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By Julio Rey Pastor, Pedro Pi Calleja, Cesar A. Trejo

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What is important is that upon being seen, Juan and María José feel Rafa’s gaze as that of a possible executioner. Following Warnock, we might say that in the two sequences mentioned above the other is not an object of perception but rather the origin of a gaze that modifies and in a certain sense possesses, objectifies. With their gaze, Rafa and Miguel endanger the freedom of two for-itselfs, María José and Juan, whose lives are determined by the double secret of their love affair and the murder of the cyclist.

Nevertheless, in mid-century Spain the basic writings of these authors circulated among intellectuals, either in the original version or in Spanish translations. As Frederick Copleston wrote, “existentialism is an attempt to philosophize from the standpoint of the actor rather than from that of the spectator” (129). Here I will be arguing that in Muerte de un ciclista (Death of a Cyclist, 1955), Juan Antonio Bardem philosophizes in existentialist idiom from the perspective of the actor, both in the original motion picture script and the film.

Conflict is the original meaning of being-for-others” (431). In consonance with Plauto’s lupus est homo homini, Thomas Hobbes’s postulate that every man’s power resists and hinders the effects of the power of others (Leviathan), and Sartre’s social anthropology, where “hell is—other people” (No Exit 46), Bardem’s film partially pertains to a socially pessimistic tradition of thought—partially, since he leaves room, however, for conversion and desalination. (We should note, however, that 36 Andrés Lema-Hincapié Sartre’s diabolical anthropology applies only to the bourgeoisie—not to the working class or university-educated youth).

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Análisis matemático, volumen 3 by Julio Rey Pastor, Pedro Pi Calleja, Cesar A. Trejo


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