Добірка наукової літератури з теми "Philosophybeauvoir, simone de , 1908-1986"

Em 1960, Simone de Beauvoir (1908-1986), acompanhada de Jean-Paul Sartre, visitou as principais cidades do sudeste, nordeste e centro-oeste brasileiro na companhia dos seus anfitriões Jorge Amado e Zélia Gattai. Os relatos dessa viagem integram o terceiro volume de sua autobiografia intitulada A Força das Coisas (1963). Neste artigo investigo a composição de suas descrições do Brasil em estreito diálogo com duas dimensões narrativas: os debates históricos-políticos que marcaram a sua estadia no país, tais quais as noções de “Terceiro Mundo” e de países subdesenvolvidos, e os movimentos de independências das ex-colônias europeias; e os projetos de construção de si elaborados nas suas obras autobiográficas; gênero textual que será apresentado com o auxílio dos estudos teóricos de Philippe Lejeune (1991) e Leonor Arfuch (2010).*In 1960, Simone de Beauvoir (1908-1986) and Jean-Paul Sartre visited the main cities in the southeast, northeast and central-west Brazilian regions, accompanied by their hosts in the country, Jorge Amado and Zélia Gattai. This trip reports are part of Beauvoir's autobiography, namely its third volume, entitled A Força das Coisas (1963). In this paper, my goal is to inquire the composition of the philosopher's descriptions and reports of Brazil in a narrow dialogue with two narrative dimensions: the historical-political debates that marked her time in the South-American country, such as the concepts of "Third-World", underdeveloped countries, and the independence movements of the former European colonies; as well as the projects of Simone de Beauvoir's self-representation in her autobiographic works; literary genre that will be addressed with the aid of Philippe Lejeune (1991) and Leonor Arfuch’s (2010) theoretical studies.

Simone de Beauvoir (1908-1986), em Por uma moral da ambiguidade (2005 [1947]) e especificamente no tópico intitulado “A atitude estética”, dedicou-se a pensar uma concepção de estética através da definição existencialista de liberdade. A liberdade, como um movimento humano original, é o que permite ao sujeito descobrir as razões de seus próprios atos; assim, uma atitude estética pretende afirmar qualquer obra de cunho estético (seja por exemplo um livro literário, uma pintura ou uma escultura) como um dado que o criador, isto é, aquele que escreve, pinta ou esculpe, tentará justificar enquanto for matéria da própria obra produzida. Ainda assim, a atitude estética apenas é possível se houver uma temporalidade, e o presente será o elemento fundamental para que tal ato seja praticado. Portanto, neste artigo objetiva-se discutir introdutoriamente o modo como Beauvoir abordou certa concepção de estética com base no movimento autêntico do homem em direção à liberdade.

Resumo: O arquivo pessoal da escritora paulista Lygia Fagundes Telles (1923-) faz parte do acervo do Instituto Moreira Salles (IMS), desde 2004. De máquina de escrever a originais e cartas recebidas de amigos e escritores, esse material ainda requer estudos acadêmicos. Este artigo trata da cessão desse rico manancial para os estudos sobre a obra lygiana bem como descreve seu conteúdo e discute a sua catalogação. O objetivo é fazer um levantamento crítico desse tesouro do arquivo da escritora, concentrando-se na observação de alguns grupos de objetos no conjunto do acervo, como treze cartas da escritora e filósofa francesa Simone de Beauvoir (1908-1986). Por meio do estudo analítico da correspondência pessoal da autora brasileira, que reúne as teorias sobre arquivos pessoais e a crítica genética sobre a carta, este texto relaciona a documentação estabelecida no IMS à obra ficcional de Lygia Fagundes Telles, ressaltando o movimento permanente da escritora em manter a memória de si em seus escritos. Ao guardar, ainda em vida, numa instituição de acesso público, seus manuscritos, as cartas recebidas de seu círculo literário, entre outros textos que considerou de interesse geral para o conhecimento de sua obra, a autora de Conspiração de nuvens concebeu mais um misterioso projeto, cujas entrelinhas são estudadas aqui.Palavras-chave: arquivo literário; epistolografia; crítica genética; Lygia Fagundes Telles; Simone de Beauvoir.Abstract: The personal archive of the writer Lygia Fagundes Telles (1923-) from São Paulo is part of the Instituto Moreira Salles’ collection since 2004. The present paper deals with the rich source for studies concerning lygian works, as well as it describes the content and discuss its cataloging. The purpose here is to make a critical research of this writer archive treasure, focusing on the observation of object groups in the collection set, such as the thirteen letters written by the French writer and philosopher Simone de Beauvoir (1908-1986). Through the analytical study of the Brazilian writer’s personal correspondence, which includes the theories on personal archives and genetic criticism regarding the letter, this paper connects the dossier located at IMS to Lygia Fagundes Telles’ fictional works, sticking out the writer’s constant movement to maintain herself-memory into her writings. The author of Clouds Conspiracy has conceived another mysterious project, during her life, keeping under the care of an institution with free access her manuscripts, the letters changed with her friends literary set, and other texts which she considered as having a general interest for the knowledge of her works. The implied sense of this project is studied here.Keywords: literary archive; epistolography; genetic criticism; Lygia Fagundes Telles; Simone de Beauvoir.

Cartas e diários íntimos são peças de arquivos privados, ou mesmo documentos da intimidade. Que valor as mulheres atribuem a seus diários e correspondências? Elas se empenham em sua conservação, atribuindo a esses papéis alguma função memorialística? Pretendemos focalizar três mulheres que muito se devotaram à escrita, a exemplo de homens célebres com quem elas conviveram: Juliette Drouet (1806-1883), companheira de Victor Hugo durante 50 anos, endereçou 22.000 cartas ao famoso escritor; Catherine Pozzi (1882- 1934), mulher letrada, epistológrafa e cultora do diário, viveu com o poeta Paul Valéry uma relação amorosa e intelectual, cujos traços ficaram profundamente gravados na obra de ambos; Simone de Beauvoir (1908-1986), intelectual renomada, parceira de Sartre, também se dedicou à epistolografia e à escrita de diários. O que nos dizem esses três casos acerca do eventual interesse feminino em relação ao arquivamento de si, ao cuidado na conservação desses escritos pessoais e às suas modalidades de uso?

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

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'Histoire
This 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

Tese (doutorado)—Universidade de Brasília, Instituto de Ciências Humanas, Departamento de História, Programa de Pós-graduação em História, 2012.
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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.

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'engagement
Simone 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

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.

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 idées
In 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

Le Deuxième sexe et Mémoires d’une jeune fille rangée sont deux ouvrages écrits par une philosophe. La présente étude a pour but de montrer la différence qui existe entre les deux écritures. Une différence qui sera loin d’être radicale. En effet, en étudiant les épreuves manuscrites de ces ouvrages, nous avons pu constater que leurs divergences remontent à leur création. A travers une étude synthétique des deux livres, nous avons montré leurs caractéristiques spécifiques. Ces œuvres sont de genres différents, c’est-à-dire essai et autobiographie. Deux genres qui s’imbriquent d’ailleurs selon certains critiques. Ces ouvrages possèdent tous deux des traits fortement littéraires qui amènent à leur trouver parfois un aspect poétique. Enfin, cette étude a montré que malgré leur divergence, ils ont des traits communs et se complètent même dans l’ensemble
Le deuxième sexe and Mémoires d’une jeune fille rangée are two books written by a philosopher. The purpose of this work is to show the difference between the two writings. The difference is not so radical as one could think. A study of the handwritings of these books shows that their divergences arise from their origins. In this short study, we detailed most of the characteristics of each of these two works. The literary genres are different, one is an essay, and the other is an autobiography. A few critics think that these two genres are linked. They both have such literary characteristics that it can look like poetic features. At last, this study shows that, in spite of their differences, they have common traits, and complement one another

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 singulière
Woman 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

Tesis para optar al grado de Magíster en Estudios de Género y Cultura mención Humanidades
Facultad de Filosofía y Humanidades
En la obra de Simone de Beauvoir, en los escritos autobiográficos y en particular en los recientemente publicados “Cuadernos de juventud”, el proyecto de vida de Simone de Beauvoir traspasa y se vislumbra de manera nítida. Su relación al saber, su deseo de existir y de posicionarse en la sociedad de otra manera aparece claramente. Me interesa, desde el análisis tan particular de la autobiografía o escritos referenciales y de la obra de esta gran “feminista”, mostrar cómo ella construye su proyecto de vida, influenciada por el contexto que reconoce y que a su vez le cuesta admitir; norma y modelo de sexo/género donde la familia, la “escuela” pero también el otro y Otro juegan un rol preponderante. El Otro entonces como Mujer, como ser marginado, el que no existe, ese ser que no es. Una visión de la Mujer como el ser que no es universal o dentro de la ley del padre.

Abstract Simone de Beauvoir (1908–1986) studied philosophy at L’Ecole Normale Supérieure and the Sorbonne. Like many other intellectuals of the time, she taught in a lycée. Influenced by Husserl and Heidegger, she wrote a phenomenological study of the experience of radical freedom (The Ethics of Ambiguity, 1949). She preferred to express her philosophical views in works of fiction: She Came to Stay (1943), All Men Are Mortal (1946), and The Mandarins (1954). Active in the Resistance, she wrote political essays, increasingly turning her attention to feminist theory. Her groundbreaking The Second Sex (1949) influenced feminist thinking around the world. She later turned to writing autobiography, using her life as an example of the complex situation of politically active intellectual women who are also fully engaged daughters and lovers (Memoirs of a Dutiful Daughter, 1958; The Prime of Life, 1960; The Force of Circumstance, 1963). Reflecting on the death of her mother, she began to write about ageing: The Coming of Age (1970) and All Said and Done (1972). She continued to write political essays, many of them severely critical of the United States (America Day by Day, 1948).

Feminist autobiography is a genre with long-standing literary and philosophical tradition, still some aspects, like, autobiography as “death writing” have come to scholarly attention as of relatively recent. The conceptual framework hinged on the concepts of “tanatography” (defined as an account of a person’s death) and “autotanatography” (defined as an account of one’s own death) makes it possible to take a fresh look into feminist writings from 19th and 20th centuries (Alice James and Simone de Beauvoir). Among the questions for the critical reflection we can mention the following ones: issues of memory and forgetting, of death of the significant other, of aging, of suicide, of literary death (ending the writing career path). Autothanatography is self-death-writing, instead of self-life-writing, even if death is an experience that cannot be had for oneself. The current article takes a look into the auto-death-writing of two women writers: Alice James (1848-1892) – a sister of William and Henry James and Simone de Beauvoir (1908-1986). Although both women’s lives are set almost a century apart and none of them define herself as a feminist writer, their memoirs are written from the vantage point of imminent death. In the first case (James’s) we can speak of her posthumously published diaries, especially their second part written after she was diagnosed with breast cancer. Whereas in the latter (Beauvoir’s) case the autothanatological vibe is felt throughout the whole series of her memoirs (“Memoirs of a dutiful daughter”, “The prime of life”, “Force of circumstance”, “A very easy death”), but especially in the oeuvre “All is said and done” – the writing in anticipation of one’s death. The aspect that is common to both writers is that their memoirs exhibit the strategy of recollection, of re-reading their life events anew in the wake of the end (physical and/or authorial).