In these interviews from 1982 and 1985, I ask Beauvoir about her philosophical differences with Jean-Paul Sartre on the issues of voluntarism vs social conditioning and embodiment, individualism vs reciprocity, and ontology vs ethics. We also discuss her influence on Sartre's work, the problems with the current English translation of The Second Sex, her analyses of motherhood and feminist concepts of woman-identity, and her own experience of sexism.

In November 1996, Catherine Clément and Julia Kristeva began a correspondence exploring the subject of the sacred. In this collection of those letters Catherine Clément approaches the topic from an anthropologist's point of view while Julia Kristeva responds from a psychoanalytic perspective. Their correspondence leads them to a controversial and fundamental question: is there anything sacred that can at the same time be considered strictly feminine? The two voices of the book work in tandem, fleshing out ideas and blending together (...) into a melody of experience. The result is a dialogue that delves into the mysteries of belief -- the relationship between faith and sexuality, the body and the senses -- which, Clément and Kristeva argue, women feel with special intensity. Although their discourse is not necessarily about theology, the authors consider the role of women and femininity in the religions of the world, from Christianity and Judaism to Confucianism and African animism. They are the first to admit that what they have undertaken is "as impossible to accomplish as it is fascinating." Nevertheless, their wide-ranging and exhilarating dialogue succeeds in raising questions that are perhaps more important to ask than to answer. (shrink)

In premodern China, elite painters used imagery not to mirror the world around them, but to evoke unfathomable experience. Considering their art alongside the philosophical traditions that inform it, _The Great Image Has No Form_ explores the “nonobject”—a notion exemplified by paintings that do not seek to represent observable surroundings. François Jullien argues that this nonobjectifying approach stems from the painters’ deeply held belief in a continuum of existence, in which art is not distinct from reality. Contrasting this perspective with (...) the Western notion of art as separate from the world it represents, Jullien investigates the theoretical conditions that allow us to apprehend, isolate, and abstract objects. His comparative method lays bare the assumptions of Chinese and European thought, revitalizing the questions of what painting is, where it comes from, and what it does. Provocative and intellectually vigorous, this sweeping inquiry introduces new ways of thinking about the relationship of art to the ideas in which it is rooted. (shrink)