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By Wittmann Heiner
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Additional info for Aesthetics in Sartre and Camus. The Challenge of Freedom (Dialoghi Dialogues: Literatur Und Kultur Italiens Und Frankreichs)
29 Op. , p. 48. 30 By rejecting the biographical method Sartre is not far away from the opinion of Gustave Lanson, the director of the Ecole Normale Superieure, where Sartre studied from 1924 to 1929. 32 Gustave Lanson's approach via literary history correlates in part with that of Sartre, who compares a writer's commitment with his 'project' and like Lanson does not permit a purely psychological explanation, especially if this relates to the person's origins. In none of the artist portraits does Sartre draw conclusions about how the artist completed his works solely from his biography.
The result is actually formulated before searching for the evidence. 33 The temptation to use the "L'homme et l'ceuvre" method is there again and again, for every work poses questions about life. But Sartre corrects the meaning of this approach. As the 'objectivation' of a person - a process of making an object out of someone - a literary work is more complete and comprehensive than life itself. It is only by understanding this that one begins to expect a different answer to the question of whether a work can by explained by it's author's life.
In Flaubert's case, it was a neurosis that ceased after he had found his way to art. Sartre's critique of dialectics also belongs to his concern with history in the artist portraits and in The Family Idiot in particular. In the Presentation des Temps Modernes (1945) he contrasted individuality with his existentialist approach and, as a consequence, also contrasted human freedom with rigorous 1 2 3 4 Sartre, Notebooks for an Ethics, p. 60. Cf. on the following: op. , p. 54 f. Cf. op. , p. 55 f. Ditto, The Family Idiot.