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1
Khan, Mohammadi Fatémeh. "Simone de Beauvoir, écrivain engagé." Nancy 2, 2003. http://docnum.univ-lorraine.fr/public/NANCY2/doc76/2003NAN21004.pdf.
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A la fin de adolescence, Simone de Beauvoir se détache de son origine bourgeoise et de sa foi catholique. Elle se défait du narcissisme qui était au départ de sa vocation d'écrivain. Jusqu'à la deuxième guerre mondiale, les questions socio-politiques ne la préoccupent guère. Elle fait l'expérience de l'existence d'autrui et des conditions de la liberté. Compagne de Sartre, elle adhère de tout son être à l'existentialisme. Elle surmonte son indifférence et renonce à l'" œuvre d'art " pour se consacrer à une littérature engagée. Elle est particulièrement touchée par la condition des femmes, puis celle des vieillards. Dans "Le deuxième Sexe" et "La vieillesse", elle analyse en profondeur leur aliénation et leur misère en donnant une image dramatiquement nouvelle. Ses idées ont violemment choqué, mais leur influence perdure. Nous avons tenté de montrer que Simone de Beauvoir a, sans concession, mis en œuvre, dans ses écrits et ses actes, sa pensée éthique, fondée sur la liberté et la responsabilité ; même quand ses révélations lui valaient une opposition haineuse et dangereuse. Elle a critiqué sans relâhe la société des " bien-pensants " et engagé son être tout entier au service de ses idéesIn her late teens, Simone de Beauvoir distanced herself from her upper class bourgeois background, full of hypocrisies ; she rejected the catholic faith. She got rid of her narciccism, at the root of her writer's vocation. Until the Second War, social-political questions were out of her mind. But through personal events, she became aware of the Other and conditions for liberty. Partner of Jean Paul Sartre, she entirely embraced existentialism in her life and works. She devoted her efforts to commited literature in her novels and essays. She is more specifically concerned with women and elderly conditions. In Le deuxième sexe and La vieillesse, she analyses thoroughly the causes of women alienation and the miserable living conditions of elderly people ; she sheds on those subjects a dramatically new light. Her ideas were very shocking for the majority of people, but they were true and influenced until today. We tried to demonstrate that Simone de Beauvoir, without any concession, has put in practice her ethical thought based on liberty and responsability ; even when her revelations attracted hateful and dangerous relations. She commited herself without any compromise to her ideas
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Monteiro, Cecília Maria da Silva. "Simone de Beauvoir e Portugal." Master's thesis, Universidade de Aveiro, 2004. http://hdl.handle.net/10773/2759.
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O nome de Simone de Beauvoir é frequentemente associado à luta do
feminismo e à filosofia existencialista. Dotada de uma forte personalidade
regida por ideais sociais e políticos bem definidos, esta escritora, com uma
carreira multifacetada, inspirou vivas reacções através do seu projecto de
escrita e das posições pessoais que tomou ao longo da sua vida.
Habituámo-nos a vê-la envolvida na defesa dos mais elementares direitos
humanos e testemunhámos a forma como o seu engagement condicionou a
sua relação com Portugal.
Tendo este trabalho como objectivo, ilustrar os vários aspectos da relação de
Simone de Beauvoir com o nosso país, abordámos, com esse intuito, as visitas
efectuadas por esta autora ao nosso país, dando a conhecer as diferentes
facetas que as envolveram e, ao mesmo tempo, estabelecendo um paralelo
com outros escritores franceses que visitaram Portugal e que se pronunciaram
sobre ele, bem como com a imagem que a sua irmã, Hélène de Beauvoir, criou
acerca de Portugal, não só através das suas telas, mas também da sua obra,
Souvenirs.
A análise do impacto que as suas visitas obtiveram na imprensa periódica
portuguesa contribui para uma melhor compreensão da relação da escritora
com o nosso país.
Relativamente à representação de Portugal criada através da sua obra escrita,
detivemo-nos especialmente sobre o romance Les Mandarins, não só devido à
polémica que causou, mas também à notoriedade que alcançou; e pelo facto
de aí, o episódio português assumir um maior destaque. Para além desta,
analisámos outros textos como La Force des choses e La cérémonie des
adieux, estabelecendo, sempre, uma correlação com as outras obras da
escritora.
Esta dissertação pretende, assim, iluminar a forma como Simone de Beauvoir
viu o nosso país, desmistificando-a, ao mesmo tempo que demonstrando a sua
complexidade.
ABSTRACT: The name Simone de Beauvoir is frequently associated to the struggle of
feminism and to the existentialist philosophy. Endowed with a strong
personality driven by social and political ideals clearly defined, this writer, with a
multifaceted career, inspired vived reactions through her writing project and her
personal positions taken throughout her life.
We got used to see her involved on the defense of the most basic human rights
and we witnessed the way her engagement conditioned her relation with
Portugal.
Bearing in mind that this work has the objective of illustrating the several
aspects of Simone de Beauvoir’s relation with our country, we approached, with
that purpose, the visits made by this author to our country, revealing the
different aspects that involved them and, at the same time, establishing a
parallel with other French writers who visited Portugal and wrote about it, and
the image of portugal that her sister, Hèlène de Beauvoir, created, not only,
through her paintings, but also, through her book, Souvenirs.
The analysis of the impact that her visits had on the portuguese regular press,
contributed to a better understanding of the relation the writer had with our
country.
Concerning the representation of Portugal created by her writing, we focused
specially on the novel Les Mandarins, not only due to the controversy it caused,
but also due to the notoriety it reached and to the fact that, in this novel, the
portuguese episode assumes greater relevance. Besides this one, we analyzed
other works like La Force des choses and La cérémonie des adieux, always
establishing a correlation with the other works of the writer.
This dissertation wishes, by these means, to cast some light on how Simone de
Beauvoir saw our country, demystifying her vision, as well as showing its
complexity.
3
Khan, Mohammadi Fatémeh Borreli Guy. "Simone de Beauvoir, écrivain engagé." Nancy : Université Nancy 2, 2003. http://cyberdoc.univ-nancy2.fr/htdocs/docs_ouvert/doc76/2003NAN21004.pdf.
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Wagner, Cornelia. "Simone de Beauvoirs Weg zum Feminismus : zur Wandlung u. narrativen Umsetzung ihres Emanzipationskonzepts /." Rheinfelden : Schäuble, 1985. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=003617967&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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McWatters, Penelope Ann. "Simone de Beauvoir : a literary apprenticeship." Thesis, University of Hull, 1987. http://hydra.hull.ac.uk/resources/hull:13380.
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Simone de Beauvoir, a major figure in French intellectual life of the Twentieth Century, decided at a young age to be a creative writer. She did not publish her first work until the age of thirty five. During the years between 1929, when her academic studies were completed, and 1939 when she was engaged in writing L'invitée, a novel of whose value she was confident, she served in a conscious and determined manner a literary apprenticeship. Literature was to remain the dominant source of material, being more significant to her throughout most of this period than experience or imagination. Non-fiction informed about what was felt to be the 'real' world and fiction supplied literary models. During these years she wrote much, often in styles derived from current reading. In spite of the fact that she had received from family and school a thorough grounding in the literature of her own country, she ultimately rejected many of the examples or lessons which French texts proposed. It is possible that a dislike for literature by writers deemed 'bourgeois' was motivated by her repugnance for the values of her family and class. As a child Simone de Beauvoir had responded wholeheartedly to certain foreign books which offered possibilities of identification with heroines and situations. Throughout her apprentice years the same process of recognition was to be essential before she could derive sustenance from her reading. Much contemporary literature from abroad was published in French translation and it was to texts investigating new methods of narration or techniques of representing consciousness which she turned. By the time Simone de Beauvoir began L'invitée she had absorbed much from certain French authors, from detective fiction, from English novelists, from Kafka, but particularly from current American writers. She had assimilated the lessons derived from her literary preparation and was strong enough to write at last with a personal and independent voice.
6
Moser, Susanne. "Freiheit und Anerkennung bei Simone de Beauvoir." Wehrheim Frankfurt, M. Ed. Chrop, 2001. http://d-nb.info/1002097525/04.
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Tidmarsh, Angela. "Simone de Beauvoir : writing and the material body /." Title page, contents and abstract only, 1992. http://web4.library.adelaide.edu.au/theses/09AR/09art558.pdf.
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Calado, Eliana Alda de Freitas. "Autobiografias de Simone de Beauvoir : sujeito, identidade, alteridade." reponame:Repositório Institucional da UnB, 2012. http://repositorio.unb.br/handle/10482/10823.
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Tese (doutorado)—Universidade de Brasília, Instituto de Ciências Humanas, Departamento de História, Programa de Pós-graduação em História, 2012.Submitted by Jaqueline Ferreira de Souza (jaquefs.braz@gmail.com) on 2012-06-27T12:38:03Z No. of bitstreams: 1 2012_ElianaAldadeFreitaCalado.pdf: 1928384 bytes, checksum: 674224d6d27d3fc7653d0a20dd87f91a (MD5)
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Entre 1958 e 1972, a escritora francesa Simone de Beauvoir (1908 – 1986) lançou quatro autobiografias, nas quais narra sua trajetória, do nascimento à velhice. Interessame nesta tese compreender como Beauvoir construiu e deixou registrada sua identidade autobiográfica, relacionando diferentes aspectos entre sua vida privada e sua vida pública, e apontando hipóteses sobre suas razões para apresentar-se da maneira que o fez. De início, tratei de trabalhar a relação entre sujeito e autobiografia. Como se pode definir uma autobiografia? Como situá-la entre outros tipos de narrativas autoreferenciais? Qual a importância deste tipo de narrativa para o saber histórico? O que se pode entender sobre o conceito de sujeito? Como Beauvoir se percebe enquanto tal? Em seguida, busquei concentrar a atenção no processo de construção da identidade autobiográfica seguido por Beauvoir. Ao longo de suas autobiografias, ela perseguia determinado fio condutor, certa unidade que justificasse sua identidade, além de seu nome próprio. Interessa-me justamente entender de que maneira Beauvoir construiu esta suposta unidade. Por fim, dediquei-me a compreender como o texto autobiográfico de Beauvoir foi utilizado como registro da alteridade. Destaquei a relação de Beauvoir com o outro em duas situações principais: a rivalidade observável no seio da intelectualidade francesa, evidenciada nas suas relações com Maurice Merleau-Ponty e Albert Camus, bem como na análise que a autobiógrafa fazia da recepção de suas obras pela crítica. Como Beauvoir representa seus adversários? Com quais intenções? Busquei trabalhar em torno de tais questões, o que permitiu perceber que subjetividade, identidade e alteridade formam os construtos conceituais-chave que norteiam este trabalho. Procuro entender, não somente a importância do sujeito na contemporaneidade, como também a da narrativa que o mesmo constrói sobre si, sobre o seu tempo e sobre o outro, para o conhecimento da experiência humana pelas disciplinas sociais, destacando a compreensão histórica na análise. ___________________________________________________________________________________________ ABSTRACT
Between 1958 and 1972, the French writer Simone de Beauvoir (1908 – 1986) had published four autobiographies, in which she tells her existential trajectory, from birth until oldness. In this thesis, I intend to understand how Beauvoir has constructed and how she has registered her autobiographic identity, underlining different aspects about her private and public life, as well as how she has pointed some hypotheses concerning reasons she had to present herself. I try to identify the path by means which she has made it. At the beginning, the matter consists in identify a possible relationship concerning Subject and Autobiography concepts. How can we define an autobiography? How can we identify it among different kinds of autobiographic referential narratives? Which is the importance of such a kind of narrative vis-à-vis historical knowledge? What can we know about Subject concept? How does Simone de Beauvoir perceive herseflf as a Subject? Further, I have taken into account the process of construction which Simone de Beauvoir has followed, in presenting her autobiographic identity. Throught her autobiographic narratives, we can observe the presence of a conducting wire, some unity justifying her identity, beyond her own name. I try precisely to understand how Beauvoir has constructed such a supposed unity. I try, at last, to understand how Beauvoir´s text was used as a register on otherness. I have undertaken underlining Beauvoir´s relationship to other in two main situations: the rivalry climate existing among French intellectuality, which was present in her relationship with Maurice Merleay-Ponty and Albert Camus, as well as in the analysis Simone de Beauvoir presented about Critique´s reception of her works. How did Beauvoir represent her adversaries? Which were her intentions about them? These question led me to understand that Identity, Otherness and Subjectivity were Beauvoir´s conceptual constructs-key which have inspirede her works. In this thesis, finally, I try to understand both the important role of the Subject in contemporaneous societies or the narrative path he constructs about himself, about his time and about the other, vis-â-vis Knowledge of human experience by means of scientific disciplines, especially historical understanding for analysis. ___________________________________________________________________________________________ RÉSUMÈ
Entre 1958 et 1972, l'écrivaine française Simone de Beauvoir (1908 – 1986) a fait publier quatre autobiographies, dans lesquelles elle nous raconte sa trajectoire, dês la naissance jusqu´à la vieillesse. Il m´intéresse, dans cette thèse, de comprendre comment Beauvoir a-t-elle construit et laissé enregistrée son identité (autobiographique), tout en associant de différents aspects entre sa vie privée et sa vie publique, en même temps qu´elle indique des hypothèses concernant les raisons qu´elle a eues pour se présenter de la façon dont elle se présente. J´ai, d´abord, tâché de travailler la relation entre sujet et autobiographie. Comment peut-on une definir une autobiographie ? Comment peut-on la mettre comme l´un parmi d´autres types de récits d´auto-référence ? Quelle l'importance de ce type de récit pour le savoir historique ? Qu´est-ce qu´on peut comprendre sur le concept de sujet ? Comment Beauvoir s´aperçoit-elle en tant que sujet? Ensuite, j'ai cherché à tenir l'attention sur le processus de construction de l'identité autobiographique suivi par Beauvoir. Au long de ses autobiographies, elle poursuivait un certain fil conducteur, une certaine unité en mesure de justifier son identité, au-delà de la force symbolique de son nom. Il m´intéresse précisement de comprendre comment Beauvoir a-t-elle construit cette prétendue unité. `Finalement, je me suis consacré à comprendre comment le texte autobiographique de Beauvoir a été utilisé en enrégistrement d´altérité. En même temps, j´ai mis en relief les rapports entretenus par Simone de Beauvoir avec l´autre dans deux situations principales: la rivalité observable au sein de l'intellectualité française, mise en évidence lors de ses relations avec Maurice Merleau-Ponty et Albert Camus, ainsi que dans l´analyse qu´elle faisait, en tant qu´autobiographe, de la réception de ses oeuvres par la critique. Comment Beauvoir représente-t-elle ses adversaires ? Avec quelles intentions ? À cette hauteur, j'ai cherché à travailler autour de telles questions, ce qui m´a permis de percevoir que subjectivité, identité et altérité forment les constructs conceptuels-clé qui guident ce travail. Je tenté, en outre, de comprendre pas seulement l'importance du sujet dans la contemporanéité, mais aussi celle concernant le récit que le même sujet construit sur lui-même, sur sur son temps et sur l´autre, pour la connaissance de l'expérience humaine par les disciplines sociales, tout en soulignant la compréhension historique dans l'analyse.
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Reguffe, Marina Cardoso. "Carmen da Silva, leitora de Simone de Beauvoir." reponame:Repositório Institucional da FURG, 2014. http://repositorio.furg.br/handle/1/6116.
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A produção literária de Carmen da Silva (1919-1985), escritora feminista rio-grandina, revela ecos da leitura da obra da escritora e filósofa feminista francesa Simone de Beauvoir (1908-1986). Esta dissertação de mestrado propõe a leitura e interpretação das obras O sangue dos outros (1945), de S. de Beauvoir, e Sangue sem dono (1964), de C. da Silva, sob a luz de teorias tais como a estética da recepção, intertextualidade, feminismo e existencialismo, no sentido de aproximá-las, no que diz respeito aos ecos da leitura de Beauvoir feita por C. da Silva, além de propor repensar as categorias literárias a que as obras eleitas pertencem.
The literary work of Carmen da Silva (1919-1985), a feminist writer from Rio Grande, reveals echoes of her reading of French feminist philosopher Simone de Beauvoir’s (1908-1986) work. This master’s thesis proposes the reading and interpretation of S. de Beauvoir’s O sangue dos outros (1945) and C. da Silva’s Sangue sem dono (1964), guided by theories such as reception theory, intertextuality, feminism and existentialism, in order to relate them, concerning the echoes of the reading of Beauvoir done by Carmen da Silva, as well as it proposes rethinking literary categories to which the works belong.
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Ikazaki, Yasue Deguy Jacques. "Les procédés narratifs dans les oeuvres de Simone de Beauvoir." Lille : A.N.R.T, 2003. http://www.univ-lille3.fr/theses/ikazaki-yasue/html/these.html.
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Bainbrigge, Susan Anne. "Writing against death : the autobiographies of Simone de Beauvoir." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388606.
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Necula, Simona Mihaela. "Controverses autour du Deuxième sexe de Simone de Beauvoir." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0072.
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La publication du Deuxième sexe de Simone de Beauvoir (1949) a suscité beaucoup de réactions chez les intellectuels du monde entier. Féministes, historiens, sociologues, gens de lettres et philosophes, ont réagi depuis sa parution, au cours de débats plus ou moins connus, sur les thèses de Beauvoir ainsi que sur la réception du livre de celle-ci. La thèse de Beauvoir la plus citée est : « On ne naît pas femme, on le devient ». L’objectif de notre recherche a été celui de répondre à la question suivante : que disent les controverses autour du Deuxième sexe sur le monde social, politique et religieux qui les abrite, sur les représentations de la femme, comment les changent-t-elles ? Pour répondre à cette question de recherche nous avons fait quatre études de cas qui correspondent à quatre moments-phare dans les débats qui entourèrent la réception du Deuxième sexe : le premier moment est celui du scandale de la parution du Deuxième sexe, l’année 1949 ; le deuxième moment est l’année 1956 avec la montée de mouvements de nouvelles militantes féministes et la mise à l’Index par le Saint-Office de Rome du livre de Beauvoir ; le troisième moment est l’année 1970 (le ’68 des femmes) avec la création du Mouvement de libération des femmes ; le dernier choix est l’année 1999 avec la célébration du cinquantenaire du Deuxième sexe. A la fin de chaque chapitre sont détaillés les changements apportés par les controverses analysées sur les représentations de la femme et de Beauvoir même. La méthode utilisée dans la recherche est celle de l’analyse sociologique des controverses intégrée par les historiens des sciences studies dans le domaine de l’histoire des intellectuelsThe publication of The Second Sex by Simone de Beauvoir (1949) generated a lot of reactions among intellectuals worldwide. Feminists, historians, sociologists, writers and philosophers have reacted since its publication, in debates more or less known, commenting on Beauvoir's thesis as well as on the reception of her book. Beauvoir’s most often cited thesis is: "One is not born a woman, one becomes one. " The objective of our research was to answer the following question: what do the controversies around The Second Sex tell us about the social, political and religious world that shelters them, what do they tell us about the representations of women, how do they change them? To answer this research question we made four case studies that correspond to four essential moments in the debates around the reception of The Second Sex: the first moment is the scandal of the publication of The Second Sex, in 1949; the second time is the year 1956 with the rise of movements of new feminist militants and the inclusion of Beauvoir’s book in the “Index Librorum Prohibitorum” of the Holy Office in Rome; the third moment is the year 1970 (the '68 of women) with the creation of the Women's Liberation Movement (MLF); the last choice is the year 1999 with the fiftieth anniversary of The Second Sex. At the end of each chapter we detailed the changes induced by the controversies analyzed on the representations of women and even of Beauvoir herself. The method used in the research is that of the sociological analysis of controversies integrated by historians of science studies in the field of intellectual history
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Fourtanier, Marie-José. "Simone de Beauvoir : pour une esthétique de la culpabilité." Toulouse 2, 1991. http://www.theses.fr/1991TOU20065.
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Simone de Beauvoir qui se définit elle-même comme une "femme-écrivain" a cherché, dans ses œuvres de fiction, à créer un univers cohérent et multiple, à la fois exutoire de ses propres angoisses et communication passionnée avec autrui. Il a paru capital d'étudier dans un premier temps la lente et difficile gestation de l'écriture beauvoirienne, non seulement sous l'influence de Sartre et de l'existentialisme, mais aussi de divers courants littéraires qui ont fortement marqué l'écrivain : Dostoïevski, les romanciers américains, Céline, Kafka. . . Les romans de Simone de Beauvoir, à travers images et métaphores obsédantes, mettent en scène l'essentielle notion de la culpabilité humaine, envers sombre de l'idée de responsabilité et d'engagementSimone de Beauvoir who defines herself as "a woman writer" has tried, in her works of fiction, to create a consistent, manifold universe, at the same time outlet for her own agonies and passionate communication with others. It seemed fundamental to study at first the slow and painful shaping of Simone de Beauvoir's writing, not only under the influence of Sartre and existentialism but also of various literary trends which have greatly marked the writer: Dostoïevski, American novelists, Celine, Kafka. . . Simone de Beauvoir's novels trough haunting images and metaphors, deal with the chief notion of human culpability, sombre reverse of the idea of responsability and commitment
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LEE, TEONG-SOON. "Pensee philosophique et expression litteraire chez simone de beauvoir." Paris 4, 1990. http://www.theses.fr/1990PA040033.
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Simone de beauvoir est un ecrivain-philosophe. Son oeuvre est composee de plusieurs genres litteraires. Nous avons etudie le sujet de notre these autour de trois modes d'expression majeurs chez notre auteur : roman, essais, et autobiographie. Quelle que soit la forme d'expression adoptee par l'auteur, son oeuvre reste philosophique et autobiographique. Car simone de beauvoir recherche dans son oeuvre la verite de l'existence et elabore par la une ethique qui se definit comme une morale existentialiste d'apres ses propres experience vecues. Nous avons donc tente de degager sa pensee philosophique a travers ces trois formes d'expression litteraires en suivant l'evolution de l'experience existentielle de l'auteur. A la fin de notre etude, nous avons conclu que la morale existentialiste de simone de beauvoir basee sur la liberte de chacun, accompagnee de responsabilite, est une pensee ouverte sur l'avenir : c'est a chacun de nous a se realiser comme une liberte concrete dans ce mondeSimone de beauvoir is both a writer and a philosopher. Her work is made up of several litterary genres. In our theses we have centered our research on three major forms of writing simone de beauvoir adopted : the novel, the essay and the autobiography. Whatever the mode of writing simone de beauvoir chose, her work remains philosophical and autobiographic ; in fact, throughout her work, simone de beauvoir has been looking for the truth of human existence and, at the same time, builds up in ethic existentialist which is based upon her own personal experience. Thus have we endeavoured to bring out her philosophical thinking through these three modes of writing by closely keeping track of the way simone de beauvoir's existentialist experience envolved. At the very end our thesis, we reached the conclusion that simone de beauvoir's existentialist ethic based upon everybody's freedom and seens of reponsability remained open to the future : il all depends on each ou us whether or not to fulfill ourselves as truly free human being in this world down here
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Strasser-Weinhard, Anne Ernst Gilles. "Les Figures féminines dans les autobiographies de Simone de Beauvoir." Nancy : Université Nancy 2, 2001. http://cyberdoc.univ-nancy2.fr/htdocs/docs_ouvert/doc204/2001NAN21004_1.pdf.
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Ikazaki, Yasue. "Les procédés narratifs dans les oeuvres de Simone de Beauvoir." Lille 3, 2003. http://www.theses.fr/2003LIL30029.
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A travers quelques caractéristiques des œuvres de Simone de Beauvoir (coexistence de la narration à la première et à la troisième personne et alternance des points de vue), cette thèse éclaircit le fonctionnement narratif de chaque œuvre et l'évolution des procédés. Nous nous penchons également sur les différents registres du "je", sur la mort, une des obsessions les plus importantes chez cet auteur, et sur la biographie de Jean-Paul Sartre qui se profile dans l'autobiographie de Simone de Beauvoir. Par ailleurs, à travers l'analyse des personnages des Mémoires, nous suivons la trace de l'autocensure. Enfin, nous décelons les spécificités des voix des hommes et des femmes. L'analyse de ces "je", "il" et "elle", produits de l'investissement de l'auteur, montre la richesse, la profondeur et la modernité de la voix de Simone de beauvoir, bref son originalité
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Heath, J. "Autobiography and novel in the work of Simone de Beauvoir." Thesis, University of Essex, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.354479.
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DIAS, JANAINA ALMEIDA ORTINS. "AMBIGUIDADE E LIBERDADE NA FILOSOFIA MORAL DE SIMONE DE BEAUVOIR." Universidade Federal do CearÃ, 2016. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=17527.
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FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgicoA pesquisa tem como proposta pensar as diferenÃas entre o singular, em sua concepÃÃo existencialista, e o universal da tradiÃÃo filosÃfica com o objetivo de refletir a relaÃÃo categorial entre ambiguidade e liberdade na filosofia moral de Simone de Beauvoir (1908-1986), reflexÃes essas feitas em Por uma moral da ambiguidade [1947]. A filÃsofa se contrapÃe à tradiÃÃo universalista, porque, conforme argumenta, discorda de suas caracterÃsticas abstratas referendada na unidade e considera a verdade como a singularidade existencial mÃltipla, conduzindo-se a uma anÃlise da liberdade que busca encontrar a sua lei no prÃprio homem. Como delimitaÃÃo da pesquisa adotamos o filÃsofo Immanuel Kant (1724-1804) â segundo ela, uns dos principais representantes da teoria universalista â para podermos estabelecer a diferenÃa. Dessa forma, devemos, ainda que secundariamente, buscar compreender os significados das concepÃÃes de liberdade, universalidade e subjetividade neste filÃsofo alemÃo pensadas na FundamentaÃÃo da MetafÃsica dos Costumes (1785), para representar a filosofia Universal que possibilitarà esta paradigmÃtica questÃo entre universalidade e singularidade. Retomando os argumentos da filÃsofa, devemos perguntar: o que à ambiguidade? A ambiguidade à assumir a condiÃÃo humana sem tentar evitÃ-la a partir do movimento entre fracasso e Ãxito. Escolher por essa postura constitui uma atitude autenticamente moral e assim conquistar o principal objetivo humano: a liberdade. Para tanto, a liberdade nÃo pode ser fruto apenas da glÃria do homem, mas ela està inserida neste grande pulsar da existÃncia que, sem o fracasso compreendido na singularidade, nÃo poderia ter sentido em si mesma. A liberdade à redesenhar no fracasso novas possibilidades para conquistar a existÃncia que constantemente se falta no prÃprio ser. Portanto, a ambiguidade està inserida nesse movimento existencial que jà nasce naturalmente com o homem, mas que ele pode transformar em consciÃncia ou negÃ-la.
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Fausto, Patrícia de Alencar. "Florbela Espanca e Simone de Beauvoir: duas vozes, um sexo." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3081.
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Proposta de leitura de fragmentos de versos integrantes da poética de Florbela Espanca e de textos da filosofia de Simone de Beauvoir, notadamente contidos na sua obra magna O Segundo Sexo, numa análise contrastiva do percurso intelectual de ambas as escritoras, no que diz respeito à dominação masculina e à resistência das mulheres por intermédio do exercício escritural. O presente trabalho propõe uma análise incisiva dos trabalhos das autoras citadas, fazendo uma correlação entre vida e obra de ambas, até chegar a questão da dominação masculina. Tendo como objetivo principal chamar a atenção para os pontos chaves que as autoras acentuavam em suas obras e que serviram de força poderosa para a ruptura dos laços patriarcais. Aqui representa-se e confronta-se a visão masculina, a qual a sociedade estava tão acostumada (principalmente diante do fato que toda literatura era composta por homens), com obras de mulheres que dentro de uma mundo estritamente masculino, deram seu grito de liberdade através de seus escritos. Logo, a dissertação aqui apresentada tem por objetivo demonstrar a inovação literária e também social, que Simone de Beauvoir e Florbela Espanca trouxeram, no momento em que decidiram constituir-se não mais apenas como mulheres, mas como escritoras, conscientes e responsáveis por suas decisões e por aquilo que escreviam
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Leal, Marcelle Ferreira. "A literatura de Simone de Beauvoir: por um sexto sentido." Universidade do Estado do Rio de Janeiro, 2013. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=5121.
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Através da visão multidimensional que a Literatura proporciona, acredita-se que a voz de Simone de Beauvoir desperta o pensamento crítico dos leitores sobre a condição da mulher, na segunda metade do século XX. A análise se situa entre os odores que exalam do estudo de Walter Benjamin sobre o conceito de reflexão dos primeiros românticos alemães e os sabores dos desencobrimentos presentes em A Mulher Desiludida, narrativa ficcional de Simone de Beauvoir. O que é a literatura?, ingrediente adicionado por Jean-Paul Sartre, traz consistência ao texto que, em sua finalização, é apimentado pela Teoria Estética, de Theodor Adorno. O autor do Magnum opus a Dialética do esclarecimento demonstra ainda a necessidade de se acrescentar o gosto que incomoda para que saibamos apreciar o alimento que nos é oferecido. Todo o banquete é servido sobre a base fundadora do feminismo: O Segundo Sexo. Agucem todos os sentidos, a iguaria será servidaIt is believed that through the multidimensional view provided by literature, Simone de Beauvoir leads the readers to think about womens conditions in the second half of the twentieth century. The analysis is based on Walter Benjamins concept of reflection of the first German romantic writers the smell it exhales and what is disclosed in A Mulher Desiludida, fiction written by Simone de Beavouir the flavor one experience when reading it. An ingredient added to the text and giving it consistency is Jean Paul Sartres What is literature. The final spice is given by Teoria Estética (Theodor Adorno). The writer of the Magnum Opus Dialetica do Esclarecimento further shows the need to add an unpleasant taste for us to be able to appreciate the food we are given. The whole feast is served on the founding basis of feminism: The Second Sex. Excite every way, the dish will be served
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Strasser-Weinhard, Anne. "Les figures féminines dans les autobiographies de Simone de Beauvoir." Nancy 2, 2001. http://docnum.univ-lorraine.fr/public/NANCY2/doc204/2001NAN21004_1.pdf.
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Les figures féminines désignent la forme littéraire que Beauvoir a donnée aux femmes dans ses autobiographies : forme, car il y a loin de la personne réelle à la figure autobiographique. L'écart de l'une à l'autre révèle la signification de l'entreprise autobiographique : retrouver le sens d'une vie dont les questions principales sont la recherche de rapports humains inédits et la mort. Nous présenterons d'abord la genèse de l'autobiographie, puis les figures féminnines à l'aide des concepts philosophiques utilisés par Beauvoir pour analyser la condition des femmes. Cette présentation éclairera la portée féministe de l'autobiographie : la figure féminine centrale, Simone de Beauvoir, au destin singulier et exemplaire, apparaîtra comme le contrepoint aux autres figures qui ne parviennent pas à dépasser leur situation, et comme une figure de l'intellectuelle engagée qui a su, philosophiquement et idéologiquement, penser sans Sartre. La confrontation de l'autobiographie et de la correspondance révèlera l'ambiguïté des relations de Beauvoir avec ces figures : à la première, la quête du double idéal, quitte à le fabriquer, à la seconde, les relations dominatrices, voire perverses, avec des femmes plus jeunes. Enfin, suivre la courbe d'une vie, la sienne et celle de ses proches, mène Beauvoir au récit de leur mort. Habitée par une véritable angoisse de la mort, elle la conjure en écrivant afin de sauver le passé de l'oubli et de faire le deuil des êtres aimés : l'autobiographie consacre la mort des figures et révèle une écrivaine à part entière, qui a su universaliser une expérience singulièreWoman figures refer to the literary form which Beauvoir gave to women in her autobiographies : it is a form because there is a considerable distance from the real person to the autobiographical figure. The distance between them reveals the meaning of the autobiographical undertaking : rediscover the meaning of a life which main queries are the quest of unprecedented human relations and death. We shall first introduce the genesis of the autobiography, then woman figures, with the help of the philosophical concepts used by Beauvoir to analyses women's status. This introduction will shed light on the feminist significance of autobiography : the central female figure, Simone de Beauvoir, with her singular and exemplary destiny, will appear both as a counterbalance to other figures which are unable to go beyond their condition, and as an intellectual commited figure who was able, philosophically and ideologically, to think without Sartre. The confrontation of the autobiography and the correspondance will reveal the ambiguity of Beauvoir's relations with these figures : to the first, the quest for an idealistic double, even if it means making it up ; to the second, domineering or even perverse relations with younger woman. Finally, following the curve a life - her own and that of her close relations - leads Beauvoir to giving an account of their death. Filled with a genuine anguish of death, she tries to ward it off by writing in order to save the past from oblivion and say goodbye to beloved ones ; autobiography hallows the figures' death and reveals a writer in her own right, who has proved capable of giving a universal dimension to a singular experience
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Nicolas, Delphine. "L’œuvre fictionnelle de Simone de Beauvoir : l’existence comme un roman." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040169/document.
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Les fictions de Simone de Beauvoir constituent le centre de gravité d’une œuvre protéiforme. Encore largement méconnue et nettement dévaluée par rapport aux essais et aux Mémoires, l’œuvre romanesque de l’écrivaine se situe aux limites indécises du littéraire, du philosophique, de l’historique et de l’autobiographique. Son projet littéraire s’enracine dans l’existence, c’est pourquoi nous avons choisi d’étudier la genèse de l’œuvre romanesque et le processus d’invention de soi depuis les années de jeunesse jusqu’à la naissance de l’écrivaine et la reconnaissance publique de ce statut en 1943. Le projet d’écrire un « roman métaphysique », qui détermine des modalités d’écriture spécifiques, a été influencé et soutenu par une conception existentialiste de l’homme et du monde que Beauvoir est une des premières à définir dans l’après-guerre. Ce projet de nature éthique, qui porte l’idée d’une littérature « engagée », n’est pas seulement collectif dans les enjeux et les principes qui le sous-tendent, mais aussi singulier : derrière la permanence d’un éthos d’écrivain, on trouve chez Simone de Beauvoir un constant réajustement du roman à l’Histoire et à son expérience propre, ce qui explique les nécessaires mutations du roman et de l’écriture de L’Invitée à La Femme rompue. Par l’exploration d’un imaginaire et d’une écriture singulière, nous pensons redonner à Simone de Beauvoir la place qui lui revient dans l’histoire du roman français au XXe siècle, entre Gide, dont elle est l’héritière, et les représentants du Nouveau RomanSimone de Beauvoir’s fictions are the center of gravity of a multifaceted body of work. Still relatively unknown and largely underestimated in comparison with her essays and memoirs, her fictional work is situated at the indistinct limits of the literary, the philosophical, the historical and the autobiographical. Beauvoir’s literary project has its roots in existence, which explains why I have chosen to study the genesis of her fictional work and the process of the invention of self from her youth up to her birth as a writer and the public recognition of this status in 1943. Her idea of writing a “metaphysical novel”, one that fixes specific writing requirements, was influenced and buttressed by an existentialist conception of the human being and the world that Beauvoir, one of the first, defined postwar. This basically ethical project, which assumes the idea of a literature of engagement, is not just collective in its stakes and the principles it underpins but is also singular : behind the permanence of a writer’s ethos, there is in Simone de Beauvoir a constant readjustment of the novel to History and to her own experience, elucidating the novel’s and her writing’s necessary mutations from She Came To Stay to The Woman Destroyed. Through the exploration of the imaginary and of a singular style, I wish to give Simone de Beauvoir her rightful place in the history of the 20th century French novel, between Gide, her predecessor, and the representatives of the “Nouveau roman”
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Moser, Susanne. "Freedom and recognition in the work of Simone de Beauvoir." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2001. http://d-nb.info/987273744/04.
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Dias, Janaina Almeida Ortins. "Ambiguidade e liberdade na filosofia moral de Simone de Beauvoir." reponame:Repositório Institucional da UFC, 2016. http://www.repositorio.ufc.br/handle/riufc/19339.
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DIAS, Janaina Almeida Ortins. Ambiguidade e liberdade na filosofia moral de Simone de Beauvoir. 2016. 97f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Filosofia, Fortaleza (CE), 2016Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-09-01T12:00:15Z No. of bitstreams: 1 2016_dis_jaodias.pdf: 1013497 bytes, checksum: aa6d6845e39c27cac14c9e7ae0edbcd0 (MD5)
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A pesquisa tem como proposta pensar as diferenças entre o singular, em sua concepção existencialista, e o universal da tradição filosófica com o objetivo de refletir a relação categorial entre ambiguidade e liberdade na filosofia moral de Simone de Beauvoir (1908-1986), reflexões essas feitas em Por uma moral da ambiguidade [1947]. A filósofa se contrapõe à tradição universalista, porque, conforme argumenta, discorda de suas características abstratas referendada na unidade e considera a verdade como a singularidade existencial múltipla, conduzindo-se a uma análise da liberdade que busca encontrar a sua lei no próprio homem. Como delimitação da pesquisa adotamos o filósofo Immanuel Kant (1724-1804) – segundo ela, uns dos principais representantes da teoria universalista – para podermos estabelecer a diferença. Dessa forma, devemos, ainda que secundariamente, buscar compreender os significados das concepções de liberdade, universalidade e subjetividade neste filósofo alemão pensadas na Fundamentação da Metafísica dos Costumes (1785), para representar a filosofia Universal que possibilitará esta paradigmática questão entre universalidade e singularidade. Retomando os argumentos da filósofa, devemos perguntar: o que é ambiguidade? A ambiguidade é assumir a condição humana sem tentar evitá-la a partir do movimento entre fracasso e êxito. Escolher por essa postura constitui uma atitude autenticamente moral e assim conquistar o principal objetivo humano: a liberdade. Para tanto, a liberdade não pode ser fruto apenas da glória do homem, mas ela está inserida neste grande pulsar da existência que, sem o fracasso compreendido na singularidade, não poderia ter sentido em si mesma. A liberdade é redesenhar no fracasso novas possibilidades para conquistar a existência que constantemente se falta no próprio ser. Portanto, a ambiguidade está inserida nesse movimento existencial que já nasce naturalmente com o homem, mas que ele pode transformar em consciência ou negá-la.
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Lundgren-Gothlin, Eva. "Kön och existens : studier i Simone de Beauvoirs "Le Deuxième sexe /." Göteborg : Daidalos, 1991. http://catalogue.bnf.fr/ark:/12148/cb376634055.
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Fudge, Heather Lynn. "L' autobiographie et le personnage de fiction chez Simone de Beauvoir." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22587.
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The corpus of this project consists of the five volumes of Simone de Beauvoir's memoirs: Memoires d'une jeune fille rangee, La force de l'age, La force des choses I, La force des choses II and Tout compte fait. In this study, we have considered the difficulties of self-analysis and examined the limitations and demands of the genre of autobiography.A memoir is not simply the reconstruction of the author's past, but a personal interpretation of this past which often includes discrepancies between the narrative and the reality of his or her life. The autobiographer's primary objective is not to deliver the historical facts of his or her existence, but to show a self beneath the person that appears to the world. In our research, we have found that the value and truth of Simone de Beauvoir's autobiography arise from her creation of a character she sees as embodying her own distinct personality.
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Lennartsson, Vivi-Anne. "L'effet-sincérité : l'autobiographie littéraire vue à travers la critique journalistique : l'exemple de La force des choses de Simone de Beauvoir /." Lund : Romanska institutionen, Univ, 2001. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=009835915&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Pringle, Lauren Helen. "An annotated and indexed calendar and abstract of the Ohio State University collection of Simone de Beauvoir's letters to Nelson Algren /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487263399026702.
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Postalcioglu, Aysenaz. "Simone de beauvoir in Turkey: (her)story of a translational journey." Doctoral thesis, Universitat Rovira i Virgili, 2016. http://hdl.handle.net/10803/378645.
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Aquest estudi explora i problematitza el viatge de traducció de Simone de Beauvoir a Turquia a través de les dades textuals i paratextuals dels anys 50 endavant, amb una perspectiva conscient de gènere. La primera problemàtica està relacionada amb la (in)visibilitat de Beauvoir i la seva obra dins de l'espai cultural de Turquia. Si bé l'obra de Beauvoir havia estat àmpliament traduïda i llegida des de la dècada de 1960, no existien crítiques publicades de les seves traduccions. La segona problemàtica té a veure amb la seva parcial (i dolenta) representació. Com Beauvoir va ser introduïda per primera vegada a l'espai cultural de Turquia pels mateixos mediadors culturals (masculins) que van introduir Sartre en la intel·lectualitat turca, especialment en els anys 60 i 70, el seu nom es va associar amb el de Sartre i l'existencialisme, fins als anys 80 quan Beauvoir va ser finalment abordada per les feministes turques. La tercera problemàtica està, de fet, relacionada amb la segona, i és el retard en la recepció del vessant feminista de Beauvoir en el sistema cultural de Turquia. Per contextualitzar els resultats, s'argumenta que aquests materials paratextuals i textuals que van tenir un paper significatiu en la “reescriptura” de Beauvoir i la seva obra a Turquia ens donen diverses pistes sobre les postures culturals, socials, patriarcals, i ideològiques respecte “la qüestió de dona”, a l'espai cultural de Turquia.Este estudio explora y problematiza el viaje de traducción de Simone de Beauvoir en Turquía a través de los datos textuales y paratextuales de los años 50 en adelante, con una perspectiva consciente de género. La primera problemática está relacionada con la (in)visibilidad de Beauvoir y su obra dentro del espacio cultural de Turquía. Si bien la obra de Beauvoir había sido ampliamente traducida y leída desde la década de 1960, no existían críticas publicadas de sus traducciones. La segunda problemática tiene que ver con su parcial (y mala) representación. Como Beauvoir fue introducida por primera vez en el espacio cultural de Turquía por los mismos mediadores culturales (masculinos) que introdujeron Sartre en la intelectualidad turca, especialmente en los años 60 y 70, su nombre se asoció con el de Sartre y el existencialismo, hasta los años 80 cuando Beauvoir fue finalmente abordada por las feministas turcas. La tercera problemática está, de hecho, relacionada con la segunda, y es el retraso en la recepción de la vertiente feminista de Beauvoir en el sistema cultural de Turquía. Para contextualizar los resultados, se argumenta que estos materiales paratextuales y textuales que tuvieron un papel significativo en la “reescritura” de Beauvoir y su obra en Turquía nos dan varias pistas sobre las posturas culturales, sociales, patriarcales, e ideológicas respecto “la cuestión de mujer”, en el espacio cultural de Turquía.
This study explores and problematizes the translational journey of Simone de Beauvoir into Turkey through the paratextual and textual data beginning from the 1950s onwards, with a gender-conscious perspective. The first problematic is related to the (in)visibility of Beauvoir and her work within the Turkish cultural space. While Beauvoir’s oeuvre has been extensively translated and read since the 1960s, no reviewers have commented on any translation at all. The second problematic has to do with her partial (mis)representation. As Beauvoir was first introduced into the Turkish cultural climate by the same (male) mediators who introduced Sartre to the Turkish intelligentsia, especially in the 1960s and 1970s, her name was associated with that of Sartre and existentialism, until the 1980s when Beauvoir was finally approached by Turkish feminists. The third problematic is in fact related with the second one, and it is the time lag in the reception of Beauvoir’s feminist side in the Turkish cultural system. To see the big picture and to contextualize the results, it is argued that these paratextual and textual materials which played a significant role in the rewriting of Beauvoir and her work in Turkey give us clues about cultural, social, patriarchal, and ideological stances on “the woman question” within the Turkish cultural space.
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Gunella, Elis Joyce. "Ontologia e Ética n\'O Segundo Sexo de Simone de Beauvoir." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-12122014-195339/.
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Ao desenvolver nO Segundo Sexo análise existencialista sobre a condição da mulher ocidental, isto é, de sua formação, situação e caráter, Simone de Beauvoir parte de uma leitura ética das relações intersubjetivas que historicamente permitiram a constituição de códigos de feminilidade e que condicionam o estado atual da educação e dos costumes. Mais precisamente, a análise da autora sobre a mulher deve ocorrer a partir de compreensão dialética de sua condição histórica ou compreensão ética da ação do sujeito, entendido como Para-si, liberdade radical e incondicionada que se realiza precisamente por meio da ação de autoconstituição. Com efeito, a filosofia existencialista consiste numa filosofia do processo de subjetivação do sujeito, ou seja, processo existencial de constituição do próprio sujeito por meio de escolhas feitas pela liberdade vivida nas situações históricas. Assim, o que define de maneira singular a condição da mulher é o fato de que afirmar-se como sujeito contraria as exigências de sua situação. Aceitar-se, no entanto, como Outro é negar a reivindicação fundamental do sujeito que ela é e resulta na prática de condutas enredadas pela má-fé, isto é, práticas que visam dissimular a servidão em liberdade. Por consequência, com o esforço de pôr-se como Sujeito, que é sempre ético, existe também a tentação de constituir-se como objeto por meio da fixação do ser. É essa ambiguidade constituinte de todo existente que se traduz de forma específica na constituição do feminino quando na sociedade patriarcal se pretende que o homem responsabilize-se por justificar sua existência, de modo que não cabe a ela inventar seus próprios fins, mas aceitar o destino que lhe é dado de fora e que se caracteriza pela negação da liberdade. Desse modo, nosso propósito é compreender como a construção histórica do feminino se dá mediante a constituição de uma subjetividade que pretende se negar e ser negada enquanto tal e que, portanto, só pode dar-se no regime da má-féIn developing of The Second Sex existencialist analysis about western womans condition, namely her formation, situation and character, Simone de Beauvoir leave of an ethical reading of intersubjective relations that historically enabled the establishment of codes of femininity and on which the current state of education and morals. More precisely, the analysis of the authoress about the woman must occur from dialectical understanding of her historical condition or ethical understanding of the action of the subject, understood as For-itself, radical and unconditional freedom that is realized precisely through the action of self-constitution. Indeed, the existentialist philosophy is a philosophy of subjectivity of the subject process, i.e., existential process of constitution of the subject through choices made for freedom lived on historical situations. So what defines a singular manner the status of women is the fact that assert itself as subject contradicts the requirements of her situation. Accept themselves, however, as another is to deny the fundamental claim of the subject that she is and results in the practice of entangled by bad-faith conduct, i.e. practices to conceal the bondage free. Consequently, with the effort to put yourself as a subject, which is always ethical, there is also the temptation to constitute itself as an object by setting the be. It is that constituent of all existing ambiguity which translates specifically in the constitution of the feminine in a patriarchal society where it is intended that man Blame yourself to justify their existence, so it is not for her to invent their own purposes, but accept fate given to it from the outside and that is characterized by denial of freedom. Thus, our purpose is to understand how the historical construction of female occurs by the formation of a subjectivity that intends to deny and be denied as such and therefore can only give up the scheme of bad faith
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Martin, Tiphaine. "Les récits de voyages dans l'oeuvre autobiographique de Simone de Beauvoir." Paris 7, 2012. http://www.theses.fr/2012PA070070.
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Les récits de voyage sont très présents dans l'autobiographie beauvoirienne, depuis les Mémoires d'une jeune fille rangée (1958), jusqu'à Tout compte fait (1972), en passant par La Force de l'âge (1960), et par La Force des choses (1962). Ces narrations viatiques ne constituent pas un ensemble qui peut être séparé du reste du texte autobiographique, mais, au contraire, elles constituent la structure même des volumes mémoriels. Le voyage n'est pas l'occasion d'un éparpillement» mais d'une concentration sur la personne qu'est Simone de Beauvoir. Le but de cette thèse est de dégager l’importance du récit de voyage dans l'œuvre autobiographique beauvoirienne, et de dessiner un portrait de Simone de Beauvoir en voyageuse, en étudiant précisément la manière dont elle se présente à son lecteurTravel narratives are very present in Beauvoir's autobiography, from the Memolrs of a Dutiful Daughter (1958), until AH Said and Done (1972), through The Prime of Life (1960), and by Force of Circumstance (1962), These narratives do not a set that can be separated from the rest of the autobiographical text, but, on the contrary, they constitute the very structure of memorial volumes. The trip is not the opportunity of a scattering, but a concentration on the person Simone de Beauvoir. The purpose of this thesis is to identify the importance of travel narratives in Beauvoir's autobiographical work, and draw a portrait of Simone de Beauvoir as traveller, studying precisely how she presents herself to the reader
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Fast, Jina. "Engendering Subjectivity: A Study in the Philosophy of Simone de Beauvoir." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/300876.
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PhilosophyPh.D.
In this study I advance the thesis that Simone de Beauvoir's account of the development of subjectivity is based in a consideration of the Hegelian description of the development of subjectivity in the Phenomenology of Spirit. Like Hegel, Beauvoir argues that an aspect of the development of subjectivity is the ability to discover oneself as related to the collective world. Additionally, she shows through her various works that individual identity and freedom are conditioned by the possibility for intersubjective recognition, and development of a project within an ambiguous relationship between the self, others, and the shared social world. Nevertheless, throughout history this foundation for the possibility of freedom has often been lacking and more so for some groups than others, which points us to an important difference in focus in Hegel and Beauvoir's work. For one, the subject in the idealized Hegelian account comes to recognize its power and freedom as it progresses in its connections and influence within the world. But, for those who have historically lacked options (women, those who happen to be black, the poor, etc.) transcendence in terms of the actualization of one's identity and recognized participation in the collective is at best often co-opted or concealed and at worst impossible. Thus, one of the central differences between Hegel's narrative in the Phenomenology and Beauvoir's in The Second Sex is that for women the cycle is a building up of deception, not a progression to clarity and understanding. This progression as Beauvoir shows is neither natural nor perfect, rather it depends upon the possibilities historically granted to specific social groups and denied to others. The central focus of this study is Beauvoir's analysis of the process of becoming (a) woman, but it is not limited to this. Rather, I argue that through engaging with Beauvoir's philosophy, including her appeal to Hegel, we (1) come to understand the ambiguity of the human condition, desire, intention, and identity, (2) the bad faith that often manifests in our relations with others, and (3) the existence of the spectrums of oppression and privilege. There are, of course, several ways to approach the study of historical figures in philosophy. We can treat them as though they are our contemporaries, analyzing their arguments and clarifying their ideas with the intention of showing their relevance to our contemporary concerns. Or, we can study them in their historical contexts with an eye toward tracing the development of their doctrines, attempting as we go to restructure them within their historical situations and as individuals. Both of these approaches have their benefits and drawbacks. In the former, we succeed in making Beauvoir and Hegel relevant as participants in our contemporary dialogues; but we may be making them relevant through reading our own contemporary views and concerns into their texts. In taking the latter approach, we do not use these historical figures as mere mouths, but through reifying them in their historical context we may find them to be less relevant. In what follows I seek to strike a balance between these approaches, especially in that I am engaging a philosophical predecessor (Beauvoir) who is engaging a philosophical predecessor (Hegel). In order to do this I look at the context in which Beauvoir is using Hegel, the influence of her closest philosophical companions on her use of Hegel, and how feminists have since used Beauvoir's philosophy to address contemporary problems. And while I understand the purpose of philosophy to be in fact engagement, rather than a process of historical excavation, I believe that through examining these various relations we can use historical figures to analyze and resolve the urgent social, political, and theoretical issues of our time, while simultaneously understanding that the times in which they originally philosophized may be vastly different from our own.
Temple University--Theses
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Danielou-Stemmer, Valérie. "Simone de Beauvoir : roman et autobiographie : un diptyque? : pour une esthétique de l'ambiguité." Rennes 2, 2001. http://www.theses.fr/2001REN20032.
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Cette étude de l'oeuvre de Simone de Beauvoir analyse les récurrences entre le volet autobiographique et le volet romanesque de celle-ci. Elle s'attache d'abord à les définir, et à les inscrire dans un cadre esthétique précis. Tournant définitivement le dos aux lectures biographiques des romans de Beauvoir, cette analyse permet en effet de prendre en compte la parenté évidente qui unit les textes de fiction et les textes autobiographiques de Simone de Beauvoir, pour montrer que le système des récurrences est constitutif de son oeuvre, et qu'il est le fondement d'une esthétique, que nous nous sommes attachée à définir. En observant les différents types de récurrences observées, en en développant des analyses détaillées, nous avons mis en évidence l'importance de l'expérience individuelle dans cette esthétique, postulant à la fois la nécessité de donner un sens à cette expérience et l'impossibilité d'arrêter un sens définitif. Nous avons donc montré les liens entre les récurrences et le concept d'ambiguité, concept fondamental de cette esthétique que nous avons défini. Nous avons ensuite montré que les récurrences structuraient l'oeuvre selon un principe, non de dualité mais de stratification, pour en mesurer les implications dans la conception du sujet, du temps et de l'HistoireThis study focuses on the recurring themes of the autobiographical and novelistic aspects in the works of Simone de Beauvoir. It first aimas at giving a definition of these two aspects and then at fitting them in a precise aesthetic scope. Overlooking an autobiographical reading of Beauvoir's novels, this analysis attempts to account for the evident link that binds her fictional work to her autobiographical papers ; our aim is to demonstrate that this systme of recurring themes is constituent to her work and is fundamental to the concept of her aesthetic highlighted in this essay. Observing these different types of recurring themes and developing various detailed analyses led us to demonstrate the importance of individual experience in this aesthetic, showing at the same time the necessity of giving a meaning to this experience without being able to define it in a concise way. Thus we have shown the link that binds recurring themes and the concept of ambiguity, which is the basis of the aesthetic we have described. Then we have demonstrated that those recurring themes framed Beauvoir's work not according to an assumption of duality but one of stratification, to finally assess their implications in the conceptions of characters, time and History
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Olmeta, Muriel. "Sartre et Beauvoir romanciers : textes croisés." Paris 10, 1990. http://www.theses.fr/1990PA100057.
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La ressemblance de Sartre et Beauvoir vient de leur rapport au temps qui les fait évoluer dans la même direction jusqu'a les mener à la même impasse. C'est à partir de cette ressemblance que nous avons pu nous arrêter aux analyses de détails. Sartre avec le mur et Simone de Beauvoir avec quand prime le spirituel semblent concevoir les nouvelles comme un entrainement pour un projet plus vaste: le roman, que Sartre conçoit désormais dans la lignée des romans fleuves. Le rapport au réel que ces nouvelles traduisent est le même : il est intériorisé. L’âge de raison et l'invitée ont été écrits avant et pendant la guerre. Sous l'impulsion de l'historicité et du vieillissement, l'engagement devient sujet principal des romans. Ils traduisent l'évolution de la présence des auteurs à la société et l'évolution de leur conception de la littérature. Apres La guerre, Le sang des autres, Le sursis, Tous les hommes sont mortels tenteront de décrire l'évènement par l'explosion du chronotrope humain. Drôle d'amitié, la mort dans l'âme et les mandarins poursuivront le même dialogue avec les communistes à l'interrogation sur l'engagement succède la nécessite de le montrer à l'oeuvre. Nous terminons notre étude sur la mélancolie. Ce sentiment fait se rejoindre Sartre et BeauvoirThe likeness between Sartre and Beauvoir stems from their relationship to time which made them evolve in the same direction and consequently led them to the same deadlock. From this likeness we were were able to analyse their works in detail. Sartre in le mur and beauvoir inquand prime le spirituel seem to view the short-story as a mere draft for a larger project: the novel, now viewed by Sartre as a saga (roman-fleuve). The relationship to reality which is conveyed by the short-story is thus internalised. The age de raison and l'invitee were written before and furing the war. Impelled by the sense of history and by the ageing process, commitment became the main theme of the novels. They convey the evolution of the authors involvement in society as well as the evolution of their concept of literature. After The war, Le sang des autres, Le sursis, Tous les hommes sont mortels sought to describe events by the explosion of the time and space relationship. The matter of commitment is followed by the necessity of asserting it. We complete our study with the theme of melancholy that unites Sartre and Beauvoir
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Nezha, Issam. "La mort et son expression dans l'oeuvre litteraire de simone de beauvoir." Paris 8, 1987. http://www.theses.fr/1987PA080175.
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Dans la premiere partie, nous etudions le rapport entre la mort et l'autobiographie en nous servant des memoires de l'ensemble de la creation litteraire de simone de beauvoir. L'etude de ce rapport nous permet de comprendre que simone de beauvoir connait la mort depuis sa plus tendre enfance et tente de la conjurer par tous les moyens possibles et imaginables. Elle puise dans son enfance, son adolescence et sa jeunesse, afin de dessiner un portrait de la mort et de brosser un tableau de la vie. Elle prend tot conscience de la vanite de toute existence grace a une serie de ruptures dans son itineraire intellectuel et finit par croire que seules la litterature et l'ecriture sont capables d'exorciser l'obsession de la mort qui la hante. Cette analyse tend a prouver que rien n'est gratuit dans l'oeuvre de simone de beauvoir, que tout y fait signe, y est signe de drame interieur et d'une forte obsession de la morte. Dans la deuxieme partie, nous tentons une approche de la fiction de la mort c'est-a-dire une etude thematique de la representation de la mort a travers toute l'oeuvre litteraire de simone de beauvoir. L'etude de l'omnipresence de la mort confirmee par la permanence des formes et des agents de la mort, nous revele ce lien malefique ou le monde humain, animal et vegetal souffre du meme mal. L'analyse des personnages nous permet de voir comment peu a peu germe en eux l'idee de la mort, ses repercussions sur leur comportement et leur attitude et de constater comment l'impossibilite d'echapper a la mort cree pour eux une obsession qu'il faut assumer et transcender par l'ecriture, l'action ou l'esthetique. Cette etude des structures narratives proprement dites montre le retentissement de l'obsession de la mort dans toute l'oeuvre de simone de beauvoir. Dans la troisieme partie, nous analysons la conversion symbolique du sentiment de la mort grace a une approche rhetorique des figures, des mots et de la technique descriptive. Cette etude sur la mort-simulacre se donne pour but de montrer l'articulation d'une analyse litteraire de la representation et de la duplicite des images de la mort elle-meme. Eternel retour des signes, soit pour occulter a nouveau une mort decidement tabou, soit au contraire, pour la multiplier et la communiquer a la fin. Car il restera a determiner si ces signes veulent faire la loi, ou bienJouer ou dejouer celle-ci par un rituel, une regle en permanente construction. Il est bien evident que cette distinction entre le reel et les simulacres n'est peut-etre qu'une illusion supplementaire. Ainsi cette approche rhetorique de la mort nous permet de mesurer le decalage existant entre l'obsession de la mort et sa transfiguration litteraire. In the first part, we shall study the relationship between the theme of death and autobiography by refering to the memoires and indeed to the whole of simone de beauvoir's literary output. Study of this relationship enables us to realize that simone de beauvoir was keenly aware of death from her earliest years and strove to ward it off using every possible means. Drawing on her childhood, adolescence and young womanhood. She achieves a depiction both of death and of life. From an early age, she was conscious of the vanity of existence, this being brought home to her by a series of abrupt developments in her intellectual apprenticeship which ultimately led her to believe that only literature and writing were capable of ridding her of her obsession with death. Such an analysis shows us that there is nothing gratuitous in the works of simone de beauvoir ; everything is significant, significant in being the expression of the inner drama of her intense obsession with death. In the second part, our aim will be to depict the fictional representation of death ; in other words, to study thematically the way in which death is portrayed throughout the works of simone de beauvoir. The ubiquitous nature of death, as it is revealed through the permanence of the forms and agents of death, shows us that the human, animal and vegetable world suffer jointly from his bond of evil. By analysing simone de beauvoir's characters we come to see how, little by little, the notion of death takes root in their minds and how this affects their behaviour and attitude to life. Their realisation of the inevitability of death engenders within them an obsession that they can only come to terms with and transcend through writing, action and aesthetics. Such a stu
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Ortega, Raya Juana. "Aportación de Simone de Beauvoir a la discusión sobre el género, La." Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/2039.
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Esta tesis se centra en la figura de Simone de Beauvoir y en la imprescindible aportación que ella ha hecho en el desarrollo de uno de los ámbitos de investigación más fructíferos del siglo XX y que, sin duda, lo seguirá siendo en el siglo XXI: la Teoría Feminista.Este trabajo se divide en tres partes:
1) Cuestiones hermenéuticas: delimitación del ámbito de investigación sexo/género.
Esta parte consta de tres capítulos: en el primero, se pretende establecer la diferencia entre sexo como una determinación biológica y género como una construcción social; en el segundo se hace un recorrido por la biografía y obra literaria de Simone de Beauvoir; y en el tercero, se apuesta por la idea de que ella hace uso de una hermenéutica de la sospecha, superando así la hermenéutica existencialista.
2) La doble dimensión sexo/género y sus implicaciones en la construcción de la identidad femenina.
Esta segunda parte está dividida en dos capítulos en los que se intenta reflexionar sobre lo que significa ser un sujeto femenino, sobre su comprensión como el Otro y sobre la importancia de la propia experiencia del cuerpo como instrumento que construye la propia identidad.
3) La herencia de Simone de Beauvoir en el feminismo francés.
La tercera parte se desarrolla en dos capitulos. En el primero, se hace un poco de historia sobre la evolución y desarrollo del feminismo contemporáneo y, en el segundo, se hace un recorrido por los movimientos y autoras francesas consideradas como más representativas y herederas de Simone de Beauvoir.
La tesis concluye con un apéndice bibliográfico que incluye tanto fuentes primarias como secundarias de esas herederas de Simone de Beauvoir. Además, y porque en algunos capítulos se establece una cierta relación entre esta autora y Simone Weil y Hannah Arendt, también se incluye una bibliografía de dichas autoras.
The present doctoral dissertation focusses on Simone de Beauvoir and her groundbreaking contribution to the development of one of the most fruitful fields of investigation in the 20th century and, beyond doubt, also in the 21st century: feminist theory.
The work divides itself in three parts:
1. Hermeneutical issues: delimitation of the field of investigation concerning sex/gender.
This part consists of three chapters: The first one aims at establishing the basic difference between sex as a biological determination and gender as a social construction. The second chapter offers a survey of Simone de Beauvoir's biography and literary oeuvre. Finally, the third chapter develops the idea that by using a hermeneutic of suspicion de Beauvoir manages to overcome the hermeneutics of existentialism.
2. The double dimension sex/gender and its implications for the construction of a female identity.
This second part consists of two chapters in which different problems are tackled: what it means to be a female subject, the understanding as "Other" and the importance of one's own experience of the body as an instrument which constructs one's own identity.
3. The heritage of Simone de Beauvoir within french feminism.
The third and final part has two chapters. The first one gives a historical overview concerning the evolution and development of contemporary feminism. The second one surveys different movements and french feminist thinkers which are considered to be the most representative »heirs« of Simone de Beauvoir.
The work concludes with a bibliographic appendix which includes primary sources as well as secondary literature of those »heirs« of Simone de Beauvoir. Furthermore, since in some chapters the relation between de Beauvoir, Simone Weil and Hannah Arendt is considered, a bibliography of this two authors is included.
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Dieter, Anne, Laurent Martaguet, and Catherine Wolf. "Simone de Beauvoir zum 100. Geburtstag : eine biographische Skizze aus menschenrechtlicher Perspektive." Universität Potsdam, 2008. http://opus.kobv.de/ubp/volltexte/2008/1658/.
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Im Januar 2008 wäre Simone de Beauvoir, die wohl bedeutendste und gleichermaßen umstrittenste französische Schriftstellerin und Philosophin des 20. Jahrhunderts, einhundert Jahre alt geworden. Ihre wissenschaftlichen wie literarischen Arbeiten waren getragen vom Geist der Freiheit und Gleichheit aller Individuen. Besonders Beauvoirs tiefgreifende Analyse der geschlechtlichen Rollenverteilung in der Gesellschaft und ihre radikale Forderung nach Gleichstellung der Geschlechter bewegten zutiefst die Gemüter. Das traf auch auf ihre gelebte Rebellion für weibliche Autonomie als Part der Selbstbestimmung der Menschen zu.
Der Beitrag begibt sich anhand des von Simone de Beauvoir selbst gezeichneten Entwicklungsweges auf Spurensuche nach Besonderheiten, die sie zu diesen tiefgreifenden emanzipatorischen Vorstellungen ebenso wie zu ihrem weltweiten politischen Engagement veranlassten.
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Olivares, Molina Cristóbal. "Nací de semen artificial: ensayo sobre Simone de Beauvoir y Judith Butler." Tesis, Universidad de Chile, 2011. http://www.repositorio.uchile.cl/handle/2250/110012.
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Noël, Carole. "Simone de Beauvoir : entre l'immanence de la maternité et la liberté morale." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0001/MQ32547.pdf.
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Romano, Luis Antonio Contatori. "A passagem de Sartre e Simone de Beauvoir pelo Brasil em 1960." [s.n.], 2000. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270122.
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Orientador: Luiz Carlos da Silva DantasTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: São várias as perspectivas da passagem de Jean-Paul Sartre e Simone de Beauvoir pelo Brasil que este trabalho se propõe a reconstituir, através de pesquisa documental em periódicos brasileiros. Procurei, inicialmente, tratar das polêmicas, no Brasil, em torno do pensamento de Sartre, desde a óptica de críticos católicos a partir da década de 1940 até a vinda do pensador francês com as novas que trazia de sua recente visita à Cuba revolucionária e os efeitos que isso provocou em nosso meio pensante. Em seguida, há uma tentativa de reconstituição do roteiro de viagens desses intelectuais franceses por diversos locais do País, focalizando o contato direto que tiveram com nossas elites intelectuais e artísticas, além de encontros com sindicalistas e estudantes. Procuro também recompor a polêmica motivada à época pela proposta, trazida por Sartre, de uma literatura popular e engajada, que tivesse por objetivo despertar consciências para o reconhecimento pelo povo de sua condição social e o impulsionasse para a ação revolucionaria. Finalmente, meu trabalho visa tratar do teatro de Sartre, sua recepção no Brasil, anterior à visita do autor, e as polêmicas por ele estimuladas no meio dramático brasileiro
Abstract: Not informed.
Doutorado
Teoria Literaria
Doutor em Letras
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Bruillon-Delannoy, Anne-Marie. "Conscience et representations du temps dans l'oeuvre autobiographique de simone de beauvoir." Amiens, 1994. http://www.theses.fr/1994AMIE0015.
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Cette these cherche a mettre en valeur l'extreme importance du temps pour la conscience beauvoirienne. C'est cela qui motive principalement la somme autobiographique a laquelle nous nous sommes interesses. La premiere partie de notre travail s'attache a mettre en valeur les mecanismes de la reconstruction du temps, c'est a dire les differentes modalites de la temporalite autobiographique. Simone de beauvoir s'interroge sur la matiere de sa propre existence, hyle mouvante a laquelle l'ecrivain donne sens et coherence. C'est cela que nous avons considere ensuite : l'autobiographie de simone de beauvoir est un miroir ou la conscience retrouve ses "moi" passes dans cette dynamique du temps qui la renvoie sans cesse a elle meme, la guerre est une cassure dans le temps de simone de beauvoir : en cela comme en beaucoup d'autres choses, l'autobiographie de notre auteur manifeste un "universel singularise" selon le mot de sartre. La conscience beauvoirienne va a partir de la s'ouvrir au monde et faire l'apprentissage de la duree. La derniere partie de notre enquete a tache d'elucider ce passage de l'instant a l'histoire dans la conscience beauvoirienne, tel qu'il se dit dans l'ecritureThe purpose of this ph. Doctorate is to develop the very large importance of time in the conscience of simone de beauvoir. This is what has mainly led to the aurob orgaphical outline which is the subject of our research. The first part of it pays particular attention to rebuilding time. I. E thedifferent forms of autobiographical temporality. S. De beauvoir is questioning herself on the contents of her own existence, a moving hyle to which the writer endeavours to give logic and coherence. We have then considered the autobiographie of s. De beauvoir as a mirror where her conscience finds back her passed "selves" in this dynamics of time which continuously refer her to herself. The war caused a fracture in the time of s. De beauvoir. In this domain as in many others, the autobiography of our writer presents a "singularized universal", to quote sartre. The conscience of s. De beauvoir will then get opened to the world and learn duration by experience. The last part of our research has attempted to clear up this passage from instantaneity to history in the conscience of s. De beauvoir, as it appears in her writings
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Valencia, Suárez Claudia Janeth. "L'influence de Simone de Beauvoir et du Deuxième sexe sur le féminisme en Colombie : le cas du groupe Mujer y Societad." Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080046.
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L’objectif principal de cette thèse est de déterminer si les féministes du groupe Mujer y Sociedad, de l’Université Nationale de Bogotá, ont pu être influencées par Simone de Beauvoir et par une des œuvres de référence du mouvement féministe mondial, Le Deuxième Sexe et d’établir quels liens pouvaient exister entre les idées exprimées dans cette œuvre et la construction du féminisme en Colombie. Il est manifeste dans les écrits des intellectuelles colombiennes que progressivement, au-delà de son œuvre fondatrice, la personnalité et la vie de Simone de Beauvoir se sont imposées au point d’exercer une véritable fascination sur le public latino-américain. Elle devient un modèle de vie et de nombreuses féministes se reconnaissent dans sa trajectoire. Enfin, il s’agit aussi de tenter de mesurer si cette influence sur un groupe d’intellectuelles s’est étendue à l’ensemble de la société colombienne, marquée par le modèle patriarcal, la religion catholique et le conflit arméThe main objective of this PhD thesis is to determine whether the feminists of the group Mujer y Sociedad (Women and Society) of the National University of Bogotá, could be influenced by Simone de Beauvoir and one of the reference books of the world feminist movement, The Second Sex, and to establish what links could exist between the ideas expressed in this essay and the construction of feminism in Colombia. It is noteworthy that in the writings of the Colombian intellectuals, gradually, beyond its founding work, the personality and life of Simone de Beauvoir has imposed itself to the point of exercising a real fascination on the Latin American public. She has become a model of life and many feminists are recognizable in her trajectory. Finally, it is also an attempt to measure whether this influence on a group of intellectuals has spread to the whole of the Colombian society, marked by the patriarchal model, the Catholic religion and the armed conflict
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Wiedner, Saskia. "Die Konzeption der "situation" in den Romanen Simone de Beauvoirs 1943 - 1954." Würzburg Königshausen & Neumann, 2009. http://d-nb.info/99184467X/04.
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Beaulne, Sonia. "Thématique et discours du récit dans le roman L'Invitée de Simone de Beauvoir." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq25487.pdf.
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Faria, Marcelly Camacho Torteli. "Simone de Beauvoir : recortes do "eu" : acontecimento da vide vida, leitura e escola." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251751.
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Orientador: Joaquim Brasil Fontes JuniorDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: A presente pesquisa consiste em um estudo sobre o primeiro livro de memórias da escritora francesa Simone de Beauvoir, intitulado Mémoires d'une jeune fille rangée (Memórias de uma moça bem-comportada). O intuito foi o de realizar uma discussão sobre a possibilidade de se fazer uma leitura experimental, pautada na ideia de se pensar a leitura como uma experiência de abertura e, ao mesmo tempo, de entrega ao universo da obra. Abertura no sentido de experimentar as viagens propostas pela heroína da história. E quanto à ideia de entrega, refere-se às expressões de alguma coisa sobre a qual não se tem controle e que, concomitantemente, se cria nos processos de leitura e escrita. Apostou-se, desse modo, em uma leitura que fosse criativa, tendo em vista as múltiplas relações entre o/a escritor/a, o/a narrador/a, o/a leitor/a, o livro e a vida.
Abstract: The present research consists of a study on the French writer Simone de Beauvoir's first memories book, whose title is Mémoires d'une jeune fille rangée (A well-behaved girl's memories). The intention was it of carrying out a discussion on the possibility of na experimental reading, ruled in the idea of thinking reading as an opening experience and, at the same time, of subjection to the work universe. It is an opening in a sense of experimenting the journeys proposed by the history heroine. And subjection refers to the expressions of something that has no control and that is created by reading and writing processes. Thus, it asserted a creative reading, because it concentrated on multiple relations between writer, narrator, reader, book and life.
Mestrado
Mestre em Educação
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Silveira, Manoela Martins da. "A aproximação dos ausentes: as cartas de Simone de Beauvoir para Nelson Algren." Universidade Federal de Juiz de Fora, 2014. https://repositorio.ufjf.br/jspui/handle/ufjf/602.
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Neste trabalho, partindo das 304 cartas escritas por Simone de Beauvoir para o escritor americano Nelson Algren, investigamos o aparente hiato que distancia a mulher submissa e dependente, que se declara apaixonadamente para seu interlocutor, da pensadora que se posiciona publicamente em favor das liberdades individuais. Por conta da distância tanto física quanto cultural, no período imediatamente posterior à Segunda Guerra, Beauvoir e Algren se descobriram sobretudo através da troca epistolar. As cartas, então, ocupam o lugar da falta do outro. De modo que, para se revelar e despertar o interesse do amado, a autora utiliza algumas estratégias de convencimento, como, por exemplo, a maneira de se mostrar dependente ou, ainda, o tom altamente passional que perpassa algumas das missivas. Entretanto, a dependência declarada não ultrapassa o plano da escrita para a realidade, já que ela não abandona definitivamente sua vida em Paris para viver em Chicago, se recusando, pois, a encarcerar sua singularidade nos modelos de um casamento tradicional.
In this paper, starting from the 304 letters written by Simone de Beauvoir to the American writer Nelson Algren, we investigate the apparent hiatus distancing the submissive and dependent woman who passionately declares herself to her interlocutor and the thinker who positions herself publicly in favour of individual freedoms. Due to both physical and cultural distance, in the immediate aftermath of World War II, Beauvoir and Algren discovered themselves mainly through exchanging letters. These letters, then, take the place of the absence of the other. So, to reveal herself and arouse the interest of her beloved, the author uses some strategies of persuasion, for example, the way to show dependence or even a highly passionate tone revealed in some of the missives. However, this declared dependence does not exceed from writing to the reality, since she does not definitively abandons her life in Paris to live in Chicago, refusing, therefore, to incarcerate her uniqueness in the models of a traditional marriage.
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Fan, Xue. "Le désir créateur face à la finitude : Simone de Beauvoir et l'entreprise autobiographique." Paris 7, 2013. http://www.theses.fr/2013PA070065.
Full textAbstract:
La présente thèse propose d'interpréter l'autobiographie de Simone de Beauvoir comme une expression du vécu dans le contexte de la finitude humaine, et d'appréhender son entreprise autobiographique à la lumière de sa pensée existentielle, surtout autour de la tension présente dans son écriture et son existence, entre le désir créateur et la finitude, qui révèle une attitude extrême de Beauvoir à l'égard de son existence et de la condition humaine. Cette tension ainsi que les différents sens du désir et de la finitude chez Beauvoir seront analysés, d'une part, dans la chronologie des écrits autobiographiques pour montrer leur évolution au cours de la vie et de l'écriture de Beauvoir ; d'autre part, de manière synchronique, afin d'étudier chez Beauvoir les différentes façons d'expérimenter la tension entre le désir et la finitude, autour de trois thèmes essentiels de son existence : la liberté, l'écriture et la mortThis thesis proposes to interpret Simone de Beauvoir's autobiography as an expression of life experiences in the context of human finitude, and to understand her autobiographical writing in the light of her existentiel thinking, especially around the tension in her writing and life, between the creative desire and the finitude, which reveals an extreme attitude of Beauvoir regarding her existence and the human condition. This tension and different senses of desire and finitude in Beauvoir's writing and thinking will be analyzed on the one hand, in the chronology of autobiographical writings, to show their evolution during the life and writing of Beauvoir; on the other hand, synchronically, to explore different ways of Beauvoir to experience the tension between desire and finitude, around three main themes of her life: freedom, writing and death
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Kang, Cho Rong. "Le discours autobiographique de Simone de Beauvoir : écriture du féminin, subjectivité et intersubjectivité." Paris 7, 2010. http://www.theses.fr/2010PA070001.
Full textAbstract:
Simone de Beauvoir représente ses autobiographies comme le lieu privilégié où se concrétise sa réflexion philosophique sur 1"intersubjectivité. Par conséquent, le juste accès à ses autobiographies exige avant tout la compréhension rigoureuse de ce concept philosophique qui se donne comme clé de son existentialisme moral. Notre recherche commence donc par examiner sur quels fondements philosophiques sa pensée s'est développée, en la considérant comme une philosophie à part entière. Ensuite, nous essayons d'établir nos propres critères pour analyser de plus juste manière son œuvre autobiographique. Ce travail se déploie donc dans deux directions : mettre en question la tendance androcentrique des critiques et chercheurs qui dévalorisent les autobiographies de Beauvoir, en considérant la littérature produite par les hommes comme modèle unique, et déterminer un cadre nouveau qui nous permettrait l'accès au sens essentiel de son projet autobiographique, en rendant compte des liens entre celui-ci et sa réflexion philosophique sur l'intersubjectivité. En nous appuyant sur tout cela, nous analysons enfin comment les figures narratives et thématiques de ses cinq œuvres autobiographiques concrétisent son projet autobiographique. Cette recherche nous permet de confirmer la singularité de son écriture autobiographique, mais aussi les contributions que Beauvoir apporte au renouvellement du genre, particulièrement en dressant les autres comme cosuje créatif de son écriture autobiographiqueSimone de Beauvoir represents her autobiographies as a privileged space where her philosophical reflection on the intersubjectivity becomes concrete. Therefore, the right access to her autobiographies requires, most of all, rigorous understanding of this philosophical concept which is offered as the key concept in Beauvoir's moral existentialism. Thus our research starts by examining on which philosophical grounds her thoughts have developed, while considering Beauvoir's thoughts as a philosophy in its own right. Then we try to establish our own criteria in order to analyse her autobiographies in a more accurate manner. This is pursued in two directions : first of ail, we bring into question the androcentric tendency among the critics who depreciated Beauvoir's autobiographies, considering the literature produced by men as the unique model ; and we determine a new framework that will allow us to get to the essential meaning of her autobiographical project, by recognising the relations between the aforementioned project and her philosophical reflections on the intersubjectivity. Based on this framework, we analyse finally how the narrative and thematic figures in her five autobiographical works concretised her autobiographical project. This research allows us to confirm not only the singularity of her autobiographical writings, but also Beauvoir's contributions to the renewing of the genre, especially by laying out the others as the creative co-subject of her autobiographical works
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Langland, Siri. "Att vara ingens dam : Bodil Malmsten i en livsåskådningsdialog med Simone de Beauvoir." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-412628.
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Guimarães, Maira, and Emilia Mendes Lopes. "O universo feminino à luz de Simone de Beauvoir: vida, ficção e teoria." Universidade Federal de Minas Gerais, 2015. http://hdl.handle.net/1843/MGSS-9WBPZH.
Full textAbstract:
L'objectif de notre recherche est de montrer comment la fiction de Simone De Beauvoir donne naissance à une perspective existentialiste féministe Qui sera présentée, postérieurement, dans l'oeuvre théorique de cet auteur.
Dans cette perspective, nous cherchons à démontrer comment le roman
Linvitée (1943) dialogue avec l'essai philosophique Le deuxième sexe
([1949]1976) en ce qui concerne la conception féminine forgée par
l'écrivain français.
Par conséquent, nous appuierons nos études appartenant à l'Analyse
Du Discours Franco--Brésilien, plus particulièrement, sur la Théorie
De la Fiction proposée par Mendes (2004); sur la Théorie de la Semiolinguistique de Charaudeau (1983) et sur l'adaptation de cette théorie par Mendes & Machado (2013) en ce qui concerne le discours fictionnel; sur les études de Danblon (2013) et Amossy (2013) sur l'argumentation et sur les conceptions de dialogisme,
de polyphonie et de l'altérité de Bakhtine (1992, 2002).
Au moyen de nos analyses et réflexions, nous pouvons constater qu'en
Présentant dans son roman une conception de la femme axées sur des
Idées de liberté, d'indépendance financière et d'émancipation sociale,
Beauvoir signale deja à son lecteur quelle construction féminine sera
Ébauchée dans sa théorie philosophique. Cela dit, l'auteur précité nous
Révèle tant dans son discours fictionnel que dans son discours
Théorique limportance des coutumes, des idéologies et de la société
De qui s'entend socialement pour être une femme.O objetivo de nossa pesquisa é mostrar como a ficção de Simone de Beauvoir origina uma perspectiva existencialista feminista que será apresentada, posteriormente, na obra teórica da referida autora. Nessa perspectiva, buscamos demonstrar como o romance L'invitée (1943) dialoga com o ensaio filosófico Le deuxime sexe (1949) no que diz respeito à concepção de feminino cunhada pela escritora francesa. Para tanto, nos apoiaremos nos estudos pertencentes a Análise do Discurso Franco-Brasileira, mais especificamente, na Teoria da Ficcionalidade proposta por Mendes (2004); na Teoria Semiolinguística de Charaudeau (1983) e na adaptação dessa teoria por Mendes & Machado (2013) no que concerne ao discurso ficcional; nos estudos de Danblon (2013) e Amossy (2013) sobre a argumentação e nas concepções de dialogismo, polifonia e alteridade de Bakhtin e seu Círculo (1992, 2002). Por meio de nossas análises e reflexões, pudemos constatar que, ao apresentar em seu romance uma concepção de feminino pautada nas ideias de liberdade, independência financeira e emancipação social, Beauvoir já sinaliza para o seu leitor qual a construção feminina que será delineada na sua teoria filosófica. Posto isso, a autora supracitada nos revela, tanto em seu discurso ficcional quanto em seu discurso teórico, a importância dos costumes, das ideologias e da sociedade no que se entende socialmente por ser mulher.