each other in
this hell of a game where at the end the main torture
may be facing your own true self.
TAPE- The action is set entirely in Vince's
room at the Motel 6 in Lansing, Michigan. Vince, an ill
te mpered outgoing party animal/drug dealer, is visited
by his old high school friend Jon, a documentary
filmmaker.  As they reminisce about the good old
days, things take a turn when Vince records their
conversation which includes Jon admitting to a
possible date-rape of Amy, Vince's old high school
girlfriend.  Later, when Amy shows up, she opens a
new wave of talk and arguments about whose story is
fact and whose is fabricated.
Also Presented: Photo Exhibit Lightning in
A solo exhibit of new works by Stacy
Where: ROYCE GALLERY: 2901 Mariposa
Street SF,
CA 94110
When:  May 30th  - August 15th Thursday -
Saturday at 8pm. half-price previews May 28 & 29th
Tickets :$40 for double bill or $25 per
show .
Buy on-line at or
via phone at 866-811-4111 student, senior & group
discounts available
Group discount requests can be made via
NO EXIT Cast: Diana Brown, Carole Swann,
Esterlis and Giancarlo Campagna
TAPE Cast: Don Keenan, Tim Meehan and
Emily O'Keefe
Graphic Design- Liz Seibert
Photos & Production Management: Stacy
Music Consultant: Ilya Esterlis
Produced & Directed by Andrey Esterlis
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~About Playwrights (brief bios):
Jean Paul Sartre- Born in Paris in 1905,
philosopher, existentialist, writer and dramaturge,
author of "Being and Nothingness", "Huis Clos", "Les
Mouches", "Les Mains Sales","La Nausee" "Critique of
Dialectic Reason","Les Mots" for which he received, in
1960 the nobel prize that he declined.
Sartre was a professor of philosophy when he joined
the French Army at the outbreak of World War II.
Captured by the Germans, he was released, after
nearly a year, in 1941. He immediately joined the
French resistance as a journalist. He joined the
Communist Party (PC) because of the need to take
active part in the fight for the proletarian.
His existentialist philosophy, proposes no god, no
ethic, no moral, and was meant to be a cleaning of the
old secular values, where god is replaced by some
ethical statements; and completely denied the
existence of some kind of rules or clues to behave.
The solution, was the subject being conscious of his
position towards the world, and the good faith, whose
former question was "what would happen if all acted
this way" The decision of the subject in good faith, and
freedom, was the real act of man.
In the postwar era, Jean-Paul Sartre, became one of
the most influential men of this century. He died in
Paris in 1980.
Stephen Belber -  Stephen was born in
Washington D.C. He studied philosophy as an
undergraduate at Trinity College in Hartford, CT, and
moved to New York at the age of 25. There he
unwittingly moved in with a roommate with AIDS, and
helped nurse him for two years until he died. He held
a variety of jobs including waiter, substitute teacher,
and wire service operator for the United Nations. Plays
include Match (Broadway), McReele (Roundabout
Theatre Company), Tape (Naked Angels,
NYC/LA/London), One Million Butterflies (Primary
Stages), Drifting Elegant (Magic Theatre), The
Transparency of Val (Theater Outrageous, NYC), The
Wake (Via Theater, NYC), Through Fred (Soho
Repertory Theatre), and The Death of Frank (The
Araca Group, NYC). Mr. Belber wrote the screenplay for
Tape, directed by Richard Linklater (Sundance and
Berlin Film Festivals). He is a member of Tectonic
Theater Project and was an Associate Writer (and
actor) for The Laramie Project, later made into an HBO
movie (Emmy nomination for screenwriting). He is a
graduate of Juilliard's Playwrights Program, and has
received commissions from Manhattan Theatre Club,
Playwrights Horizons, Huntington Theatre Company,
Arena Stage, and Philadelphia Theatre Company. His
television credits include "Rescue Me" and "Law &
Order: SVU" (staff writer). Mr. Belber is currently
working on several film projects, including a film of
Drifting Elegant.About Expression Productions:
Expression Productions is an independent production
company. Our artistic style and script selection are
based on several simple principles: We favor small-
cast and/or short form material as we feel they allow
for a
more informal, close communication with an
audience, and tend to have higher density of thought
and action. We like to be a channel for powerful
voices: we'd rather express and found a strong
opinion than stay ethically neutral and politically
correct. We believe in the essential goodness of living
beings, and are committed to carefully exploring and
speaking for their fundamental interests.
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