Against Unnecessary Duplication of Selves: A Sartrean Argument Against Zahavi

In this article I argue that Zahavi's Sartre-inspired combination of the experiential and narrative self entails an unnecessary duplication of selves. Sartre himself accused Husserl of the same mistake in The Transcendence of the Ego. He claims that Husserl's combination of the transcendental I and the Me is unnecessary, and that we can do without the first. I try to show that Sartre's critique of Husserl also applies to Zahavi. Sartre's critique is based on his idea of impersonal consciousness, which I explain by comparing it to Armstrong's example of the long-distance truck-driver. Furthermore, I explicate how the alternative notion of self that Sartre proposes in the same work avoids unnecessary duplications of selves, and thereby evades further problems concerning how the two selves relate to one another.     

Horror,Fear, and the Sartrean Account of Emotions

Phenomenological approaches to affectivity have long recognized the vital role that emotions occupy in our lives. In this paper, I engage with Jean‐Paul Sartre's well‐known and highly influential theory of the emotions as it is advanced in his Sketch for a Theory of the Emotions. I examine whether Sartre's account offers two inconsistent explications of the nature of emotions. I argue that despite appearances there is a reading of Sartre's theory that is free of inconsistencies. Ultimately, I highlight a novel reading of Sartre's account of the emotions: one that is both phenomenologically accurate and supported by textual evidence.     

Sartre's Theory of Motivation

The aim of this article is to offer a novel reconstruction of Sartre's theory of motivation. I argue for four related claims: (a) Sartre's theory of motivation revolves around the Schelerian‐inspired notion of affectivity and the peculiar way affectivity provides us access to evaluative properties of the objects in our environment; (b) according to Sartre, the structure of intentional action, and in particular the act of choice and commitment to projects, is inextricably linked with “affectivity”; (c) the inextricable link between intentional action and affectivity is to be analyzed in terms of the fundamental structure of consciousness as being self‐present, thus making the agent nonpositionally aware of her choices and commitments; (d) an agent is motivated to act when her affective disclosure of value is in part constituted by the awareness of her commitments to relevant projects.     

A Comedy We Believe In: A Further Look at Sartre's Theory of Emotions

This paper discusses recent interpretations of Jean‐Paul Sartre's early theory of emotions, in particular his Sketch for a Theory of the Emotions. Despite the great interest that Sartre's approach has generated, most interpretations assume that his approach fails because it appears to be focussed on ‘malformed’, ‘irrational’ or ‘distorted’ emotions. I argue that these criticisms adopt a rationalistic or epistemically biassed perspective on emotions that is wrongly applied to Sartre's text. In my defence of Sartre I show that the directional fit of emotions is not towards an evaluatively loaded world which is independently given and, at best, represented by emotions, but towards a world shaped through the impact of emotions themselves. Sartre's idea of emotions ‘magically transforming’ reality for the subject so that the latter is better able to cope with problematic aspects of practically relevant situations encapsulates the world‐shaping capacities of emotions, which are thus not reserved for a restricted class of emotions. Recognition of the transformative powers of emotions will also direct attention away from their seemingly representative elements to their normative and practical aspects and offer a new basis for delineating the criteria for judging them. The plausibility of this position is discussed with reference to some of Sartre's examples, such as fear, sadness and horror, but also with reference to Joan Didion's account of grief in The Year of Magical Thinking.     

Nonidentity,Negative Experience and the Pre‐Reflective Cogito

This paper contributes to the current academic debate on the nature of embodied, intentional consciousness, specifically the attempt to inaugurate a rapprochement between phenomenological existentialism and critical theory. This is accomplished through a critical comparison of the concepts of negative experience and nonidentity in Theodor Adorno's negative dialectics and Jean‐Paul Sartre's early phenomenology. By comparing how each engages with Hegel, I suggest that Sartre offers a broad, anthropological account of negative experience and nonidentity helpful to critical theorists but that there remains a critical deficit which Adorno's more restricted—and political—sense of nonidentity remedies. Sartre's anthropological portrayal of ‘persistent negation’ worries Adorno but I suggest that it can be understood as a pragmatic presupposition for problem‐solving rather than as a transcendental condition of experience.     

Two cheers for Tanhā

The central character in Sartre's 1938 novel La Nausée, Antoine Roquentin, has lost his sense of things, and now the world appears to him as utterly unstable. Roquentin suffers from what he calls ‘nausea,’ a condition caused by an ontological intuition that the self, as well as the world through which that ‘self’ moves, lacks a substantial nature. The novel portrays Sartre's own philosophical account of the self in La transcendence de l'égo. Here Sartre argues that Husserl's account of consciousness is not radical enough; the ‘I’ or ego is a pseudo-source of activity (and Sartre thus draws very close to a particularly Buddhist account of personal identity). My essay questions Roquentin's response to his ontological insight: why is this the occasion for ‘nausea’? Why doesn't Roquentin (as King Milinda famously does) celebrate and embrace his ‘non-self’? I argue that Sartre's depiction of Roquentin's ailment, and the unsatisfactory solution he provides, misunderstands both the aggregate nature of things as well as authentically rendered consciousness-only (vijñaptimātra).     

Sartre and Bergson: A Disagreement about Nothingness

Abstract

Henri Bergson's philosophy, which Sartre studied as a student, had a profound but largely neglected influence on his thinking. In this paper I focus on the new light that recognition of this influence throws on Sartre's central argument about the relationship between negation and nothingness in his Being and Nothingness. Sartre's argument is in part a response to Bergson's dismissive, eliminativist account of nothingness in Creative Evolution (1907): the objections to the concept of nothingness with which Sartre engages are precisely those raised by Bergson. Even if Sartre's account of nothingness in its entirety is found to be flawed, I argue that the points he makes specifically against Bergson are powerful.

My discussion concludes with a brief examination of the wider philosophical background to Sartre's and Bergson's discussion of nothingness: here I point to some important aspects of Sartre's early philosophy, including some features of his conception of nothingness, that may testify to Bergson's positive influence on his thought.     

Narrative Fiction and Epistemic Injustice

This article looks at the role that narrative fiction—film, television, and literature—can play in countering and mitigating epistemic injustice. The notion of epistemic injustice is explicated by Miranda Fricker as a distinctive kind of injustice done to a knower in her role as a knower and is identified in two forms: testimonial injustice and hermeneutical injustice. The operation of both types of epistemic injustice depend upon the social imagination and the shared concepts of social identity within it—what it is to be a man, woman, straight, black, gay, transgender. It is here that narrative fiction becomes pertinent, as it has the potential to influence the social imagination for the better. Fricker uses fictional scenarios to clarify her notions of epistemic injustice; I argue that aside from elucidating analysis of our epistemic practices, fiction can also provide epistemic correctives. In the first through fourth sections of the paper, I explore ways in which narrative fiction can combat testimonial and hermeneutical injustice. The fifth section then considers the unique features of narrative fiction in this capacity to resist epistemic injustice and argues that it capitalizes on advantages that other approaches cannot share in.     

Women,Hegel, and Recognition in The Second Sex

This paper develops a new account of Beauvoir's “Hegelianism” and argues that the strand of contemporary interpretation of Beauvoir that seeks to represent her thought in isolation from that of Jean‐Paul Sartre constitutes a betrayal of the philosophy of recognition that she derives from Hegel. It underscores the extent to which Beauvoir influenced Sartre's Being and Nothingness and shows that Sartre and Beauvoir both adapted Hegel's ideas and agreed in rejecting his optimism.     

Is Iris Murdoch a Closet Existentialist? Some Trouble with Vision,Choice and Exegesis

Abstract: Richard Moran argues that Iris Murdoch is an Existentialist who pretends not to be. His support for this view will be shown to depend on his attempt to assimilate Iris Murdoch's discussion of moral ‘vision’ in the parable of the Mother in Law to Sartre's thought on ‘choice’ and ‘orientation’. Discussing both Moran's Murdoch exegesis and Sartre's Being and Nothingness, I develop the Sartrean view to which Moran hopes to assimilate Murdoch, before pointing out how Moran's assimilation fails. Murdoch's thought that when M is just and loving she sees D ‘as she really is’ cannot be accommodated on Sartre's picture. I develop this point of disagreement between Murdoch and Sartre, and argue that Murdoch has not as Moran claims made a misattribution to Sartre of an unsituated will, but has instead offered a penetrating critique of the central theme of Sartre's epistemology.     

SELF‐DECEPTION AND THE EXPERIENCE OF FICTION

Sartre's commentary on bad faith is the starting‐point for an exploration of self‐deception: what it is not, what it is, and whether it's always wrong. The proffered analysis of self‐deception parallels a certain theory of our experience of fiction. In essence, it is argued that the self‐deceiver creates a kind of fiction in which he is a character, a fiction that he nonetheless believes to be real.     

Narrative identity,practical identity and ethical subjectivity

The narrative approach to identity has developed as a sophisticated philosophical response to the complexities and ambiguities of the human, lived situation, and is not – as has been naively suggested elsewhere – the imposition of a generic form of life or the attempt to imitate a fictional character. I argue that the narrative model of identity provides a more inclusive and exhaustive account of identity than the causal models employed by mainstream theorists of personal identity. Importantly for ethical subjectivity, the narrative model gives a central and irreducible role to the first-person perspective. I will draw the connection between narrative identity and ethical subjectivity by way of an exposition of work by Paul Ricoeur and Marya Schechtman, and a brief consideration of Korsgaard’s work on practical identity and normative ethics. I argue that the first-person perspective – the reflective structure of human consciousness – arises from human embodiment, and therefore the model of identity required of embodied consciousness is more complex and irreducibly first-personal than that provided in a causal account. What is required is a self-constitution model of identity: a narrative model of identity.     

Cyborg Identities and the Relational Web: Recasting 'Narrative Identity' in Moral and Political Theory

Current debates surrounding liberalism and communitarianism, modernity and postmodernity, ethical theory and narrative ethics fail to account for shifting foundations of personal identity in an increasingly computer-mediated era of human communication. This paper aims to examine some of the conceptual assumptions about identity and community which are being radically undermined by rapidly evolving information networks and are therefore in need of redefinition. Additionally, I argue for an expansion of the literary imagination to include virtual, coauthored fiction sites where exploration of personal identity will bear upon future ethical and political decision-making.     

Violence in Camus and Sartre: Ambiguities

The friendship between Albert Camus and Jean‐Paul Sartre was torn apart over the question of the justifiability of violence in the service of a desired political end. I argue that the undeniable political and moral differences between Sartre and Camus are in fact ones of emphasis and not, as they themselves came to believe, ones of total opposition. A careful consideration of points of connection, however ambiguous, allows for a more nuanced narrative of Sartre’s and Camus’s famous relationship and of debates about justice and the legitimacy of violence that remain central to our contemporary world.     

BELIEF AND PRETENSE: A REPLY TO GENDLER

Abstract: In cases of imaginative contagion, imagining something has doxastic or doxastic‐like consequences. In this reply to Tamar Szabó Gendler's article in this collection, I investigate what the philosophical consequences of these cases could be. I argue (i) that imaginative contagion has consequences for how we should understand the nature of imagination and (ii) that imaginative contagion has consequences for our understanding of what belief‐forming mechanisms there are. Along the way, I make some remarks about what the consequences of the contagion cases are for the relation between knowledge and imagination.     

The Look of Love

I begin to suggest an alternative to the notion of vision based in alienation and hostility put forth by Jean‐Paul Sartre, Sigmund Freud, andfacques Lacan. I diagnose this alienating vision as a result of a particular alienating notion of space presupposed by their theories. I develop lrigaray's comments about light and air to suggest an alternative notion of space that opens up the possibility that vision connects us to others rather than alienates us from them.     

Consultation from the Consultant's Perspective

This presentation examines psychoanalysis from the standpoint of fictionalism. Fictionalism maintains that all aspects of human experience are creations of imagination, that mind‐made realities constitute for human beings their sole realms of existence, and that it is only about these realms that anything at all can be known. No other knowable realities exist. Fictionalism is an aesthetic orientation that considers these imaginative constructs artistic renderings that are aesthetically formed and experienced, and that must be comprehended and evaluated aesthetically. Furthermore, it regards these artistic constructs as works of fictions—invented textual realities woven by the perpetual interplay of multitudinous signifiers into ever‐changing psychical configurations. From a fictionalist's perspective, “truth”; becomes, paradoxically, a manifestation of fiction. The term fiction intends not only to underscore the radical divergence of fictionalism's philosophical perspective from realism's but to emphasize its reinterpretation of the materialities realism posits as also inventions of imagination. Fictionalism does not, however, simply reverse the hierarchy and valuation of the real/fiction dichotomy but modifies the very understanding of this dichotomy's conceptualization and, by reinscribing realism as itself a form of fiction, even diminishes some of the antagonism inherent in this age‐old rivalry. Rooted deep in psychoanalytic tradition, realism's role has been complex, inconsistent, contradictory, and often embarrassingly naive. Fictionalism contests the many postulates of realism that psychoanalysis has incorporated so fundamentally into its theory and technique. Focusing primarily on transference, I argue not only that this phenomenon has been misconstrued within a realist framework but that most of the other features of psychoanalysis have been as well because psychoanalysis is basically a fictional enterprise.     

Is Imagination Introspective?

The literature suggests that in sensory imagination we focus on the imagined objects, not on the imaginative states themselves, and that therefore imagination is not introspective. It is claimed that the introspection of imaginative states is an additional cognitive ability. However, there seem to be counterexamples to this claim. In many cases in which we sensorily imagine a certain object in front of us, we are aware that this object is not really where we imagine it to be. So it looks as if in these cases of imagination, we are aware of the mere appearance of the imagined object, and hence introspection is a constitutive part of imagination. In this article, I address this contradictory state of affairs and argue that we should classify at least some forms of sensory imagination as introspective. For this purpose I use the appearance-reality distinction as a central notion for introspection. I also defend the thesis of introspective imagination against the objection that young children imagine without yet understanding the concept of experience.     

Early Sartre on Freedom and Ethics

This paper offers a revisionary interpretation of Sartre's early views on human freedom. Sartre articulates a subtle account of a fundamental sense of human freedom as autonomy, in terms of human consciousness being both reasons‐responsive and in a distinctive sense self‐determining. The aspects of Sartre's theory of human freedom that underpin his early ethics are shown to be based on his phenomenological analysis of consciousness as, in its fundamental mode of self‐presence, not an object in the world (Section 1). Sartre has a multi‐level theory of the reasons‐sensitivity of consciousness. At one level, consciousness's being alive to reasons is a matter of the affective perception of values and disvalues as features of phenomenal objects (Section 2). This part of his theory, a development of Scheler's, is, however, situated within a broader phenomenological analysis resulting in the claim that the ultimate reasons acknowledged by consciousness neither are nor justifiably could be values adequately presentable as intentional objects. Consciousness's ultimate reasons are, in this sense, not given by the world but by itself (Section 3). Section 4 reconstructs and assesses Sartre's argument that consciousness cannot rationally have an ultimate end other than self‐transparent (‘authentic’) freedom itself.     

Existential perspective in the thought of Carl Jung

It is argued that there is a significant existential perspective in the thought of Carl Jung. Similarities and differences with some of the views of Jean Paul Sartre are explored as a way of developing this perspective and to show how a philosophy of a man might be developed drawing from both sources. Jung is shown to be in disagreement with Sartre in defending an idea of a determinate human nature, describing the self in a developmental way, and in not claiming that human freedom is absolute or unconditioned. Nevertheless, the Jungian concept of individuation is similar to Sartre's ideal of authenticity, in that both focus on the goal of achieving meaningful existence through development of inner resources, creative exercise of freedom, and overcoming self-deception.