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Jules Verne (1828–1905), writer of techno-thrillers like Twenty Thousand Leagues Under the Seas, and founding father of science fiction; Pauline Cassin Caro (1828/34/35 – 1901), novelist; Jules de Goncourt (1830–1870) Hector Malot (1830–1907) Émile Gaboriau (1832–1873), pioneer of modern detective fiction; Jules Vallès (1832–1885)
Heidegger responds to Sartre's famous address, Existentialism is a Humanism, employing modes of being in an attempt to ground his concept of freedom ontologically by distinguishing between being-in-itself and being-for-itself. Sartre's existentialism is criticized in the letter: Existentialism says existence precedes essence.
The philosopher Slavoj Žižek argued that there is a parallel between Sartre's views and claims made by the character Father Zosima in Fyodor Dostoyevsky's novel The Brothers Karamazov (1880): whereas Sartre believes that with total freedom comes total responsibility, for Father Zosima "each of us must make us responsible for all men's sins".
The publication of Les Mots in 1963 is believed to have strengthened Sartre's candidacy and in October 1964 the Academy decided to award Sartre, their decision was sealed with a final vote on 22 October 1964. A week earlier Sartre, knowing that he was a candidate for the prize, had sent a letter to the Swedish Academy saying he would not accept ...
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Sartre explores the reactions of numerous characters to the possibility of war. A mobilization of French men is called and those in one classification are to report for duty. Their reluctance or eagerness, their fear and worry, and how, in general, they respond to this change in their lives provide the main substance of the novel.
The philosopher Walter Kaufmann argues that Sartre's embrace of Marxism represents the end of existentialism, since following the publication of Search for a Method, neither Sartre nor any other major thinker writes as an existentialist (though Kaufmann adds that existentialism understood in a looser sense continues).
The fourth act presents the development of a new imposture, in which Sartre took up multiple different postures of writing. The fifth act relates Sartre's delusion, which he considers the source of his dynamism, and contains the announcement of a second book which he did not complete before his death.