FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W235035141> ?p ?o ?g. }

• W235035141 startingPage "376" @default.
• W235035141 abstract "JEAN-PAUL SARTRE SUMMARIZED his philosophy in three words: existence precedes essence, thereby abandonning all a priori definitions of a human being. According to Sartrean existentialism, before a person can complete the statement 'I am ... something, he or she must acknowledge the primary reality of human existence: I am. Whatever follows this realization of the mere fact of existence can only result from action. Every individual is absolutely free--Sartre says that people are condemned to be free--and we totally define ourselves by our actions, we create ourselves through our choices. The authentic individual must confront this existential reality by accepting responsibility for actions and refusing to invoke any external standards, religious or philosophical, to justify personal choices. Such an individual is overwhelmed by the full implications of this radical freedom and experiences moral anguish and a sense of absurdity in recognizing that everything is ultimately arbitrary. The result is alienation from the great majority of people, who will not appreciate this freedom, and the free individual must endure a profound despair born of absolute moral solitude and from the certainty that there is no metaphysical hope. Reading The Flies (Les mouches) is possibly the best introduction to the philosophy of Sartre. His first dramatic work, it is comparatively brief, yet contains all the essential elements of his existentialist thought. It is also one of Sartre's least ambiguous works, certainly much clearer than the 1938 novel, Nausea (La nausee). Gabriel Marcel, the Christian existentialist and Sartre's contemporary, considers The Flies a manifesto of existentialism (L'heure theatrale, 189). Despite this relative clarity, opinions about the fundamental meaning of this play are varied, just as are assessments of Sartre's ultimate achievement in philosophy. One particularly interesting detail about The Flies is that it was first staged during the Nazis' occupation of France. Since many post-war critics find an anti-Vichy message in the play, or view it even as a clarion call to resistance, the fact that The Flies was allowed on a Parisian stage in 1943 has had to be explained. Typically, Sartre's freedom to produce his play has been attributed either to the stupidity of the German censors, or to their artistic liberalism (Brosman, 73). However, critics do not seem to have considered an equally obvious possibility, and one that has profound implications for the interpretation of the play and the overall assessment of Sartre's philosophy. It is possible that the German censors were correct, ultimately, in detecting nothing dangerous in the message of The Flies, at least nothing that would challenge their totalitarian program for a subjugated Europe. Like other French writers of the twentieth century (Anouilh, Camus, Giraudoux), Sartre expounded his ideas by reviving ancient Greek themes and characters, in this case by reworking the myth of Orestes and Electra. The thoughts and deeds of this brother and sister illustrate opposing reactions to the propositions of Sartrean existentialism as they confront the moral dilemma of vengeance against the murderers of their father, King Agamemnon of Argos. But the spectator (or the reader) of Sartre's dramatic recreation must keep in mind that all is not as it appears. Though Sartre has exploited many aspects of the Greek myth, he most decidedly does not wish to recreate classically-inspired tragedy. Whereas in Greek theater tragedy often seems to arise from the distance separating people from the divine, atheistic existentialism admits to no possibility of a chasm to be bridged, for nothing lies beyond mankind, nothing but the void. In the opening scene of The Flies, Orestes has returned to Argos with his tutor, but, significantly, under the assumed name of Philebus of Corinth. Though he knows his true family history, Sartre's Orestes has yet to really discover himself. …" @default.
• W235035141 created "2016-06-24" @default.
• W235035141 creator A5033052914 @default.
• W235035141 date "2007-03-22" @default.
• W235035141 modified "2023-09-23" @default.
• W235035141 title "Sartre, Marcel, and the Flies: Restless Orestes in Search of a Cafe" @default.
• W235035141 hasPublicationYear "2007" @default.
• W235035141 type Work @default.
• W235035141 sameAs 235035141 @default.
• W235035141 citedByCount "2" @default.
• W235035141 countsByYear W2350351412014 @default.
• W235035141 crossrefType "journal-article" @default.
• W235035141 hasAuthorship W235035141A5033052914 @default.
• W235035141 hasConcept C111472728 @default.
• W235035141 hasConcept C121332964 @default.
• W235035141 hasConcept C127882523 @default.
• W235035141 hasConcept C138885662 @default.
• W235035141 hasConcept C152697720 @default.
• W235035141 hasConcept C171773132 @default.
• W235035141 hasConcept C17744445 @default.
• W235035141 hasConcept C182744844 @default.
• W235035141 hasConcept C199539241 @default.
• W235035141 hasConcept C26834231 @default.
• W235035141 hasConcept C2777344014 @default.
• W235035141 hasConcept C2777487392 @default.
• W235035141 hasConcept C2778896172 @default.
• W235035141 hasConcept C2779150620 @default.
• W235035141 hasConcept C2779377209 @default.
• W235035141 hasConcept C2780791683 @default.
• W235035141 hasConcept C62520636 @default.
• W235035141 hasConcept C7493553 @default.
• W235035141 hasConcept C94625758 @default.
• W235035141 hasConceptScore W235035141C111472728 @default.
• W235035141 hasConceptScore W235035141C121332964 @default.
• W235035141 hasConceptScore W235035141C127882523 @default.
• W235035141 hasConceptScore W235035141C138885662 @default.
• W235035141 hasConceptScore W235035141C152697720 @default.
• W235035141 hasConceptScore W235035141C171773132 @default.
• W235035141 hasConceptScore W235035141C17744445 @default.
• W235035141 hasConceptScore W235035141C182744844 @default.
• W235035141 hasConceptScore W235035141C199539241 @default.
• W235035141 hasConceptScore W235035141C26834231 @default.
• W235035141 hasConceptScore W235035141C2777344014 @default.
• W235035141 hasConceptScore W235035141C2777487392 @default.
• W235035141 hasConceptScore W235035141C2778896172 @default.
• W235035141 hasConceptScore W235035141C2779150620 @default.
• W235035141 hasConceptScore W235035141C2779377209 @default.
• W235035141 hasConceptScore W235035141C2780791683 @default.
• W235035141 hasConceptScore W235035141C62520636 @default.
• W235035141 hasConceptScore W235035141C7493553 @default.
• W235035141 hasConceptScore W235035141C94625758 @default.
• W235035141 hasIssue "3" @default.
• W235035141 hasLocation W2350351411 @default.
• W235035141 hasOpenAccess W235035141 @default.
• W235035141 hasPrimaryLocation W2350351411 @default.
• W235035141 hasRelatedWork W1599462472 @default.
• W235035141 hasRelatedWork W171814570 @default.
• W235035141 hasRelatedWork W187273809 @default.
• W235035141 hasRelatedWork W1983477244 @default.
• W235035141 hasRelatedWork W2001318003 @default.
• W235035141 hasRelatedWork W2019584066 @default.
• W235035141 hasRelatedWork W2022757911 @default.
• W235035141 hasRelatedWork W2082606637 @default.
• W235035141 hasRelatedWork W2095031525 @default.
• W235035141 hasRelatedWork W2122524556 @default.
• W235035141 hasRelatedWork W2141982467 @default.
• W235035141 hasRelatedWork W2174757630 @default.
• W235035141 hasRelatedWork W2197197061 @default.
• W235035141 hasRelatedWork W2314870243 @default.
• W235035141 hasRelatedWork W2321445256 @default.
• W235035141 hasRelatedWork W2343777874 @default.
• W235035141 hasRelatedWork W248918748 @default.
• W235035141 hasRelatedWork W274990981 @default.
• W235035141 hasRelatedWork W306252263 @default.
• W235035141 hasRelatedWork W311546842 @default.
• W235035141 hasVolume "48" @default.
• W235035141 isParatext "false" @default.
• W235035141 isRetracted "false" @default.
• W235035141 magId "235035141" @default.
• W235035141 workType "article" @default.