Existential Psychoanalysis. By Jean-Paul Sartre. Philosophical Library, New York, 1953. Pp. viii + 275. $4.75

1958 ◽  
Vol 9 (35) ◽  
pp. 258-261
Author(s):  
J. O. WISDOM
Keyword(s):  
New York ◽  
Jean Paul ◽  
Existential Psychoanalysis

Vichy Specificities: Repositioning the French Past

2000 ◽  
Vol 9 (3) ◽  
pp. 475-488 ◽  
Author(s):  
K. H. Adler
Keyword(s):  
New York ◽  
World War Ii ◽  
Second World War ◽  
University Of Chicago ◽  
World War ◽  
Popular Protest ◽  
Northern France ◽  
Jean Paul ◽  
Second World ◽  
University Of Chicago Press

Michèle and Jean-Paul Cointet, eds., Dictionnaire historique de la France sous l'Occupation (Paris: Tallandier, 2000), 732pp., FF 290, ISBN 2-235-02234-0. Hanna Diamond, Women and the Second World War in France 1939–1948: Choices and Constraints (Harlow: Longman, 1999), 231pp., £45.00 (hb), £14.99 (pb), ISBN 0-582-29909-8. Sarah Fishman, Laura Lee Downs, Ioannis Sinanoglou, Leonard V. Smith, Robert Zaretsky, eds., France at War: Vichy and the Historians (Oxford and New York: Berg, 2000), 336pp., £45.00, ISBN 1-859-73299-2. Bertram M. Gordon, ed., Historical Dictionary of World War II France: The Occupation, Vichy, and the Resistance, 1938–1946 (Westport: Greenwood Press, 1998), 433pp., £73.95, ISBN 0-313-29421-6. Miranda Pollard, Reign of Virtue: Mobilizing Gender in Vichy France (Chicago and London: University of Chicago Press, 1998), 285pp., £31.50 (hb), £14.00 (pb), ISBN 0-226-67349-9 and 0-226-67350-2. Lynne Taylor, Between Resistance and Collaboration: Popular Protest in Northern France, 1940–45 (Basingstoke: Macmillan; New York: St. Martin's Press, 2000), 195pp., £40.00, ISBN 0-333-73640-0.

Hare, David (1917–1992)

2018 ◽  
Author(s):  
Esther T. Thyssen
Keyword(s):  
New York ◽  
Transient State ◽  
Real Space ◽  
Body Parts ◽  
Steel Melting ◽  
Marcel Duchamp ◽  
Lecture Series ◽  
Jean Paul ◽  
Mark Rothko ◽  
As If

David Hare was an American sculptor and critic whose work was inspired by the imagination and the subconscious. During the early 1940s, when he began making sculpture, Hare associated with émigré Surrealists in New York, and from 1941 to 1944 edited the magazine VVV with André Breton, Marcel Duchamp, and Max Ernst. Hare befriended Jean-Paul Sartre in 1946, through whom he was introduced to Existentialism. Hare refused to follow trends and amalgamated Surrealist and Existentialist principles in his works about process and metamorphosis. Hare worked with steel, melting and pouring it into moulds, as can be seen in works such as Magician’s Game (1944), which melds objects and body parts as if continually becoming. He also made open, airy, welded sculptures trapping real space and often depicting landscape in a transient state. In 1948, together with Robert Motherwell, Mark Rothko and William Baziotes, Hare co-founded Subjects of the Artist, an informal art school with a lecture series, which served as precursor to The Club.

Otto É. May(zo)—Elaine May’s Screenplay of Otto Preminger’s Such Good Friends (1971) as Affirmation that Hell is Other People

2019 ◽  
pp. 181-201
Author(s):  
Paul Jeffery
Keyword(s):  
New York ◽  
Jean Paul ◽  
Impending Death

In February 1971, while her studio-seized debut feature A New Leaf was being readied its premiere, Elaine May took a job-for-hire – adapting Lois Gould's newly published, fictionalized semi-memoir Such Good Friends for director Otto Preminger. Her work on the film was pseudonymously ascribed to Esther Dale, in keeping with May's general policy of not taking credit for projects for which she lacked authorial control, and has tended to be regarded as little more than a footnote in her career. Yet Such Good Friends is characterized by themes and styles which typify May's oeuvre: betrayal of a partner; the conflict between the roles we play and our ‘true’ selves; abrupt, seemingly spontaneous, tonal shifts; a particularly intellectual, highly verbal brand of New York Jewish humour counterpointed by vulgar farce; the spectre of impending death. Further, the film shows us that, even when working as intermediary between Gould and Preminger, May's outlook remains thoroughly existentialist. This philosophy, popularized by Jean-Paul Sartre, is not merely reflected in the content of her work but also shapes her entire approach to creative endeavours. Indeed, it's fascinating to see how May's inherent spontaneity, manifested as an inescapable subjectivity, merges with Preminger's highly- controlled, deliberately composed objectivity.

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