AnnieLeclerc, “De Roquentin à Mathieu”, L'Arc, 30 (1966), 71-76.
2.
Simonede Beauvoir, La Force de l'âge (Paris, 1960), 111.
3.
RhiannonGoldthorpe, “The Presentation of Consciousness in Sartre's La Nausée and its Theoretical Basis: Reflection and Facticity”, French Studies, xxii (1968), 114-32; “The Presentation of Consciousness in Sartre's La Nausée: 2, Transcendance and Intentionality”, French Studies, xxv (1970), 32-46.
4.
EdwardsM. “La Nausée – a Symbolist Novel”, Adam, Year 35, nos. 343-5 (1970), 9.
5.
DeBeauvoir, La Force de l'âge, 335.
6.
MarcelArland, “Essais critiques”, Nouvelle Revue Française, 298 (juillet 1938), 130.
7.
MarcelArland, “Essais critiques”, Nouvelle Revue Française, 298 (juillet 1938), 130.
8.
MichelContat and MichelRybalka, Les Ecrits de Sartre (Paris, 1973), 61.
9.
Jean-PaulSartre, La Nausée (Paris, coll: “Livre de poche”), 90. 10. Ibid., 191.
10.
Jean-PaulSartre, La Nausée (Paris, coll: “Livre de poche”), 89.
11.
Jean-PaulSartre, La Nausée (Paris, coll: “Livre de poche”), 194.
12.
See: de Beauvoir, La Force de l'âge, 111; Contat and Rybalka, Les Ecrits de Sartre, 62.
13.
ClaudineChonez, “Jean-Paul Sartre, romancier philosophe”, Marianne, 23 novembre 1938; “A qui les lauriers des Goncourt, Fémina, Renaudot, Interallié”, Marianne, 7 décembre 1938.
14.
As indicated by his work with Nizan, in 1928, on the French translation of Jaspers's Psychopathologie générale.
15.
The affinities between La Nausée and German literature, particularly Kafka's Die Verwandlung and Rilke's Die Aufzeichnungen des Malte LauridsBrigge, lie outside the scope of this essay.
16.
Contat and Rybalka, Les Ecrits de Sartre, 63.
17.
Jean-PaulSartre, LesMots (Gallimard, Paris, 1964), 210. It could be argued that it is as illegitimate to use Les Mots in a discussion of La Nausée as it is to refer to L'Etre et le Néant and subsequent philosophical works. I would maintain, however, that there is considerable difference between Sartre's ability to comment usefully on his own work and the arbitrary application to early works of fiction of later philosophical argument.
18.
Edwards, “La Nausée – a Symbolist Novel”.
19.
As, for example, in Bernanos's Journal d'un curé de campagne.
20.
Contat and Rybalka, Les Ecrits de Sartre, 70.
21.
La Nausée, 49-60, the section headed: “Vendredi, 3 heures”.
22.
La Nausée, 49-60, the section headed: “Vendredi, 3 heures” 60.
23.
La Nausée, 49-60, the section headed: “Vendredi, 3 heures” 58.
24.
La Nausée, 49-60, the section headed: “Vendredi, 3 heures” 59.
25.
It is worth emphasising at this point that the song constitutes a strong link with “L'Enfance d'un chef”, where Lucien and Berliac “fumèrent des cigarettes anglaises, firent tourner des disques au gramophone, et Lucien entendait la voix de Sophie Tucker et celle d'Al Johnson [sic]” (Le Mur (Paris, coll: “Livre de poche”), 183). The use of the song also testifies to a certain confusion on Sartre's part, Sophie Tucker not being a “Négresse” and “Some of these days” hardly qualifying as a Jazz piece. Finally, to settle a long-standing controversy over the accuracy of the lyrics, whilst later versions undoubtedly read “Some of these days/you're gonna miss me honey”, the original Sophie Tucker lyric is that recorded by Sartre.
See, for example: PierreBost, “Proust devant une sonate, Sartre devant un air de jazz entendent une seule voix”, Le Figaro littéraire, 8 janvier 1949, pp. 1, 3; Robert Champigny, “Sens de La Nausée”, PMLA, lxx (1955), 37-46; Robert G. Cohn, “Sartre versus Proust”, Partisan Review, xxviii (1961), 633-45. In particularP. Newman-Gordon, in “Sartre, lecteur de Proust ou le paradoxe de La Nausée”, Bulletin de la Société des Amis de Marcel Proust, no. 29 (1979), is unable to reconcile Sartre's use of Proustian material in La Nausée with his stated antipathy to A la Recherche.
31.
La Nausée, 158.
32.
La Nausée, 32.
33.
GermaineBrée and MargaretGuiton, “Jean-Paul Sartre: The Search for Identity”, in An Age of Fiction (New Brunswick, 1957), 207.
34.
See:J. Dale, “Sartre and Malraux: La Nausée and La Voie Royale”, Forum for Modern Language Studies, iv (1968), 335-46.
35.
Le Mur, 160.
36.
See: DenisJ. Fletcher, “Sartre and Barrès: Some Notes on La Nausée”, Forum for Modern Language Studies, iv (1968), 330-34.
37.
See: ClothildeWilson, “Sartre's Literary Graveyard: La Nausée and Mort de quelqu'un”, French Review, xxxviii (1965), 744-53.
38.
The song “Some of these days”, Combining Jazz and a Negro singer, could contain a further ironic reference, directed at the fashionable craze amongst the Inter-War Years intelligentsia for Jazz and the “bal nègre“.
39.
Jean-PaulSartre, “Une Idée fondamentale de la phénoménologie de Husserl: L'Intentionalité”, in Situations, i (Gallimard, Paris, 1947), 34.
40.
In this context, Roquentin's insistence upon geometrical examples: the circle, and the triangle created by the Boulevard Noir, may well be a specific allusion to Descartes's use of the triangle in his ontological proof of God. Roquentin does refer to himself as a “young Descartes” (p. 84).
41.
See: de Beauvoir, La Force de l'âge, 308.
42.
For a full account of the possible influence of Dürer's engraving upon La Nausée, see: BauerG. H., Sartre and the Artist (Chicago, 1969).
43.
LéonDaudet, Melancholia (Paris, 1928); Louis Guilloux, Le Sang noir (Paris, 1935).
44.
It was probably the existence of Daudet's volume that led Gallimard to insist upon a change of title. “Le Sang noir” is, of course, a synonym for melancholy.
45.
SigmundFreud, “Mourning and Melancholia”, in The Standard Edition of the Complete Works of Sigmund Freud, ed. JamesStrachey (London, 1953-66), xiv, 283-60.
46.
SigmundFreud, “Mourning and Melancholia”, in The Standard Edition of the Complete Works of Sigmund Freud, ed. JamesStrachey (London, 1953-66), xiv, 244.
47.
SigmundFreud, “Mourning and Melancholia”, in The Standard Edition of the Complete Works of Sigmund Freud, ed. JamesStrachey (London, 1953-66), xiv, 244.
48.
SigmundFreud, “Mourning and Melancholia”, in The Standard Edition of the Complete Works of Sigmund Freud, ed. JamesStrachey (London, 1953-66), xiv, 245.
49.
SigmundFreud, “Mourning and Melancholia”, in The Standard Edition of the Complete Works of Sigmund Freud, ed. JamesStrachey (London, 1953-66), xiv, 245.
50.
SigmundFreud, “Mourning and Melancholia”, in The Standard Edition of the Complete Works of Sigmund Freud, ed. JamesStrachey (London, 1953-66), xiv, 245.
51.
SigmundFreud, “Mourning and Melancholia”, in The Standard Edition of the Complete Works of Sigmund Freud, ed. JamesStrachey (London, 1953-66), xiv, 249.
52.
SigmundFreud, “Mourning and Melancholia”, in The Standard Edition of the Complete Works of Sigmund Freud, ed. JamesStrachey (London, 1953-66), xiv, 249.
53.
SigmundFreud, “Mourning and Melancholia”, in The Standard Edition of the Complete Works of Sigmund Freud, ed. JamesStrachey (London, 1953-66), xiv, 252.
54.
LaNausée, 116. In one sense, the entire topography of Bouville can be seen to be generated by Roquentin's intellectual and literary obsessions: hence, the interest in “ordures” and Bouville, the Proustian presence, the café Mably and the abbé Mably, and the fact that the café's proprietor is a M. Fasquelle, the name of a famous publishing-house. This opens out into a general obsessional and hallucinatory world, as, for example, in the dream sequence on pp. 87-88, which could serve as a mise en abyme of the novel.
55.
LaNausée, 116. In one sense, the entire topography of Bouville can be seen to be generated by Roquentin's intellectual and literary obsessions: hence, the interest in “ordures” and Bouville, the Proustian presence, the café Mably and the abbé Mably, and the fact that the café's proprietor is a M. Fasquelle, the name of a famous publishing-house. This opens out into a general obsessional and hallucinatory world, as, for example, in the dream sequence, 17.
56.
LaNausée, 116. In one sense, the entire topography of Bouville can be seen to be generated by Roquentin's intellectual and literary obsessions: hence, the interest in “ordures” and Bouville, the Proustian presence, the café Mably and the abbé Mably, and the fact that the café's proprietor is a M. Fasquelle, the name of a famous publishing-house. This opens out into a general obsessional and hallucinatory world, as, for example, in the dream sequence, 99.
57.
LaNausée, 116. In one sense, the entire topography of Bouville can be seen to be generated by Roquentin's intellectual and literary obsessions: hence, the interest in “ordures” and Bouville, the Proustian presence, the café Mably and the abbé Mably, and the fact that the café's proprietor is a M. Fasquelle, the name of a famous publishing-house. This opens out into a general obsessional and hallucinatory world, as, for example, in the dream sequence, 225. An interesting echo of Dr Delbende, in Bernanos's Journal d'un curé de campagne.
58.
An interesting pattern between the use of the letters A and R emerges in the novel.
59.
La Nausée, 86.
60.
HuysmansJ.-K., A rebours (Paris, coll: “Diamant”), 120.
61.
HuysmansJ.-K., A rebours (Paris, coll: “Diamant”), 120. For a further study of Huysmans and La Nausée, see: Jean Onimus, “Folantin, Salavin, Roquentin: trois étapes de la conscience malheureuse”, Etudes, 296 (janvier 1958), 14-31.
62.
CélineL.-F., L'Eglise (Paris, 1952), 161.
63.
CélineL.-F., L'Eglise (Paris, 1952), 163. The deep impression made on Sartre by Voyage au bout de la nuit (see: de Beauvoir, La Force de l'âge, 142) is probably translated into La Nausée more in terms of the cynical, detached tone than in specific stylistic features.
64.
Jean-PaulSartre, “Légende de la vérité”, Bifur, 8 (juin 1931), 77-96. See: Contat and Rybalka, Les Ecrits de Sartre, 52-53, and Appendix, pp. 531-45.
65.
DeBeauvoir, La Force de l'âge, 49-50.
66.
LaNausée, 248. Another echo of Bernanos's Journal d'un curé de campagne.
67.
LaNausée, 248. Another echo of Bernanos's Journal d'un curé de campagne, 249.
68.
PierreDrieu la Rochelle, Le Feu follet (Gallimard, Paris, coll: “Folio”), 72.
69.
“Enquête sur le suicide”, La Révolution surréaliste.
70.
JacquesRigaut, Agence générale du suicide, reprinted in Ecrits (Paris, 1970).
71.
PierreDrieu la Rochelle, “La Valise vide”, Nouvelle Revue Française, nos. 118-23 (1923), 162-205.
72.
André Malraux, La Voie Royale (Paris, 1930).
73.
See also: FrancisJ. Green, “Louis Guilloux's Le Sang Noir. A Prefiguration of Sartre's La Nausée”, French Review, xliii (1969), 205-14.
