In this paper, I argue that temporality, as described in Being and Nothingness, is a central theme in Nausea. In the first section I make the point that one of Sartre's guiding concerns at the time of publishing Nausea is temporality and the temporal nature of freedom. In the second section, the theme of melancholy and its relationship to temporality is explored. The third section explores Sartre's use of this image of being taken 'from behind'. I use this temporal imagery as a guide for interpreting Roquentin's reaction to the rape and murder of Lucienne. By interpreting this scene by way of the temporality of Being and Nothingness, we can duly recognize the early Sartre's concern with temporality, understand the melancholia that arises because of the 'internal' negation of the past, and give a more satisfying account of a scene which is often ignored in the secondary literature.
Nausea, Melancholy and the Internal Negation of the Past
Sartre's phobia of crabs is traced through his experimental experience with mescaline and such literary works as Nausea, The Words and The Condemned of Altona. The phobia is analysed through an examination of Sartre's biphasic childhood Oedipus complex and attendant castration anxiety relating to his mother, father and stepfather. Finally, the question is raised of what the existence of unconscious phobias might imply about the relations between existentialism and psychoanalysis.
Thinking Things: Heidegger, Sartre, Nancy
This paper compares Sartre's and Nancy's experience of the plurality of beings. After briefly discussing why Heidegger cannot provide such an experience, it analyzes the relation between the in-itself and for-itself in Sartre and between bodies and sense in Nancy in order to ask how this experience can be nauseating for Sartre, but meaningful for Nancy. First, it shows that the articulation of Being into beings is only a coat of veneer for Sartre while for Nancy Being is necessarily plural. Then, it contrasts Nausea as an experience without language with Nancy's thinking of the excription of sense in the thing.
Existentialism and Art-Horror
This article explores the relationship between existentialism and the horror genre. Noël Carroll and others have proposed that horror monsters defy established categories. Carroll also argues that the emotion they provoke - 'art-horror' - is a 'composite' of fear and disgust. I argue that the sometimes horrifying images and metaphors of Sartre's early philosophy, which correlate with nausea and anxiety, have a non-coincidental commonality with art-horror explained by existentialism's preoccupation with the interstitial nature of the self. Further, it is argued that, as with some of the more sophisticated examples of the horror genre, the way for existential protagonists like Roquentin and Gregor Samsa to meet the challenge of the horrifying involves an accommodation of these features of the existential condition within their developing identity, which results in them appearing monstrous to others. Lastly, it is claimed that the association between existentialism and art-horror can explain the (paradoxical) appeal of horror.
Philosophical Fiction as World Literature
Jean-Paul Sartre's Nausea
Is it difficult, to say the least, for anyone to read Nausea nowadays without having been touched, consciously or not, by the almost mythological stature of Sartre and the black-and-white glamour of 20 th century French Existentialism: the
Some Of These Days
A. van den Hoven
Thanks to the kind cooperation of Mrs. Elise Harding-Davis, director of the North American Black Historical Museum and Cultural Centre, we are able to reproduce the score of this famous melody which features so prominently in Sartre’s Nausea. This museum is located in Amherstburg, Ontario, some thirty kilometers southwest of the Ambassador Bridge which links Detroit, Michigan with Windsor, Ontario. Shelton Brooks, who composed the melody in 1910, was a descendent of black slaves who made their way to freedom by way of “the underground railway” and settled in Southwestern Ontario.
Fairy Tale (from "Une Défaite”)
This is an extract from “Une défaite,” an unfinished novel which, according to Simone de Beauvoir, Sartre wrote in 1927. Apparently, Sartre was inspired by Charles Andler's biography of Nietzsche and the triangular relationship of Nietzsche, Wagner and Cosima Wagner. The latter, Franz Liszt's daughter, was initially married to Hans von Bülow with whom she had two daughters, and then she married Wagner with whom she had two more daughters. Nietzsche admired her greatly. Sartre became fascinated by this ambiguous, complex and conflictual triangle. Sartre also identified with Nietzsche and “the destiny of the solitary man.” The protagonist, Frédéric, who is one year older than Sartre, is also an ironic self-portrait of Sartre, while Cosima is a prototype for Anny in Nausea; both are modelled on Simone Jollivet. Cosima plays both mother and sister to Frédéric. The triangular relationship is often repeated in Sartre's affective existence. The fairy tale is the best written chapter in the novel.
Sartre's Conception of Historiality and Temporality: The Quest for a Motive in Camus' The Stranger and Sartre's Dirty Hands
Adrian van den Hoven
Neither the apparently cold-blooded murder of a complete stranger, the central event in The Stranger, nor Hugo's murder of Hoederer in Dirty Hands—a political assassination or crime of passion, depending on how one views it—can be considered unusual acts, in literature or in life. The topic of murder has itself created an extremely popular genre: the detective novel or "whodunit," which has become a huge industry and has aficionados everywhere, Sartre being one. In French theater, the topic of political assassination has resulted in such famous plays as de Musset's Lorenzaccio (1834), which ostensibly deals with Florence in the sixteenth century and the tyrannical Alexandre de Médicis, who is assassinated by his young cousin, but is in fact "a limpid transposition of the failed revolution of July 1830." It is well known that Sartre was an admirer of Musset and Romantic theater. In 1946, Jean Cocteau, who helped with the staging of Les Mains sales (Dirty Hands), wrote L'Aigle ` deux têtes (The Two-Headed Eagle), which was inspired "by the sad life of Empress Elisabeth of Austria and her tragic death by the hand of the Franco-Italian assassin, Luigi Lucheni." Sartre himself, in Nausea, has Anny use the engraving in Michelet's Histoire de France depicting the assassination of the Duke de Guise as a perfect illustration of "privileged situations."
satisfaction that comes from gazing at a reflection of oneself in a mirror. Aaron Castroverde also addresses the philosophical underpinnings of Sartre's creative writing. In “Philosophical Fiction as World Literature: Jean-Paul Sartre's Nausea ,” Castroverde
John Ireland and Constance Mui
recognizes that reverence is not an emotion one would normally associate with Sartre, although he posits its kinship with anguish. But Arvidson also presents an unusual reading of Nausea, reading Roquentin's epiphany in the Bouville garden as his encounter