What explanation can be given for the relevance of literature to Bourdieu's theoretical work? In order to explain this choice of object, in the first part of this article I consider the national and international context within which Bourdieu's theory has been built. In the French intellectual space literature was a central theoretical object. In the international context, the attention paid to literature was justified by the importance given to the symbolic phenomena in the main contemporary theoretical traditions. In order (...) to appreciate the singularity and difficulty of Bourdieu's theoretical acquisition, I try to reconstruct the problems that he attempted to resolve, the theoretical possibilities with regard to which his hypotheses were defined, and the position that he held in his field of production at the time in which they were formulated. In Bourdieu's thought, this conjunctural dimension does not imply that a theory is particularized or relativized. So he presented his theoretical frameworks on literature as a model applying to any kind of cultural products. In the second part of my paper I intend to test these claims by examining under what conditions and to what extent his `Principles of a science of works' have been considerd transposable to other national contexts and/or to new objects. (shrink)

This essay is divided into three parts. In the first, I develop a new interpretation of Sartre's notion of an original project, or original choice, by emending his initial position in Being and Nothingness, and by extrapolating from his autobiography and his psychobiographies on Baudelaire and Flaubert. In the second part, I examine the early and late Sartre's paradoxical commitment to self-analysis, and go on to draw taut the tension in the late Sartre between individual freedom and relations to others. (...) I demonstrate that the tension in the thought of the late Sartre can be explained and resolved only with reference to Sartre's own original projects. The third part is devoted to briefly analyzing what combination of factors in Sartre's developmental history led to his original projects, in view of a possible psychobiography on Sartre. Nearly everything covered in this essay is an attempt by Sartre to appropriate Freud as an instrument in his own thought. In the third part, I also try to show that Freud resists Sartre's analysis, as it were, and that Sartre only proves Freud right. (shrink)

Theistic religious believers should be concerned that the God they worship is not an idol. Conceptions of God thus need to be judged according to criteria of religious adequacy that are implicit in the ‘God-role’—that is, the way the concept of God properly functions in the conceptual economy and form of life of theistic believers. I argue that the conception of God as ‘omniGod’—an immaterial personal creator with the omni-properties—may reasonably be judged inadequate, at any rate from the perspective of (...) a relationship ethics based on the Christian revelation that God is Love. I go on to suggest that a conception of God as the power of love within the natural universe might prove more adequate, with God’s role as creator understood in terms of final rather than efficient causation. (shrink)

In his famous biography, Ernest Jones turns aside from his central theme at one point to relate a curious episode involving psychoanalysis and Hollywood, in the persons of Freud and the well-known film producer Samuel Goldwyn. Like many others in the film industry, Goldwyn was fascinated with the challenge of exploiting the association between psychoanalysis and sex on screen, but although he approached ‘the greatest love specialist in the world’ with an offer of $100 000 for his co-operation in making (...) a movie, Freud declined and even refused to see him. To some degree, Freud's antagonism sprang from his distaste for America and its values, which he contemptuously dismissed as a blend of crude behaviourism, materialism and consumerism, epitomized in the figure of Goldwyn, whose reputation for vulgarity had preceded his arrival in Europe. But for the most part, he remained sceptical that the theories of psychoanalysis could ever be properly expressed on the silver screen, even when the attempt was made by two close acquaintances, Hanns Sachs and Karl Abraham. (shrink)

While the genesis of self-awareness at approximately 18 months old is a dramatic landmark in human development, there is at this stage no explicit awareness on the toddler's part of his/her truly standing apart from others. Only much later does a distinct sense of self shift into focus, and here Sartre provides us with a compelling theory of a first reflective experience of self-awareness. He explains this phenomenon by emphasizing a violent shift in ontological status, one in which the pre-adolescent (...) child is precipitated from functional unity with a primary caregiver to an individuated state involving self-awareness as privative, i.e. where the child becomes aware of existing only in the form of not-being-the-adult. For Sartre this new experience of self is not therefore positive but rather formal or empty; there has in fact been a psychic transition, from being to nothingness. In addition, Sartre also states that all children first explicitly experience themselves in this fashion. These claims find support in the work of developmental psychologist Margaret Mahler. In fact, in spite of the vast developmental discrepancies between toddler and pre-adolescent child, given the appropriate environmental triggers privative subjectivity will be shown to involve a regression to the much earlier rapprochement stage of development described by Mahler. (shrink)

This paper argues that Jean-Paul Sartre’s discussion of violence from his Notebooks for an ethics constitutes an attempt to go beyond an instrumental view of violence. An “instrumental view of violence” essentially assumes that violent behavior is a form of pragmatic behavior whose distinguishing feature consists in the kind of means one employs for reaching one’s goals (violent behavior resorting to means that are harmful for others, whereas non-violent behavior does not). For his part, Sartre attempts to provide a stronger (...) demarcation between violent and pragmatic behaviors. First, violent behavior is, for Sartre, not necessarily characterized by the use of particular means, but by a particular manner of using means, one that involves a certain “forcing” or “straining” of the means. Second, I argue that, according to Sartre, in contrast with pragmatic behavior, violent behavior involves a modification of one’s attitude towards one’s goals. Three such modified attitudes with respect to one’s goals are detailed here, namely the non-productive attitude (the assumption that the goal is not to be produced or that it is not to be produced by means that are under our control), the counter-productive attitude (the exacerbation of one’s proximate goal at the expense of more distant goals) and the anti-productive attitude (the active refusal of one’s previously set goal). Moreover, I show that Sartre’s view that violence involves the “straining” of one’s means is undergirded by his idea that violent behavior presupposes the modification of one’s attitude with respect to one’s goals. (shrink)

This paper attempts to reconcile two apparently opposed ways of thinking about the imagination and its relationship to literature, one which casts it as essentially concerned with fiction-making and the other with culture-making. The literary imagination’s power to create fictions is what gives it its most obvious claim to “autonomy”, as Kant would have it: its freedom to venture out in often wild and spectacular excess of reality. The argument of this paper is that we can locate the literary imagination’s (...) complementary power of cultural articulation in this fictional activity. The suggestion is that we should conceive of the literary imagination as expressing its interests in culture not mimetically but by producing a certain kind of meaning. This meaning is irreducibly narratological, and understanding it helps us to see the role of narrative in bringing into harmony the literary imagination’s interests in both the imaginary and the real. (shrink)