By Alistair Rolls, Elizabeth Rechniewski
Twenty-five years after his demise, critics and teachers, film-makers and newshounds proceed to argue over Sartre's legacy. yet definite interpretations have congealed round his iconic textual content Nausea, tending to restrict it in the framework supplied by means of the later philosophical paintings, Being and Nothingness. This quantity opens up the textual content to quite a number new ways in the fields of English and Comparative Literature, in addition to Philosophy and French reviews, less than the headings : ‘Text’, ‘Context’, and ‘Intertext’: the textual techniques at paintings in the novel; the literary, cultural and philosophical context of its creation; and the intertextual net during which it really is situated.
This quantity will curiosity a large public of lecturers, scholars and all those that are looking to think again Sartre’s legacy within the twenty–first century.
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Additional resources for Sartre's Nausea : text, context, intertext
No manly, phallic sausage for Roquentin, the Autodidact insists, only invertebrate snails or oysters. No manly, red meat of a bœuf en daube for him, but rather the less manly poulet chasseur, while the Autodidact permits himself to order the beef. And there is not even robust red wine, but rather the less manly rosé d’Anjou. The most interesting moment in the scene is the missing conversation that happens right after the food is ordered. The purpose of the lunch was ostensibly for the Autodidact to tell Roquentin about the trouble the Corsican guard in the library is making for him.
All we can know is that it is an act of seduction and transfixing. He does not seduce through the contents but through the form. The seduction is complicated by the counter-current introduced by Sartre. The hand of the one supposedly rapt by the Autodidact’s words slides along surreptitiously to pinch the arm of his friend, yet, mine de rien, he continues to appear interested in the words of Autodidact. The blond friend, who is older and already has “une ombre de moustache [a hint of a moustache]” and is broad-shouldered, “râblé [strapping)]” (193; 232), is, however, truly caught up in the words of the Autodidact: he is “trop absorbé à jouir silencieusement des paroles de l’Autodidacte [too absorbed in silent enjoyment of the Autodidact’s words]” (194; 233).
Through an analysis of a series of scenes in which the Autodidact figures prominently, I shall show how Sartre conceives of homosexuality, bad faith, and engagement even at this early point in his writing. *** Cette quantité de désœuvrés vulgaires, de bourgeois retirés, d’hommes veufs, de solliciteurs sans places, d’écoliers qui viennent copier leur version, de vieillards maniaques, – comme l’était ce pauvre Carnaval qui venait tous les jours avec un habit rouge, bleu clair, ou vert-pomme, et un chapeau orné de fleurs, – mérite sans doute considération, mais n’existe-t-il pas d’autres bibliothèques, et même des bibliothèques spéciales à leur ouvrir ?
Sartre's Nausea : text, context, intertext by Alistair Rolls, Elizabeth Rechniewski