Thesis advisor: Christopher Constas / Philosophers throughout the ages have grappled with the concept of glory-seeking and have offered many different references, analyses, insights, and explanations. Three great thinkers in particular stand out above the rest: Plato, Thomas Hobbes, and Jean-Paul Sartre. While these three minds span from circa 420 BC all the way up to 1980 AD, they all would agree that glory-seeking certainly matters – they would most likely argue over the following: In what way? For Plato, glory-seeking is an inherent part of the human soul. It matters because it is an essential part of our being. Plato’s model for the soul found in The Republic as well as a comparable illustration in the Phaedrus expresses this claim most thoroughly. Additional support for the idea of glory-seeking being an existing precondition of humanity can be found in other ancient works as well, most notably Homer’s Iliad. A current example is professional athletes in the NFL risking their earning potential in order to play injured. For Hobbes, glory-seeking is a tool to be used for social advantage. It matters because it can be used it for advantage and power. Chapters X and XIII in The Leviathan most critically highlight this sentiment. Further support for the idea of glory-seeking being a weapon in the self-made man’s arsenal can be found in Jean-Jacques Rousseau’s Discourse on the Origin of Inequality. The largest modern-day example is celebrity culture: the news and entertainment factory so woven into current American culture, which is particularly embodied by the public behavior and lyrics of hip-hop artist Kanye West. For Sartre, glory-seeking provides an answer to existential angst. It matters because it helps us believe that we matter. The Sartre’s philosophical work, Being and Nothingness, as well as his existential novel, Nausea, provide ample evidence of this notion. More support for the idea of glory-seeking as a method of coping with the awareness one’s own existence can be found in Søren Kierkegaard’s The Present Age. Contemporary manifestations include the incessant self-promotion and self-presentation found on social media sites such as Twitter, Facebook, Instagram, and YouTube. The goal of this work is to first investigate glory-seeking for Plato, Hobbes, and Sartre and analyze what each thinker has to say on the matter. After that, modern examples and additional input from other relevant philosophers will be assessed within the overall context of glory-seeking for Plato, Hobbes, and Sartre. Finally, after everything has been considered, I will attempt to synthesize all that has been presented thus far while answering the question: Why does glory-seeking matter? / Thesis (BA) — Boston College, 2014. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program. / Discipline: Philosophy Honors Program. / Discipline: Philosophy.

Thesis advisor: Jeffrey Bloechl / Per Jean-Paul Sartre and Albert Camus, existentialism is the profound truth that the world lacks inherent meaning and thus, we are radically free to choose, to live life as we please. While these assertions are both true and liberating and the theoretical level, these axioms leave individuals disoriented. They never answer the question: how does one live within an absurd world? Thus, these authors never give us a way of coping with the harsh repercussions of absurdity. To answer this question, this project turns to intersubjectivity and the work of Emmanuel Levinas. Levinas’s theory of the other demonstrates that we are not merely beings in a vacuum; the world is conditioned by the interpersonal. Relating to the Other allows us to see that we are not alone in our suffering, for the Other and the individual mutually witness one another. Such connections provide a means of coping with absurdity, allowing us both solidarity and insight into the truly absurd nature of the world. Thus, the application of Levinas’s intersubjectivity to existentialism serves to save Camus’s notion of absurdity from its more nihilistic tendencies, allowing us to accept and apprehend absurdity without falling into despair or ignorance. / Thesis (BA) — Boston College, 2018. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Departmental Honors. / Discipline: Philosophy.

Submitted by PPG Filosofia (filosofia-pg@pucrs.br) on 2018-05-21T14:13:07Z No. of bitstreams: 1 DIS_MARCUS DE DUTRA MATTOS.pdf: 938312 bytes, checksum: f7f780f9c6a0f684f25bcd960a832a98 (MD5) / Approved for entry into archive by Sheila Dias (sheila.dias@pucrs.br) on 2018-06-01T14:40:18Z (GMT) No. of bitstreams: 1 DIS_MARCUS DE DUTRA MATTOS.pdf: 938312 bytes, checksum: f7f780f9c6a0f684f25bcd960a832a98 (MD5) / Made available in DSpace on 2018-06-01T14:50:02Z (GMT). No. of bitstreams: 1 DIS_MARCUS DE DUTRA MATTOS.pdf: 938312 bytes, checksum: f7f780f9c6a0f684f25bcd960a832a98 (MD5) Previous issue date: 2018-03-01 / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / Pierre Bourdieu states that the Sartrean concept of original project is a founding myth of belief in the uncreated "creator". He contrasts as antithesis to the original project his concept of habitus. Our research follows this Bourdieusian assertion and tests its pertinence. The Sartrian original project starts from a premise of the ontological freedom of the being of which Bourdieu, without affirming it, in our view, uses it to base the influences operated by the field, translated in the habitus. That means: There is more of Sartre in Bourdieu than he may affirms. The conceptual constellation of Pierre Bourdieu transpasses the work of Sartre. / Pierre Bourdieu afirma que o projeto original sartriano ? um mito fundador da cren?a no "criador" incriado. Contrap?e como ant?tese ao projeto original o seu conceito de habitus. Nossa pesquisa acompanha esta assertiva bourdieusiana e testa sua pertin?ncia. O projeto original sartriano parte de uma premissa de liberdade ontol?gica do ser da qual, Bourdieu, sem afirma-la, ao nosso ver, usa-a para fundamentar as influ?ncias operadas pelo campo, traduzidas no habitus. Quer dizer: H? mais de Sartre em Bourdieu do que este afirma. A constela??o conceitual bourdieusiana transpassa a obra de Sartre.

Made available in DSpace on 2019-03-30T00:21:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2017-12-04 / This dissertation aims to understand the meanings of contemporary conjugality for young university students living in Fortaleza-CE, based on the phenomenological-existential view of Jean-Paul Sartre. The research uses the progressive-regressive method for the analysis and the discussion of the collected data is launched on open interviews with 10 young adults, aged between 18 and 26 years, seeking to capture the phenomenon through its dialectical movement. Conjugality is a social phenomenon existing in many cultures and times, but has undergone transformations throughout history. As a mundane phenomenon, it has its meanings built through the relation of man to his environment, changing himself, together, to the culture and society in which he finds himself. Permeated by rules and values in constant transition, new ways of being a couple emerge in contemporary times. In this way, its meaning has its own characteristics, depending on the context in which it is inserted. Thus, the research seeks to answer the following research question: in contemporary times, what are the meanings of conjugality for young fortalezenses? The text thus discusses, through the existential phenomenology of Jean Paul Sartre and Simone de Beauvoir, the transformations through which conjugality has been passing through time, as well as the meanings it has for men and women, using concepts such as freedom and project of being to understand the experiences and perceptions of these young people about the contemporary conjugal relations. From the analysis, it can be concluded that many young people have identified conjugality as a relation of companionship and respect between people, regardless of sex, who maintains a daily relationship and a division of responsibilities of the home. However, although marital relations have undergone several changes, revealing innumerable ways of being a couple, the Fortalezense context is perceived as an environment permeated by a macho patriarchal culture, with the social and conjugal roles of men and women being often, in ideologies based on the biological differentiation of the subjects. However, it is possible for the subjects to transcend the situations in which they find themselves, through their project of being. To this, many seek to enter universities, to increase their professional and financial independence ways of achieving conjugality based on equality among their members. Keywords: Conjugality; Contemporaneidade; Existential Phenomenology; Jean-Paul Sartre; Simone de Beauvoir. / A presente dissertação tem como objetivo compreender os significados da conjugalidade na contemporaneidade para jovens universitários residentes em Fortaleza-CE, a partir do olhar fenomenológico-existencial de Jean-Paul Sartre. A pesquisa utiliza o método progressivo-regressivo para a análise e a discussão dos dados coletados a partir de entrevistas abertas com 10 jovens adultos, de idade entre 18 e 26 anos, buscando captar o objeto de estudo por meio do seu movimento dialético. A conjugalidade constitui um fenômeno social existente em diversas culturas e épocas, mas que sofreu transformações ao longo da história. Como fenômeno social, possui seus significados construidos por meio da relação do homem com seu meio, se modificando, juntamente, à cultura e à sociedade nas quais se encontra. Permeada por regras e valores em constante transição, emergem, na contemporaneidade, novos modos de ser casal. Dessa forma, seu significado apresenta características próprias, a depender do contexto no qual está inserido. Assim, a pesquisa busca responder ao seguinte questionamento de pesquisa: na contemporaneidade, quais os significados da conjugalidade para os jovens fortalezenses? O texto discute, assim, por meio da fenomenologia existencial de Jean Paul Sartre e de Simone de Beauvoir, as transformações pelas quais a conjugalidade vem passando com o decorrer do tempo, assim como os significados que esta possui para homens e mulheres, utilizando conceitos como liberdade e projeto de ser para compreender as vivências e percepções desses jovens acerca das relações conjugais contemporâneas. A partir da análise, pode-se concluir que muitos jovens identificaram a conjugalidade como uma relação de companheirismo e respeito entre pessoas, independentemente do sexo, que mantém um convívio diário e uma divisão de responsabilidades do lar. Porém, apesar de as relações conjugais terem passado por diversas mudanças, revelando, na contemporaneidade, inúmeras formas de ser casal, o contexto Fortalezense é apreendido como um ambiente permeado por uma cultura patriarcal machista, sendo os papéis sociais e conjugais de homens e mulheres pautados, muitas vezes, em ideologias sustentadas na diferenciação biológica dos sujeitos. No entanto, aos sujeitos é possibilitado transcender as situações nas quais se encontram, por meio do seu projeto de ser. Para isso, muitos buscam no ingresso de universidades, na ascensão profissional e na independência financeira formas de alcançar uma conjugalidade pautada na igualdade entre seus membros. Palavras-chave: Conjugalidade; Contemporaneidade; Fenomenologia Existencial; Jean-Paul Sartre; Simone de Beauvoir.

Master essay "Freedom and autonomy in work of Jean-Paul Sartre" engages Sartre's literature and drama. It is trying to find some elements of the author's philosophy, which are included in his stories. Because of that, I indicated some significant thematic spheres based on author s phil- osophical works - Freedom and responsibility of human; Feeling of anxiety and subsequent insincerity; Freedom in interpersonal relationships. Significantly I observed the presence of mentioned themes during detailed analysis of Sartre's fictions and dramas. I managed to prove that Sartre's literature and dramas don't just include mentioned thematic elements, but it is even adapted to display these philosophical themes in the stories, novels or dramas. It confirms the thesis that Sartre was creating his literature and dramas to spread his own philosophical ideas to whole society. Personally, I evaluate this as the big contribution of the author.

Ma, Chun Fai. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 210-221). / Abstract also in Chinese. / Abstract --- p.5 / 摘要 --- p.6 / Acknowledgements --- p.7 / Introduction A phenomenological study of Being and Nothingness --- p.8 / Chapter §1 --- Explanation of the title of thesis --- p.8 / Chapter §2 --- The historical background: Sartre the existentialist and phenomenologist --- p.9 / Chapter §3 --- Structure of the present research --- p.12 / Chapter (i) --- Scope of research: Being and Nothingness --- p.12 / Chapter (ii) --- Methodology --- p.14 / Chapter (iii) --- Themes and structure of the research --- p.15 / Chapter Chapter 1 --- Sartre´ةs phenomenological method --- p.18 / Chapter §1.1 --- Sartre's project: a “phenomenological ontology'' --- p.18 / Chapter 1.1.1 --- The difficulties for a phenomenological re-interpretation of BN --- p.18 / Chapter 1.1.2 --- Sartre´ةs concept of phenomenon --- p.21 / Chapter § 1.2 --- The Husserlian moment: intentional and eidetic analysis --- p.26 / Chapter 1.2.1 --- Abschattung and essence --- p.27 / Chapter 1.2.2 --- The percipere: consciousness as the directedness of intentions --- p.31 / Chapter § 1.3 --- The Heideggerian moment: the question of the meaning of Being --- p.34 / Chapter 1.3.1 --- The question of the meaning of Being: Heidegger´ةs ontological difference --- p.34 / Chapter 1.3.2 --- Phenomenon of being and being of phenomenon --- p.37 / Chapter Chapter 2 --- A phenomenological anthropology --- p.42 / Chapter §2.1 --- A new motive for phenomenological research --- p.42 / Chapter 2.1.1 --- A follower of the old path? --- p.42 / Chapter 2.1.2 --- Husserl and his quest for foundational science --- p.44 / Chapter 2.1.3 --- Heidegger and his pursuit of fundamental ontology --- p.47 / Chapter § 2.2 --- A project of phenomenological anthropology --- p.51 / Chapter 2.2.1 --- Sartre and his anthropological concern --- p.51 / Chapter 2.2.2 --- The ontology of human reality and its ethical implication --- p.54 / Chapter 2.2.3 --- Existential psychoanalysis as a moral description --- p.56 / Chapter 2.2.4 --- Human reality versus Dasein? --- p.59 / Chapter Chapter 3 --- Being-for-itself and being-in-itself --- p.66 / Chapter §3.1 --- A preliminary sketch of being-for-itself and being-in-itself --- p.66 / Chapter 3.1.1 --- The wrestling between the Husserlian and Heideggerian elements in BN --- p.66 / Chapter 3.1.2 --- Two regions of being: their eidetic and ontological implications --- p.69 / Chapter §3.2 --- Being-for-itself as the origin of nothingness (I 'origine du neant) --- p.74 / Chapter 3.2.1 --- The meaning of nothingness (neant) --- p.74 / Chapter 3.2.2 --- Consciousness as nihilation (neantis ation) --- p.81 / Chapter 3.2.3 --- Consciousness (of) self and pre-reflective cogito --- p.84 / Chapter §3.3 --- Being-in-itself as transcendent object --- p.90 / Chapter 3.3.1 --- The transcendent object and its transphenomenality --- p.91 / Chapter 3.3.2 --- World and instrumentality --- p.94 / Chapter Chapter 4 --- "Human ekstasis: Facticity, Transcendence and Temporality" --- p.100 / Chapter §4.1 --- From nihilation to human ekstasis --- p.100 / Chapter 4.1.1 --- The under-thematized aspects of the For-itself --- p.100 / Chapter 4.1.2 --- The inadequacy of our preceding analysis --- p.102 / Chapter 4.1.3 --- The phenomenological concept of human ekstasis --- p.104 / Chapter §4.2 --- The human ekstasis (1): Facticity --- p.106 / Chapter 4.2.1 --- The For-itself and its pre-destined situation --- p.106 / Chapter 4.2.2 --- "The engagement in projects, tasks and instruments" --- p.108 / Chapter 4.2.3 --- Facticity and reality --- p.111 / Chapter §4.3 --- Human ekstasis (2): Transcendence --- p.114 / Chapter 4.3.1 --- Transcendence as the ekstasis of the For-itself --- p.114 / Chapter 4.3.2 --- Transcendence as projection and surpassing --- p.116 / Chapter 4.3.3 --- The self of For-itself --- p.119 / Chapter 4.3.4 --- The radical undeterminedness of the For-itself --- p.123 / Chapter 4.3.5 --- Possibles and the possibility of being --- p.127 / Chapter 4.3.6 --- Choice and reality: the Transcendence in Facticity --- p.130 / Chapter 4.3.7 --- Value as the being of For-itself --- p.133 / Chapter §4.4 --- Human ekstasis (3): Temporality --- p.138 / Chapter 4.4.1 --- "A naturalistic conception of time, and time as a holistic structure" --- p.138 / Chapter 4.4.2 --- The concreteness of time --- p.141 / Chapter 4.4.3 --- Time as the mode of being of For-itself --- p.143 / Chapter 4.4.4 --- The presence of the For-itself: the temporal dimension of Present --- p.145 / Chapter 4.4.5 --- The possibilities of the For-itself: the temporal dimensions of Past and Future --- p.148 / Chapter 4.4.6 --- The primary structure of time --- p.157 / Chapter Chapter 5 --- The phenomenon of bad faith (mauvaise foi) --- p.160 / Chapter §5.1 --- The existential psychoanalysis --- p.160 / Chapter 5.1.1 --- The necessity of an existential psychoanalysis --- p.160 / Chapter 5.1.2 --- A lie to oneself and a lie to the other --- p.162 / Chapter 5.1.3 --- The “anti-ethical´ح character of bad faith --- p.166 / Chapter §5.2 --- The descriptive examination on concrete instances of bad faith --- p.168 / Chapter 5.2.1 --- The dating woman (1): the confinement of human Transcendence and Temporality --- p.169 / Chapter 5.2.2 --- The dating woman (2): the disintegration of human Transcendence and Facticity --- p.176 / Chapter 5.2.3 --- The homosexual: the manipulation and disintegration of human Temporality --- p.181 / Chapter §5.3 --- The “ideal´ح mode of being: on sincerity and authenticity --- p.188 / Chapter 5.3.1 --- Sincerity as the opposite of bad faith? --- p.188 / Chapter 5.3.2 --- Descriptive analysis on concrete instances of sincerity --- p.190 / Chapter 5.3.3 --- An examination unfinished: authenticity as the “ideal´ح mode of being --- p.196 / Conclusion --- p.202 / Chapter §1 --- The phenomenological and anthropological-ethical contribution of Being and Nothingness --- p.202 / Chapter §2 --- "The limitation of this thesis, and possible directions for further investigation" --- p.205 / Bibliography --- p.210 / Chapter 1 --- Works by Sartre --- p.210 / Chapter 2 --- English/ French materials --- p.210 / Chapter 3 --- Chinese materials --- p.221

My thesis examines existential questioning as a method towards becoming pedagogical. I argue that a pedagogy of existential questioning, as an experience of a distinctive moment characterized by growing uncertainty, is the complete opposite of what we understand the role of pedagogy in the culture of learning to be. As a result, existential questioning is uncomfortable and often unbearable. I argue through Heideggerean and Sartrean questioning, that it is precisely this feeling of discomfort that signals the beginning of becoming pedagogical. I then proceed to articulate the process of existential questioning as hopeful, developing my concept of “hopeful despair” and “desperate hope” to argue for the ambiguous and pedagogical nature of hope. I proceed to look at ways in which existential questioning can be “played” in higher education, and the ways in which the uncomfortable work of becoming pedagogical can in fact be full of wonder, gratification and utter delight.

<p>The moral and ethical choices made during the Nazi Occupation of France would echo for generations: they served as a source of pain and pride when the French sought to rebuild their national identity after the ignominy of the defeat, and acted as the foundation for the intellectual legacy on which post-war life stands.</p><p>In my dissertation I examine the diverse trajectory of two writers, Jean-Paul Sartre and Jean Giraudoux, during the Occupation by focusing on their dramatic works. During this period, no writer could legally exercise his vocation and receive compensation without submitting to certain legalities designed to monitor the content of artistic output. Therefore, any author who published did, at least in some small way, collaborate. This particular line in the sand has become blurred with time and usage. Critics and intellectuals, not to mention the legal system, have initially categorized artists' politics, then, when the boundaries (or public opinion) have shifted, they have chosen to reclassify. Collaborationist, resistant, or neutral - these three convenient labels cannot do justice to the vast array of colors in the Occupation-era landscape. </p><p>Writers, like the public at large, responded to the Occupation by becoming extreme collaborators, opportunists, simply earning their daily bread, or becoming fierce resistants, with an infinite number of various roles in between. Although critics have historically attempted to evaluate Jean-Paul Sartre's and Jean Giraudoux's actions in order to classify them as "resistant" or "collabo," this is a reductive act. Both men, like so many Frenchmen of this period, made an infinite number of small and large decisions that refracted their post-war image according to which critic held the prism. The historiography with regards to this era has dramatically changed. Must the manner in which we "categorize" these two authors not change accordingly? </p><p>With this question in mind, I have carefully studied the authors' primary texts (plays, essays, critiques, memoirs, and letters). In particular, I focus on their theatrical offerings: Les mouches, Huis clos, and La folle de Chaillot, as these are their best-known works of the era. Next, I examined biographies of the Sartre and Giraudoux (as well as other major historical, political, and literary figures) in order to gain as much background information as possible, and moreover, to identify both tendencies and discrepancies with regards to the authors. After this I sifted through the contemporary press related to these two authors, including theatrical reviews of their plays, their own publications in order re-evaluate the Occupation-era theatrical offerings of Sartre and Giraudoux. I have chosen to focus mainly on their plays from the era, as it those are their best-known works, and the those which had the most influence, in creating their political legacy and reputation during the Occupation. Finally, I applied the theories from contemporary historians - Robert Paxton, Henry Rousso, Philippe Burrin, and Gisèle Sapiro among others - in order to develop my own analysis of the theater of Sartre and Giraudoux and their post-war legacy.</p><p>Themes centering on guilt and condemnation abound during the war, especially in these three works. Fueled by De Gaulle's myths of an almost unilaterally resistant French population, the immediate post-war period focused on deliverance from an exterior enemy. However, contrary to popular interpretation, the plays in my corpus condemn the enemy within, the French betrayal of the French.</p> / Dissertation

<p>In my dissertation, I connect the role of literature and its interpretations with France's current occultation of its colonial and imperial past and present. The dissertation puts forth a re-consideration of an excluded work and of some hexagonal classics across time-periods.</p><p>The first chapter focuses on an excluded author from the Canon, The Baron de Lahontan (1683-1716). His Dialogues avec un sauvage (1703) are unique because the strident critique of the clergy, the wealthy and the aristocracy is free from patriotic and essentialist concerns. Today his works are claimed by some Amerindian scholars (such as George Sioui) as illustrative of Amerindian values, but largely ignored by French educational and publishing institutions. . I then examine briefly Diderot's Supplément au Voyage de Bougainville (1773). The comparison of Diderot's Supplément with Lahontan's Dialogues underline that Diderot critique of colonialism was not the primary objective of this work and was limited to issues of sovereignty and pointedly left aside the issue of commerce and indirect political influence.</p><p>The second chapter is on the work of Flaubert, Salammbô. I propose that Flaubert' Salammbô (1862) paints a world in which a collective consciousness based on class begins to emergeI also propose basing myself on Sartre's work on the author, that in Salammbô Flaubert finds a space in which to unfold his own contradictions (as symbolized in the novel by those of Salammbô herself) regarding his belonging to and hatred of the French bourgeoisie.</p><p>In the third chapter, I examine the works of Maupassant as a journalist and novelist in the context of colonialism. As a journalist he defended the interests of an emerging class of colons as a journalist by engaging in a complicated manipulation of public opinion. Maupassant was also the author of classic novel Bel-Ami (1885) which can be read as a ruthless indictment of the financial motivations behind France's colonial expansion. One of my arguments is that Maupassant's fiction in relation to the colonial renewal of the 1880's was what Balzac's novels were to emerging capitalism: his powers of observation transcend his political beliefs.</p><p>The ultimate chapter is about Camus's L'étranger (1942), Le premier home (written in 1959 published posthumously in1994) and his relation with Sartre. I examine how the historical events shaped Camus's fiction and how after his death they contributed to his standing in the literary field today. In L'étranger Camus does not acknowledge Arab characters by name, nor is the violence inflicted upon them considered neither central nor worthy of particular concern. I argue that Camus standing today as progressive and humanitarian thinker despite writing for the French colonial empire is indicative of France's inability to come to terms with its colonial past. </p><p>My re-visitation of the above works has led me examine the notion of progress in history and how its political corollary, the division between progress and reaction, later between left and right does not incorporate the issue of colonialism. I also attempted to assess the colonial and imperial projects as endeavors motivated primarily by economic gains of specific social groups which used race and identity as justifications and cover ups. This interpretative framework based on the theories put forth by Jean-Paul Sartre in his works on colonialism, racism and Flaubert.</p><p>This dissertation contributes a novel critique of hexagonal canonical works and proposes a re-evaluation of the extensive influence of political imperatives on the elaboration and status of works of literature.</p> / Dissertation

¡@What is literature?(Qu'est-ce que la litt&#x00E9;rature?) is a thesis on literature written by Jean-Paul Sartre, the French philosopher, in 1947. By proposing the concept of literary engagement, Sartre attempted to prove that it was natural for literature to engage in the society. Needless to say, such an idea triggered a series of controversy among which the key issue was what the relation between literature and reality was. Regarding this, the current article, starting from the intentionality of the phenomenology, will discuss Sartre¡¦s negativity and Emmanuel Levinas¡¦ shadow concepts in order. It attempts to describe the relation between literature and reality and to unfold such two concepts in parallel at the utmost. However, its purpose is not only to visualize a certain possible mode between literature and reality but to indicate that the difference between literary engagement controversy and others is that it seems to mark the overall symptoms prompted by defining literature with theories. Accordingly, perhaps it is closer to the problematics of literary engagement to find out, apart from repeatedly fixing literature, such a top in movement, to facilitate description, whether it is possible to shed light on the basic fact that literature always conceals itself to draw out reality based on the results that the confrontation between the above-mentioned two theories and literature always leads to, such as communication inability and their being driven away. We thus realize that it is not impossible for the models of Sartre¡¦s and Levinas¡¦ literary objects to converse with such a problematic.