Simone de Beauvoir

This paper explores the compatibility between the Daoist art of emptying one’s heart-mind and the art of creating close relationships. The fact that a Daoist sage is characterized by an empty heart-mind makes him somewhat different from an average human being: since a full heart-mind is characteristic of the human condition, the sage transcends what makes us human. This could alienate him from others and make him incapable of developing close relationships. The research goal of this paper is to investigate (...) whether – in spite of being an unusual human being – a Daoist sage has the abilities necessary for creating close bonds with others. (shrink)

The essays in this volume seek to resituate the work of Simone de Beauvoir and Luce Irigaray both historically and in light of the demands of contemporary feminist theory by examining unexplored aspects of their thought. Authors also highlight the commonalties in thought between the two philosophers, articulating points of dialogue in logic, ethics, and politics.

My thesis offers an account of the phenomenon of bodily alienation. Bodily alienation marks the failure to realize oneself in one’s bodily activities. I argue that realizing oneself in one’s bodily activities requires the pursuit of bodily activities for their own sake—not for the appearance they produce, and the ability to deal skillfully with one’s environment. I characterize bodily alienation by examining three cases concerning gender and race: the tendency, inflected by gender norms, to identify with certain fetishized body parts (...) and to modify one’s body accordingly, the physical incapacitation that the gaze of a member of a dominant group can provoke in a member of an oppressed group, and the personal transformations that members of non-oppressed groups achieve when they reform the bodily habits that alienate members of oppressed groups. I vindicate the use of the concept of bodily alienation for ontologies of the body that aim to ground social criticism. I explain that the concept of bodily alienation can accomplish this task because it is descriptive and normative. Applying this concept both describes someone’s relation to her body and judges that relation as defective. Describing social practices as alienating entails that things are not as they should be. And that raises the question of how they should be changed. My use of the concept of bodily alienation for a critical project concerning gender, race, and the body sets this project apart from other forms of social critique, such as social constructionism. Social constructionists typically make descriptive claims about the relative naturalness of a state of affairs and then make the case for changing it. For example, feminist social constructionist critiques move from the claim that gender differences are not merely a matter of biology and can be reformed, to arguments about why they should be reformed. My account avoids this two-step argumentative strategy. The concept of bodily alienation simultaneously uncovers and evaluates phenomena, while tying them to a conception of human flourishing as embodied. (shrink)

"One is not born, but rather becomes, a woman. No biological, psychological, or economic destiny defines the figure that the human female acquires in society; it is civilization as a whole that develops this product, intermediate between female and eunuch, which one calls feminine. Only the mediation of another can establish an individual as an Other. In so far as he exists for himself, the child would not be able to understand himself as sexually differentiated. In girls as in boys (...) the body is first of all the radiation of a subjectivity, the instrument that accomplishes the comprehension of the world: it is through the eyes, the hands, and not through the sexual parts that children apprehend the universe." -/- My aim is to develop an interpretation of this passage, which starts with one of the most iconic sentences in the history of feminist thought. Beauvoir asserts that only in virtue of the significance others attribute to their sexual parts do children come to understand themselves as sexually differentiated. This is the phenomenon Beauvoir refers to when she speaks of “the mediation of another.” Her claim here, I argue, is that becoming a woman is predicated on developing such a self-understanding. -/- Many readers have argued that this passage epitomizes Beauvoir’s conviction that there is an important difference between sex and gender. On such a reading, Beauvoir might be said to describe the transition between two states: the state of the newborn who has a sex but no gender identity yet (“who is not a woman”) and that of the grown person who has both a sex and a gender identity (“who has become a woman”). I argue that this reading is untenable, and for two reasons. First, there is no evidence in The Second Sex that Beauvoir means to establish a distinction between a person’s biological properties and her social identities. Second, this distinction does not make sense of Beauvoir’s understanding of the body as a situation. Being a woman, I will argue, is an aspect of the body-as-a-situation. The body-as-a-situation is the instrument through which freedom is exercised, and it is shaped by the social significance of bodily features. By contrast, biological properties cannot be predicated of the body-as-a-situation. As such, they are not properly speaking attributes of the self. In other words, Beauvoir does not theorize a nature/culture distinction, but aims to describe the social significance of bodies and constraints on women’s freedom. (shrink)

Jacques Rancière's work has challenged many of the assumptions of contemporary continental philosophy by placing equality at the forefront of emancipatory political thought and aesthetics. Drawing on the claim that egalitarian politics persistently appropriates elements from political philosophy to engage new forms of dissensus, Devin Zane Shaw argues that Rancière's work also provides an opportunity to reconsider modern philosophy and aesthetics in light of the question of equality. In Part I, Shaw examines Rancière's philosophical debts to the 'good sense' of (...) Cartesian egalitarianism and the existentialist critique of identity. In Part II, he outlines Rancière's critical analyses of Walter Benjamin and Clement Greenberg and offers a reinterpretation of Rancière's debate with Alain Badiou in light of the philosophical differences between Schiller and Schelling. -/- From engaging debates about political subjectivity from Descartes to Sartre, to delineating the egalitarian stakes in aesthetics and the philosophy of art from Schiller to Badiou, this book presents a concise tour through a series of egalitarian moments found within the histories of modern philosophy and aesthetics. (shrink)

The ancient Athenians believed that their forebears sprang directly from the earth rather than being created by gods or born of human parents. In some version of the myth, the ancestor was depicted as having a man's form above the waist and a snake's form below: "Having emerged from the earth, he still in part resembled the creature that slips to and fro between the upper and lower worlds."'1 At the beginning of her 1947 work, The Ethics of Ambiguity, Simone (...) de Beauvoir asserts that there is a fundamental ambiguity to human life. According to her, every human, like the chthonic ancestor of the Athenians, exists at the same time in two realms: "he is still part of the world of which he is conscious."2 Rooted as they are in the earth, humans can transcend their material origin in thought but they can never escape it. (shrink)

In July 1940, Simone de Beauvoir began a routine of going to the Bibliothèque Nationale most days from 2.00 to 5.00 p.m. to read G. W. F. Hegel's Phenomenology of Spirit. Hitler's armies had invaded and occupied Paris earlier, on June 14, 1940. She was teaching philosophy classes at a girls' lycée and living in her grandmother's empty apartment. Her close companion, Jean-Paul Sartre, who had been a soldier in a meteorological unit of the French Army, had been captured and (...) was now being held in a German prisoner-of-war camp. Beauvoir was relieved to receive a note from him sent on July 2 saying he was being well treated, but life in Paris was dismal. Food was scarce, and the German troops were grim reminders of Parisians' lack of political freedom. Her reading routine helped soothe the dread, isolation, and alienation she felt. Beauvoir had always been a very earnest student. She had passed the demanding aggregation exam in philosophy at the young age of twenty-one. To supplement her knowledge of classical philosophical texts, she learned German and read texts in phenomenology. In 1935 she had read Edmund Husserl's The Phenomenology of Internal Time-Consciousness “without too much difficulty.” She also read Heidegger and translated long passages into French for Sartre. Back when she was in college, her prodigious work habits had earned her a special nickname among her friends: Castor, or the beaver. Poring over a difficult philosophical text in a foreign language for three hours a day might seem a strange way to get through such times, but with her it made sense. (shrink)

Simone de Beauvoir published a number of philosophical essays and novels before writing The Second Sex. The most important of these was The Ethics of Ambiguity, in which she argues that one’s freedom is always intertwined with that of others. The Bonds of Freedom examines de Beauvoir’s ideas on ethics, demonstrating her importance in contemporary philosophy.

_A compelling understanding of equality and difference in public life._.

This paper analyzes two forms of “flight from freedom” embodied by characters in Beauvoir’s fiction, connecting these portrayals to the situation of women as described in The Second Sex as well as the discussion of social freedom in The Ethics of Ambiguity. The characters under consideration are Monique from the story “The Woman Destroyed” and Françoise from the novel She Came to Stay, who represent flight from freedom in related but distinct ways. My claim is that considering these two characters (...) in conjunction allows us to see the two decisive moments of Beauvoir’s theory of authentic freedom in negative manifestations. Monique attempts to make herself into an object by abdicating her freedom, while Françoise takes herself for a sovereign subject and is unable to recognize the freedom of others. (shrink)

This essay aims to address a lack of recognition on the part of aestheticians, feminist scholars in the visual arts, as well as Simone de Beauvoir scholars by studying Beauvoir's The Ethics of Ambiguity (1948) for what it has to offer on the topic of art and aesthetics: (1) the important role of the visual arts in society and the political legacy artists can contribute to the world; (2) the traditionally revered philosophical concept of the aesthetic attitude; and (30 the (...) use of the aesthetic attitude to improperly justify controversial works of art. It will also point out that Beauvoir's Ethics is distinct in the history of aesthetics for its atypical (proto-feminist) stand against the popular notion of the aesthetic attitude. Her promotion of political (feminist) art presages the feminist art movement of the 1970s. Ahead of her time, Beauvoir recognized the vital interplay between art and ethics. (shrink)

Michèle Le Dœuff considers the relationship between Jean-Paul Sartre and Simone de Beauvoir as a paradigmatic case of what she calls an "erotico-theoretical transference" relationship: De Beauvoir devoted herself to Sartre theoretically by adopting his existentialist perspective for the analysis of reality in general and the analysis of women's oppression in particular. The latter is especially strange since Sartre used strongly sexist metaphors and adopted a macho attitude towards women. In her book Hipparchia's Choice, Le Dœuff speaks in this context (...) of "theoretical masculinism." She convincingly shows in this book that Sartre without using images could not have closed his existentialist philosophy: without the feminine drawback he would not have been able to explain why man cannot become god. Sartre not only understands gaining knowledge as a rape of a woman he also fears that the possessed feminine (body) could reverse its position from being dominated to the dominating force by appropriating the masculine through slime. In Being and Nothingness Sartre states that "slime is the revenge of the In-itself. A sickly–sweet, feminine revenge." Despite of the fact that De Beauvoir used Sartre's heterosexist ontology and metaphysics she managed to provide a highly influential depiction of women's condition and offered an original approach to the understanding of selfhood which places woman inside the subject. (shrink)

Nous examinons ici la lecture par Maurice Merleau-Ponty, dans son essai « Le Roman et la Métaphysique », de L’Invitée de Simone de Beauvoir. Nous montrons que pour comprendre en quoi il s’agit ici non seulement de métaphysique, mais encore de morale, il est nécessaire de spécifier en quel sens « Le Roman et la Métaphysique » met en scène des matériaux théoriques qui sont mis en place dans d’autres écrits, en particulier dans l’essai « Le Métaphysique dans l’Homme ». (...) Les personnages du roman, couples et trio, se mettent alors à incarner certes une métaphysique de l’intersubjectivité qui se tend jusqu’à la rupture, mais encore du faire être et de la conscience. -/- In this paper, I discuss Maurice Merleau-Ponty’s reading of L’Invitée by Simone de Beauvoir, in his essay “The Novel and Metaphysics”. I demonstrate that in order to understand why the question here is not only metaphysics but also morals, it is necessary to specify in what sense “The Novel and Metaphysics” stages theoretical materials that are introduced in other writings, in particular “The Metaphysics in Man”. The characters of the novel, couples and trio, come then to incarnate indeed a metaphysics addressing an inter-subjectivity that is straining itself until its rupture, but also of making be (faire être), and consciousness. (shrink)

For example, in the traditional "who done it" , the basic pleasure is in the creation and solution of the riddle itself - somewhat akin to the pleasure of solving a difficult crossword puzzle. In such works the riddle itself must be sufficiently ingenious to surprise us but never so labyrinthine as to destroy the illusion that we may beat the professional to the solution. In no case may necessary clues be withheld for, failing to solve the riddle ourselves, we (...) must at the very least see how we should have been able to solve it with the same information as the professional; given an unreliable narrator, we will feel deceived rather than pleasantly surprised. It is clear that in such instances the value judgments, as opposed to the riddle, should be as unoriginal and conventional as possible. The agents or agent whose initial act caused the riddle might best perform an act of murder for obvious gain or because he wants to replace a current wife with a beautiful mistress. Complexity of thought and judgment must never reach the point where it distracts our attention from the pleasure of the riddle itself; ethical values must merely be minimally consonant with our desire to see the riddle solved in terms that prevent moral indignation. The detective in turn may be given minimal idiosyncrasies that define him as a character, but again since, in this kind of work, the alteration of circumstances of who commits the crime is merely pro forma—usually he is merely caught and his future in prison or the electric chair is unstressed—the traits possessed by the detective are almost solely restricted to those that allow him to solve the riddle that we should have been able to solve ourselves. It is this kind of work that is frequently advertised by plaintive requests "please don't reveal the ending." We rarely read such works a second time. We are completely remote from the pursuit of Lew Archer. (shrink)

An autobiographic instinct may be as old as Man Writing; but only since 1800 has Western Man placed a premium on autobiography. A bibliography of all autobiographic writing prior to that time would be a small fascicule; a bibliography since 1800 a thick tome. The ground behind this simpleminded assertion of a quantitative measure cannot be explained away by easy reference to the mass literacy of the modern world or the greater ease of publishing. It is as much a fact (...) of cultural conditions as is the significant relation of rhetoric to the intense public mindedness of classical men, the relative insignificance of tragedy in a thoroughly Christianized world view, the disappearance of epic from a nonaristocratic world, or the powerful assertion of the novel in an age of burghers. The usage of the term "autobiography" itself is suggestive, although this mode of historical explanation is always defective in the sense that such older terms as "hypomnemata," "commentarii," "vita," "confessions," or "memoirs" may well have covered the functions subsequently encapsulated in a newly fashionable term. In German the term makes its appearance shortly before 1800; the Oxford English Dictionary attributes first English usage to Southey in an article on Portuguese literature from the year 1809. Karl J. Weintraub, Thomas E. Donnelley Professor of History and dean of the Division of the Humanities at the University of Chicago, is the author of Visions of Culture and numerous articles. His introduction to a new edition of Goethe's Autobiography will prove of special interest to our readers. (shrink)

This thousand-page book contains one third of the text of Samuel Pepys's diary, along with maps, a chronology, a glossary of archaic words, and an unusually helpful index, The diary, written in commercial short-hand, spans the 1660s, a decade in which power passed from the Roundheads to Charles II, London was ravaged by plague and then by fire, the English repeatedly fought the Dutch, and Pepys grew to be one of the most important civil servants in the land ("the father (...) of the English Navy", according to some). The diary, which I know only in this abridged version, has given me more sheer pleasure than any other book I have ever read. Writing for himself alone, Pepys had no sense of posterity looking over his shoulder with judgments about public, historic importance. He selected things for inclusion in the diary purely on the basis of how they struck him. This grand subjectivity would be fatal in a dull or passive or insensitive writer, but in Pepys it makes the work fresh and vibrant, constantly surprising, unlike anything else in literature. Even when describing an "important" scene, he is still his natural self and gives touches of his own behaviour, like this at the King's coronation: But so great a noise, that I could make but little of the Musique; and endeed, it was lost to everybody. But I had so great a list to pissse, that I went out a little while before the King had done all his ceremonies.... Not just his behavior, but also his reactions. (shrink)

In this essay we investigate several moments in Simone de Beauvoir's philosophical and literary texts in which she refers to echoes and echoing. We notice that echoes help Beauvoir to figure and amplify the ethical character of her concept of ambiguity, which is so central to her thought. We argue that, for Beauvoir, literature has privileged access to the ambiguity of existence and therefore maintains a special status in exposing us to alterity and bringing us face to face with ethical (...) responsibility. Considering her literary portrayals of echoing helps to explain why, despite her life-long philosophical engagement, Beauvoir preferred not to call herself a philosopher. Finally, Beauvoir's phenomenological insight is that in order to carry ethical resonance, the form of a written work must mirror the fundamentally ambiguous or echolalic ontological structure of human existence. (shrink)