This book analyzes the different conceptions of authenticity that are behind conflicts over who and what should be recognized as authentically Jewish.  Although the concept of authenticity has been around for several centuries, it became a central focus for Jews since existentialist Jean-Paul Sartre raised the question in the 1940s. Building on the work of Sartre, later Jewish thinkers, philosophers, anthropologists, and cultural theorists, the book offers a model of Jewish authenticity that seeks to balance history and tradition, creative freedom and innovation, and the importance of recognition among different groups within an increasingly multicultural Jewish community.
 
Author Stuart Z. Charmé explores how debates over authenticity and struggles for recognition are a key to understanding a wide range of controversies between Orthodox and liberal Jews, Zionist and diaspora Jews, white Jews and Jews of color, as well as the status of intermarried and messianic Jews, and the impact of Jewish genetics.  In addition, it discusses how and when various cultural practices and traditions such as klezmer music, Israeli folk dance, Jewish yoga and meditation, and others are recognized as authentically Jewish, or not.
 

From the beginning to the end of his philosophizing, Sartre appears to have been concerned with "bad faith"—our "natural" disposition to flee from our freedom and to lie to ourselves. Virtually no aspect of his monumental system has generated more attention. Yet bad faith has been plagued by misinterpretation and misunderstanding. At the same time, Sartre's correlative concepts of "good faith" and "authenticity" have suffered neglect or insufficient attention, or been confused and wrongly identified by Sartre scholars, even by Sartre himself.

Ronald E. Santoni takes on the challenge of distinguishing these concepts, and of showing whether either or both existential "attitudes" afford deliverance from the hell of Sartre's bad faith. He offers the first fill-scale analysis, reconstruction, and differentiation of these ways of existing as they develop in Sartre's early works (1937-1947).

Although he attempts to redeem Sartre's slighted concept of good faith, Santoni warns that it must not be viewed interchangeably with authenticity. Further, in one of the earliest and most sustained studies of Sartre's Notebooks for an Ethics available in English, Santoni shows how Sartre's posthumously published notes for an "ethics of Salvation" confirm his differentiation and argument. The way out of Sartrean hell, Santoni insists, is authenticity—living "with fidelity" to our unjustifiable freedom and assuming responsibility for it.

Until now it has been impossible to read the full story of the relationship between Albert Camus and Jean-Paul Sartre. Their dramatic rupture at the height of the Cold War, like that conflict itself, demanded those caught in its wake to take sides rather than to appreciate its tragic complexity. Now, using newly available sources, Ronald Aronson offers the first book-length account of the twentieth century's most famous friendship and its end.

Albert Camus and Jean-Paul Sartre first met in 1943, during the German occupation of France. The two became fast friends. Intellectual as well as political allies, they grew famous overnight after Paris was liberated. As playwrights, novelists, philosophers, journalists, and editors, the two seemed to be everywhere and in command of every medium in post-war France. East-West tensions would put a strain on their friendship, however, as they evolved in opposing directions and began to disagree over philosophy, the responsibilities of intellectuals, and what sorts of political changes were necessary or possible.

As Camus, then Sartre adopted the mantle of public spokesperson for his side, a historic showdown seemed inevitable. Sartre embraced violence as a path to change and Camus sharply opposed it, leading to a bitter and very public falling out in 1952. They never spoke again, although they continued to disagree, in code, until Camus's death in 1960.

In a remarkably nuanced and balanced account, Aronson chronicles this riveting story while demonstrating how Camus and Sartre developed first in connection with and then against each other, each keeping the other in his sights long after their break. Combining biography and intellectual history, philosophical and political passion, Camus and Sartre will fascinate anyone interested in these great writers or the world-historical issues that tore them apart.

Sartre’s Critique of Dialectical Reason ranks with Being and Nothingness as a work of major philosophical significance, but it has been largely neglected. The first volume, published in 1960, was dismissed as a Marxist work at a time when structuralism was coming into vogue; the incomplete second volume has only recently been published in France. In this commentary on the first volume, Joseph S. Catalano restores the Critique to its deserved place among Sartre’s works and within philosophical discourse as a whole. Sartre attempts one of the most needed tasks of our times, Catalano asserts—the delivery of history into the hands of the average person.

 

Sartre’s concern in the Critique is with the historical significance of everyday life. Can we, he asks, as individuals or even collectively, direct the course of our history? A historical context for our lives is given to us at birth, but we sustain that context with even our most mundane actions—buying a newspaper, waiting in line, eating a meal. In looking at history, Sartre argues, reason can never separate the historical situation of the investigator from the investigation. Thus reason falls into a dialectic, always depending upon the past for guidance but always being reshaped by the present.

 

Clearly showing the influence of Marx on Sartre’s thought, the Critique adds the historical dimension lacking in Being and Nothingness. In placing the Critique within the corpus of Sartre’s philosophical writings, Catalano argues that it represents a development rather than a break from Sartre’s existentialist phase. Catalano has organized his commentary to follow the Critique and has supplied clear examples and concrete expositions of the most difficult ideas. He explicates the dialogue between Marx and Sartre that is internal to the text, and he also discusses Sartre’s Search for Method, which is published separately from the Critique in English editions.

 

That Sartre's study of Flaubert, The Family Idiot, is a towering achievement in intellectual history has never been disputed. Yet critics have argued about the precise nature of this novel, or biography, or "criticism-fiction" which is the summation of Sartre's philosophical, social, and literary thought. Sartre writes, simply, in the preface to the book: "The Family Idiot is the sequel to The Question of Method. The subject: what, at this point in time, can we know about a man? It seemed to me that this question could only be answered by studying a specific case."

"A man is never an individual," Sartre writes, "it would be more fitting to call him a universal singular. Summed up and for this reason universalized by his epoch, he in turn resumes it by reproducing himself in it as singularity. Universal by the singular universality of human history, singular by the universalizing singularity of his projects, he requires simultaneous examination from both ends." This is the method by which Sartre examines Flaubert and the society in which he existed.

Now this masterpiece is being made available in an inspired English translation that captures all the variations of Sartre's style—from the jaunty to the ponderous—and all the nuances of even the most difficult ideas. Volume 1 consists of Part One of the original French work, La Constitution, and is primarily concerned with Flaubert's childhood and adolescence.

Seen by many as the culmination of Sartre's thought and project, and viewed by Sartre himself as an attempt to answer the question, "What, at this point in time, can we know about a man?" this monumental work continues to perplex its fascinated critics and admirers, who have argued about its precise nature. However, as reviews of the first volume in this translation agreed, whatever The Family Idiot may be called—"a dialectic" (Fredric Jameson, New York Times Book Review); "biography, philosophy, or politics? Surely . . . all of these together" (Renee Winegarten, Commentary); "a new form of fiction?" (Victor Brombert, Times Literary Supplement); or simply, "mad, of course" (Julian Barnes, London Review of Books)—its prominent place in intellectual history is indisputable.

Volume 2, consisting of the first book of part 2 of the original French work, takes the reader through Flaubert's adolescence well into his evolution as an artist. Sartre's approach to his complex subject, whether jaunty or ponderous, psychoanalytical or political, is captured in all of its rich variety of Carol Cosman's translation.

Seen by many as the culmination of Sartre's thought and project, and viewed by Sartre himself as an attempt to answer the question, "What, at this point in time, can we know about a man?" this monumental work continues to perplex its fascinated critics and admirers, who have argued about its precise nature. However, as reviews of the first volume in this translation agreed, whatever The Family Idiot may be called—"a dialectic" (Fredric Jameson, New York Times Book Review); "biography, philosophy, or politics? Surely . . . all of these together" (Renee Winegarten, Commentary); "a new form of fiction?" (Victor Brombert, Times Literary Supplement); or simply, "mad, of course" (Julian Barnes, London Review of Books)—its prominent place in intellectual history is indisputable.

Volume 3 consists of "School Years" and "Preneurosis," which are the second and third books of part 2 of the original French work. In vivid detail, Sartre renders Flaubert's secondary-school experiences and relationships: his part in a student rebellion against the faculty, his teenage infatuation with Romantic literature, his friendships and rivalries with his classmates, and the ironies inherent in the schoolboys' bourgeois existence. Sartre then discusses Flaubert's years at law school, where he studied at his father's insistence. This volume also contains Sartre's most sustained analysis of Madame Bovary. Sartre's approach to his complex subject, whether jaunty or judicious, psychoanalytical or political, is captured in all of its rich variety in Carol Cosman's translation.

Seen by many as the culmination of Sartre's thought and project, and viewed by Sartre himself as an attempt to answer the question, "What, at this point in time, can we know about a man?" this monumental work continues to perplex its fascinated critics and admirers, who have argued about its precise nature. However, as reviews of the first volume in this translation agreed, whatever The Family Idiot may be called—"a dialectic" (Fredric Jameson, New York Times Book Review); "biography, philosophy, or politics? Surely . . . all of these together" (Renee Winegarten, Commentary); "a new form of fiction?" (Victor Brombert, Times Literary Supplement); or simply, "mad, of course" (Julian Barnes, London Review of Books)—its prominent place in intellectual history is indisputable.

Volume 4 consists of part three, books one and two, of the original French work. This volume, the fourth in a projected five-volume English-language edition, includes Sartre's discussion of the onset of Flaubert's illness, or neurosis, in 1844, and a significant reading of his L'Education sentimentale.

Sartre's approach to his complex subject, whether jaunty or judicious, psychoanalytic or political, is captured in all of its rich variety in Carol Cosman's translation.

With this volume, the University of Chicago Press completes its translation of a work that is indispensable not only to serious readers of Flaubert but to anyone interested in the last major contribution by one of the twentieth century's greatest thinkers.

That Sartre's study of Flaubert, The Family Idiot, is a towering achievement in intellectual history has never been disputed. Yet critics have argued about the precise nature of this novel or biography or "criticism-fiction" which is the summation of Sartre's philosophical, social, and literary thought. In the preface, Sartre writes: "The Family Idiot is the sequel to Search for a Method. The subject: what, at this point in time, can we know about a man? It seemed to me that this question could only be answered by studying a specific case."

Sartre discusses Flaubert's personal development, his relationship to his family, his decision to become a writer, and the psychosomatic crisis or "conversion" from his father's domination to the freedom of his art. Sartre blends psychoanalysis with a sociological study of the ideology of the period, the crisis in literature, and Flaubert's influence on the future of literature.

While Sartre never wrote the final volume he envisioned for this vast project, the existing volumes constitute in themselves a unified work—one that John Sturrock, writing in the Observer, called "a shatteringly fertile, digressive and ruthless interpretation of these few cardinal years in Flaubert's life."

"A virtuoso perfomance. . . . For all that this book does to make one reconsider his life, The Family Idiot is less a case study of Flaubert than it is a final installment of Sartre's mythology. . . . The translator, Carol Cosman, has acquitted herself brilliantly."—Frederick Brown, New York Review of Books

"A splendid translation by Carol Cosman. . . . Sartre called The Family Idiot a 'true novel,' and it does tell a story and eventually reach a shattering climax. The work can be described most simply as a dialectic, which shifts between two seemingly alternative interpretations of Flaubert's destiny: a psychoanalytic one, centered on his family and on his childhood, and a Marxist one, whose guiding themes are the status of the artist in Flaubert's period and the historical and ideological contradictions faced by his social class, the bourgeoisie."—Fredric Jameson, New York Times Book Review

Jean-Paul Sartre (1906-1980) was offered, but declined, the Nobel Prize for literature in 1964. His many works of fiction, drama, and philosophy include the monumental study of Flaubert, The Family Idiot, and The Freud Scenario, both published in translation by the University of Chicago Press.

The relationship between the existentialist Jean-Paul Sartre and the post-structuralist Jecques Derrida has never been fully examined until now. In Forms in the Abyss, Steve Martinot finds, between these two important philosophical thinkers of the twentieth century, "a common uncommonality" by which he sees them confront each other as "kindred souls" despite their vast differences.

Martinot argues that a bridge between these two thinkers can be constructed.  He demonstrates that one can use the critical tools provided by Derrida, and the forms of discourse and reasoning developed by Sartre, to set the two in dialogue with each other. In the process, Martinot develops a theory of dialogue that incorporates both ethics and form and contributes a new way of thinking about critical and social theory.  More importantly, he adds a new ethical and political imperative to postmodern thought that many dritics have often found missing in the works of thinkers like Derrida.

In March of 1980, just a month before Sartre's death, Le Nouvel Observateur published a series of interviews, the last ever given, between the blind and debilitated philosopher and his young assistant, Benny Levy. Readers were scandalized and denounced the interviews as distorted, inauthentic, even fraudulent. They seemed to portray a Sartre who had abandoned his leftist convictions and rejected his most intimate friends, including Simone de Beauvoir. This man had cast aside his own fundamental beliefs in the primacy of individual consciousness, the inevitability of violence, and Marxism, embracing instead a messianic Judaism. No, Sartre's supporters argued, it was his interlocutor, the ex-radical, the orthodox, ultra-right-wing activist who had twisted the words and thought of an ailing Sartre to his own ends. Or had he?

Shortly before his death, Sartre confirmed the authenticity of the interviews and their puzzling content. Over the past fifteen years, it has become the task of Sartre scholars to unravel and understand them. Presented in this fresh, meticulous translation, the interviews are framed by two provocative essays from Benny Levy himself, accompanied by a comprehensive introduction from noted Sartre authority Ronald Aronson. Placing the interviews in proper biographical and philosophical perspective, Aronson demonstrates that the thought of both Sartre and Levy reveals multiple intentions that taken together nevertheless confirm and add to Sartre's overall philosophy. This absorbing volume at last contextualizes and elucidates the final thoughts of a brilliant and influential mind.

Jean-Paul Sartre (1906-1980) was offered, but declined, the Nobel Prize for literature in 1964. His many works of fiction, drama, and philosophy include the monumental study of Flaubert, The Family Idiot, and The Freud Scenario, both published in translation by the University of Chicago Press.

Countless biographers have tried to unveil the real Jean-Paul Sartre without his consent or cooperation. Only John Gerassi—the "non-godson" of Sartre, an atheist—was honored with the responsibility of being Sartre's official biographer. After drafting the commission with Sartre on the back of a menu at La Coupole, Gerassi recorded over one hundred hours of interviews with him between 1974 and 1979, and another hundred hours with Sartre's friends, colleagues, and enemies. Gerassi also immersed himself in Sartre's literary, philosophical, and personal writings. Gerassi had access to all of Sartre's files, unpublished manuscripts, and extensive notes for planned but undelivered lectures. Simone de Beauvoir gave many of Sartre's unpublished letters to Gerassi as well. Sartre trusted the integrity of Gerassi so completely that he considered Gerassi's biography to be the continuation of his own autobiography, Les mots. As a personal friend, Gerassi writes with advantages shared by no other biographer of Sartre.

It is a curious and relatively little-known fact that for two decades—from the end of World War II until the late 1960s—existentialism’s most fertile ground outside of Europe was in the Middle East, and Jean-Paul Sartre was the Arab intelligentsia’s uncontested champion. In the Arab world, neither before nor since has another Western intellectual been so widely translated, debated, and celebrated.
 
By closely following the remarkable career of Arab existentialism, Yoav Di-Capua reconstructs the cosmopolitan milieu of the generation that tried to articulate a political and philosophical vision for an egalitarian postcolonial world. He tells this story by touring a fascinating selection of Arabic and Hebrew archives, including unpublished diaries and interviews. Tragically, the warm and hopeful relationships forged between Arab intellectuals, Sartre, Simone de Beauvoir, and others ended when, on the eve of the 1967 war, Sartre failed to embrace the Palestinian cause. Today, when the prospect of global ethical engagement seems to be slipping ever farther out of reach, No Exit provides a timely, humanistic account of the intellectual hopes, struggles, and victories that shaped the Arab experience of decolonization and a delightfully wide-ranging excavation of existentialism’s non-Western history.

A major event in the history of twentieth-century thought, Notebooks for a Ethics is Jean-Paul Sartre's attempt to develop an ethics consistent with the profound individualism of his existential philosophy.

In the famous conclusion to Being and Nothingness, Sartre announced that he would devote his next philosophical work to moral problems. Although he worked on this project in the late 1940s, Sartre never completed it to his satisfaction, and it remained unpublished until after his death in 1980. Presented here for the first time in English, the Notebooks reveal Sartre at his most productive, crafting a masterpiece of philosophical reflection that can easily stand alongside his other great works.

Sartre grapples anew here with such central issues as "authenticity" and the relation of alienation and freedom to moral values. Exploring fundamental modes of relating to the Other—among them violence, entreaty, demand, appeal, refusal, and revolt—he articulates the necessary transition from individualism to historical consciousness. This work thus forms an important bridge between the early existentialist Sartre and the later Marxist social thinker of the Critique of Dialectical Reason. The Notebooks themselves are complemented here by two additional essays, one on "the good and subjectivity," the other on the oppression of blacks in the United States.

With publication of David Pellauer's lucid translation, English-speaking readers will be able to appreciate this important contribution to moral philosophy and the history of ethics.

Jean-Paul Sartre (1906-1980) was offered, but declined, the Nobel Prize for literature in 1964. His many works of fiction, drama, and philosophy include the monumental study of Flaubert, The Family Idiot, and The Freud Scenario, both published in translation by the University of Chicago Press.

In this important book, Thomas R. Flynn reinterprets and evaluates Sartre's social and political philosophy, arguing that the existential ethics of Sartre's early phase is consistent with the Marxist-inspired views of his later writings. Displaying his mastery of Sartre's entire corpus, Flynn reconstructs Sartre's social ontology with its sensitive balance of the existentialist's respect for moral responsibility and the Marxist's sense of social causation. Flynn focuses on the issue of collective responsibility as a particularly apt test-case for assessing any proposed union of existentialist and Marxist perspectives.

The study begins with an examination of the uses of "responsibility" in Being and Nothingness and in several postwar essays. Flynn then concentrates on the Critique of Dialectical Reason, offering a thorough analysis of the remarkable social theory Sartre constructs there. A masterful contribution to Sartre scholarship, Sartre and Marxist Existentialism will be of great interest to social and political philosophers involved in the debate over collective responsibility.

Sartre and Foucault were two of the most prominent and at times mutually antagonistic philosophical figures of the twentieth century. And nowhere are the antithetical natures of their existentialist and poststructuralist philosophies more apparent than in their disparate approaches to historical understanding.

A history, thought Foucault, should be a kind of map, a comparative charting of structural transformations and displacements. But for Sartre, authentic historical understanding demanded a much more personal and committed narrative, a kind of interpretive diary of moral choices and risks compelled by critical necessity and an exacting reality. Sartre's history, a rational history of individual lives and their intrinsic social worlds, was in essence immersed in biography.

In Volume One of this authoritative two-volume work, Thomas R. Flynn conducts a pivotal and comprehensive reconstruction of Sartrean historical theory, and provocatively anticipates the Foucauldian counterpoint to come in Volume Two.

Sartre and Foucault were two of the most prominent and at times mutually antagonistic philosophical figures of the twentieth century. And nowhere are the antithetical natures of their existentialist and poststructuralist philosophies more apparent than in their disparate approaches to historical understanding. In Volume One of this authoritative two-volume study, Thomas R. Flynn conducted a pivotal and comprehensive reconstruction of Sartrean historical theory. This long-awaited second volume offers a comprehensive and critical reading of the Foucauldian counterpoint.

A history, theorized Foucault, should be a kind of map, a comprehensive charting of structural transformations and displacements over time. Contrary to other Foucault scholars, Flynn proposes an "axial" rather than a developmental reading of Foucault's work. This allows aspects of Foucault's famous triad of knowledge, power, and the subject to emerge in each of his major works. Flynn maps existentialist categories across Foucault's "quadrilateral," the model that Foucault proposes as defining modernist conceptions of knowledge. At stake is the degree to which Sartre's thought is fully captured by this mapping, whether he was, as Foucault claimed, "a man of the nineteenth century trying to think in the twentieth."

Truth and Existence, written in response to Martin Heidegger's Essence of Truth, is a product of the years when Sartre was reaching full stature as a philosopher, novelist, playwright, essayist, and political activist. This concise and engaging text not only presents Sartre's ontology of truth but also addresses the key moral questions of freedom, action, and bad faith.

Truth and Existence is introduced by an extended biographical, historical, and analytical essay by Ronald Aronson.

"Truth and Existence is another important element in the recently published links between Sartre's existentialist ontology and his later ethical, political, and literary concerns. . . . The excellent introduction by Aronson will help readers not experienced in reading Sartre."—Choice

"Accompanied by an excellent introduction, this dense, lucidly translated treatise reveals Sartre as a characteristically 20th-century figure."—Publishers Weekly

Jean-Paul Sartre (1906-1980) was offered, but declined, the Nobel Prize for literature in 1964. His many works of fiction, drama, and philosophy include the monumental study of Flaubert, The Family Idiot, and The Freud Scenario, both published in translation by the University of Chicago Press.

The writings published here are not so much an epitome as episodes. But most do not digress. They mark the turns and turning points of a human style, the tropes of an expressive life embodying the changing tempos of an age. Until we fall silent, all of us are trying to say. These fragmentary efforts to speak to, rejoin, and help create a new community of liberated human beings constitute the epigraphs of Sartre's historical inscription.