Sartre e o paradoxo da morte vivida

Abstract

This ongoing dissertation aims to sustain, within the scope of Sartrean philosophy, the paradox of lived death as a phenomenon that traverses human existence from the very announcement of my death. Our hypothesis consists in examining how we may describe this sui generis event. To that end, we outline our methodological approach in order to understand the itinerary of a prereflective consciousness that is, in Sartrean terms, always oriented by freedom-in-situation. Lived death corresponds to a limit. It is experienced by human reality in the face of itself and is mediated by alterity, which interrogates it through an unreflective conduct in the world, thereby collapsing its imaginary world. To substantiate this hypothesis, we situate the Sartrean dialogue with phenomenology and the prereflective cogito as its point of departure.In the first chapter, we aim to interrogate the phenomenon of death in relation to emotion and imagination, within the spectrum of a magical and embodied dimension of the consciousness–world bond. In a second moment, we examine human conduct through the guiding thread of freedom and, from there, tension intersubjectivity, bad faith, and anguish in Being and Nothingness in order to position the enigma of death within its ontological and ethical incursions. Since our methodological path involves a dual investigation between psychology and literature, we seek to clarify this relation of paradigms in the third chapter. There, we address the existentially grounded psychoanalytic approach and the notion of engaged literature as discussed in What Is Literature?. Across this dual trajectory of analysis concerning human reality, we begin from a “communicating neighborhood” between philosophy and literature and then transition toward psychology and literature, in order to focus on the psychophysical experience of Sartrean characters as a way of understanding the phenomenon of lived death. In the fourth chapter, we describe how the theme of death presents itself to the philosopher within the phenomenological tradition through his critical reading of the Heideggerian existential of being-toward-death. In this section of the dissertation, we mark Sartre’s distinctive stance through the notion of an absurd death—an idea that enables the thesis of the paradoxical existence of a lived death. The relevance of such a thesis lies in fulfilling Sartre’s project of bringing human reality to the forefront through its failure to be God and its impossibility of being a self-caused being. In the fifth and final chapter, we situate the motivation for our choice of The Wall and the notions of being-in-the-world-at-war and “passage” for understanding the characters. Our attention is directed specifically to the drama of Pablo Ibbieta, Tom Steinbock, and Juan Mirbal on the eve of their execution. Through the passage of literature to philosophy, the paradox of lived death emerges from the absurdity of waiting, in which the characters attempt to thematize their own end and find no support other than the radical and fragile contingency of freedom.