Aesthetics in Sartre and Camus. The Challenge of Freedom by Wittmann Heiner

By Wittmann Heiner

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Tyson. Harmondsworth: Penguin, 1975. 38 Sartre, Forgers of Myths, in: ditto, Sartre on Theatre. Documents assembled. Edited, introduced and annotated by M. Contat et M. Rybalka. Translated by F. Jellinek. New York: Pantheon Books, 1976, p. 33-43, p. 37. 33 47 Jean-Baptiste Pontalis,39 a French psychoanalyst, believes that the screenplay for Scenario Freud, a piece of work that was commissioned by John Huston,40 opened up for Sartre the possibility of gaining a whole new image of Freud. But these insights did not alter his rejection of Freudian theories, as evidenced by the 1970 interview (Sartre par Sartre) quoted above and the theoretical approach in The Family Idiot.

Sartre's collaboration in translating Karl Jaspers' Allgemeine Psychopathologie^ in 1928 was an opportunity for him to become acquainted with fundamental concepts and problems of psychology. 3 Heidegger had lapsed in to activism, Sartre wrote4, a remark that clearly shows that Sartre can hardly have kept abreast of the discussion current at the time about the works of Husserl and Heidegger. The political indifference of the then 28-year-old Sartre has been judged as an omission and, mostly in hindsight, as quite neglectful.

I, p. 822. 10 Cf. ditto, The Problem of Method, p. 83 f. 39 in 1956, at his intention of wanting to contribute to the dissolution of existentialism, which appears to him to be feasible, once Marxist theory had accepted a human dimension as the foundation of anthropological knowledge. But this undertaking was doomed to fail from the start, because if Marxism were to change - which was theoretically possible - Sartre himself had already announced in The Problem of Method that existentialist positions would nonetheless be included in future concepts, albeit in a different context.

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