O presente trabalho tem por objetivo promover um espaço de interlocução no qual possamos reunir Jean-Paul Sartre e João Guimarães Rosa em torno de uma questão-guia: em que medida a travessia de Riobaldo pelos espaços sertanejos, da memória e da narrativa pode ser vislumbrada à maneira de um \"retrato romanceado\" da condição existencial humana em sua sempre inacabada \"travessia\" rumo a si? Num primeiro momento, capítulos I e II, trata-se de delinear um campo temático comum ao filósofo francês e ao escritor mineiro a partir das considerações sartreanas acerca do engajamento do escritor. Partimos de Sartre, isto é, partimos de sua relação com a literatura, do lugar que a prosa literária ocupa em seu sistema filosófico e da recepção de suas concepções literárias junto à intelectualidade brasileira. Por essa vertente, chegamos, ao fim do primeiro capítulo, ao que poderíamos chamar de elaboração rosiana do engajamento. Desse ponto, então, tendo por base o conceito de \"romance metafísico\", tal qual proposto por Simone de Beauvoir e aludido por Sartre em Que é a literatura?, voltamo-nos para a relação entre filosofia e prosa literária, a fim de elucidar a especificidade desta frente àquela. Esse movimento nos permitirá investigar, logo em seguida, alguns aspectos formais desse \"romance metafísico\" à luz das marcas de leitura deixadas por Rosa em seu exemplar de Que é a literatura?. Em linhas gerais, trata-se de observar em que medida o romance de Rosa repõe a discussão sartreana acerca da linguagem, da técnica e do estilo romanescos. Num segundo momento, capítulos III e IV, voltamo-nos para a análise do romance Grande sertão: veredas. A essa altura, centramos nossa investigação na maneira pela qual o romance parece pôr em movimento o drama da existência na irremediável singularidade do ex-jagunço Riobaldo: ora como projeto de ser, no plano da \"experiência vivida\"; ora revelando, no próprio tecido de sua narrativa, ou no plano da \"experiência narrada\", a impossibilidade de dar acabamento à vida. / The present work aims to promote a dialogue space between Jean-Paul Sartre and João Guimarães Rosa around a question: to what extent can Riobaldo\'s crossing through sertanejos spaces, memory and narrative be glimpsed in the manner of a \"romanticized portrait\" of the existential human condition in its always unfinished \"crossing\" towards itself? At first, chapters I and II, it is about delineating a common thematic field to the French philosopher and the writer based on the Sartrean considerations about the \"writer\'s engagement\". We start from Sartre, namely, we start from his relationship with literature, from the place that literary prose occupies in his philosophical system and from the reception of his literary conceptions close to Brazilian intelligentsia. From this point of view, we arrive, at the end of the first chapter, to what we could call the Rosa\'s elaboration of the engagement. Following, we analyse the relation between literature and philosophy based on the concept of \"metaphysical novel\", as proposed by Simone de Beauvoir and alluded by Sartre in the essay What is Literature?. This movement allows us to investigate, soon afterwards, the reading marks left by Rosa in What is Literature? In general, it is about perceiving to what extent Rosa\'s novel restores the Sartrean discussion of Romanesque language, technique and style. In the second place, chapters III and IV, we analyse The Devil to pay in the Backlands. At this point, we focus our investigation on the way in which the novel seems to set in motion the drama of existence in the irremediable singularity of the ex-jagunco Riobaldo: some times as a project of being, on the level of \"lived experience\"; sometimes revealing, in the tissue of his narrative, or in the plane of \"narrated experience\" the impossibility of finishing life.

A narração é essencial para a constituição do sujeito. Entretanto, a fronteira entre literatura (ficção) e história (fatos) é especialmente difícil de delimitar, a ponto de se poder perguntar: viver ou narrar? Para além do esforço de delimitação, talvez seja interessante pensar em como reconciliar tais pólos a fim de preservar a atividade mesma de narrar. Esta tese procura compreender o caminho que vai do projeto autobiográfico les mots ao projeto biográfico lidiot de la famille para fazer ver o que levou sartre a renovar seu desejo de escrever e a inventar uma nova forma narrativa. No coração destas preocupações estaria uma concepção restauradora da narrativa enquanto mediação para o processo de metamorfose existencial. Partindo da escrita autobiográfica e biográfica publicada em vida e post mortem e da fala enquanto instrumento autobiográfico, entre colagem e ensaio, liberdade e fidelidade, o intuito é o de não separar método e objeto utilizando uma metodologia que seja ao mesmo tempo ativa e reflexiva. da imaginação como dimensão irredutível de toda práxis e como descobridora de verdades, uma (auto)biografia que é um roman vrai restitui a implicação daquele que escreve com o que escreve e devolve o sentido ético da verdade narrativa. quarenta anos antes o lidiot de la famille chocou assim como les mots, embora por razões diversas. Este entre que foi o trabalho desenvolvido por sartre em meio a tais projetos mostra um entrelaçamento fundamental entre vida e obra. mostra ainda que a tarefa de compreender está necessariamente ligada a este duplo movimento que vai do singular ao universal / Narration is essential to the constitution of the subject. However, the boundary between literature (fiction) and history (facts) is especially difficult to define, to the point of being able to ask: live or narrate? Beyond the effort of delimitation, it might be interesting to think about how to reconcile these poles in order to preserve the same activity of narrating. This thesis seeks to understand the path that goes from the autobiographical project les mots to the biographical project l\'idiot de la famille to see what led sartre to renew his desire to write and invent a new narrative form. In the heart of these concerns would be a restorative conception of narrative as mediation to the process of existential metamorphosis. The thesis is based on autobiographical and biographical writings published in life and post mortem. Reliyng on speech while autobiographical instrument, between collage and essay, liberty and loyalty, the intent is not to separate object and method using a methodology that is both active and reflexive. From the imagination as irreducible dimension of all praxis and as discoverer of truths, an (auto) biography which is a roman vrai restores the implication of the writer with the writing and returns the ethical sense of the narrative truth. forty years before l\'idiot de la famille shocked as les mots, albeit for different reasons. This in--between that was the work developed by sartre amid such projects shows a fundamental intertwining between life and work. It also shows that the task of understanding is necessarily linked to this double movement that goes from the singular to the universal

Ce travail, qui propose une lecture de l’ensemble de l’œuvre autobiographique de Beauvoir, ne vise pas l’exhaustivité. Il cherche plutôt à restituer une image plus exacte de la trajectoire, de l’évolution et des infléchissements de ce projet monumental. De nombreux écrits jusque-là ignorés ont été publiés, dans des temps récents, de façon posthume. Ces textes nouveaux contribuent à ébranler une image simplificatrice ou réductrice de Beauvoir – celle qui le plus souvent se profile, de manière exclusive, soit à travers Le Deuxième sexe, soit à travers le couple Sartre-Beauvoir, soit à travers la conversion politique. Lire de manière méthodique les écrits autobiographiques de Beauvoir, c’est tenter de comprendre comment une intellectuelle et une écrivaine se construit et se distingue. Elle prend certes le contre-pied de ses origines familiales et culturelles. Mais elle va aussi parfois à l’encontre de ses propres tropismes. Une lecture précise, chronologique, mettant en rapport les différentes strates du texte, révèle de telles contradictions. Dans ce dispositif, les Cahiers de jeunesse, récemment publiés en 2008, jouent un rôle particulier. Ils montrent comment la vie intellectuelle de Beauvoir est d’abord une vie intérieure, spirituelle, qui prend même parfois des allures mystiques. Ils montrent surtout, au départ de la vocation littéraire et philosophique, une veine introspective qui fut contrariée un temps par deux tendances antinomiques : d’une part la fascination pour le roman (genre nettement valorisé aux yeux du couple Sartre-Beauvoir) et d’autre part, l’obsession grandissante à l’égard de l’Histoire majuscule. A ces deux facteurs, il faut en rajouter un troisième : le refoulement lié à la défiance à l’égard de l’intime, nettement alimentée par le compagnonnage intellectuel avec Sartre. Dans cette perspective, il m’a paru essentiel de confronter les journaux de Beauvoir, en particulier son Journal de guerre, au texte des Mémoires, qui d’ailleurs y fait constamment référence – sans compter qu’ils intègrent parfois des fragments de journal. Il apparaît, d’une façon générale, que la relecture des journaux, œuvre de toute une vie, a été constante, qu’elle a nourri l’écriture des Mémoires, que celle-ci, conséquemment, a oscillé, selon un mouvement pendulaire, entre l’introspection et la rétrospection. Les Mémoires sont à l’évidence une reconstruction du passé comme tout récit mémorial. Ils le sont plus encore lorsqu’on songe au texte princeps qui les a précédés, et lorsqu’on prête attention à leur archéologie.L’entreprise des Mémoires se présente comme une solution de compromis à l’égard de ces pulsions contradictoires. Elle propose une combinaison originale entre l’écriture de l’intime et l’écriture de l’Histoire, l’écriture de soi et l’écriture des autres. Mais c’est l’ensemble du projet, l’ensemble des écrits autobiographiques qui met en évidence la complexité des intentions et des registres, c’est cet ensemble qui donne pleinement la mesure du projet singulier de Beauvoir.Tous les gestes d’écriture qui composent l’entreprise mémoriale sont indissolublement liés, et en même temps, ils ne se ressemblent pas tout à fait. Une telle diversité des écrits intimes et mémoriels, à la fois totalisatrice et foisonnante, pourrait contribuer à revisiter une théorie parfois un peu figée de l’autobiographie qui tend à classer des sous-genres cloisonnés en les rapportant à des critères distincts, ou en les considérant sous la catégorie générale de l’écriture de soi. / This study, which offers a reading of all the autobiographical writings of de Beauvoir, is not intended to be exhaustive. Its aim is rather to provide a more exact picture of the trajectory, the evolution and the shifting movement of her massive project. Many previously unknown writings have been published posthumously in recent times. These new texts contribute to the undermining of a simplistic and reductive image of de Beauvoir, an image drawn exclusively either from The Second Sex, from the Sartre - de Beauvoir couple, or from her political conversion.In a methodical reading of de Beauvoir’s autobiographical writings, one can attempt to grasp how a woman intellectual and writer constructs herself and marks herself off from others. She undoubtedly turns against her familial and cultural origins, but she is also capable of going against her own tropisms. A precise chronological reading that relates the different strata of the text reveals such contradictions. In such an approach, the Cahiers de jeunesse, published in 2008, play an important role. They show how de Beauvoir’s intellectual life is at first an interior, spiritual life that sometimes even has something mystical about it. Above all, at the outset of a literary and philosophic vocation, the Cahiers show an introspective vein that was for a time thwarted by two opposite tendencies: on the one hand a fascination with the novel (a genre that was highly valued in the Sartre-de Beauvoir couple), on the other hand a growing obsession with History. To these two factors a third must be added: a repression linked to a distrust of the intimate that was clearly fed by the intellectual companionship with Sartre. In this perspective, I thought it essential to confront de Beauvoir’s journals, in particular her Journal de guerre, to the text of the Mémoires, which in any case constantly refer to it and even integrate fragments from it. It would appear in a more general way that her re-reading of the journals, the work of her entire life, was constant, that it fed into the writing of the Mémoires, which as a consequence oscillate in a pendulum movement between introspection and retrospection. The Mémoires are clearly a reconstruction of the past, like all memoir narratives, but that becomes even more true when one thinks of the original text that preceded them and when their archaeology is taken into account.The Mémoires as a project are to be seen as a compromise between these contradictory urges. The enterprise provides an original combination of writing the intimate, writing History, writing the self and writing the other. However it is the project in its totality, the entire autobiographical corpus, that demonstrates the complexity of intention and register, it is this totality that makes it possible to take the measure of de Beauvoir’s singular project.All the gestures of writing that make up the memorial enterprise are indissolubly linked and at the same time different from one another. Such a diversity of intimate and memorial writing, at once systematic and multiple, may contribute to a revisiting of a somewhat rigid theory of autobiography that tends either to isolate sub-genres, classifying them by reference to distinct criteria, or else to bring everything back to the general category of writing the self.

<p>Denna uppsats är, precis som titeln anger, en analys av sambandet mellan motsägelser och ångest. De nutida vardagsuttrycken för begreppen utreds och granskas med hjälp av känslo- och rationalitetsfilosofiska teorier och distinktioner ifrån Arne Næss och Jean-Paul Sartre. Författaren föreslår en egen definition av ångest och jämför denna med andra filosofers och tankeskolors definitioner av begreppet. Författarens syn på ångest skiljer sig från Sartres, då han menar att ångest kan lösas upp och att den ofta är väldigt specifik och konkret till sin karaktär, medan Sartre menar att ångesten är omöjlig att lösgöra sig ifrån och att den är av ett mycket mer generellt slag. Detta konkreta och specifika element i den ångestdefinition, som författaren vill lägga fram, består i att ångesten uppstår i vissa valsituationer där valalternativen, i någon form, är sinsemellan motsägande och där ett val är tvunget att göras.</p> / <p>This paper is, as the title states, an analysis of the connection between contradictionsand anxiety. The present everyday expressions of these concepts are investigated with the help of philosophical theories from Arne Næss and Jean-Paul Sartre concerning emotions and rationality. The author presents his own definition of anxiety and compares it to other philosophers and thinkers’ definitions of the same concepts, and this way he reaches a conclusion. For example this conclusion diverge with Sartre’s view of anxiety, because the author states that it is possible to get free from anxiety and that it is often something very particular and precice, while Sartre says it is impossible to free yourself from it and that it is very general by nature. This specific element in the author’s definition of anxiety lies in the fact that he thinks of it as something that often occurs in situations with two or more options, and where these options are, amongst themself, contradictory in one form or an other, and where a choice has to be made.</p>

Denna uppsats är, precis som titeln anger, en analys av sambandet mellan motsägelser och ångest. De nutida vardagsuttrycken för begreppen utreds och granskas med hjälp av känslo- och rationalitetsfilosofiska teorier och distinktioner ifrån Arne Næss och Jean-Paul Sartre. Författaren föreslår en egen definition av ångest och jämför denna med andra filosofers och tankeskolors definitioner av begreppet. Författarens syn på ångest skiljer sig från Sartres, då han menar att ångest kan lösas upp och att den ofta är väldigt specifik och konkret till sin karaktär, medan Sartre menar att ångesten är omöjlig att lösgöra sig ifrån och att den är av ett mycket mer generellt slag. Detta konkreta och specifika element i den ångestdefinition, som författaren vill lägga fram, består i att ångesten uppstår i vissa valsituationer där valalternativen, i någon form, är sinsemellan motsägande och där ett val är tvunget att göras. / This paper is, as the title states, an analysis of the connection between contradictionsand anxiety. The present everyday expressions of these concepts are investigated with the help of philosophical theories from Arne Næss and Jean-Paul Sartre concerning emotions and rationality. The author presents his own definition of anxiety and compares it to other philosophers and thinkers’ definitions of the same concepts, and this way he reaches a conclusion. For example this conclusion diverge with Sartre’s view of anxiety, because the author states that it is possible to get free from anxiety and that it is often something very particular and precice, while Sartre says it is impossible to free yourself from it and that it is very general by nature. This specific element in the author’s definition of anxiety lies in the fact that he thinks of it as something that often occurs in situations with two or more options, and where these options are, amongst themself, contradictory in one form or an other, and where a choice has to be made.

Thesis--Paris, 1971. / Includes bibliographical references (p. 403-422).

Texte remanié de: Th. Ph. D.--London school of economics and political science. / Précédemment publ. en 1980 par Blackstaff press. Notes bibliogr. Bibliogr. p. [106]-109.Index.

Conselho Nacional de Desenvolvimento Científico e Tecnológico / The objective of this dissertation is to demonstrate the conceptual roots of the phenomenology of consciousness and ontology Sartre characterizes the approach and detachment with the tradition of phenomenology and metaphysics, especially with Husserl and Heidegger emphasizing the relationship and understanding of the concepts themselves and Para- in-itself in the context of existentialist philosophy. Research is carried through the exploration of literature and is divided into three parts. The first was intended to approach the concept of intentionality, travels Husserlian phenomenology, focusing on the constitution of the transcendental ego. The second part aimed to develop a critical overview of phenomenological ontology of Being and Nothingness, often pointing to critical issues regarding the problems of metaphysics and the unilateral conception of realism and idealism. The third part has a contrast of Sartre's phenomenological ontology with the problems resulting from the standoff between the metaphysics of realism and idealism. Finally, we dealt with the problem constructed by putting some problematic aspects of Sartre's phenomenological ontology in view of their involvement with the great questions of Western metaphysics. / O objetivo desta dissertação é demonstrar as raízes conceituais da fenomenologia da consciência e da ontologia sartreana caracterizando a aproximação e o distanciamento com a tradição da fenomenologia e da metafísica, de modo especial com Husserl e Heidegger enfatizando a compreensão e a relação dos conceitos de Para-si e Em-si no contexto da filosofia existencialista. A pesquisa é desenvolvida através da exploração bibliográfica e está dividida em três partes. A primeira destinou-se à abordagem do conceito de intencionalidade, percorre a fenomenologia husserliana, com enfoque na constituição do ego transcendental. A segunda parte teve o objetivo de desenvolver uma síntese crítica da ontologia fenomenológica de O Ser e o Nada, apontando frequentemente para aspectos críticos em relação aos problemas da metafísica e das concepções unilaterais do realismo e do idealismo. A terceira parte fez uma contraposição da ontologia fenomenológica de Sartre com a problemática que resulta do impasse entre a metafísica do Realismo e Idealismo. Por fim, abordou-se a problemática construída, situando alguns aspectos problemáticos da ontologia fenomenológica de Sartre tendo em vista sua implicação com as grandes questões da metafísica ocidental.

La thèse porte sur les liens entre les œuvres littéraires de Pirandello, Moravia et Sartre. Nous analysons la formation de Pirandello au XIXème siècle et l'évolution de son discours autour du rôle de la conscience, ses caractéristiques et sa relation avec le corps et le monde des objets, en s'ouvrant à la multiplication des altérités présentes. La folie est investie d'une position de privilège dans la possibilité de parvenir à une existence authentique. Moravia a repris les idées de Pirandello dans ses livres et il a développé une description de la vie intérieure de l'homme contemporain en relation avec la société où il vit et ses modifications. Sartre, lecteur de Pirandello lui aussi, a éclairci, tout comme Moravia, qu'il connaissait bien, l'importance des états de la conscience (tels que l'ennui, la nausée ou l'indifférence) qui sont à l'origine des sentiments et des projets moraux / My thesis concerns the links between the literary works of Pirandello, Moravia and Sartre. I analyze the formation of Pirandello in the 19th century and the evolution of his proposal around the role of consciousness, its characteristics and the relation with its own body and the world of objects and others. Madness appears to have a position of privilege in order to reach an authentic existence. Moravia took back Pirandello's theory in his books and he developed an internal life description on contemporary man in connection with his society. Sartre, who read Pirandello and was a Moravia's friend, developed the importance of different consciousness' states (such as boredom, nausea or indifference) that are at the origin of moral projects.

Une philosophie de la subjectivité peut-elle accepter le concept freudien d’inconscient ? Cette question est au cœur du projet philosophique de Merleau-Ponty. Le but de ce travail est de montrer comment le questionnement de Merleau-Ponty sur l’inconscient ouvre un espace de pensée nouveau. Celui-ci est délimité d’une part, par une confrontation avec la philosophie de Sartre – Merleau-Ponty transforme le sens de la conscience irréfléchie reconfigure la rencontre d’autrui – d’autre part, par le remaniement de l’inconscient freudien – il s’agit de faire place à la découverte de Freud, tout en écartant une conception réaliste de l’inconscient. C’est en prenant appui sur ce qu’il nomme perception que Merleau-Ponty ouvre la voie à un savoir qui ne se sait pas. / Can a philosophy of subjectivity accept the Freudian concept of the unconscious? This question is at the heart of Merleau-Ponty’s philosophical project. The objective of this dissertation is to show how Merleau-Ponty develops a novel conception of the unconscious. This conception is the product, on the one hand, of a confrontation with Sartre’s philosophy: Merleau-Ponty seeks to reconsider the Sartre an idea of a pre-reflective consciousness and draw other lessons than Sartre does from the analysis of Otherness. It is the result, on the other hand, of a critical reception of the Freudian idea of the unconscious : Merleau-Ponty seeks to make space for Freud’s discovery while rejecting a realist conception of the unconscious. Drawing mainly on his conception of perception, Merleau-Ponty fleshes out – in dialogue with Freud and Sartre – the idea of an “unknown knowing”, i.e. the idea that we may possess a piece of knowledge without knowing it.