In the novel, Nausea, author Jean-Paul Sartre details an existential exploration from the viewpoint of fictional character, Antoine Roquentin, in the form of a personal diary. Throughout the work, the “feeling of adventure” becomes an important motif in Roquentin’s existential understanding and development. The contrast Sartre constructs between the ideas of adventure and “perfect moments” not only defines their interconnected relationship but gives the reader insight into Roquentin’s perception of time. Sartre also presents these ideas to readers as a means of providing guidance in understanding the human existence of reality.
In order to understand the relationship between Roquentin’s “feeling of adventure” and his friend Anny’s idea of a “perfect moment” the defining characteristics of each idea must be discerned. Roquentin explicitly defines the feeling of adventure as being “that of the irreversibility of time.”(pg. 57). Although Roquentin has traveled the world and had many exotic experiences, he does not consider any of them to be adventures because in those moments he was not conscious of his own existence or of the passing of time. By this definition, a true adventure is characterized as beginning the moment in which the adventurer becomes conscious of the passing of each precious moment in time that can never be repeated. Another defining characteristic of Roquentin’s feeling of adventure is the way in which it “comes when it pleases.”(pg. 56). Even though a person may be conscious of their own existence as well as the passing of time, this does not mean that an adventure can be realized because adventures, for Roquentin, seem to be contingent on a certain linkage of moments. To Roquentin, it is unknown what determine...
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...hilosophies of Roquentin and Anny is represented by the tension in the relationship between the pair. This importance of adventures and the contrast and tension with Anny is what characterizes Roquentin’s perception of time.
In the novel, the feeling of adventure is characterized by a multitude of factors with the most apparent being brought out in the way in which the idea of an adventure contrasts with the idea of a perfect moment. Sartre uses the idea of a “perfect moment” as a tool to highlight and help the reader understand the basis on which the feeling of adventure is built. This feeling of adventure is defined as being as a culmination of being conscious of the irreversibility of time and one’s own existence along with a certain serendipitous order of events. And overall it is this characterization of adventures that shapes Roquentin’s perception of time.
In conclusion, the experience of main characters, Norman and Vicente, from Cathy Jewison’s The Prospector’s Trail and Eva Lis Wuorio’s The Singing Silence respectively, prove that, in order for one to attain a fulfilled and content life, one needs to be open to new things and try a new way of living. At first, the main characters are both unsatisfied with their old lives; as the stories progress, they try to embrace new ways of living; finally, by experiencing what they have never done before, the main characters find their true interest and become contented with life. Both of the stories convey the idea that, one should not be afraid to try new things, because these attempts may help one find one’s true interest and bring one a gratified life.
It is commonly said that “life’s too short”, but it feels even shorter when one is forced into the next stage of their life pre-maturely. Alejo Carpentier’s journey through time in Like the Night explores not just the cycle of time, but also the cycle of life. Readers are transported from Ancient Greece, to the Spanish conquest of the new world, to the European Empire, to the First World War, and finally back to Ancient Greece. Instead of focusing on battle strategy, the front lines, or shell-shock; Carpentier writes on loss of innocence. While writing on the night before leaving home and the innocence lost in the sudden transition from boyhood to manhood, Carpentier also toys with loss of sexual
In response to living a desensitized Parisian lifestyle and a monotonous upbringing, Des Esseintes creates ideal settings that stimulate his “overfatigued senses”2. Des Esseintes is born into a family which had been inbred. This ...
The emotionless anti-hero, Monsieur Meursault, embarks on a distinct philosophical journey through The Stranger. Confident in his ideas about the world, Meursault is an unemotional protagonist who survives without expectations or even aspirations. Because of his constant indifference and lack of opinions about the world, it can be denoted that he undergoes a psychological detachment from the world and society. It is through these characteristics that exist in Meursault that Camus expresses the absurd. Starting from the very first sentence of the book, “Maman died today. Or maybe yesterday, I don’t know.” (Camus 1) The indifferent tone from these short sentences convey a rather apathetic attitude from Meursault’s part. Not only does he not feel any sorrow, he also “felt like having a smoke.” (Camus 4) Communicating perfectly Meursault’s disinterest, “[he] hesitate, [he] didn’t know if [he] could do it with Maman right there. [He] thought it over; it really didn’t matter.” (Camus 4) The death of his mother prompts an absurdist philosophy in which he experiences a psychological awakening and begins to place no real emphasis on emotions, but rather on the physical aspect of life.
Since the beginning of time, and for long past the unimaginable, life has begun with the pretense that death is the fate for all persons. Many have tried to escape this destiny, many have tried to alter it or postpone it; however, from the first page of every story, every word used to describe the events held closest to one’s heart brings the final sentence closer and closer. The concept of time has been perceived to be linear in nature; while we attempt to analyze the past and better our future – the majority of concern is focused on the present. We are a world of now, often forgetting what has gotten us to the current and often forgetting what we must do for the later. Past, present and future: these terms represent stories and events across generations; although, as a species, our nature hasn’t changed much during these periods. Gabriel García Márquez’s novel One Hundred Years of Solitude critiques this trait in man – while the characters and setting may change, the stories always seem to remain the same. One Hundred Years of Solitude’s timeline exhibits these facts by adopting a cyclical concept of time. The terms past, present, and future no longer represent a boundary between ages; instead, the past is the future, the future is the present, and the present is the past. The novel is told across six generations of the Buendía family – subsequently, the reader quickly can see that the blessings and curses of one generation are not excluded from the others. Márquez raises many questions concerning the nature of man and the dealing with the destiny of death. Furthermore, the author uses a cyclical timeline to criticize the unending nature of man; the lines between past, present, and future...
At the time of his death on the fifteenth of April, 1980, at the age of seventy-four, Jean-Paul Sartre’s greatest literary and philosophical works were twenty-five years in the past. Although the small man existed in the popular mind as the politically inconsistent champion of unpopular causes and had spent the last seven years of his life in relative stagnation, his influence was still great enough to draw a crowd of over fifty thousand people – admirers or otherwise – for his funeral procession. Sartre was eminently quotable, a favorite in the press, because his statements were always controversial. He was the leader of the shortly popular Existential movement in philosophy which turned quickly into a fad for the disillusioned post-World War I generation, so even when the ideas criticized were not the ideas of Sartre’s Existentialism, he still came to the public mind. Sartre was alternately celebrated and vilified, depending on which side of the issue the speaker or writer was on, and whether or not Sartre had early espoused – and possibly later turned against – the ideals in question. Despite Sartre’s many political and philosophical about-faces, fellow Marxist political philosopher Herbert Marcuse said of him, “He may not want to be the world’s conscience, but he is.” [Hayman, 458]
Mastery of the material an author writes about is not merely enough to get one’s point across, yet Butor uses his mastery of how to travel wherever you are in life and, in addition, uses language that presents the picture in such a manner that one does not have to delve deep into the meaning behind the words to retain the full idea portrayed in them. The higher arching purpose to his work, though, turns out to be the overall connection of ties between the book and travel ultimately depends on the book’s “literariness” to determine what journey one might have while reading (83). All in all, the tone of voice and writing style that Butor uses in this piece are second to none in their ability to influence a reader of following his procedure of travel transformation, and a rhetorical analysis essay on his work only reassured the authenticity of the section about how Butor chose to entertain the reader as the main purpose behind his essay. His attitude toward the audience was strong enough to elicit advice that originated straight from the heart, and in doing that, he empowered readers with the ability to look at books and reading differently for the rest of their
For centuries, authors have been writing stories about man's journey of self-discovery. Spanning almost three-thousand years, the Epic of Gilgamesh, Homer's Odyssey, and Dante's Inferno are three stories where a journey of self-discovery is central to the plot. The main characters, Gilgamesh, Telemachus, and Dante, respectively, find themselves making a journey that ultimately changes them for the better. The journeys may not be exactly the same, but they do share a common chain of events. Character deficiencies and external events force these three characters to embark on a journey that may be physical, metaphorical, or both. As their journeys progress, each man is forced to overcome certain obstacles and hardships. At the end of the journey, each man has been changed, both mentally and spiritually. These timeless tales relate a message that readers throughout the ages can understand and relate to.
Nausea, by Jean-Paul Sartre, and The Stranger, by Albert Camus, refuse to impose order on their events by not using psychology, hierarchies, coherent narratives, or cause and effect. Nausea refuses to order its events by not inscribing them with psychology or a cause for existence, and it contrasts itself with a text by Balzac that explains its events. Nausea resists the traditional strategy of including the past to predict a character's future. It instead focuses on the succession of presents, which troubles social constructions such as "stories" and "adventure." The Stranger resists traditional categories of order by not dividing Meursault's body and soul, or body and mind. It denies the order of cause and effect by providing no motive for the murder of the Arab, and resists a reductive reading of itself as a case history of a "monster." The novel contrasts its refusal to interpret with the coherent narrative that the prosecutors create. The Stranger and Nausea explore similar strategies as they interrogate ways to view the world without a system of interpretative illusions.
Schlipp, Paul Arthur ed. The Philosophy Of Jean-Paul Sartre. The Library of Living Philosophers Vol. XVI, La Salle, Ill: Open Court 1981.
“Into The Wild” by John Krakauer is a non-fiction biographical novel which is based on the life of a young man, Christopher McCandless. Many readers view Christopher’s journey as an escape from his family and his old life. The setting of a book often has a significant impact on the story itself. The various settings in the book contribute to the main characters’ actions and to the theme as a whole. This can be proven by examining the impact the setting has on the theme of young manhood, the theme of survival and the theme of independent happiness.
Many of our today as “normal” considered values are everything but self-evident. One of the most striking aspects in the novel is time; and our relationship towards it. “ We yearned for the future. How did we learn it that talent for insatiability. ” In this particu...
Jean-Paul Sartre was a notable French philosopher and writer of the 20th century whose literary works have strongly influenced the world of academia and spurred intellectual contest in the Modern era. In Sartre’s 1945 publication, “Existentialism and Humanism,” Sartre had argued extensively about the notion of abandonment – the notion that we live freely in this world without purpose, and his stance on atheistic existentialism. His main argument was that existence precedes essence so humans acquire meaning through lived experiences since humans are free to choose and decide for themselves. From this, he concludes that there exists no such thing as ‘a priori’ morality and that “God is a useless and costly hypothesis” (28). In this paper, I will be rebutting Sartre’s moral nihilism argument since it lacks apparent linkage between the notion of freedom of choice and the idea that ‘a priori’ morality does not exist.
Memory takes centre stage in this novel, which departs from the traditional Nineteenth Century novel in that the narrative does not follow one protagonist throughout. In ‘Swann’s Way’ the protagonist is Marcel, but Proust, a modernist writer uses ‘distancing’ to create “an art of multiplication with regard to the representation of person ... creating aesthetics of deception for the autobiographical novel.” (Nalbantian, 1997, p.63). Also Proust referred to his narrator as the one who says ‘I’ and who is not always me.”(ibid). Proust’s highly subjective approach to fiction suits his subject of memory recall and the author uses this extract to analysis the voluntary or consciousness and the involuntary or subconsciouses memories. Marcel discovers through experience that intellectualising does not allow memories to resurface but familiar daily domestic sensations do.
In addition, Sartre uses the foreign setting of Ancient Greece to create a separation between characters and audience to encourage readers to identify the characters’ flaws. This allows his readers to recognize the parallel to themselves, therefore delivering Sartre’s existentialist message about the change that should be made within society.