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《恶心》作为萨特的第一部中篇小说在其文学作品中有着举足轻重的作用。对于“恶心”的体验是他在作品中所着力描写的内容。罗冈丹在被“恶心”突袭后,产生了深深的恐慌,对“物与人”、“他人与自己”以及“时间”有了特别的看法。这种感觉通过知觉扩散至精神,无法摆脱。在他开始对生命和生活的无意义进行探索后,他发现了“恶心”的本质——就是作为自为存在的主观的人与作为自在存在的客观世界相遇后的荒谬的感觉。在对“恶心”的体验过程中,罗冈丹一直试图去超越它。人群、学术研究、欲望、爱情、艺术都是他所选择的途径。但显然即使选择了艺术作为解脱的方式也只是暂时的安慰,艺术并不是最终的解决之道。走进人群或者说“介入”、行动才是真正获得自由并感受存在价值的最终道路。
“Disgusting” as Sartre’s first novella plays a decisive role in his literary works. The experience for “nausea ” is what he painstakingly describes in his work. After Roganen was attacked by “Nausea”, he was deeply panicked and had particular opinions about “people and things”, “others and themselves”, and “time”. This feeling spreads through the consciousness to the spirit, unable to get rid of. After he began his exploration of the meaninglessness of life and life, he discovered the essence of “disgusting” - the absurd feeling of being as a self-serving subjective person after encountering as a free-lying objective world. In the process of “nausea”, Roganean has been trying to go beyond it. Crowds, academics, desires, love, art are all ways he chooses. But apparently even the choice of art as a way of liberation is only a temporary consolation, and art is not the ultimate solution. Into the crowd or say “intervention ”, action is the ultimate road to real freedom and feel the value of existence.