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doi: 10.1163/25897616-bja10140pmid: N/A
RésuméCet entretien décrit le processus de création de l’adaptation théâtrale des Mémoires de Simone de Beauvoir qui a été présentée au théâtre de l’Odéon à Paris en décembre 2024. Il y est question de la réception actuelle des écrits beauvoiriens et de la manière dont les enjeux que la mémorialiste soulève restent pertinents aujourd’hui.
doi: 10.1163/25897616-bja10138pmid: N/A
RésuméCréé au Théâtre de la ville au printemps 2025, Thérèse et Isabelle de Marie Fortuit est une adaptation du texte éponyme de Violette Leduc censuré en 1954 pour « obscénité énorme et précise ». Dans cet entretien réalisé à Paris le 3 juillet 2025, elle revient sur ses choix d’adaptation et commente ses documents de travail.
doi: 10.1163/25897616-bja10143pmid: N/A
AbstractThis article revisits Simone de Beauvoir’s ideas on the nature of philosophy. It challenges the view that she is advocating a new literary way of “doing” philosophy and suggests that the clear conceptual boundary she recognizes between literature and philosophy is based not on culture, gender, or philosophical tradition but on fundamental principles of her broader philosophy—notably her understanding of language and the kind of language-use represented by each mode.
doi: 10.1163/25897616-bja10139pmid: N/A
AbstractFocusing on Simone de Beauvoir’s debut novel, She Came to Stay, this article zooms in on the face as a particular body part and introduces two new terms into the philosophical lexicon: enfaced consciousness and facial alienation. Connecting the philosophical underpinnings of She Came to Stay to the work of other canonical figures in existential phenomenology as well as Beauvoir’s subsequent works, this paper argues that the face is a premier site of the ambiguity of existence.
doi: 10.1163/25897616-bja10142pmid: N/A
AbstractThis paper reads Simone de Beauvoir’s Les Belles Images as a warning about the future of gender equality in a neoliberal economy. Drawing on Herbert Marcuse’s One-Dimensional Man and on contemporary neoliberal feminism descended from Betty Friedan’s ideal of a “balanced life,” it shows how capitalist and patriarchal norms underpin both consumer society and emancipatory discourse. Beauvoir resists these through her “unbalanced” protagonist, whose refusal of harmony gestures toward a provisional freedom within structures of control and alienation.
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