Abstract:This study links Homeric and Machiavellian outlooks in Henry James's The Ambassadors. We first relate Lambert Strether's embassy seeking Chad's return to Woollett to what Alexander Pope famously designated the "Embassy to Achilles," i.e., the Achaean effort to induce Achilles's return to battle. Achilles impassionedly rejects the embassy's hypocrisy; he will not be bought. We then find Chad Newsome conspiratorially excluding Strether from the family fortune via intended marriage to Mrs. Newsome. Contrary to Achilles's forthrightness and integrity, Chad and his (...) Parisian circle adopt a post-Machiavellian ethos of deceit as the norm. (shrink)

Abstract:Is there a convergence of Philip Roth's The Facts and "the facts," as contextualized historically, in Martin Heidegger's Being and Time? And to the extent The Facts may reconfigure Sartrean flight and Heideggerian regard for resolute consciousness and historicity, how does such transformation relate to Roth's implied musings in The Facts on Herman Melville's The Confidence-Man: His Masquerade? Roth channels irresolute facts not toward the somber absence of consciousness implied by Heideggerian resoluteness and "historicality" but toward the supremacy of Dasein (...) inherent in enduring literary excursion charted by the Sartrean-inspired masquerade of Dasein's being what one is and is not. (shrink)

In an interview concerning his novel The Anatomy Lesson, Philip Roth remarked that narrator Nathan Zuckerman “has to be in a state of vivid transformation or radical displacement. ‘I am not what I am—I am, if anything, what I am not!’”1 The utterance has been traced to Jean-Paul Sartre’s encounter, in Being and Nothingness, with ecstatic relations. Sartre, anticipating Roth’s description of Zuckerman, similarly defines the ecstatic dimensions of consciousness that constitute Dasein. According to Sartre, consciousness must fulfill three requirements: (...) “ to not-be what it is, to be what it is not, to be what it is not and to not-be what it is—within... (shrink)

For my son NathanielRecent studies suggest that Philip Roth's creative impulse is in some measure indebted to Arthur Koestler's Insight and Outlook and to Jean-Paul Sartre's Being and Nothingness.1 Koestler advances a theory of "bisociative" thinking—that is, the perception of consonance amidst the clash of seemingly dissonant planes of knowledge. The theme finds expression in the very title of Koestler's book, given the compatibility, despite opposite root prepositions, of such words as "in sight" and "out look." Insofar as Roth's narrator (...) Nathan Zuckerman mentions "Koestler" in The Anatomy Lesson, Zuckerman's otherwise obscure lament (because of writer's block and neck... (shrink)

In his essay “Pragmatism and Humanism,” William James recalls a friend’s disappointment that the “prodigious star-group” known as the Big Dipper “should remind us Americans of nothing but a culinary utensil.”1 Such, presumably, is the fault of generalization, though James himself is less than specific in illustrating the occasional parity of varied perspectives. For example, he posits two identical equilateral triangles, one inverted and overlapping the other, and notes, “You can treat the adjoined figure as a star, as two big (...) triangles crossing each other, as a hexagon with legs set up on its angles, as six equal triangles hanging together by their tips, etc.”. What he does not say is that the design.. (shrink)