This article is a clarification and development of my interpretation of Sartre’s theory of bad faith in response to Ronald Santoni’s sophisticated critique, published in this issue. It begins by clarifying Sartre’s conception of a project and explaining his claim that one project is fundamental, thereby elucidating the idea that bad faith is a fundamental project. This forms the groundwork of my responses to Santoni’s critique of my interpretation, which comprises four arguments: Sartre does not consider us to be ontologically (...) and congenitally disposed to bad faith; Santoni is right that social pressure cannot explain the prevalence of bad faith, but this is a problem with Sartre’s theory rather than a problem for my interpretation of it; Sartre’s conception of seriousness is merely an optional strategy of bad faith; and Sartre is right to deny that bad faith is an inherently cynical project. (shrink)

Iris Marion Young articulated a social connection model of responsibility to conceptualize political responsibility for structural injustice. Schiff argues that actually confronting our responsibility is problematic: the pervasiveness of structural injustice makes it difficult to acknowledge as a problem, while distances between sufferers and contributors complicate our acknowledgment of social connection. These problems are exacerbated by thoughtlessness, bad faith, and misrecognition. Narrative can facilitate the acknowledgment necessary for us to confront our political responsibility.

Iris Marion Young articulated a social connection model of responsibility to conceptualize political responsibility for structural injustice. Schiff argues that actually confronting our responsibility is problematic: the pervasiveness of structural injustice makes it difficult to acknowledge as a problem, while distances between sufferers and contributors complicate our acknowledgment of social connection. These problems are exacerbated by thoughtlessness, bad faith, and misrecognition. Narrative can facilitate the acknowledgment necessary for us to confront our political responsibility.

In chapters three and four of Simone de Beauvoir, Philosophy, and Feminism, Nancy Bauer attempts to divide the ontological explanations from Sartre and Hegel on the master/slave dialectic. She suggests that Sartre’s ontology of the master/slave dialectic results in an explanation of the in-itself, the for-itself, and being-for-others as essentially immobile, pessimistic and rooted in a misogynistic perception that one must be master over the Other in order to obtain radical freedom. Bauer believes De Beauvoir to reappropriate the Hegelian view (...) over the Sartrean view, leading to a more optimistic account in support of a more egalitarian feministic approach to the issues of self-consciousness. (shrink)

The recent chiming of Simone de Beauvoir's legacy by French feminists for a policy of assimilation of Muslim women to Western models of self and society reduces the complexity and richness of Beauvoir's views in inacceptable ways. This article explores to what extent a politics of difference that challenges the ideals and political strategies of abstract liberalism can be extracted from and legitimized by the philosophies of Simone de Beauvoir and Jean-Paul Sartre. Without assuming their thought is identical, we can (...) read them as elucidating each other and as implicitly exposing weak and strong points in their respective philosophies on ethnocultural rehtions and social identities. (shrink)

ABSTRACT This article shows how the “problem of moral luck” and Sartre's concept of “bad faith” are mutually illuminating, since both have to do with confusions about how much we control, or are controlled by, our situations. I agree with three recent proposals that the problem of moral luck results from certain epistemic malfunctions. However, I argue that the problem cannot be dissolved by overcoming these malfunctions because they are rooted in bad faith. Against the currently dominant interpretation, I argue (...) that bad faith is an inescapable condition of human being because, while we are both free and factical, we can only exist as one or the other at once, thus always keeping an aspect of our nature hidden from ourselves. (shrink)

: Contemporary common sense holds that authenticity is an ethical ideal: that there is something bad about inauthenticity, and something good about authenticity. Here we criticize the view that authenticity is bad because it detracts from the wellbeing of the inauthentic person, and propose an alternative moral account of the badness of inauthenticity, based on the idea that inauthentic behaviour is potentially misleading.

Phenomenological approaches to affectivity have long recognized the vital role that emotions occupy in our lives. In this paper, I engage with Jean-Paul Sartre's well-known and highly influential theory of the emotions as it is advanced in his Sketch for a Theory of the Emotions. I examine whether Sartre's account offers two inconsistent explications of the nature of emotions. I argue that despite appearances there is a reading of Sartre's theory that is free of inconsistencies. Ultimately, I highlight a novel (...) reading of Sartre's account of the emotions: one that is both phenomenologically accurate and supported by textual evidence. (shrink)

There is a growing discourse on “new sincerity,” and related terms like “quirky” and “metamodernism,” as a movement or sensibility in contemporary cinema developing from the late 1990s onward, exemplified by the work of filmmakers such as Wes Anderson and Charlie Kaufman. However, what this new concept means in the context of cinema has so far remained under-defined and requires further philosophical analysis. This article provides such an analysis by offering a reconceptualization of Jean-Paul Sartre's existentialist-phenomenological notions of good faith (...) and sincerity, which will be connected to developments in film and elaborated in relation to Frances Ha (Noah Baumbach, 2012). I propose, against Sartre's own preference for the problematic term “authenticity,” to understand sincerity as the reflective resumption of good faith's pre-reflective acceptance of human-reality. This conception of sincerity as reflective allows us to accurately understand the combination of self-awareness and affirmation that characterizes new sincerity cinema: its self-awareness does not serve the postmodernist strategy of endless self-ironization; instead, its portrayals affirm the meaningfulness of its filmic reality, while also being aware of film as a medium. An analysis of Frances Ha illustrates how this concept of sincerity might be seen to function both on the level of story world, characters and themes, and on that of narrative structure and audio-visual style, thereby showing how we can meaningfully speak of sincerity in and of film. (shrink)

The recent claiming of Simone de Beauvoir's legacy by French feminists for a policy of assimilation of Muslim women to Western models of self and society reduces the complexity and richness of Beauvoir's views in inacceptable ways. This article explores to what extent a politics of difference that challenges the ideals and political strategies of abstract liberalism can be extracted from and legitimized by the philosophies of Simone de Beauvoir and Jean-Paul Sartre. Without assuming their thought is identical, we can (...) read them as elucidating each other and as implicitly exposing weak and strong points in their respective philosophies on ethnocultural relations and social identities. (shrink)

The study discusses the political in Jean-Paul Sartre's work, focusing principally on the conceptual constructions through which the agent acting in a political action situation can be interpreted from the texts. Sartre's conception of the political agent is discussed against the background of the operational concepts and the limit-situation as an ideal type action situation construed as conceptual devices in the work for showing both Sartre's fashion of using and of construing concepts. In addition certain metaphors such as theater, play (...) and mask are used for highlighting the political reading of the texts. The theme of the agent, in one form or another, runs through Sartre's entire work. It is a theme which largely gathers together the different conceptual devices and different perspectives he takes in his work. In this study, through concepts and figures interpreted from the texts, especially from Critique de la raison dialectique, itis shown that Sartre's construction of the agent forms a challenging attempt of a revised view into the classical concept of subject. It is also shown that his agent is both a political and a moral actor which cannot be reduced to a subject or to a person, but can be described as an actor, as a player of the political condition, and as a user of political action strategies through the concepts of limit, change and non-identity. Sartre's central point of view of action is that of the agent acting in an interior space of action in a construed world. This forwards a view within which the perspective of production forms a framework for the argumentation where the main themes through which the portrait of the agent can be drawn are temporality, interiority, exteriority and subjectivity. The agent of the Critique as a non-identifiable actor acting in a temporally and dimensionally produced action situation is produced in the process of internalization and externalization of the historical and inherently political condition of being condemned to freedom. In the study it is shown that it is this agent through whom the political comes to the world and who is condemned also to politics. It is also shown that this agent forms a perspective of interpretation as well to Sartre's plays as to the central concepts of his morals. (shrink)

This thesis examines the relation between self-deception and self-consciousness. It has been argued that, if we follow the literalist and take self-deception at face value – as a deception that is intended by, and imposed on, one and the same self-conscious subject – then self-deception is impossible. It will incur the Dynamic Problem that, being aware of my intention to self-deceive, I shall see through my projected self-deceit from the outset, thereby precluding its possibility. And it will incur the following (...) Static Problem. Qua self-deceiver, I shall believe not-P, but – qua self-deceived – I shall believe P. We shall then have to explain how I can sustain contradictory beliefs in full self-awareness. I argue that this rejection of literalism about self-deception rests on error. First, it misunderstands what literalism holds. Properly understood, literalism does not require the simultaneous commitment to contradictory beliefs. Second, it misunderstands the relation between self-deception and self-consciousness – and that is my primary focus. The phenomenology of self-deception reveals that the self-deceiver experiences the following tension. She is somehow aware of her self-deception as such. Yet also, she misrepresents that self-deception to herself as being a sincere commitment to the truth – so, in that sense, she is not aware of her self-deceit as such. To capture this tension, we require a theory of self-consciousness – independently defensible in its own right – that will meet this twofold requirement, of permitting the self-deceiver not to see what is right before her gaze. The rejection of literalism presupposes that no theory of self-consciousness can meet this twofold requirement.I argue that this twofold requirement can be met. The first part of this thesis offers a detailed defence of a theory of self-consciousness. The second part shows how this theory of self-consciousness can faithfully capture the tension of self-deception, while eschewing the Dynamic and Static Problems. It thereby claims to vindicate the literalist's position. (shrink)