Biografía

Was awarded the Nobel Prize for Literature in 1964 but he turned it down.

In 2018 (January - April) his play "Nekrassov" was presented for the first time in Greece at the "Apo Michanis Theatro" (i.e. Ex Machina Theatre) in Athens, in a critically praised production by THEAMA, the first and internationally acclaimed Greek inclusive theatre company composed by both disabled and non-disabled actors, brilliantly directed by its founder Vassilis Oikonomou, who also received kudos on his marvelous performance in the leading role of Georges De Valera together with Michalis Tamboukas as Inspector Goblet, Panos Zournatzidis as Jules Palotin and Katerina Kontomarkou as Demidoff. The fine cast also included Manos Triantafillakis (Beggar Robert, Sibilot), Aimiliani Avraam (Beggar Irma, Peruvian Mayor's Interpreter, Nerciat), Konstantinos Loukas and Hannah El Haj Omar as Police Officers, Angeliki Nomikou (Palotin's Secretary), Christina Toumba (Tavernier), Efi Toumba (Périgord), Maria Mourelatou (Peruvian Mayor), Andreas Zikoulis (Mouton), Elie Driva (Veronique), Evangelia Schina (Mrs. Bounoumi), Stavros Zafeiris (Baudouin and Chapuis) and Marina Besiri (Party Guest) in excellent performances. This acclaimed stage production was also the first theatrical Greek one accessible to persons with sensory disabilities as it included SDH surtitles both in Greek and English, Greek Sign Language interpretation and audio description. The sublime music of the show was composed by Elias Kourtparasidis. The process of the production was also depicted in the documentary film project Enas allos... Sartre (2018).

In 1993, French author Bianca Lamblin (originally Bianca Bienenfeld) wrote in her book Mémoires d'une jeune fille dérangée (Memoirs of a deranged girl, published in English under the title A Disgraceful Affair) of her sexual exploitation by Sartre and Beauvoir. Lamblin claims that, while a student at Lycée Molière, she was sexually exploited by her teacher Beauvoir, who introduced her to Sartre a year later. Bianca wrote her Mémoires in response to the posthumous 1990 publication of Jean-Paul Sartre's Lettres au Castor et à quelques autres: 1926-1963 (Letters to Castor and other friends), in which she noted that she was referred to by the pseudonym Louise Védrine. Sartre and Beauvoir frequently followed this pattern, in which Beauvoir would seduce female students and then pass them on to Sartre.

Was portrayed by Fred Wellisch in the 2000 stage production of 'John Susman''s three-hander, "Nelson & Simone," at Chicago's Live Bait Theatre. The other two characters, of course, were Nelson Algren (played by Gary Houston) and Simone de Beauvoir (played by Rebecca Covey).

He attended the Cours Hattemer, a private school in Paris.

Life begins on the other side of despair.

Hell is other people.

[on choice] An individual chooses and makes himself.

[on the German occupation of Paris, 1940] We were terrified of dying, suffering, for a cause that disgusted us. That is, for a disgusting France - corrupt, inefficient, racist, anti-Semite, run by the rich for the rich. No one wanted to die for that until, well until we understood that the Nazis were worse.

Let us imagine that moved by jealousy, curiosity, or vice I have just glued my ear to the door and looked through a keyhole. I am alone and on the level of a non-thetic self-consciousness. This means first of all that there is no self to inhabit my consciousness, nothing therefore to which I can refer my acts in order to qualify them. They are in no way known; I am my acts and hence they carry in themselves their whole justification. I am a pure consciousness of things, and things, caught up in the circuit of my selfness, offer to me their potentialities as the proof of my non-thetic consciousness (of) my own possibilities. This means that behind that door a spectacle is presented as "to be seen," a conversation as "to be heard." ... But all of a sudden I hear footsteps in the hall. Someone is looking at me. What does this mean? It means that I am suddenly affected in my being and that essential modifications appear in my structure - modifications which I can apprehend and fix conceptually by means of the reflective cogito. First of all, I now exist as myself for my unreflective consciousness. It is this irruption of the self which has been most often described: I see myself because somebody sees me - as it is usually expressed. ... Only the reflective consciousness has the self directly for an object. The unreflective consciousness does not apprehend the person directly or as its object; the person is presented to consciousness in so far as the person is an object for the Other. This means that all of a sudden I am conscious of myself as escaping myself, not in that I am the foundation of my own nothingness but in that I have my foundation outside myself. I am for myself only as I am a pure reference to the Other.