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Simone de Beauvoir and the Colonial Experience: Freedom, Violence, and Identity interprets the philosophy of Simone de Beauvoir and her intellectual trajectory through the perspective of French colonial history. Nathalie Nya considers Beauvoir through this lens not only to critique her position as a colonizer woman or colon, but also as a means of situating her in one of France’s most vexing and fraught historical moments. This terminology emphasizes the weight of French colonialism on Beauvoir’s identity as a white French woman, as well as the subjective and interpersonal dialectic of colonialism. Nya argues that while the French republic was systematizing colonialism, all of its white citizens were colons whereas natives from France’s colonies were the colonized.Simone de Beauvoir and the Colonial Experience presents a gendered and female perspective of French colonialism between 1946 and 1962, a time when French intellectuals such as Jean-Paul Sartre and Franz Fanon rallied against the political system, and which ultimately brought about an end to French colonialism. It adheres to a reading of Beauvoir as foremost an intellectual woman, one who reflected upon the legacy of French colonialism as an author and whose nation-bound status as a colonizer played a role in the alliance she created with Gisele Halimi and Djamila Boupacha. Beauvoir’s colonial reflections can help us to better gauge how women—White, Asian, Arab, Caribbean, Latina, mixed race, and Black—decipher the crimes and injustices of French colonialism.
“Like man, woman is a human being.” When The Second Sex was first published in Paris in 1949—groundbreaking, risqué, brilliantly written and strikingly modern—it provoked both outrage and inspiration. The Independent Woman contains three key chapters of Beauvoir’s masterwork, which illuminate the feminine condition and identify practical social reforms for gender equality. It captures the essence of the spirited manifesto that switched on light bulbs in the heads of a generation of women and continues to exert profound influence on feminists today.
When Judith G. Coffin discovered a virtually unexplored treasure trove of letters to Simone de Beauvoir from Beauvoir's international readers, it inspired Coffin to explore the intimate bond between the famed author and her reading public. This correspondence, at the heart of Sex, Love, and Letters, immerses us in the tumultuous decades from the late 1940s to the 1970s—from the painful aftermath of World War II to the horror and shame of French colonial brutality in Algeria and through the dilemmas and exhilarations of the early gay liberation and feminist movements. The letters also provide a glimpse into the power of reading and the power of readers to seduce their favorite authors. The relationship between Beauvoir and her audience proved especially long, intimate, and vexed. Coffin traces this relationship, from the publication of Beauvoir's acclaimed The Second Sex to the release of the last volume of her memoirs, offering an unfamiliar perspective on one of the most magnetic and polarizing philosophers of the twentieth century. Along the way, we meet many of the greatest writers of Beauvoir's generation—Hannah Arendt; Dominique Aury, author of The Story of O; François Mauriac, winner of the Nobel Prize and nemesis of Albert Camus; Betty Friedan; and, of course, Jean-Paul Sartre—bringing the electrically charged salon experience to life. Sex, Love, and Letters lays bare the private lives and political emotions of the letter writers and of Beauvoir herself. Her readers did not simply pen fan letters but, as Coffin shows, engaged in a dialogue that revealed intellectual and literary life to be a joint and collaborative production. "This must happen to you often, doesn't it?" wrote one. "That people write to you and tell you about their lives?"
The classic manifesto of the liberated woman, this book explores every facet of a woman's life.
Simone de Beauvoir developed her philosophy of lived experience as she actually wrote fiction. Hence Beauvoir should be placed among major philosophical novelists of the twentieth-century like Toni Morrison and Nadine Gordimer, and Beauvoir's theory of the metaphysical novel acknowledges multicultural traditions of story-telling and song which are not locked into the theoretical abstractions of the Greek philosophical tradition. In Simone de Beauvoir's Philosophy of Lived Experience, Eleanore Holveck presents Simone de Beauvoir's theory of literature and metaphysics, including its relationship to the philosophers Edmund Husserl, Martin Heidegger, Immanuel Kant, Maurice Merleau-Ponty and Jean-Paul Sartre, with references to the literary tradition of Goethe, Maurice Barr s, Arthur Rimbaud, Andr Breton, and Paul Nizan. The book provides a detailed philosophical analysis of Beauvoir's early short stories and several major novels, including The Mandarins and L'invit e, from the point of view of "other" women who appear on the fringes of Beauvoir's fiction: shop girls, seamstresses, and prostitutes. Holveck applies Beauvoir's philosophy to her own lived experience as a working-class teenager who grew up in jazz clubs similar to those Beauvoir herself visited in New York and Chicago.
Beauvoir in Time situates Simone de Beauvoir's The Second Sex in the historical context of its writing and in later contexts of its international reception, from then till now. The book takes up three aspects of Beauvoir's work more recent feminists find embarrassing: "bad sex," "dated" views about lesbians, and intersections with race and class. Through close reading of Beauvoir's writing in many genres, alongside contemporaneous discourses (good and bad novels in French and English, outmoded psychoanalytic and sexological authorities, ethnographic surrealism, the writing of Richard Wright and Franz Fanon), and in light of her travels to the U.S. and China, the author uncovers insights more recent feminist methodologies obscure, showing that Beauvoir is still good to think with today.
Following its publication in 1949, The Second Sex quickly became one of the fundamental works of feminist thought. In it, Simone de Beauvoir (1908–86) offered up a statement that has informed nearly all feminist and gender scholarship that has followed, “One is not born, but rather becomes, a woman.” And it is the woman Beauvoir became who continues to fascinate, fostering a legend of coffee-drinking Parisian intellectuals debating existentialism in smoky cafes along the Left Bank. Beauvoir lived through some of the most dramatic and significant events of the twentieth century, and a time of enormous change for women across the world. Her personal and intellectual companions were one and the same—and as a result, her intimate relationships with Jean-Paul Sartre and Nelson Algren provide a captivating context to the development of her ideas. In this concise and up-to-date critical appraisal of both the life and words of Beauvoir, Ursula Tidd illuminates the many facets of the feminist icon’s complex personality, including her relentless autobiographical drive, which led her to envision her life as a continuously unfolding narrative, her active involvement in twentieth-century political struggles, and how Beauvoir the woman has over the decades become Beauvoir the myth. 2008 marked the centenary of Beauvoir’s birth, yet her ideas continue to reverberate throughout contemporary scholarship. This critical biography will benefit any reader seeking insight into one of the most prominent and intriguing intellectuals of the twentieth century.
The essential masterwork that has provoked and inspired generations of men and women. “From Eve’s apple to Virginia Woolf’s room of her own, Beauvoir’s treatise remains an essential rallying point, urging self-sufficiency and offering the fruit of knowledge.” —Vogue This unabridged edition reinstates significant portions of the original French text that were cut in the first English translation. Vital and groundbreaking, Beauvoir’s pioneering and impressive text remains as pertinent today as when it was first published, and will continue to provoke and inspire generations of men and women to come.
"Beauvoir in Time situates Simone de Beauvoir's The Second Sex in the historical context of its writing and in later contexts of its international reception, from then till now. The book takes up three aspects of Beauvoir's work more recent feminists find embarrassing: "bad sex," "dated" views about lesbians, and intersections with race and class. Through close reading of her writing in many genres, alongside contemporaneous discourses (good and bad novels in French and English, outmoded psychoanalytic and sexological authorities, ethnographic surrealism, the writing of Richard Wright and Franz Fanon), and in light of her travels to the U.S. and China, the author uncovers insights more recent feminist methodologies obscure, showing Beauvoir is still good to think with today"--
A central criticism emerging from Black and Creole thinkers is that mainstream, white dominated, culture, consumes sounds and images of Creole and Black people in music, theater, and the white press, while ignoring critiques of the white consumption of black culture. Ironically, critiques of whiteness are found not only in black literature and media, but also within the blues, jazz, and spirituals that whites listened to, loved, collected, and archived. This book argues that whiteness is not only a visual orientation; it is a way of hearing. Inspired by formulations of the race and whiteness in the existential writings of Frantz Fanon, Simone de Beauvoir, Jean-Paul Sartre, W.E.B. Du Bois, Richard Wright, Lewis Gordon, Angela Davis, bell hooks and Sara Ahmed, T Storm Heter introduces the notion of the white sonic gaze. Through case studies and musical examples from the history of American jazz, the book builds a phenomenological archive to demonstrate the bad habits of ‘white listening’, drawing from black journalism, the autobiographies of Creole musicians, and the lyrics and sonic content of early jazz music emerging from New Orleans. Studying white listening orientations on the plantation, in vaudeville minstrel shows, and in cabarets, the book portrays six types of bad faith white listeners, including the white minstrel listener, the white savior listener, white hipster listener, and the white colorblind listener. Connecting critical race studies, music studies, philosophy of race and existentialism, this book is for students to learn how to critique the phenomenology of whiteness and practice decolonial listening.