Sartre’s account of the emotions presupposes a conception of human nature that is never fully articulated. The paper aims to render such conception explicit and to argue that frustration occupies a foundational place in Sartre’s picture of affective existence.

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)

Through positing that our capacity for physical vulnerability is at the core of original shame, Sartre’s account in Being and Nothingness reveals shame as an essential structure of human existence. Reading Sartre’s ontological account of ‘pure shame’ alongside recent writing about shame in early child development, particularly Martha Nussbaum’s account of ‘primitive shame,’ this article will explore the inherent links between shame, the body and vulnerability, ultimately positing that our human need for belonging is the fundamental driving force behind shame, (...) and what gives it its ontological status. In short, this article will argue that shame is not merely about a painful awareness of one’s flaws or transgressions with reference to norms and others, but about a deeper layer of relationality through our bodily vulnerability. (shrink)

This article seeks to develop an under-appreciated aspect of spectator activity: the way in which viewers make use of film to enter or sustain a project of bad faith. Based on Jean-Paul Sartre's account of bad faith in Being and Nothingness (1943), the article explains the aspects of bad faith that are pertinent to viewer activity, then explores the way viewers can make use of filmic depictions to facilitate self-denial. For example, spectators may emphasize the fact that persons are depicted (...) in narrow terms as corroboration for their belief that human nature is just as its depicted, thereby denying that we have the freedom to be otherwise. Or spectators may deny the relevance of problematic aspects of themselves when they find it depicted in characters who are admirable in other ways. I then consider whether films themselves can be described as being in bad faith. While technically they cannot, I identify ways that a film may encourage or discourage bad faith in viewers. I also examine how the immersive aspect of film enables viewers to turn attention away from themselves while they engage in self-denial. The case for this approach to viewer activity and film analysis is supplemented by a distinction between traits that do apply to film, e.g., being racist, sexist, or homophobic, and the resources it gives persons to be in bad faith about these social attitudes. I argue that a film can have traits like these while not encouraging bad faith and vice versa, demonstrating the unique perspective offered by approaching film and spectator activity in terms of bad faith. (shrink)

In this article I introduce a new reading of Jean-Paul Sartre's account of bad faith. The reading contrasts with previous accounts by denying that states of bad faith are exhausted by attitudes towards transcendence and facticity. Instead, I argue that bad faith can involve attitudes to many other aspects of the human being. I also respond to an argument which claims that affirmations of freedom are inconsistent with the motivations behind bad faith. The inconsistency is here resolved by demonstrating how (...) in bad faith we can still affirm a restricted version of freedom which avoids us acknowledging the unpleasant aspects of our full freedom. (shrink)

The following books have been received, and many of them are available for review. Interested reviewers please contact the reviews editor: jim.oshea@ucd. Ablondi, F., Gerauld de Cordemoy: Atomist,...