Milos B.

Miljak:

S A R T R E 21
-Monographs on teaching of a mental Guru

Monograph 1 The meaning of Philosophy of existentialism A. Passengers without tickets

Jean-Paul Sartre: Life and philosophy are one (From Notes On The Phoney War: September 1939-mars 1940); Man must be invented each day" (Situations III, 1941). 1)* Using a reminiscence of J.P.Sartre (21 June 1905 15 April 1980) from his youth, mentioned in his autobiographical novel Words (In French: Les Mots, 1964), it could be said that during our life on Earth we are passengers without tickets or a permanently selected destination either. For each of our journey we should select an intended target and be thus personally engaged (a no target is also considered as selected!) and we must pay for it too. Often at the price of our freedom if accepting a pre-paid fare by the others. Or, as an alternative to a social or political engagement obliging us to invent our being each day, we can escape into the magical world of emotion described in Sartres essay on emotion: The Emotion outline of a theory. (French title: Esquisse dune thorie des mocions, 1938). It should be emphasised that before it became an engaged life philosophy, Sartres existentialism had a few ontological stages of development and had a large history of maturing to his existential version of philosophy of subjectivity, stemming from Descartes (1596-1650) rationalism. From these various stages of his existentialism results the observation, often made by modern professors of philosophy, that Sartre

himself in various occasions denied the existential name of his philosophical theory. Especially after his famous lecture, held in Paris 1945, The existentialism is a humanism (Published in French as L'existentialisme est un humanisme, 1946) marking Sartres orientation to the existential practise rather than theory, as it is described in more details in the Monograph 6 of this study. (This is commented also in Monograph 8, under the item devoted to the Roots of Sartres materialistic version of existentialism, concluding that it was Descartes Rationalism and his advance toward a Philosophy of personality, which strongly influenced young Sartre. However, his early philosophy and literature in no way should be considered as abolished by the matured ones but only assimilating in them). 2)* The above-mentioned ontological maturing occurred on the historical background (or situation as Sartre used to say) of the post-First World War and was affected by the atrosities commited during the war, still fresh in the mind of Sartre and his contemporaries. One of his closest friend Nizan, a young student with the leftist political engagement, contributed to his initial political orientation. Two important points should be mentioned also when discussing the development phases of Sartres existentialism: its definition and its human and social scope and intention. It should be emphasised here that Sartre, from his early years until the very and of his philosophical carrier, rejected what he called materialistic metaphysics; including the view that material factors, such as economy, while important for human society as a whole, can be considered as determining decisively the formation of a human personality. As for social scope and orientation of Sartres existentialism, it should be pointed out that it always remained connected with the daily life of common people. It is true that a well-constructed auto or refrigerator make a human daily life easier. But do they really make life more meaningful as well? Sartre was never particularly concerned with progress in technology, or in sciences in general, for that matter. And he seldom used such a word as Humanity or Cosmic destiny; preferring to focus his attention on human beings as individuals on Maria or Mario, Peter or Petra and on their personal situations. For that reason, in my opinion, Sartres subjectively oriented philosophy should be better denominated as phenomenological existentialism. As a writer or philosophy, together with Edmund Husserl, Sartre objected the Cartesian inspired tendency concentrated too much on the role of objective material world in personal development; while as a historian he criticized the orientation on the historical materialism as a main forger of human destiny. Also, while agreeing with Pragmatism on putting aside the problem of religion as a matter of personal conviction (and not of ontology), Sartre disagreed with pragmatists tendency to give the same (pragmatic) treatment to the problems of social conditions necessary to make individual human life possible, or more meaningful. In his lecture entitled: The responsibility of a writer, delivered 1946 at the Paris University Sorbonne, Sartre extensively refered to the Dostoyevskys remark: "Every man is responsible for all before all ". As the following text from this Sartres lecture, delivered one year after the end of the Second World War, is important for this study here is a fragment of it in English as well as its French original cited for a comparative use:

Dostoyevsky said: `Every man is responsible for all and the name of all. This formula is becoming truer every day. As the national entity is more and more integrated in the human community and as each individual becomes more integrated in the national community it can be said that each of us are becoming more and more responsible.
(Dostoevski a dit: Tout homme est responsable de tout devant tous. Cette formule devient de jour en jour plus vraie. mesure que la collectivit nationale s'intgre davantage dans la collectivit humaine, mesure que chaque individu s'intgre davantage dans la communaut nationale on peut dire que chacun de nous devient de plus en plus responsable, de plus en plus largement responsable.)

It clearly shows the shift of young Sartres concentration from the predominantly ontological as well as negativistic aspects of his existentialism, toward the social and political aspects of it. And that is the reason why Sartre considered that Husserls ontological category of intentionality alone, admittedly a novel category of prime importance in the history of philosophy, was not sufficient to explain human existence or to justify it. Only if the intentionality is followed by personal (Marias, or Marios) social and political engagement and thus responsible for all a human being can be determined as such. Sartre learned early how to use ontology as a philosophical tool to better understand human being and his or her consciousness. His early philosophical works cited here can witness the high level of his assimilation and interpretation of the terms and categories of Phenomenology (in particular; on the subjects of Ego, Consciousness and Imagination/Emotion); culminating eventually in his lucid, world famous, philosophical treaty entitled Being and Nothingness. Every effort has been made, however, so that Sartres ontological views exposed and commented upon here be accessible to all readers interested in Sartre and his existentialism. The existentialism of Sartre (1905 1980) and Camus (1913 1960) started from an analysis (psicological, literary, philosophical) of an individual human being engaged in a given world and form of life; rather than from his or her nature or other inner trates. For the existential method of analisis used by Sartre in particular, of the primary importance is Marias or Marios aquired subjectivity based on their freedom of determination and their individual reactions to the given life situations, more than her or his membership in a given political party or the belonging to a certain religion. As both early Sartre (in his novel Nausea - La Nause, 1938) and his friend Camus (in his novelistic essay The Myth of Sisyphus - Le Mythe de Sisyphe, 1942) considered the world as absurd and meaningless while facing the inevitability of death, it is important also how every individual human being reacts to the life contingencies. It should be mentioned also that, historically, the general definition of Existentialism during its initial stage was based on a predominantly pessimistic note. Blaise Pascal (16231662), who inspired the precursor of existentialism Sren Kierkegaard (1813 1855), started this trend by his rejection of Cartesian rationalism which defined the value of a human being as a result of his or her rational potentials. Pascal considered human being as an essential paradox steming from the contradiction between mind and body; an essential problem of the human being so well illustrated in Sartres Nausea and Camus The Myth of Sisyphus some tree hundred years later. Camuspesimistic response to the above mentioned human essential paradox remained unchanged in his literary works - until his early and tragic death. It is important to note, however, that Sartre after the Second World War used all his talent for theatre, cinema,

eseistic and political writing to foster his matured existential theses postulting the improvement of human life as a positive and viable project. (Both great French writers were nominated for Nobel Prize in literature. Sartre rejected it 1964, while Camus received it 1957). It is customary to define Sartres matured version of existentialism as a philosophy grounded on the Sartres famous phrase: Existence precedes essence (which in the Being and Nothingness, 1943, is formulated as: Existence precedes and rules essence). Most authors using the above phrase simply overlook Sartres own added assertion: We mean by existentialism a doctrine that makes human life possible... formulated during his lecture the Existentialism is a Humanism"; delivered at the Club Maintenant in Paris, on 29 October 1945 a few months after the end of the Second World War. (As an interim note here, Sartres definition of existentialism should be viewed in the light of the difficulties to agree on a commonly accepted one; for example, as illustrated in the Stanford Encyclopedia of Philosophy: Like rationalism and empiricism, existentialism is a term that belongs to intellectual history. Its definition is thus to some extent one of historical convenience.). In Monograph 2 of this study the problem of a definition for Sartres existentialism is discussed in more details as a part of the comments on his Being and Nothingness. After publishing his Being and Nothingness and probably carried out by the popular wave of determination to discover a better World than the one rained by dictatorships and mass destructions, Sartre concentrated on the existentialism as a life philosophy. He felt it necessary to give a new version of it; intending to explain and transmit publicly its postulates: from his theoretical writings into political existential practice. This also meant a shift from an ontologically conceived existentialism, based on phenomenological ideas, to its new and more popular version of it; inspired by Sartres river-crossing on the boat of social an political engagement, as described in more details in the Monograph 5 of this study. In literature, theatre, film, history and in the daily political activities (right or wrong, winner or looser) Sartre showed that his existential postulates were both the result of his ideological struggle and an example of his personal moral standing under the banner Man must be created every day. For his radical political and ideological views and for his anti-wars campaigns Sartre was arrested, his apartment in Paris bombed, his publications banned (among others, temporarily, by Vatican). But nothing could stop his determination to try to heal social ailments and injustices. After literarily thousands of publications in practically all languages from and about him, including theatre and cinematographic presentations of his works, Sartre gradually became practically untouchable by any governmental prosecution in his native France (he was even rewarded a highest France honour: Legion de honour which he flatly denied). Bernard-Henry Lvy published during 2000 an essay entitled Le Sicle de Sartre (Sartres century), marking a 20th Century long interest in Sartres existentialism. But Sartre survived also into this, 21st Century. Existentialism is taught nowadays in the philosophy classes everywhere and existential terms such as engagement, freedom of choice, alienation, bad face are in general use. His popularity also reached a worldwide fame, reflected nowadays (on 1 August 2011 when this study was first drafted) in the Internet too, where the title Sartre showed about 13.500.000 GOOGLE entries. Sartre has become a symbol of the struggle for freedom and dignity

of human beings, for each Maria or Mario, John or Johanna, Peter or Petra. And this struggle is still going on; unabashed after his death 1980. It is a silent battle for each single soldier-adherent to existentialists idea. And it is about to convincing the others of human and ethical values of Sartres existentialism - how to engage herself or himself in the present struggle for the betterment of human conditions.

Sartre - a Guru of our existence?

Every existing thing is born without reason, prolongs itself out of weakness and dies by chance.-From Sartres Nausea. The role of Jean-Paul Sartre as a modern mental GURU should be distinguished from the spiritual Gurus as it was, for example, Gautama Buddha (Buddha means: "the enlightened one). Sartres guruism should be valued against the above-sited pessimistic words written in his novel Nausea. However, the idea of Sartre in a Guru role and his followers as those recruited Buddhas philosophical way (as a religion Buddhism was constituted later; for practical purposes) has an important similarity: both have used the method of individual persuasion in their action in favour of improving human life value. A strange idea? Not so if we remember that both of them, Buddha and Sartre, started teaching after reaching their mature age; traversing both an early life stage during which they evaluated critically the existing life philosophies and religions. Their followers, most of them, are not enlisted in any political party and are not adept in any ideology. Just living Buddhist or Sartrean way, most of them. A long way to go no doubt, in particular for Sartre followers. But it seems to be the only (non-spiritual) way remaining to confront our life Nauseas and to achieve a new morality, to which Sartre resolutely adhered all his life; based on true humanism and freedom, respect to peace and honest disarmament, while resolutely defending human environment and fighting against racism and all forms of colonialism still existing in the world. And recalling at his point also a now long forgotten newspaper report, (from the time before the introduction of Googols search engine), that Mother Teresa when asked about her mission in India helping a relatively small group of people while millions there live in misery and suffer incurable illnesses, replied: we should always start for a single one among those suffering. In all eight monographs of this study the subject of Sartres mental guruism is discussed, albeit sporadically; while assuming that the reader should, as it did the author of these monographs, decide the merit of it freely and guiding by his or her personal engagement. Sartre himself, all his life, used to be his own Guru. Highly educated philosopher and talented writer of literature and theatre, lecturing even at Paris Sorbonne University, Sartre was from time to time similar to the Self-taught-man (mentioned in his novel Nausea); becoming an eager student whenever exploring existentialism as a life philosophy. In my opinion, each of us can still learn a lot from both his life experience and from his version of existentialism. And no entrance card or no badge wearing necessary.

B. Early Sartre: Phenomenology as an existential project

-The self is an ongoing project; Problems concerning the relations of the I (Myself) to the consciousness are existential problems.(From Sartres The Transcendence of the Ego.) -The mind is easier to know than the body. (From Descartes Meditations).

-Young Sartre and the roots of his early philosophy Two important events determined Sartres childhood and most probably had a decisive influence on his life. He lost his father early and, as a child, suffered from a severe illness, causing leucoma in his right eye with gradual loss of sight. He grew up with his mother Anne-Marie Schweitzer and the family centred around his maternal grandfather, Carl Schweitzer, who was professor of German language at the Sorbonne University in Paris. The following events during the life of Young Sartre as the future professor of philosophy, writer of literature and for the theatre had a decisive influence: -Sartres interest in philosophy started as he was about fifteen; most probably after reading Henri Bergson's (1859 1941): Time and Free Will - An Essay on the Immediate Data of Consciousness; (Essay sur les donnes immdiates de la conscience, 1889). -1929: During this year, very important for young Sartre, he achieved the first place in the exam score while obtaining an Aggregation in Philosophy and he read the Husserl's lectures on the phenomenology at the Sorbonne; which influenced Sartres entire philosophical carrier. The same year he started a personal, first friendly and than amorous, relation with Simone de Beauvoir (1908 1986). -1931-37: Employment as a Professor of Philosophy in Havre; Publishes: Imagination and the "The Transcendance of the Ego." -1937-39: Employment as a Professor of Philosophy in Paris, at the Lyce Pasteur. Publishes: The Emotion Outline of a theory, a collection of short stories Te Wall and the novel: "Nausea. *1) However, a turning point for the young Sartre was a fellowship awarded to him 1932-34 by the Institute Franais to study in Berlin, where he had an opportunity to learn more about German literature; as well to study the than modern Phenomenology. Sartre was fluent in German and could also do some reading in English. It enabled him to read not only the modern philosophers such as Husserl and Heidegger but also literature in German (Kafka and Goete, in particular), as well es the publications from England and the United States not available in French translation. It should be also taken into consideration that all adherents of phenomenology, including Husserl which initiated it, were Sartres contemporary; except the precursors that prepared the ontological ground for it: Immanuel Kant (1724-1804), in particular in his Critique of Pure Reason of 1787 and George Wilhelm Friedrich Hegel (1770 1831). The term subjective phenomenology had been in use since Hegels The Phenomenology of Mind, 1807, when it was first mentioned. Of special significanse for the development of modern Phenomenology (and for Sartres existentialism too) were philosophical contributions of Arthur Schopenhauer (1788

1860), Friedrich Wilhelm Nietzsche (1844 1900), and others who considered individual human beings as the main subject of philosophy. It is important also to note that they grounded a distinguished variant of it by proclaiming the human will as an engin not only of human mengagements and actions in society but for the development of human personality as well (See a special sub-section on it bellow). The era with prevailing influence of the phenomenologists views in Germany was marked, in addition to works by Edmund Gustav Albrecht Husserl (1859 1938) and his best-known student Martin Heidegger (18891976), also by contributions of Max Scheler (18741928), in the domain of emotions and intuition; Karl Jaspers (1883 1969) and Edith Stein (18911942) into psychology. The husserlian Phenomenology can be viewed not only as a part of a general intellectual reaction to the long era during which classical philosophy and its (idealistic and materialistic) metaphysic had reined but also as a reaction to the over-estimation of the role of scientific and technological influence in the process of formation of an individual human being and of the humanity as a whole. By the same token the prevailing role of positivism as a part of Cartesian rationalism was put under the scrutiny; after dominating for centuries during post-Descartess era. Under the young, or early, Sartre throughout this study will be considered all Sartres works mentioned in this section, influenced by the phenomenological philosophy - a term indicating an ontological interpretation of the experiences as presented in human consciousness after bracketing them from all outside world influence (the details about the development of modern phenomenology, which Sartre consistently tried to addapt to his incipient concept of existentialism, are discussed in the following subsections.) Or more preciselly, the young, or early, Sartre apply to all his philosophical, theatrical and literary works during and after his German studies; a period extended to the time (1943) of Sartres preparation and publication of Being and Nothingness (In French: Ltre et le nant). However, some of his later than 1943 works that are clearly a continuation of the early Sartre (on Emotions, and Imagination, for example) are also discussed in this section. -Study in Germany and its results: Phenomenological Theory of Consciousness in Sartres The Transcendence of the Ego and in his Imagination Sartre as a young man published during 1927 an article on Realistic legislative theory and later (1931) another one entitled The legend and the truth; before concentrated on his philosophical works as such. The first Sartres publications as a professor of philosophy, however, resulted after his study in Germany: Imagination (LImaginationin French, 1936);The Transcendence of the Ego: A phenomenological Theory of Consciousness ("La Transcendance de L'Ego: Esquisse d'une description phnomnologique 193637); and the Draft for a Theory of the Emotions (LEsquisse d'une thorie des motions, 1938) *1. InThe Transcendence of the Ego Sartre wrote the folowing personal comments about the importance of Phenomenology: for many centuries before, in philosophy, there was not such a realistic current. The phenomenologists re-entered the human beings into the world; giving them complete share of agonies, sufferings, and including rebellions. An important point should be added, however, to his above mentiond

general aproval of the phenomenology: Sartre enlarged it by his own postulate reentered the human beings into the world - thus opening an introduction for his own existential ideas of Self out in the world. In continuation of it, formulated by Sartre as: giving them complete share of agonies, sufferings, end including rebellions, he laid the ideological ground for his first, existentialy and pesimisticaly oriented, pieces of literature described in this Monograph 1. Even the last term mentioned, rebellions, is forboding to his existential, both theoretical and real life, situations and confrontations. As mentioned above, a historical precursor of Phenomenology and specifically of the part of it which developed eventualy into the branch of philosophy named Exsistentialism, was Sren Kierkegaard, a Danish philosopher and a priest. However, while concentrating on human subjectivity and on the problem of human existence, Kierkegaard was focusing more on the aspects of religion. He dealt primarily with human redemption problem as well as with, relevant to it, feelings and emotions such as pain, guilt and regret, absurdity and alienation- the categories important also for Sartres existentialism. (See more about it in the Monograph 8). A few of German philosophers taking a more liberal stance toward religion also can be considered as the precursors of Sartres phenomenological version of existentialism. Even the idealistically and religiously inclined Husserl, while positing that consciousness contains the transcendental Ego after the process of bracketing (reduction) of the whole empirical world; presumably considered a human Ego not even affected by religion. Others constructed their concepts of phenomenology to the point of an overt confrontation with some religious believes (Nietzsche and Schopenhauer). A number of other philosophers of 20th century became interested in both Phenomenology and Existentialism. These include in Europe, in addition to Sartres friends and followes mentioned in Monograph 2 of this study, Hannah Arendt (1906 1975), Emmanuel Levinas (1906 1995), Michel Foucault (19261984), Jacques Derrida (19302004), Jrgen Habermas (1929) and others. Adding to them should be a number of British and North American pragmatists venturing into Phenomenology and forming study centers on the subject, including Existentialism, practically in all universities. An initial post-war interest in existentialism also resulted in Sartres societies in England and in the USA. (It should be particularly mentioned here the influence in the North American region of The Phenomenology of the Social World by Alfred Schutz, an Austrian born phenomenologist teaching in the USA (Original
edition: Der sinnhafte Aufbau der sozialen Welt: Eine Einleitung in die verstehenden Soziologie, Vienna, 1960), which expanded the results of Edmund Husserls works in phenomenology into

the economic and social fields). In Mexico as well as in the South American region in general, phenomenology and Sartres existentialism have been the prevalent philosophical subjects taught in all univerities and translated into Spanish; in particilar in Argentina and Mexico. (See Monographs 2 and 4 of this study for more details). Sartre in his Transcendence of the Ego, while still not overtly taking an issue with religion, made a step further in the direction of total humans freedom concept while positing that there is no Ego existing "within" or "behind" consciousness but only an Ego for consciousness, which is "out there, in the World. Consequently, Ego should be considered as an object of consciousness. Sartre thus reached the conclusion that

consciousness has no content by itself because all content is on the side of the object (See more about it below in this Section while discussing the examples of a stone and a mountain). In the opening paragraphs of his Transcendence of the Ego Sartre points out: We wish to show here that the ego is neither formally nor materially within consciousness: it is in the world, being of the world like the ego of another. (More on this important subject in Monograph 2 while discussing Sartres Being and Nothingness). From most of the literature about young Sartre it can be also concluded that The Transcendence of the Ego is basically a treaty about the relation between the Ego and the consciousness. Sartre considered the notion of the Self, which Husserl and other earlier philosophers identified with consciousness, as not identifiable with pure selfawareness or self-consciousness - in the way indicated by Descartes "I think, therefore I am". For the simple reason that, while thinking, we must always think of something. For the same reason the consciousness is never isolated from the existing world and can not (by Hussserls bracketing) exist as pure object not even in the form of a Transcendental Ego. This conclusions Sartre elaborated as the basic idea of his capital study Being and Nothingness. According to Sartre (and taking as an example of somebody watching a mountain), there is an indissoluble unity of the reflecting consciousness (of the mountain as object we are seeing) and the reflected consciousness (of the mountain we saw a few days ago). They are both considered by Sartre as objects of consciousness in spite of the fact that the second mentioned one is a mere remembrance of an already observed real object. This indissoluble unity of reflections is also the basis of Sartres theory of imagination and is important for the understanding of human existence and essence. The prevalently ontological problem of the relation between human existence and essence is illustrated by Sartre also in his novel Nausea, usually considered as an existential piece of literature: Roquentin the principal personage of the novel - discovers one
day while picking up of a piece of stone on the seashore, that he is overwhelmed with a feeling of being confronted by a bare existence Unexpectedly for him, the essence of the stone disappears Later, gradually, Roquentin realises that all essences are volatile, until finding himself in the presence of reality itself reduced to pure existence: disgusting and fearsome.

The ontological aspects of the relation between human existence and essence are dealt with in Monograph 2. Let me just say here that the essence of an object of consciousness is anything permitting us to recognize it as such, i.e. its hardness or smoothness, color, smell etc. - while its existence is the mere fact that it is present as part of it-self in our consciousness. (One possible interpretation of this point, mentioned also in the novel Naussea above, is that the elements of the essence are always coloured with human imagination while the pure existence is the presence of an invisible object; in the form of the atomic clouds which are semi-organised but also subject to contingencies). Husserls and Heidegers variants of phenomenology include a proposition, which eventually became one of the basic postulates of Sartres existentialism, positing that our consciousness is formed only through a process of intentionality (i.e. not inherited or otherwise composed in our Ego). That supposes a human subject with freedom to decide about the selection of objects entering consciousness, while concurrently accepting individual responsibility for such a selection (its moral connotation are

elaborated in Monograph 3 of this study). For that important reason Sartre in his The Transcendence of the Ego posits, Consciousness is defined by intentionality." Sartres first essay (The Imagination, 1936), in adition to an analisys of its main subjects (imaginations, emotions), contains also a very instructive, and often ignored, Sartres critical overview of Husserls and Heideggers phenomenological theories. The main points of this overview is briefly summerized here, as they illustrate the way of Sartres philosophical progress from phenomenological ontology toward humanistic and socilly oriented existentialism exposed in his Being and Nothingness and in his relevant lectures and writings beyond it. However, before entering into Sartres analisis of Husserls and Heideggers phenomenological theories, let us dwell briefly on Cartesians concept of rationalism and the philosophy of subjectivity as compared to those in the phenomenological philosophical concept. The historical shift of attention of the mid-19th Century philosophy from Cartesians ideas of physical world and human body to human Ego (done by Husserl, Heidegger, Nietzsche and Schopenhauer), included also a liberal approach to human Sole and the notion of God. These items, earlier prohibited for nonreligious study, became the subjects of phenomenological research and, as a result, brought the consciousness to the centre of philosophical attention. Husserl, for example, started criticising even the concept of Cartesian dualism for exaggerating the role of the scientific positivism and, in particular, its accent on physical human body, while neglecting their mental-subjective (Self-oriented) side. Sartre in his The Imagination of 1936 emphasises in particular that, according to the Husserls classical study entitled: About a pure phenomenology and its philosophical aspects of 1913 - the Phenomenology opens an access to our subjective mental acts by using intentionality. However, Sartre noted that Husserl was overlooking the fact that consciousness, while always intentional, is also engaged in the existing outside world a quality attributable only to a single human individual. Sartre, while agreeing with intentionality principle of Husserl and Heidegger, posited that without an existential action and personal (of Maria or Mario) engagemenet the intentionality remains only as a potential. Not satisfied with the Husserls interpretation of intentionality as an essential feature of consciousness, Sartre in his The Imagination, 1936 posits that the intentionality is consciousness and as such can never be isolated from the outside world by itself or as a part of the Husserls transcendental ego. From the above summary it can be seen that Sartre agreed on some of the Husserl s phenomenological postulates in principle but had a number of important objections on its points relevant to individual human beings existence and behaviour. It should be mentioned in this connection that Sartres views are more compatible with Heideggers phenomenological concept of phenomenology, as it is shown below. For example, as a reaction to Hasserls attempt to prove that the phenomenology should study human consciousness as a collective phenomenon, both Heidegger and Sartre considered that it should be concentrated on individual human subjects (on Maria or Mario). And this example of Heideggers position as being closer to Sartres than to Hasserls is not the only one; a reason why Heidegger is considered sometimes as an existentialist philosopher. However, Heidegger himself denied that classification and, as a matter of fact, a comparative study of Sartres phenomenological existentialism and

Heideggers version of phenomenology shows that the Heideggers theory is based rather on volition than on the engagement two distinctive approaches of enormous moral and ideological connotations. (See the sub-section on it below). While interpreting the postulates on Phenomenology as formulated in Heideggers essay entitled Being and Time (1927), Sartre later, in his: Existentialism and Human Emotions (1957), distances himself also from the Heideggers conclusion that our understanding is not a quality coming to human reality from the outside; but is a way of our own personal upbuilding and that I (myself), as presumed by Heidegger, assumes its own being by understanding it. This very subtle difference between Sartres the being attained by engagement act and Heideggers the being by understanding it had become one of the principle points of divergence between two great philosphers; who mutually started acusing each other for not comprehending the others basic postulates of the philosophical theory of consciousness. More about it is elaborated in Monograph 2, while discussing Sartres notion that I is always out-in the world (a being for the others). Nevertheless, Sartre concludes the summery of the Heideggers views by the following observations showing their common points: The existent human being subject to analysis, according to Heidegger, can be any one of us. The being of such existence is I(myself). It is significant that the human reality is considered as myself because, for a human reality to exist, it is necessary to assume its being; that is to say: a being responsible for himself or herself existence, instead of receiving it from outside as in a case of a stone. And as the "human reality" is essentially its own possibility, I (myself) "choose" itself as a being, win or lose". (Negrita by myself). In relation to the above assertion that I (myself) "choose" itself as a being some critics, while writing about the early Sartre and his transition to matured existentialism, accused him of individualism, a qualification that he particularly resented. Here is my adaptation of the French original text of Sartres Existentialism is a Humanism (1945), concerning the objection that his existentialism is not only subjective but also an individualistically inspired project: However, we are criticized to wall a man in
his individual subjectivity. Again we are very poorly understood. Our starting point is indeed the subjectivity of the individual, but only on a strictly philosophical ground because we want a doctrine based on the truth and not on a collection of nice theories, which are full of hopes, but lack of a true foundation.

The above text can be interpreted as indicative to Sartres often expressed criticism made against the historical materialism and the ideological positivism (including materialistic pragmatism), both of which Sartre considers as leveling the human subjectivity to a communal denominator. It is relevant also to the understanding why Sartre never became a full-fledged Marxist or a pragmatist in spite of his inclinations toward both. According to Sartre, the human subjectivity and its progress and development, including his or her (Maria or Mario) contentment and happiness, must result from their own freedom of decision, write or wrong, as well as from their personal engagement. This in view of the fact that all kind of collective engagement (by political parties, social organisations etc.) can potentially be dangerously wrong for the whole Humanity. (As it has been shown in 20th Century history and as it is more and more evident from monopolistic tendencies of the contemporary, so called, International communities formed on a racial or on a religious basis.)

Human individuality, on the other hand, is totally dependent on our personal intentionality and should never be decisively submitted to the will of the others be it another individuals or their collective bodies or organisations. No doubt, an individual person can be totally wrong but fortunately, never in possession of the arms capable of a world conquest or a Holocaust type of annihilation. In addition to it, political parties or elected bodies hardly learn something collectively, without an open minded individual who can easily learn and adapt herself or himself to modern trends in the scientific, economical and socio-political fields. We are witnessing presently that the engaged and well-educated individuals are in the for-front of struggle for human rights and improvement of human environment - the problems which cannot be decided only by majority votes or without popular consent. (The truth is, of course, that any optimistic human development theory can be limited within the scope of bettering human life possibilities; i.e. less subjected to contingencies and feeling of absurdity. Sartres exsistentialism indicates how to better cope with them and does not offer any kind of rose garden: we want a doctrine based on the truth he points out above- and not on a collection
of nice theories, which are full of hopes, but lack of a true foundation.)

According to my personal opinion, two basic philosophical views remaining as residue of the long history of numerous philosophical controversies: phenomenological existentialism and pragmatism are the only ones that are surviving relatively unchanged in modern philosophy; after the phenomenological funeral of clasical materialistic and idealistic metaphisics. In my personal opinion again, there is an already discernable trand towards the integration of these two philossophical currents into a coherent, human rightes and ecology efficient, philosophy of everything. (And adding to the light side of this trans-ontological exibition: when studing philosophy during the cold war era we used to say that Dialectic Materialism is governed by: what is yours is ourselves and what is mine is myself only; while the Materialistic Pragmatism followes the rule: No money, no honny.)

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Imagination, Emotion, and their role in the Self
(It would not be an exaggeration to describe Sartre as a philosopher of the imaginary, so important a role does imaging consciousness or its equivalent play in his work. Stanford Enciclopedia of Philosophy)

In the the Transcendence of the Ego there is a passage, rather intuitively concieved but very rich of meaning, anounsing a different young Sartre than a professor of, ontologically oriented, philosophy: We are living amidst the magical objects remenants of the periods of spontaneity of consciousness, but which continued to be the objects of the world. This is why everyone of us is always a sorcerer for another. In my interpretation, the passage refers to creation of the phenomena of consciousness from imaginary objects or situations. (Sartre also, from this vintage point, critisised as unnecesary Sigmund Freuds and his followers theory that some of the above described imaginary phenomena come from within sub-consciousness). It is the contradiction when the psychoanalysis tries to introduce both a link of causality and a link of comprehension between the phenomena under study. These links are incompatible - says Sartre in his The Imagination. As mentioned above, Sartre states that all consciousness is consciousness of

something; and this something can include either material or imaginary objects fictional or reflected from real life situations. The works of literature, pieces for theatre, as well as practically all arts items can be clasified as the imaginary, or magical; which Mallarme formulated as Each poem should contain a seecret (and from where also could be figuered out the diference between artisanship and art the second mentioned, an art object, has always a magical, or seecret, element). It should be recalled that Sartre became a famous author while aplaying his revelations in the domain of imagination and emotions to the fields of literature, theatre and cinematography published after his study in Germany. (Sartres first diploma work, written in 1927 and never published, was entitled: The image in the psychological life: the role and nature. Some times after Sartre wrote an essay, inspired by cinematic imaginary, about Art of cinematography, 1931). The above mentioned and already briefly commented above, Sartres first philosophical essay published - under the title The Imagination (L'Imagination, 1936) is centred not only on imagination as such but also on phenomenological ontology. It can be also considered as a kind of introduction to the Transcendence of the Ego; putting the critical accent on Husserls and Heiddegers interpretation of the magic world of imagination. These two essays reflect the mental process of forming Sartres version of existentialism. Similar observations can be applied also to Sartres conception of Emotion. As a writer of literature and for the theatre, Sartre was keenly interested in psychological theories, criticizing all kind of spiritualism and, also, Henri Bergson and his followers for his interpretation of psychological and emotional phenomena as if surging in human Ego intuitively. According to Sartre, emotions also belong to the out in the world concept of consciousness and not to the inner domain of human personality identified by Husserl as a transcendental Ego. The result of Sartres interest in emotions was that about 1937-38 he decided to start drafting a manuscript entitled "Psyche" which, after completing about 400 pages of text, was never published. However, and reportedly on Simone de Beavoirs urging, Sartre decided to publish the introductory part of "Psyche" project under the title: Draft for a Theory of Emotions (Esquisse dune thorie des motions, 1938). In fact, the above-mentioned draft was a continuation of the Sartres publication The Imagination (L'Imagination, 1936). The content of the draft reflected Sartres deep excursion into the domain of emotions which he considered as an inseparable part of itself; contrary to Metaphysical materialism which placed emotions beyond the outside world. This also represent one of the examples how far, from the very beginning of his philosophical carrear, Sartre was able to distinguished ourself from classical materialism while constructing its existential version of it based on phenomenological postulates. According to the Draft for a Theory of Emotions of 1938, an emotion result from an attempt to changed the reality after an excursion into the magic domain of consciousness: when the path chosen becomes too difficult to follow or when we do not see the way out so that we can no longer remain present in the so demanding and complicated world. Although all paths ahead are blocked, we still must act. So we try to

change the world; that is to say, to live as if the relevance of things to their potentialities were not effected by deterministic processes but by magic. (An example for this is getting frozen, or faint, in a situation of a hostile physical attack: the threatening situation may still persist but it is no longer present in the consciousness as such). As this passage is of crucial importance for understanding of Sartres transition from predominantly phenomenological philosophy to his existentialism and to his creation of existential literature and theatrical works, I am citing it also in its French original: "Lorsque les chemins tracs deviennent trop difficiles ou lorsque nous ne voyons pas de
chemin, nous ne pouvons plus demeurer dans un monde si urgent et si difficile. Toutes les voies sont barres, il faut pourtant agir. Alors nous essayons de changer le monde, c'est--dire de le vivre comme si les rapports des choses leurs potentialits n'taient pas rgls par des processus dterministes mais par la magie..

In analysing the problem of emotions Sartre criticised both psychoanalysis (for its subconsciousness concept substituting rational functions) and behaviourism (for positing that only human physical actions can be considered as behaviour). It should be added that in doing so Sartre effected a valuable contribution to the presently prevailing cognitive behaviouristic approach to Psychology and to the modern theory of Emotional intelligence as well. The second Sartres work in the feeld of human imagination, dated 1940, was entitled The Imaginary: A Phenomenological Psychology of the Imagination. (LImaginaire: psychologie phnomnologique de limagination, 1940).This essay was also inspired by Sartres transition from Husserlian phenomenology to the mature version of existentialism as reflected in his Being and Nothingness. In it Sartre repeats that L'objet de l'image n'est pas lui-mme image, l'objet est dans le monde. (The object of an image cannot be considered as an image of itself; its object is out in the world). That is: our consciousness while contemplating an imaginary object is not forming an image of an image nor it is doing so isolated from the out in the world; as it seems to result from Hasserls phenomenology. The imaginary object is and remains the direct object of the consciousness and as such forms part of itself. Sartre posits that as a result of human capacity to imagine we are also potentially free from the obligation to always follow the rules of an ontologically interpreted logic; as it is more explained in Monograph 2 of this study, devoted to his Being and Nothingness. All human arts and literature have roots in this kind of freedom and would be totally incapacitated if obliged to deal only with the perceptions of natural world, as other living creatures, animals, suposedly are (See the section in Monograph 2 on the animals subjectivity). Sartre states that the human capacity for an active and purposefull engagement enable us also to activate an imaginary process which constitute the world based on our intentions toward it. Trying to cover all the bases here we could enlarge the Descartes cogito by saying that a human is an animal who thinks and imagines. In conclusion, we can say that an imaginary object (as an imaginary stone on a beach, for instance), have the existance and essence as we intended them to become while a real stone is an existing object from the natural world which attracted our attention. The imaginary stone can be similar to a perception of a real stone - and in our remembrence often it is so but it does not have any essence of its own. Sartre calls it an analogon i.e. an equivalent of perception.

Therefore, acording to Sartre, our emotions as well as the objects of our imagination should not be considered as an integral part of Self (an inner personality), but should be treated as intentional and as a part of our being-in-the world. Sartre in The Imaginary of 1940 considers presence of intentionality in all our imagination and emotions among the subjective responses involving the freedom of choise; a very importat factor among the ethical elements of existentialism. Therefore, far from just belonging to the category of bad faith as they are sometimes clasified, Imagination and Emotion should be considered as existential phenomena which are only potentially resulting in bad faith.

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-Intentionality and volition Will to power versus Engagement
I understood that the will could not be improved before the mind had been enlightened. (Johann Heinrich Lambert, considered as an early precursor of German phenomenology, 1728-1777) A good advise by Professor Lambert which if generally accepted, the Nazi type of ideology would never prevail.

As mentioned above, Heidegger postulated that after bracketing the empirical experiences we open an access to the constituents of our consciousness; while nothing that is not strictly intentional is assimilated into I (Self). It led him to the notion of volition (interpreted as the cognitive act of will committing a human subject to a determined action), prevalent as human motivation in German Phenomenology. Even before Nietzsche and Heidegger, Schopenhauer emphasised the importance of will and the concept of "will to live", arguing that all in the Universe is driven by an atavistic will to survive and procreate. For Schopenhauer, the will was more fundamental than the being itself. Friedrich Nietzsche (18441900) in his The Will to Power ("der Wille zur Macht" in German) believed that the human main driving forces (such as ambition, strive for dominance and similar ones) is all manifestations of the will to power. Alfred Adler incorporated the will to power into his Freudian type psychology. The idea of prevalence of the will power in human determination process was accentuated by a number of German authors (and reflected in Heidegger's works) during the time of nazi Germany, when Heidegger was appointed as the chief redactor of Schopenhauers memorial library. In order to be true to historical facts it should be said that Heidegger's basic ideas, which also influenced Sartre, were developed but not much changed from his Being and Time (1926) to those exposed in his "Time and Being" (a lecture at the Freiburg University, 1962). Sartre, who studded Heidegger's and other Germans philosophers works extensively, no doubt new about the volitional tendency in German Phenomenology; most probably learning about them, initially, by his reading of Bergsons Time and Free Will - An Essay on the Immediate Data of Consciousness, 1889. For Sartre, however, search of the meaning of human life was not as how to submit it under a dominant will but how to achieve the reason of it while employing an active personal engagement. Under the influence of his leftist oriented friends, Sartre learned about Marx and Engels conclusion that the task of the philosophy was not to interpret the world but to change it; deciding to change it in his own, existential, way. The above passages on the volition effect, from a philosophy concept to a political and social human reality, may give rise to the opinion that: while the First Word War was about a re-distribution of colonial imperialistic domains, the Second Word War can be

considered as the world-wide clash of human ideologies and religions - which continues unabashed into the 21st Century. The outcome of the first one was a general trend toward liberation from imperial dominance, while the second mentioned one should, hopefully, result in a general human healing from historical ideological evils and in elimination of the factors leading to extinction through wars and habitat demolition.

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C. Sartreearly literary works as part of his existentialism
-It is in love, in hate, in anger, in fear, in joy, in indignation, in admiration, in hope, in despair, that man and the world reveal themselves in their truth. (From SartresWhat is literature, 1948). -anything complete and perfect renders infinity tangible, and the enjoyment of any beautiful thing is like coitus, a moment of infinity. (Van Gogh, from the letter To Emile Bernard, 29 July 1888) -In search of Infinity and the magical moments of existence an introduction to creation of an existential human personality. Sartre in all his matured philosophical works resolutely states that the Man must be invented every day, which implies the temporality of the phenomenon of human existence formed in a personality. The same idea is reflected also in his literary and theatrical works (Nausea, No Exit in particular). Sartre tried to validate human life and its goals and achievements while scaling them against the existential category of True existence predominately a personal one, dependent of human rational and emotional reactions to different life situations. It is very important to note, therefore, that according to Sartres above mentioned quote, men and the world reveal themselves in their truth through emotions; such as love, hate, anger, fear, joy, indignation, admiration, hope, despair. Sartres men and women are human personalities who, rather than by external forces such as economy or politics and other type of an objective or historical factor, are governed by personal feelings and motivations resulted from his or her intentionality and controled by personal engagement; a crucial interpretation of Sartres existentialism as employed also in the literature but seldom interpreted that way. (Sartre formulated it in 1948, when his concept of existentialism already matured into a humanistic aproach). As a matter of fact, the True existence category often used in the comments about Sartres literature is not easy to define. In his novel Nausea, for example, Sartre describes Anny as an actress who always searched for the perfect moments of the True existence and who used to say that she wanted to act because, on stage, you can realize oneself. But it seems only possible during the fleeting moments of inspiration. Actors, who can initiate these moments, first have to overcome the realty on the stage: fear of omitting something in their part of the dialog, for example. Even the noise and persistent coughing from the audience may be a hindrance. Therefore, all those fleeting moments are rather, if not of an adventure, result of an artistic activity involving imagination. For the others, people watching the actors while performing, it is rather a kind of passive pleasure mixing in memory with other remembrances. Interpreting Sartre strictly, a true human personality cannot be formed through a passive act of travelling

for adventures or enjoying arts, just by listening to the music, for example. In the novel Nausea it is said bluntly: there are idiots looking for consolation from the fine arts; and than citing the example of Roquentins Aunt who used to say: Chopins Preludes were such a help to me when your poor uncle died. This would mean living in an imaginary word of self-illusion a situation of Bad faith. In his Breve meditacin sobre un retrato de Che Guevara Jos Saramago (1922 2010), Nobel Prize winner for literature, wrote: Che Guevara, if this can be said so, has existed before he was born and, if it can be stated so, continuous to exist even after his death. It is a good example for the imaginary: the existence of Che Guevara before he was born and after he died is a fruit of imagination. However, it is a reality for a number of people who believe that a human personality can be permanently defined as true existence in the light of her or his prolonged engagement. On the other hand, the above-cited quotation by Van Gogh, (who sold only one of his paintings during his lifetime - The Red Vineyard, painted 1888, now in the Pushkin Museum in Moscow) refers to human capacity to reach a moment of infinity while contemplating an artistic achievement. In an attempt to evaluate how the literature can open the way to a true human existential essence we can ask ourselves: -How much the emotions can contribute to creating an existential human personality coherent with Sartres Man must be invented each day? (Some answer to this is indicated in the summaries of Sartres short stories and of his Nausea bellow). -Can Van Goghs or Saramagos above cited examples really indicate an access to Infinity, at least within the framework of the magic world of imagination? (The answer is positive at least in one sense: Recalling the novel Don Quixote and his horse named Rocinante by Spanish writer Servantes, it can be said that riding on Rocinante we can cross, if not assimilate, the entire cosmic domain and its reality). Sartre himself posited that what counts in a human life and in a personality building are not so much the exciting adventures (usually pre-paid for in a travel agency) nor the fleeting moments of the excursions into inner depth of our Self stimulated by arts, but a personal action resulting from an engagement involving the others and thus revealing the true value of our beings judged out-in-the World i.e. by others. This is of a crucial importance for interpreting Sartres literary variant of existentialism both in his novels and in his dramatic writings. Sartre deliberately and sometimes on the cost of artistic transparency of them, used his literary works as a vehicule to better explain his existential ideas; until he transformed his famous Nausea in a boat, similar to the Bhuddhas one used for crossing a river to the enlighment. Sartres life philosophy is intended to bridge the gap separating mental and phisical, or external, phenomena of consciousness. Sartrean prose writing, in addition to be a singular blend of the philosophy of his early existential works and of his literature, beare influence of Dostoyevskys mixing literature with philosophy and religion, and Kafkas making the literary use of negative, dark coloured, existential feelings and perceptions. We must love human life more than the meaning of it. Alyosha Karamazov says in the well known novel of Dostoyevsky entitled: The Brothers Karamazov, written

shortly before the Russion writers death. And this was an example of an existentilist pronounsment par exelance; one of many testimonies that the great Russion writer anticipated the coming of existential spirit in european literature. The Austrian novelist Franz Kafka in his, a few decades later but even more clearly pronounced writing in the existental spirit of dispair, demonstrated a peril to human beings confronting the might of the others (the government, the courts of justice, police, burocracy). This peril still persist. Both writers, Dostoyevski (1821 1881) and Kafka (1883 1924), as well as all phenomenologists mentiond in this Monograph 1, were reflecting a growing disagreement with the common philosophical postulate (originated in Descartes Meditations):The mind is easier to know than the body - according to which the Humanity should be considered as a basically rational and comprehensible system constructed of moral norms and ideas rooted in the Bible. Schopenhouer, after proclaiming the Death of the God, introdused also the existential idea of the human being as a changeable creature whose individuality is reborn every morning. His writing, as well as Nietzsches literary inspired essays in the spirit of Thus Spoke Zaratustra felt a full impact of the German socialy inspired revolution of 1848. Similar germinating did the seed of the Paris Comunal uprising of 1878, instigated also by the acumulation of grave social problems. A number of French intelectuals and writers started to analise social problems in the spirit of Emile Zola (1840-1902) who in his novel Germinal, 1885, concluded that avenging armi of men, germinating slowly, would burst open the Earth itself. Pesimistic ideas of early existentialism regarding human conditions and destiny were reflected also in the literature and in the theatrical works of Scandinavians, the North American and other novelists and dramaturgs. The Norvegian Henrik Ibsen (1828 1906) in his drama Espectros has the main personality, Doctor Stockmann, pronouncing: "I found that the roots of our moral life are fully rotten, that the basis of our society is corrupted by the lie. " Irish writer, James Joyce (1882 1941), introduced minucious, often dark coloured, realism expresed from time in automatic writing style which probably also influenced Sartre. Sigmund Freud and Bergson (in his psychologically oriented works), as well as the others psicologysts and psichiatrists, contributed to spreading the idea of an intuitively concived human consiousness as a much more complex entity than suspected by classical philosophy divided beween idealistic and materialistic metaphisical concepts. Their thinking was soon reflected into the than modern surealism and anti-conformism in art and literature; affecting Sartre in an indirect way either pro or contra. As an illustration of Sartress own ideas of arts, here is a brief passage of a section from his essay What is literature (Situaciones II: Qu'est-ce que la littrature?, 1948), showing the existential approach to the artistic creative process: -A painter, using colors as a language,
paints the picture of a haus by transforming it into an imaginary object; while a writer deals with significations. The prose writing is significative in its substance, in the sense that the words used are not objects but should be considered as designations for an action. Sartre himself followed this

action oriented literature orientation whenever possible but not necessarily in a

political sens. In his early pieces of story writing, summaried bellow, the orientation is rather on human emotions and bad faith.

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The Wall and Nausea - a summary of Sartres early existentially inspired literary works, including emotions in which man and the world reveal themselves in their truth: love, hate, anger, fear, joy, indignation, admiration, hope, despair. The ontological publications of the early works done by a modest philosophy teacher J.P.Sartre (L'Imagination, Esquisse d'une thorie des emotions and L'Imaginaire) went practically unnoticed. It was only when Sartre's first literary works: Nausea, 1938, and the collection of his short stories under the title The Wall appeared ptinted that he got the public recognition, soon expending beyond his native France. At this point also Sartre started using extensively his dramatic and historical writings to elucidate, or to illustrate, his philosophical position as a prelude to his matured version of his phenomenological existentialism. Sartre as adolescent started to write very early; most probably under the initial influnce, in addition to French classics, by Marcel Proust (1871-1922). In his thirteenth, Sartre just sketched a story about Goetz von Berlichingen and in his eighteenth LAnge du Morbide and Jesus la Chouette which were published in La Revue Sans Titre (1923). Soon after returning from Germany Sartre wrote a few short stories in a distinguished existential spirit: Le Mur (The Wall), La Chambre (The Room), rostrate (Erostratus), Intimit (Intimacy), L'Enfance d'un chef (The Childhood of a Leader), culminating in the world famous novel La Nause, (Nausea). TheNausea was published 1938 and The Wall, in a form of the above mentioned short stories collection, was published 1939. To these should be also added Sartres Carnets de la drle de guerre, 1939-1940, d. Post-hum, Gallimard, 1983 - Notes from the phony war, 1939-40 which, strictly speaking, belongs to the category of literature. (In the commentaries which can be found about them it is not suficiently emphasized that they, in adition to be existentially coloured literature writings, are also emotionally charged pieces, representing the existential nucleus for Sartres theatrical works. This important subject is more elaborated in the Monograph 7 of this study, devoted to Sartres theatrical plays and to his works written for cinematographic purposes.) However, a number of commentators have noticed that Sartre in his early literature pieces had skilfully interwoven literary subjects and the existential notions such as freedom, commitment, alienation. These notions, mixed with emotionally impregnated feelings contained in Nausea and in the short stories included in Sartres collection The Wall are reflected in all of them, as demonstrated in the brief summaries presented in continuation.

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The Wall At the limits of human resistance; desesperation, solitude

Jean-Paul Sartres story "The Wall" (Le Mur in French - the title which Sartre eventually gave to the collection of his short stories) creates an existentialist situation of alineation, charged with emotional feelings of solitude and dispair. The subject of The Wall, the name symbolically representing the wall used for firing squads, is a story of a freedom fighter (Pablo) observed in his isolation and abandaned in his desesperation, after being arested and tortured by general Frankos Spanish police. The story actually anticipates the brutal treatment of Nazy regimes in Europe used eventually, after Hitlers conquest, against all those who dared to raise his voice of protest against dictatorships. The tention acumulates gradualy until terminating in an uninspected finale written in a genuin existential spirit. At one point of the story Pablo is offered the realese from torture in exchage to an information on the whereabouts of an importante resistance Leader. Pablo knows well that he should keep denying any knowledge about the resistance Leader for whom Police is interested but, under increasing torture, decides to get some respite by playing with Police officer in charge of his case. He does it by giving a wrong address of Liders hiding place (in a local cementary) to the officer. Unfortunatelly, it turns out that the Leader had, in the meantime, moved just to what Pablo considered a wrong hiding place in the cementary. The Police soon after finds the Leader and shoots him on the spot while Pablo becoms an unwilling colaborator. After learning of it, Pablo stays in a state of shock but there is nothing he can do in order to remedy his situation. The Wall is a short story based mostly on dialogs written in a theatrical manner.The terrible desesperation felt by Pablo is similar to the one that can be found in Kafkas and Camuss writings, as well as in the pieces of the Theatre of the Absurdwritten after the Second World War (Playwrights: Samuel Beckett, Eugne Ionesco, Jean Genet among others). The Room (La Chambre) Bad faith and the Others; indignation, desasperation. The Room is a story of a woman, Eve, whose husband has turned insane and this challenges the feeling of her devotion to him. Everybody urges her to let him be confined into an asylum but she refuses, as she is convinced that it would be an act of bad faith on her part. Eve insists on living with her half-mad husband, whose world she desperately tries to understand; despite her parents' and her friends efforts to separate them. In The Room the story is also about the problem of selection of an authentic attitude towered a person, even when the others, his bourgeois-milieu, consider him as insane and no person. The problem here also is at which point somebody affected by a process of dehumanization can be treated human way. Eve is trying to prove, desperately, that her husband remains a respectable personality. (Sartre himself in his youth had a brief experience with drugs and had used it while depicting mental handicap of the Eves husband). Erostratus (rostrate) Killing already dead; feelings of hate, anger, fear, despair. As this summary I wrote in July 2011, at the time of the sensless killing in Norway effected by a local Erostratus, let me first quote a reveiling passage from the Sartres story Erostratus adapted for the purpose of this study: I became a man like a revolver, a
torpedo or a bomb. And I new that one day of my sad life, I too would explode and light the world with a flash as short and violent as magnesium.

The existential message of Sartres Erostratus can be found also in his Being and Nothingness where there is a special section (See Monograph 2) about the death and dying and where Sartre tries to evaluate the value of human life in the shadow of death. Erostratus is a story about an office Clerc who, obsessed with omnipresence of killing and dying in the world, discovers that he hates people. After a discussion with his collegues in the office, a fragment of which is summerised here, he decides to start killing people at rundom:
-I know your hero, Masse said turning to the Clerk. His name is Erostratus. He wanted to become famous and he couldn't find any other way but to burn down the temple of Ephesus. -And what was the name of the architect who built the temple? -asked the Clerk. -I don't believe anybody knows the name of the architect admitted Masse. -But you do recall the name Erostratus, concluded the Clerk.

The Clerc with his newly acquired revolver, from his hotel room on top of the building observes the people milling as ants down while he seriously starts considering a killing a few of them. All of us, anyhow, are destined to die - concludes Clerc. The existential dilema here: is it worthwhile to kill these people who are destined to be - dead already? This bothers him but does not impede his criminal resolve. At the end of the story, after executing an initial completely sensless killing, the Clerc does not use the last bullet in the revolver to kill himself, as he originally intended to do, but decides to surender to his pursuers by opening the door of a caffes toalet where he was hiding. Intimacy Love, hope, despair in an imaginary Situation Intimacy (Intimit) is a story about a young woman, Lulu, married to Henri, a husband with whom she does not live sexually due to his inhibition but both believe that they love each other. One day Lulu, after her husband mistreats her brother, decides to leave him and goes off to a sea resort with Pierre, her real lover. Just before living, however, Lulu enters in an emotional turmoil the impact of which overcomes her better judgment, as it can be seen in the following summary of Sartres dialog between Lulu and her husband: I'm so miserable, Lulus husband said. And repeated: I've never been so miserable
before. Neither am I, Lulu said turning off the light in the room. She than laid her head on Henrys shoulder and they both wept. If only we could live like that ever after, pure and sad, as two orphans, Lulu thought. But it doesn't happen in real life. Life is like an overwhelming wave breaking on us.

In spite of that, Lulu decides to stay with her husband. In a letter to Pierre, Lulu writes:
I'm not going with you, darling; I am staying with Henri because he is too unhappy. Even his friends who went to see him said he didn't look human. At the end Lulu decides, in the spirit of existential

Bad faith, that the flooding wave carries us away and that's lifewe can only let ourselves drift. "The Childhood of a Leader"- In search of an existential identity; engagement; sexual libido, racial hatred The Childhood of a Leader (L'Enfance d'un chef) is a story of a young man, Lucien Fleurier, a single son of a small bourgeois French capitalist. Lucien is, initially, growing up under the over-protective shield of his parents, trying very early in his childhood to find his existential identity. It is a long story, reaching the size of a small novel, based on a few recognizable instances of Sartres own life: including his experiments with hashish and a very complicated sexual Freudian type of libido on a male-female line. As the story was published at the peak of Hitlers power in Germany, it is obvious that it bears a reference to the real historical events when everybody had to opt between the opposing, ideological and personal, engagement currents. In France it was not only a choice between right and left, (or later between Peten and De Gaul, but also between

tolerance and the racial hatred involving all dark skin inhabitants: Arabs and Jews among them. Lucien, by signing an anti-Jews students declaration opts for white racial intolerance and becomes a member of a nazi movement. (The whole story seems presented as an anti-thesis of Young Sartres real life engagement as compared to Luciens one. In spite of his admittedly bourgeois family background and education similar to Luciens, Sartre rebelled against it and opted for the views close to that of a student leftist movement). The following summery of the text from the The Childhood of a Leader could be applied to Sartre himself; probably also obsessed with sub-conscious problems facing Lucian, his main personality of the story. Lucian meets Baboon, his philosophy professor, and asks for an advice how to orient himself in the multitude of contemporary philosophical trends. Lucien also mentions to him that he had recently done a lot of reading by Sigmund Freud and takes the opportunity to ask the professor about psychoanalysis. It is just a fad which will pass, professor told him. The best part of Freud you will find in ancient Plato. You'd be better off reading Espinoza concludes the Professor. Afterward, writes Sartre: Lucien felt as delivered of a heavy weightIt was a nightmare but now nothing has left of it. In conclusion of this summary it can be remarked, however, that it is very unlikely if reading of Espinoza, who was a Jewish philosopher, would comfort a youth of a pro-fascist conviction as Lucien. More likely is that it was Sartre himself at that time (about 1938-39), which accepted his old professors advise. Nausea Bourgeois Paradise lost; life value contingency, feelings of fear, indignation, disguast, despair and pessimism While Sartres play No Exit, 1944, (French title: Huis Clos) was conceived as a kind of Hell anticipation his novel Nausea, published in April 1938, can be considered as an existential mental Purgatory. The exasperated hero of the novelNausea, Roquentin, repeats in his silent and solitary distress: everything is awful! I feel it myself now: the nausea, the disgusting one It is not inside myself but all around me, all over the wall and I personally am planted in the midst. His only defence is his writing: I believe Im going to have an attack of it now, of the Nausea, and I believe that I can delay it when writing. Therefore, I write anything that comes into my mind -concludes Roquentin thus revelling the method used in his writing. It should be also take into consideration that Sartre presented the initial version of his existentialism, as prevalently pessimistic; written and published in the shadow of a menace by Nazis take over of Europe and Hitlers preparation for the Second World War and Holocaust. Roquentin, a thirty-year-old man dedicated to a research for a study on the life of Monsieur Rollebon, eighteenth-century explorer, abandons Paris for Bouville, a provincial French town where there is a library with complete information for his projected study. He settles there in a small hotel-residence where he lives a solitary life interrupted sporadically with a, purely physical, sexual relationship with Franoise, the manager of the residence. It was also after Roquentin had terminated his love relation with Anny, the British actress living in London. He remembers that Anny always

searched for the perfect moments in her life, saying she wanted to act because, on stage, you can reach these moments. However, it is rather possible in a passive way, i.e. for the spectators in the audience. Like all Sartres early writings, the novel Nausea is result not only of his literary talent but both of his existential and phenomenological life value contemplations and evaluations. Also, Nausea culminates a black negativistic trend both in Sartres literature and philosophy. (Generally speaking, it was typical for young Sartre to express his existential ideas first in ontological postulates and than in a literary form). Roquentin faces the above-illustrated nausea crisis confirming the thesis that existence of everything, including ones own being, is contingent rather than necessary. According to Sartres expressions in Nausea: feeling of the absurdity of existence appears as
something superfluous, contingent of existing (including contingency of ourselves); emerging from nowhere, existing without any justification and ending in nothing.

The narration is done through its principal character, a lonely Roquentin, writing in his personal diary about the daily events as reported by the newspapers - to which his personal comments and reflections are added. (There is an indication that the action in the novel starts January 1932). The novel depicts the period when Roquentins research in the local library is at the end. He realizes that in case when one person lives alone there is nobody to whom you can tell something. There are no others which is an important category in the existential thinking of Sartre, as well as in his entire literary and theatrical works. From time to time Roquentin goes all alone to a casual visit to the nearby park or to small coffee shop, where he spends long time analyzing other visitors or all objects present (a chestnut tree, bancs, tables, chairs - anything within the site). As a result of such a repetitive way of life full of contingences, Roquentin realizes: Everything that exists is born without reason, prolongs by weakness and dies by chance. His solitude adds to the feeling of disgust that prompted Sartre, by describing it in great length, to name his novel "Nausea" the title reflecting not only Sartres mental states at that time but also the absurdity of political and social conditions in France and in the whole Europe threatened by advances of Nazism in Germany, Italy and Spain. In some passages of the "Nauseas Sartre/ Roquentin confesses that: I would, never again,
be able to turn back and reverse the record... And all that led mewhere? I cannot reverse the past either but only find pale images - not sure what they represent: memories of real events or just of the fictitious ones. Some of them even have completely disappeared: leaving behind just words melt into the dreamsIt is now bare time, coming slowly into existence.

In another important passage Sartre/ Roquentin mentions both the role of the others and of a personal engagement in human life: Each man or woman is potentially a story teller,
lives in the midst of his or her stories as well as the stories of others trying to live the life as if storytelling. But one must choose: living or story-telling.

In the concluding pages of the Nausea Sartre once again warns about spending our life in story-telling or reading, while describing an art admirer as a human lost in the imaginary world. He or she exists, like other people, in a common world but persuades himself or herself that is living elsewhere, behind the canvas of a painting, behind a page of a book, or beyond the phonograph of a jazz record. And after altering himself or herself into a total fool, says

Sartre/ Roquentin, understands that was still in a bistro, listening to the phonograph of a jazz record alone, just in front of a glass of warm beer. From both literary and existential point of view I could particularly recommend the sections of the Nausea describing a Sunday bourgeois promenade in Bouville and the episode with the lonely Roquentin listening to an American jazz record in the restaurant of his hotel. The presentation of the Sunday hat-raising in the novel, depicting distinguished people of Bouville parading in their Sundays best along a central boulevard of the town is hilarious and I wander why none of the movie directors interested in Sartre have not made use of it. It is the picture of Bourgeois Paradise lost. In the episode describing Roquentin listening to a phonograph playing American jazz recordings in the restaurants of his hotel, Sartre consider the existential value of the brief moments of artistic rendition when we can reach the total existence feeling. In particular, during his farewell hours from Bouville when Roquentin listens again, for the last time, vinyl record rendition of the song Blue Skies sung by a Negro woman singer. Through the magic of Internet it can be seen that the song really existed in the time when Sartre wrote Nausea, some seventy years ago (the song renditions can be found now both on GOOGLE and YOU-TUBE). The introductory part of the song is as follows: Some of these days you'll miss me, honey Some of these days you're gonna be so lonely I feel so lonely, for you only The song Sartre refer to was recorded in the New York and first performed 1926. It is possible that one of the black American woman singer, as Sartre suggests, recorded the phonographic version mentioned in Nausea. Knitted of the fragments, probably from real life, as well as of the photography-like impressions, sketched automatically by Sartre (I write anything that comes into my mind and also: It is not necessary to make phrases. I write to clarify certain circumstances. Beware of literature. I must just follow my pen, without searching for words), the novel is reflecting meticulously the situation in France and its inhabitants at the beginning of the Second World War. I admit that these automatic writing sections of the novel are quite gruesome and not easy to read. However, they progressively reveal something: a paradise lost of the whole class of people, including their ruling circles, who let the current to carry them uncontrollably in their search of an easy life and amassing material goods no matter what. Nausea was, and remains, a serious warning presented by Sartre as an example of Bad faith. The Nausea also remains a precious literary-philosophical document of the social situation not only of France but also of the whole Europe on the eve of Nazism and Holocaust. And not only of Europe either. Nausea depicts the utmost degree of which human distress and desperation on one side and cruelty and moral degradation on the other, can reach while confronting the existential problems of any man or women at any time and place.

Before concluding these comments on the novel Nausea and in order to illustrate the existential Sartres approach to literature, it may be useful to cite briefly some additional instances in the novel which are of direct reference to Sartres the than pessimistic version of his early philosophy characterised by a pronounced ontological flavour: Roquentin understands, after the time passed in Bouville, that:
-One had to start living again, after an adventure was fading out. Nothing really happens while you are still alive. Scenery changes, new people come in and go... Days in days out, without sense or reason -Perhaps nothing in the world exist but the feeling of adventure; and it passes by so quickly living me empty once it is gone away -Cine on Sunday Hundred of movie goers eagerly waiting for the soft shadowy pictures, for relaxation, abandon, when the screen would start speaking and dreaming for them. -All includes the ominous death and distraction shadowing the existing subjects and objects; levelling them also in an ultimate valuation of the human existence a Venetian glass paperweight, for instance. Its essence we can recognize it by its roundness, heaviness, smoothness, and colour. But its existence is reflected just in the fact that it is a distinction that Roquentin discovers when he picks up a piece of stone on the seashore. He is overcome by an strange feeling of being confronted with bare existence while the essence of the piece of stone, as well as of all the existing subjects and objects, disappear; he gradually discovers that the essences of all of them is volatile, a conclusion after the confrontation with the chestnut tree (in the public park of Bouville), when Roquentin is found in the presence of reality itself, reduced to pure existence: disgusting and fearsome. -Consciousness exists as a tree, as a grass field as a population of small birds in the branches that are present until they completely disappear And what is the meaning of the Consciousness existence? Just to be conscious of being superfluous. It is true that it does try to get erased but is never forgotten. On the last day in Bouville Roquentin becomes aware that the time will come when he would wonder: whatever I was doing all day long when in Bouville? Nothing will remain of this sunlight, this afternoon, not even a memory, concludes Sartre/ Roquentin.

*
As a conclusin of this section, here are a few general coments on the Sartres literary style, balancing artistic and philosophical substances and inspirations in an effective way. The above literary titles summaries, together with those philosophical ones mentioned before in the sections on phenomenology, illustrate Young Sartres proliferation as a writer; which was constantly increasing later on during his life - in a practically never ending stream of written words. His style was a rather flowrishing one, from time to time using automatic writing method of free association, but never to the detriment of the rational human life related substance. And never a lart pour lart or loosely improvised aproach. Here is an example of Sartres style (from his What is literature), probably not the best one but still very illustrative:
And Picassos alongating figures of harlequins, ambiguous, eternal, haunted with hidden meaning, with their stooping leanness and pale diamond-shaped tights, representing emotion that became flesh; emotion which its flesh was absorbed the way that blotter absorbs ink, which is lost and unrecognizable, strange to itself, scattered to the four corners of space and yet present to itself.

If you have in front of you a good color reproduction of it you could see how Picasso, using colors as a language, painted the picture of a harlequine by transforming it into an imaginary object and yet present to itself.

* * *

1)*Sartres Bibliography (beyond Sartres works cited in this Monograph 1) as well as his Biography will be presented at the end of the final version of this study. In the meantime, some additional information can be obtained by searching the terms in this Monograph 1 one which are given in cursive and adding Sartre to them. For example: Sartre bad faith. 2)* In continution there is a draft Content of the study Sartre 21.

CONTENT

SARTRE 21
-Monographs* on teaching of a mental Guru (title page)
-F O R W A R D

-Monograph 1 The meaning of Philosophy of existentialism -Monograph 2 Sartres ontological concept, as matured in his Being and Nothingness and as reflected in his existential categories -Monograph 3 Existential solutions of human moral problems: Bad faith and other moral categories -Monograph 4 Freedom: Motives and Practice -Monograph 5 Sartre as a literary witness of human destiny and history: Social aspects of existentialism -Monograph 6 Sartrean theatre of situation: on the stage and in the movies -Monograph 7 The meaning of Sartres inheritance and the future of existentialism

-Monograph 8 Roots of Sartres existentialism -Sartres biography and bibliography

* This is a homogenous study of Sartres life and works oriented to his existentialism as a philosophy of Humanism. The study is divided into eight monographs in order to facilitate the presentation of his multidisciplinary interests and creative contributions.