Death, Life and Freedom in Sartre's "No Exit"

Nilgün Özcan

Makale detayları

Death, Life and Freedom in Sartre's "No Exit"

Yazarlar:

Nilgün Özcan

Yayıncı:

Bursa Uludağ University

Ana Başlıklar:

Felsefe

Dergi:

Kaygı. Bursa Uludağ Üniversitesi Fen-Edebiyat Fakültesi Felsefe Dergisi Vol.22 Issue 1, pp.155-178

Belge Tipi:

Makale

Yayın Tarihi:

3/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001286515

pISSN:

2645-8950

Anahtar kelimeler:

Özet:

 In the French Enlightenment, from the beginning of the 20th century, J. P. Sartre is one of the most ideal examples of the productivity in the union of philosophy, literature and theater. 20th century Sartre, who is the author with the highest visual orientation among contemporary French writers, tried to transfer the visual effects and technique of his experiences into writing, under the influence of the phenomenological approach that cares about both the priority of perception and the deliberate nature of observations and judgments. In this context, theater was used brilliantly by Sartre to convey existential ideas to large masses. Sartre wants his readers to realize the unlimited responsibility they have and to see that values and goals are the personal creation of man. In this philosophical game translated into our language as Secret Session; describes it as an expression of mans personal hell. Focusing on how we understand ourselves through the others gaze and how it can be uncomfortable and even painful, the text explains that encountering others can be used as an endless form of torture in hell. There are limited studies in the philosophical literature about the theater works of the existentialist philosopher Sartre, who is mostly known for his novels in our country. It is hoped that the existential analysis conducted within the framework of the Secret Session will contribute to the field in this context.

 In the French Enlightenment, from the beginning of the 20th century, J. P. Sartre is one of the most ideal examples of the productivity in the union of philosophy, literature and theater. 20th century Sartre, who is the author with the highest visual orientation among contemporary French writers, tried to transfer the visual effects and technique of his experiences into writing, under the influence of the phenomenological approach that cares about both the priority of perception and the deliberate nature of observations and judgments. In this context, theater was used brilliantly by Sartre to convey existential ideas to large masses. Sartre wants his readers to realize the unlimited responsibility they have and to see that values and goals are the personal creation of man. In this philosophical game translated into our language as Secret Session; describes it as an expression of mans personal hell. Focusing on how we understand ourselves through the others gaze and how it can be uncomfortable and even painful, the text explains that encountering others can be used as an endless form of torture in hell. There are limited studies in the philosophical literature about the theater works of the existentialist philosopher Sartre, who is mostly known for his novels in our country. It is hoped that the existential analysis conducted within the framework of the Secret Session will contribute to the field in this context.

 In the French Enlightenment, from the beginning of the 20th century, J. P. Sartre is one of the most ideal examples of the productivity in the union of philosophy, literature and theater. 20th century Sartre, who is the author with the highest visual orientation among contemporary French writers, tried to transfer the visual effects and technique of his experiences into writing, under the influence of the phenomenological approach that cares about both the priority of perception and the deliberate nature of observations and judgments. In this context, theater was used brilliantly by Sartre to convey existential ideas to large masses. Sartre wants his readers to realize the unlimited responsibility they have and to see that values and goals are the personal creation of man. In this philosophical game translated into our language as Secret Session; describes it as an expression of mans personal hell. Focusing on how we understand ourselves through the others gaze and how it can be uncomfortable and even painful, the text explains that encountering others can be used as an endless form of torture in hell. There are limited studies in the philosophical literature about the theater works of the existentialist philosopher Sartre, who is mostly known for his novels in our country. It is hoped that the existential analysis conducted within the framework of the Secret Session will contribute to the field in this context.

 Fransız Aydınlanmasında 20. yüzyılın başından itibaren, felsefe, edebiyat ve tiyatro birlikteliğindeki üretkenliğe en ideal örnek J. P. Sartredır. 20. yy. Çağdaş Fransız yazarları içinde görsel yönelimi en yüksek yazar olan Sartre hem algının önceliği hem de gözlem ve yargıların kasıtlı doğasını önemseyen fenomenolojik yaklaşım etkisinde, deneyimlerindeki görsel etkileri ve tekniği yazıya aktarmaya çalışmıştır. Bu bağlamda tiyatro, varoluşçu düşüncelerin geniş kitlelere ulaştırılmasında Sartre tarafından dâhice kullanılmıştır. Sartre okuyucularının sahip oldukları sınırsız sorumluluğun farkına varmalarını, değerlerin ve amaçların insanın şahsi yaratımı olduğunu görmelerini istemektedir. Dilimize Gizli Oturum olarak çevrilen bu felsefi oyunda Sartre ötekini; insanın şahsi cehenneminin bir dışavurumu olarak betimlemektedir. Ötekinin bakışı aracılığıyla kendimizi nasıl anladığımıza ve bunun nasıl rahatsız edici ve hatta acı verici olabileceğine odaklanan metin, öteki ile karşılaşmanın cehennemde sonsuz bir işkence biçimi olarak kullanılabileceğini anlatmaktadır. Ülkemizde daha çok romanları ile tanınan varoluşçu filozof Sartreın tiyatro eserleri ile ilgili felsefe literatüründe sınırlı çalışma bulunmaktadır. Gizli Oturum çerçevesinde yapılan varoluşçu analizin bu çerçevede alana katkı sağlaması umulmaktadır.

Makale detayları

Death, Life and Freedom in Sartre's "No Exit"

Yazarlar:

Nilgün Özcan

Yayıncı:

Bursa Uludağ University

Ana Başlıklar:

Felsefe

Dergi:

Kaygı. Bursa Uludağ Üniversitesi Fen-Edebiyat Fakültesi Felsefe Dergisi Vol.22 Issue 1, pp.155-178

Belge Tipi:

Makale

Yayın Tarihi:

3/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001286515

pISSN:

2645-8950

Death

Existentialism

Freedom

Others

Sartre

Theatre

Ölüm

Öteki

Özgürlük

Sartre

tiyatro

varoluşçuluk

Sayı

Makale detayları

Yazarlar: Nilgün Özcan

Yayıncı: Bursa Uludağ University

Ana Başlıklar: Felsefe

Dergi: Kaygı. Bursa Uludağ Üniversitesi Fen-Edebiyat Fakültesi Felsefe Dergisi Vol.22 Issue 1, pp.155-178

Belge Tipi: Makale

Yayın Tarihi: 3/2023

Belge Dili: Türkçe

Document ID (Org No.): 2001286515

pISSN: 2645-8950

Sayı

Yazarlar:

Nilgün Özcan

Yayıncı:

Bursa Uludağ University

Ana Başlıklar:

Felsefe

Dergi:

Kaygı. Bursa Uludağ Üniversitesi Fen-Edebiyat Fakültesi Felsefe Dergisi Vol.22 Issue 1, pp.155-178

Belge Tipi:

Makale

Yayın Tarihi:

3/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001286515

pISSN:

2645-8950