Simone de Beauvoir’s early enthusiasm for the philosophy of Henri Bergson (1859-1941)—denied in her 1958 autobiography, Memoirs of a Dutiful Daughter—is a surprising discovery in her 1927 handwritten student diary, as I reported in 1999 and explored at more length in 2003 (Simons 1999; Simons 2003). Discovered by Sylvie Le Bon de Beauvoir after Beauvoir’s death in 1986 and now housed in the Bibliothèque nationale, Beauvoir’s student diary first appeared in print in the 2006 volume, Diary of a Philosophy Student: (...) 1926-27, followed in 2008 by the French publication, Cahiers de jeunesse: 1926-1930. Since my 1999 analysis of the 1927 diary, the publication of the 1926 diary and other posthumously discovered texts has deepened and complicated the evidence of Bergson’s influence.1 In this chapter, I propose to take up and expand upon my earlier analyses in the light of this new evidence, arguing that Beauvoir’s methodological turn to the description of immediate experience, especially her method of writing philosophy in literature and her lifelong interest in describing the subjective experience of time, drew upon Bergson’s philosophy before her first encounter with Husserl’s phenomenology which may have come as early as 1927; that her concept of bad faith and interest in exposing distortions in perception and thinking, as in the chapters in The Second Sex on myths about women, drew upon Bergson’s philosophy long before she had read Marx; and that her earliest formulation of the problem of the Other drew upon Bergson’s distinction between the “social self and the deep self,” two years before she met Jean-Paul Sartre and two decades before she first read Hegel’s Phenomenology. (shrink)

In this paper, I present a new reading of Simone de Beauvoir’s first major work, L’Invitée ( She Came to Stay ), in order to reveal the text as a vital place of origin for feminist phenomenological philosophy. My reading of L’Invitée departs from most scholarly interpretations of the text in three notable respects: (1) it is inclusive of the “two unpublished chapters” that were excised from the original manuscript at the publisher’s request, (2) it takes seriously Beauvoir’s claim that (...) phenomenological philosophy is often better expressed in novels than essays or treatises, and (3) it views the novel’s main characters, Françoise and Xavière, as one woman who has multiple, contradictory, excessive selves. Thus approached, L’Invitée provides us with a thick description of one woman’s embodied consciousness and thereby shows us with specificity what a consciousness whose underlying structures reflect sexual difference looks like. This consciousness not only experiences itself as being both gendered, categorized, disciplined, and defined and in excess of these genders, categories, disciplines, and definitions at the same time, but also experiences its own self-relation through the presence of multiple selves who are each simultaneously attracted to and negating of the other. As such, the defining features of this consciousness involve experiences that I have respectively labeled “ontological multiplicity” and “auto-jealousy.”. (shrink)

In this paper I examine the relationship between phenomenology and metaphysics by reassessing the relationship between phenomenological and metaphysical transcendence. More specifically, I examine the notion of phenomenological transcendence in Husserl and the early Heidegger: Husserl defines transcendence primarily as the mode of givenness of phenomena that do not appear all at once, but must be given in partial profiles; Heidegger defines transcendence primarily as Dasein’s capacity to go beyond entities toward being. I argue that these divergent understandings of phenomenological (...) transcendence have resulted in a significant difference in reception among French phenomenologists of religion. These thinkers assert that phenomenology, when properly conceived and utilized, can make room for the divine and its revelation, i.e., for a metaphysical transcendence. I further argue that these thinkers prefer Heidegger’s phenomenology to Husserl’s because they understand Heidegger’s transcendence as the subject’s openness to being, while they understand Husserl’s transcendence as a limit, as the inability to capture worldly objects. I take up Jean-Luc Marion’s phenomenology of givenness as a “case study” to illustrate this point. Finally, I argue that this preference for Heidegger over Husserl is misplaced and should be reversed. A close reading of Heidegger’s Phenomenology of Religious Life shows that Dasein is confined to its own possibilities and cannot be open to a relationship with the divine. By contrast, Husserl’s phenomenology provides the radical openness necessary to welcome revelation. While Husserl cannot envision a “worldly God,” the structures of horizonality and temporality characterize a subject capable of an authentic openness to revelation. (shrink)

The study discusses the political in Jean-Paul Sartre's work, focusing principally on the conceptual constructions through which the agent acting in a political action situation can be interpreted from the texts. Sartre's conception of the political agent is discussed against the background of the operational concepts and the limit-situation as an ideal type action situation construed as conceptual devices in the work for showing both Sartre's fashion of using and of construing concepts. In addition certain metaphors such as theater, play (...) and mask are used for highlighting the political reading of the texts. The theme of the agent, in one form or another, runs through Sartre's entire work. It is a theme which largely gathers together the different conceptual devices and different perspectives he takes in his work. In this study, through concepts and figures interpreted from the texts, especially from Critique de la raison dialectique, itis shown that Sartre's construction of the agent forms a challenging attempt of a revised view into the classical concept of subject. It is also shown that his agent is both a political and a moral actor which cannot be reduced to a subject or to a person, but can be described as an actor, as a player of the political condition, and as a user of political action strategies through the concepts of limit, change and non-identity. Sartre's central point of view of action is that of the agent acting in an interior space of action in a construed world. This forwards a view within which the perspective of production forms a framework for the argumentation where the main themes through which the portrait of the agent can be drawn are temporality, interiority, exteriority and subjectivity. The agent of the Critique as a non-identifiable actor acting in a temporally and dimensionally produced action situation is produced in the process of internalization and externalization of the historical and inherently political condition of being condemned to freedom. In the study it is shown that it is this agent through whom the political comes to the world and who is condemned also to politics. It is also shown that this agent forms a perspective of interpretation as well to Sartre's plays as to the central concepts of his morals. (shrink)