Podcasts about Beauvoir

This lecture discusses key ideas from the 20th century existentialist and feminist philosopher, novelist, essayist, and playwright Simone de Beauvoir's book, The Ethics of Ambiguity It focuses specifically on her discussion in the section "Ambiguity", looking at her discussions about how violence should be evaluated from an existentialist ethical perspective. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase De Beauvoir's Ethics of Ambiguity - amzn.to/32IbKya

This lecture discusses key ideas from the 20th century existentialist and feminist philosopher, novelist, essayist, and playwright Simone de Beauvoir's book, The Ethics of Ambiguity It focuses specifically on her discussion in the section "Ambiguity" of what existentialist ethics is. In her view, it isn't an ethics that can be summed up in absolute principles, but has to be understood as a method. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase De Beauvoir's Ethics of Ambiguity - amzn.to/32IbKya

This lecture discusses key ideas from the 20th century existentialist and feminist philosopher, novelist, essayist, and playwright Simone de Beauvoir's book, The Ethics of Ambiguity It focuses specifically on her discussion in the section "Ambiguity", which looks at the distinction she draws between absurdity and ambiguity as characteristic of human existence, and whether or not ambiguity rules out treating anything whatsoever as an absolute or not To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase De Beauvoir's Ethics of Ambiguity - amzn.to/32IbKya

This lecture discusses key ideas from the 20th century existentialist and feminist philosopher, novelist, essayist, and playwright Simone de Beauvoir's book, The Ethics of Ambiguity It focuses specifically on her discussion in the section "The Present And The Future", which looks at the concept of the "festival" and how it represents a temporary overcoming of the flow of time from the present into the future in history To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase De Beauvoir's Ethics of Ambiguity - amzn.to/32IbKya

Send a texthttps://www.bookclues.comFeminism is supposed to make women safer, freer, and happier. So why does it so often leave behind loneliness, rivalry, collapsed families, and a constant need to prove we're “enough”? I sit down with Dr. Carrie Gress, PhD, scholar at the Institute for Human Ecology at The Catholic University of America and author of “Something Wicked: Why Feminism Can't Be Fused With Christianity,” to name the parts of the story we're usually told to ignore. We go past slogans and into the worldview, because ideas don't just change laws, they change what we think a woman is for. We trace feminism's intellectual history from Mary Wollstonecraft through Simone de Beauvoir and into the second wave, asking whether the movement was “broken from the beginning” and whether women's legitimate social gains could have happened without feminism at all. Along the way, Carrie shares a vivid metaphor from the book's cover art, a Robert Duncanson painting that looks serene until you realize it may be encoded with a hidden map, a reminder that experts can misread what's right in front of them. That's exactly how toxic feminism can operate: compassionate language on top, corrosive assumptions underneath. We also talk about the real-world fallout: sexual autonomy as a supposed cure for vulnerability, abortion as the mechanism that keeps autonomy possible, and what happens to a civilization when monogamy and motherhood are treated as optional. Then we pivot to hope and rebuilding: John Paul II's clarity about women and men, the difference between vulnerability and victimhood, why “local love” matters, and practical first steps for women who want something healthier than the girlboss script. If you're wrestling with Christianity and feminism, Catholic teaching on womanhood, the sexual revolution, or what a pro-family future could look like, this conversation is for you. Subscribe, share this with a friend who will argue back, and leave a review with your biggest takeaway.Check out Dr Carrie Gress.  https://theologyofhome.com/

This lecture discusses key ideas from the 20th century existentialist and feminist philosopher, novelist, essayist, and playwright Simone de Beauvoir's book, The Ethics of Ambiguity It focuses specifically on her discussion in the section "The Present And The Future", which centers on the notion of totalities like humanity, the universe, and history, which turn out to be "detotalized totalities", having their meaning for and through finite individuals To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase De Beauvoir's Ethics of Ambiguity - amzn.to/32IbKya

Week 49 of Ted Gioia's Immersive Humanities list brings three modern French thinkers into conversation: Simone de Beauvoir, Michel Foucault, and René Girard. Unlike many earlier weeks in this project, these readings aren't novels or unified texts—they're philosophical excerpts that stand largely on their own. So rather than forcing a single theme, I consider how each of these writers might still be shaping the world we live in today.Beauvoir's The Second Sex asks why “man” is treated as the default while woman becomes the “other,” raising questions that still echo in modern debates about biology, identity, and women's health. It even makes an appearance with an interaction I had with ChatGPT!Foucault's “Eye of Power” examines surveillance and the famous “Panopticon,” showing how systems of observation quietly shape behavior. This is an idea that feels spookily prescient in our world of cameras, cookies, and algorithms. Finally, René Girard's theory of mimetic desire and scapegoating offers a striking explanation for why humans compete, blame, and sometimes unite against a chosen victim. Spoiler: I really love Girard.LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!)My Amazon Book List (NOT an affiliate link)CONNECTThe complete list of Crack the Book Episodes: https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ LISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts - https://podcasts.apple.com/us/podcast/crack-the-book/id1749793321 Captivate - https://crackthebook.captivate.fm

This lecture discusses key ideas from the 20th century existentialist and feminist philosopher, novelist, essayist, and playwright Simone de Beauvoir's book, The Ethics of Ambiguity It focuses specifically on her discussion in the section "The Present And The Future", which looks at the two different interpretations of what "future" means. One of these maintains continuity with the present and involves a continual transcendence of it. The other displaces the meaning of the present to a future which justifies whatever one does or has done in the present. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase De Beauvoir's Ethics of Ambiguity - amzn.to/32IbKya

This lecture discusses key ideas from the 20th century existentialist and feminist philosopher, novelist, essayist, and playwright Simone de Beauvoir's book, The Ethics of Ambiguity It focuses specifically on her discussion at the end of the section "The Antinomies Of Action", which looks at the willingness of some people to justify sacrificing others for the sake of some conception of usefulness or utility in achieving some value they view as transcendent. De Beauvoir argues that "useful" is not an absolute term, and that one has to clarify the end that one is claiming justifies the sacrifice. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase De Beauvoir's Ethics of Ambiguity - https://amzn.to/32IbKya

Anne Ghesquière reçoit Laurence Devillairs, normalienne, agrégée et docteur en philosophie. Pourquoi les femmes ont-elles été oubliées dans l'histoire de la philosophie ? Comment des figures comme Gabrielle Suchon, Elisabeth de Bohême ou Simone de Beauvoir ont-elles pourtant contribué à l'évolution de la pensée sans recevoir la reconnaissance qu'elles méritent ? Qu'est-ce que la philosophie féminine, et comment en parler sans réduire ces penseuses à leur féminité ? Quel impact le mouvement #MeToo a-t-il eu sur la manière dont nous repensons l'histoire de la philosophie et de la justice ? Hypatie, Ban Zhao, Rosa Luxemburg, Olympe de Gouges, Jeanne Hersh, Simone de Beauvoir, Mary Wollstonecraft, Isabelle Stengers, Rachel Carson... Laurence Devillairs nous propose de redécouvrir ces femmes oubliées de l'histoire des idées, et de repenser la place des femmes dans la philosophie. Elle a co-dirigé, avec Laurence Hansen-Løve, Ce que la philosophie doit aux femmes aux éditions Robert Laffont. [SÉLECTION WEEK-END – METAMORPHOSE] L'épisode #527 a été diffusé, la première fois, le 30 sept. 2024.Quelques citations du podcast avec Laurence Devillairs :"Il n'y a pas une pensée féminine, il y a de la pensée.""Comment parler de ces philosophes sans les réduire à leur féminité, mais sans non plus occulter leur féminité.""Je crois que MeToo a permis, permet et permettra de repenser la justice et donc l'injustice."Recevez chaque semaine l'inspirante newsletter Métamorphose par Anne GhesquièreDécouvrez Objectif Métamorphose, notre programme en 12 étapes pour partir à la rencontre de soi-même.Suivez nos RS : Insta, Facebook & TikTokAbonnez-vous sur Apple Podcast / Spotify / Deezer / CastBox / YoutubeSoutenez Métamorphose en rejoignant la Tribu MétamorphoseThèmes abordés lors du podcast avec Laurence Devillairs :00:00Introduction00:51 L'invitée03:33 Les femmes, grandes oubliées de l'Histoire09:03 Être une femme impacte-t-il la façon de penser ?16:44 Histoire de la philo, reflet de l'Histoire ?21:18 Place des femmes dans l'Antiquité25:26 Qu'est-ce qu'être philosophe ?29:09 L'incroyable Gabrielle Suchon au 17e36:54 La méconnue Elisabeth de Bohême48:16 Penser l'amour : l'impact des mystiques du Moyen-Âge58:05 Catherine McKinnon et l'injustice institutionnelle01:01:10 Le corps : un enjeu de la pensée01:11:21 Révolutions et femmes01:15:27 Repenser la justice après MeToo01:19:08 Consentement et inégalité systémique01:23:59 L'écoféminisme et le CAREAvant-propos et précautions à l'écoute du podcast Photo © Astrid di Crollalanza Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

This lecture discusses key ideas from the 20th century existentialist and feminist philosopher, novelist, essayist, and playwright Simone de Beauvoir's book, The Ethics of Ambiguity It focuses specifically on the contempt for both humanity as a whole and for individual human beings that is displayed by some people in the use of their own freedom. She notes that this generally involves the reduction of persons to things, taking away their transcendence and viewing them only in their facticity or immanence. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase De Beauvoir's Ethics of Ambiguity - https://amzn.to/32IbKya

Précurseur, il faut l'être, quand, près d'un siècle après sa rencontre, un couple reste un des modèles phares de l'émancipation et de l'amour libre. Simone de Beauvoir et Jean-Paul Sartre ont traversé le XXème siècle côte à côte. Leur union ne ressemblait à aucune autre. Elle n'a jamais entravé leur vie intellectuelle. La preuve, ils sont deux figures majeures de notre culture. Deux génies à égalité. Un podcast Bababam Originals Ecrit et raconté par Alice Deroide Learn more about your ad choices. Visit megaphone.fm/adchoices

In a special programme looking ahead to International Women's Day on March 8th, Shahidha Bari looks at how women express themselves in language, argument, poetry and art. Her guests include:Sara Ahmed is the author of No is Not a Lonely Utterance Karen McCarthy Woolf's latest poetry collection is called Unsafe Lauren Elkin's books include Art Monsters: Unruly Bodies in Feminist Art, she translated Simone de Beauvoir's previously-unpublished novel The Inseparables and has a new book coming out in May Vocal Break: On Women, Music, and Power. She has been reading the new translation by Sophie Lewis of Angst by the French feminist thinker Hélène Cixous Mary Wellesley is a historian and author of Hidden Hands: The Lives of Manuscripts and Their Makers Ash Percival-Borley, military historian and former soldierProducer: Luke Mulhall

La actriz llega a Fuenlabrada con ‘La mujer rota', basada en el texto de Simone de Beauvoir, y habla en SER Madrid Sur sobre la obra y de cómo la mujer se sigue debatiendo entre ser ella y asumir los roles que le impone la sociedad.

This lecture discusses key ideas from the 20th century existentialist and feminist philosopher, novelist, essayist, and playwright Simone de Beauvoir's book, The Ethics of Ambiguity It focuses specifically on what she calls the "paradox of action" which imposes itself upon human beings, which is "no action can be generated for man without it being immediately generated against men". To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase De Beauvoir's Ethics of Ambiguity - https://amzn.to/32IbKya

This lecture discusses key ideas from the 20th century existentialist and feminist philosopher, novelist, essayist, and playwright Simone de Beauvoir's book, The Ethics of Ambiguity It focuses specifically on what she terms "sophisms", that is plausible but ultimately bad arguments, that conservatives make about freedom in order to justify remaining in and even reinforcing situations of oppression from which they benefit. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase De Beauvoir's Ethics of Ambiguity - https://amzn.to/32IbKya

Han har kallats existentialismens fader. Den danske 1800-talsfilosofen Søren Kierkegaard (1813–1855) skrev om såväl ångest som humor, tro som tvivel, och om den svåra konsten att leva ett sant liv. Hans tänkande har knappt åldrats på två sekler och kom att bli djupt inflytelserik för 1900-talets filosofi. Vad går Kierkegaards viktigaste tankar ut på? Vad var det som inspirerade Sartre, Beauvoir och andra existentialister? Och vilken påverkan hade egentligen Kierkegaards egen brutna förlovning på hans filosofiska tänkande? Bildningspodden introducerar en av 1800-talets mest originella och inflytelserika filosofer. Gäster i studion är Jonna Lappalainen och Stina Bäckström. Jonna Lappalainen är professor i den praktiska kunskapens teori och skrev 2009 sin avhandling om Kierkegaards tänkande. Stina Bäckström är professor i filosofi och har bland annat diskuterat Kierkegaard i sin bok "Om humor" (Glänta produktion, 2024). Båda är verksamma vid Centrum för praktiskt kunskap på Södertörns högskola. Samtalsledare: Ruhi Tyson. Ljudproduktion och klippning: Lars in de Betou. Producent: Magnus Bremmer

This lecture discusses key ideas from the 20th century existentialist and feminist philosopher, novelist, essayist, and playwright Simone de Beauvoir's book, The Ethics of Ambiguity It focuses specifically on what she terms the "situation of oppression", which divides the human world into camps or clans. The oppressed can make use of their freedom to revolt against a harmony from which they are excluded, while those benefitting from oppression often frame it in terms of a "natural condition". To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase De Beauvoir's Ethics of Ambiguity - https://amzn.to/32IbKya

This lecture discusses key ideas from the 20th century existentialist and feminist philosopher, novelist, essayist, and playwright Simone de Beauvoir's book, The Ethics of Ambiguity It focuses specifically on her discussion of several main areas of what she calls "constructive human activities", namely philosophy, art, science, and technics (technology and techniques) and how they figure into the uses of human freedom. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase De Beauvoir's Ethics of Ambiguity - https://amzn.to/32IbKya

This lecture discusses key ideas from the 20th century existentialist and feminist philosopher, novelist, essayist, and playwright Simone de Beauvoir's book, The Ethics of Ambiguity It focuses specifically on her analysis of what he terms the "aesthetic attitude" early on in part 3 of the work. This is a use of one's freedom that is inauthentic, because it adopts a detached contemplative stance towards the very history and situations one exists within, refusing to acknowledge that one takes a stance one way or another. She also highlights how this can be an even more acute problem for artists and writers. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase De Beauvoir's Ethics of Ambiguity - https://amzn.to/32IbKya

This lecture discusses key ideas from the 20th century existentialist and feminist philosopher, novelist, essayist, and playwright Simone de Beauvoir's book, The Ethics of Ambiguity It focuses specifically on her explanation of what it means for a person to "will themselves free" and to "will that there be being", which concludes her discussions in part 2 of the work. As it happens, both of these willing involve willing the freedom of other people as well. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase De Beauvoir's Ethics of Ambiguity - https://amzn.to/32IbKya

This lecture discusses key ideas from the 20th century existentialist and feminist philosopher, novelist, essayist, and playwright Simone de Beauvoir's book, The Ethics of Ambiguity It focuses specifically on ways in which certain intellectuals can fall into an inauthentic existence that attempts to escape the ambiguity of existence. She discusses two different forms that this takes: critical thought and creative activity. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase De Beauvoir's Ethics of Ambiguity - https://amzn.to/32IbKya

durée : 00:01:55 - L'Humeur du matin par Guillaume Erner - par : Astrid de Villaines - Livre-manifeste, refuge et révélateur, "Le Deuxième Sexe" accompagne des générations depuis 1949. L'œuvre majeure de Simone de Beauvoir entre enfin dans la Bibliothèque de la Pléiade, consacrant un texte qui continue de déranger autant que d'éclairer. - réalisation : Félicie Faugère

durée : 00:01:55 - L'Humeur du matin par Guillaume Erner - par : Astrid de Villaines - Livre-manifeste, refuge et révélateur, "Le Deuxième Sexe" accompagne des générations depuis 1949. L'œuvre majeure de Simone de Beauvoir entre enfin dans la Bibliothèque de la Pléiade, consacrant un texte qui continue de déranger autant que d'éclairer. - réalisation : Félicie Faugère

Siamo o diventiamo ciò che siamo? Cosa ci accade se smettiamo di pensarci come identità fisse e statiche e iniziamo a concepirci come continua trasformazione? In questa puntata di Cháos, Alisia e Carlotta mettono in dialogo il pensiero esistenzialista di Simone de Beauvoir con la ricerca artistica di Chiara Capobianco, autrice della mostra personale “Architettura di una metamorfosi”.

How do you stay audacious in a world that's noisier and more saturated than ever? How might the idea of creative rhythm change the way you write? Lara Bianca Pilcher gives her tips from a multi-passionate creative career. In the intro, becoming a better writer by being a better reader [The Indy Author]; How indie authors can market literary fiction [Self-Publishing with ALLi]; Viktor Wynd's Museum of Curiosities; Seneca's On the Shortness of Life; All Men are Mortal – Simone de Beauvoir; Surface Detail — Iain M. Banks; Bones of the Deep – J.F. Penn. This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Lara Bianca Pilcher is the author of Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World. She's also a performing artist and actor, life and creativity coach, and the host of the Healthy Wealthy Wise Artist podcast. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why self-doubt is a normal biological response — and how audacity means showing up anyway The difference between creative rhythm and rigid discipline, and why it matters for writers How to navigate a saturated world with intentional presence on social media Practical strategies for building a platform as a nonfiction author, including batch content creation The concept of a “parallel career” and why designing your life around your art beats waiting for a big break Getting your creative rhythm back after crisis or burnout through small, gentle steps You can find Lara at LaraBiancaPilcher.com. Transcript of the interview with Lara Bianca Pilcher Lara Bianca Pilcher is the author of Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World. She's also a performing artist and actor, life and creativity coach, and the host of the Healthy Wealthy Wise Artist podcast. Welcome, Lara. Lara: Thank you for having me, Jo. Jo: It's exciting to talk to you today. First up— Tell us a bit more about you and how you got into writing. Lara: I'm going to call myself a greedy creative, because I started as a dancer, singer, and actress in musical theatre, which ultimately led me to London, the West End, and I was pursuing that in highly competitive performance circles. A lot of my future works come from that kind of place. But when I moved to America—which I did after my season in London and a little stint back in Australia, then to Atlanta, Georgia—I had a visa problem where I couldn't work legally, and it went on for about six months. Because I feel this urge to create, as so many of your listeners probably relate to, I was not okay with that. So that's actually where I started writing, in the quietness, with the limits and the restrictions. I've got two children and a husband, and they would go off to school and work and I'd be home thinking, ha. In that quietness, I just began to write. I love thinking of creativity as a mansion with many rooms, and you get to pick your rooms. I decided, okay, well the dance, acting, singing door is shut right now—I'm going to go into the writing room. So I did. Jo: I have had a few physical creatives on the show. Obviously one of your big rooms in your mansion is a physical room where you are actually performing and moving your body. I feel like this is something that those of us whose biggest area of creativity is writing really struggle with—the physical side. How do you think that physical practice of creativity has helped you in writing, which can be quite constrictive in that way? Lara: It's so good that you asked this because I feel what it trained me to do is ignore noise and show up. I don't like the word discipline—most of us get a bit uncomfortable with it, it's not a nice word. What being a dancer did was teach me the practice of what I like to call a rhythm, a creative rhythm, rather than a discipline, because rhythm ebbs and flows and works more with who we are as creatives, with the way creativity works in our body. That taught me: go to the barre over and over again—at the ballet barre, I'm talking about, not the pub. Go there over and over again. Warm up, do the work, show up when you don't feel like it. thaT naturally pivoted over to writing, so they're incredibly linked in the way that creativity works in our body. Jo: Do you find that you need to do physical practice still in order to get your creativity moving? I'm not a dancer. I do like to shake it around a bit, I guess. But I mainly walk. If I need to get my creativity going, I will walk. If people are stuck, do you think doing something physical is a good idea? Lara: It is, because the way that our body and our nervous system works—without going into too much boring science, although some people probably find it fascinating—is that when we shake off that lethargic feeling and we get blood flowing in our body, we naturally feel more awake. Often when you're walking or you're doing something like dance, your brain is not thinking about all of the big problems. You might be listening to music, taking in inspiration, taking in sunshine, taking in nature, getting those endorphins going, and that naturally leads to the brain being able to psychologically show up more as a creative. However, there are days, if I'm honest, where I wake up and the last thing I want to do is move. I want to be in a little blanket in the corner of the room with a hot cocoa or a coffee and just keep to myself. Those aren't always the most creative days, but sometimes I need that in my creative rhythm, and that's okay too. Jo: I agree. I don't like the word discipline, but as a dancer you certainly would've had to do that. I can't imagine how competitive it must be. I guess this is another thing about a career in dance or the physical arts. Does it age out? Is it really an ageist industry? Whereas I feel like with writing, it isn't so much about what your body can do anymore. Lara: That is true. There is a very real marketplace, a very real industry, and I'm careful because there's two sides to this coin. There is the fact that as we get older, our body has trouble keeping up at that level. There's more injuries, that sort of thing. There are some fit women performing in their sixties and seventies on Broadway that have been doing it for years, and they are fine. They'll probably say it's harder for some of them. Also, absolutely, I think there does feel in the professional sense like there can be a cap. A lot of casting in acting and in that world feels like there's fewer and fewer roles, particularly for women as we get older, but people are in that space all the time. There's a Broadway dancer I know who is 57, who's still trying to make it on Broadway and really open about that, and I think that's beautiful. So I'm careful with putting limits, because I think there are always outliers that step outside and go, “Hey, I'm not listening to that.” I think there's an audience for every age if you want there to be and you make the effort. But at the same time, yes, there is a reality in the industry. Totally. Jo: Obviously this show is not for dancers. I think it was more framing it as we are lucky in the writing industry, especially in the independent author community, because you can be any age. You can be writing on your deathbed. Most people don't have a clue what authors look like. Lara: I love that, actually. It's probably one of the reasons I maybe subconsciously went into writing, because I'm like, I want to still create and I'm getting older. It's fun. Jo: That's freeing. Lara: So freeing. It's a wonderful room in the mansion to stay in until the day I die, if I must put it that way. Jo: I also loved you mentioning that Broadway dancer. A lot of listeners write fiction—I write fiction as well as nonfiction—and it immediately makes me want to write her story. The story of a 57-year-old still trying to make it on Broadway. There's just so much in that story, and I feel like that's the other thing we can do: writing about the communities we come from, especially at different ages. Let's get into your book, Audacious Artistry. I want to start on this word audacity. You say audacity is the courage to take bold, intentional risks, even in the face of uncertainty. I read it and I was like, I love the sentiment, but I also know most authors are just full of self-doubt. Bold and audacious. These are difficult words. So what can you say to authors around those big words? Lara: Well, first of all, that self-doubt—a lot of us don't even know what it is in our body. We just feel it and go, ugh, and we read it as a lack of confidence. It's not that. It's actually natural. We all get it. What it is, is our body's natural ability to perceive threat and keep us safe. So we're like, oh, I don't know the outcome. Oh, I don't know if I'm going to get signed. Oh, I don't know if my work's going to matter. And we read that as self-doubt—”I don't have what it takes” and those sorts of things. That's where I say no. The reframe, as a coach, I would say, is that it's normal. Self-doubt is normal. Everyone has it. But audacity is saying, I have it, but I'm going to show up in the world anyway. There is this thing of believing, even in the doubt, that I have something to say. I like to think of it as a metaphor of a massive feasting table at Christmas, and there's heaps of different dishes. We get to bring a dish to the table rather than think we're going to bring the whole table. The audacity to say, “Hey, I have something to say and I'm going to put my dish on the table.” Jo: I feel like the “I have something to say” can also be really difficult for people, because, for example, you mentioned you have kids. Many people are like, I want to share this thing that happened to me with my kids, or a secret I learned, or a tip I think will help people. But there's so many people who've already done that before. When we feel like we have something to say but other people have said it before, how do you address that? Lara: I think everything I say, someone has already said, and I'm okay with that. But they haven't said it like me. They haven't said it in my exact way. They haven't written the sentence exactly the way—that's probably too narrow a point of view in terms of the sentence—maybe the story or the chapter. They haven't written it exactly like me, with my perspective, my point of view, my life experience, my lived experience. It matters. People have very short memories. You think of the last thing you watched on Netflix and most of us can't remember what happened. We'll watch the season again. So I think it's okay to be saying the same things as others, but recognise that the way you say it, your point of view, your stories, your metaphors, your incredible way of putting a sentence togethes, it still matters in that noise. Jo: I think you also talk in the book about rediscovering the joy of creation, as in you are doing it for you. One of the themes that I emphasise is the transformation that happens within you when you write a book. Forget all the people who might read it or not read it. Even just what transforms in you when you write is important enough to make it worthwhile. Lara: It really, really is. For me, talking about rediscovering the joy of creation is important because I've lost it at times in my career, both as a performing artist and as an author, in a different kind of way. When we get so caught up in the industry and the noise and the trends, it's easy to just feel overwhelmed. Overwhelm is made up of a lot of emotions like fear and sadness and grief and all sorts of things. A lot of us don't realise that that's what overwhelm is. When we start to go, “Hey, I'm losing my voice in all this noise because comparison is taking over and I'm feeling all that self-doubt,” it can feel just crazy. So for me, rediscovering the joy of creation is vital to survival as an author, as an artist. A classic example, if you don't mind me sharing my author story really quickly, is that when I first wrote the first version of my book, I was writing very much for me, not realising it. This is hindsight. My first version was a little more self-indulgent. I like to think of it like an arrowhead. I was trying to say too much. The concept was good enough that I got picked up by a literary agent and worked with an editor through that for an entire year. At the end of that time, they dropped me. I felt like, through that time, I learned a lot. It was wonderful. Their reason for dropping me was saying, “I don't think we have enough of a unique point of view to really sell this.” That was hard. I lay on my bed, stared at the ceiling, felt grief. The reality is it's so competitive. What happened for me in that year is that I was trying to please. If you're a new author, this is really important. You are so desperately trying to please the editor, trying to do all the right things, that you can easily lose your joy and your unique point of view because you are trying to show up for what you think they all need and want. What cut through the noise for me is I got off that bed after my three hours of grief—it was probably longer, to be fair—but I booked myself a writing coach. I went back to the drawing board. I threw a lot of the book away. I took some good concepts out that I already knew were good from the editor, then I rewrote the entire thing. It's completely different to the first version. That's the book that got a traditional publishing deal. That book was my unique point of view. That book was my belief, from that grief, that I still have something to say. Instead of trusting what the literary agent and the editor were giving me in those red marks all over that first version, I was like, this is what I want to say. That became the arrowhead that's cut into the industry, rather than the semi-trailer truck that I was trying to bulldoze in with no clear point of view. So rediscovering the joy of creation is very much about coming back to you. Why do I write? What do I want to say? That unique point of view will cut through the noise a lot of the time. I don't want to speak in absolutes, but a lot of the time it will cut through the noise better than you trying to please the industry. Jo: I can't remember who said it, but somebody talked about how you've got your stone, and your stone is rough and it has random colours and all this. Then you start polishing the stone, which you have to do to a point. But if you keep polishing the stone, it looks like every other stone. What's the point? That fits with what you were saying about trying to please everyone, you end up pleasing no one. I also think the reality of what you just said about the book is a lot of people's experience with writing in general. Certainly for me, I don't write in order. I chuck out a lot. I'm a discovery writer. People think you sit down and start A and finish Z, and that's it. It's kind of messy, isn't it? Was that the same in your physical creative life? Lara: Yes. Everything's a mess. In the book I actually talk about learning to embrace the cringe, because we all want to show up perfect. Just as you shared, we think, because we read perfect and look at perfect or near-perfect work—that's debatable all the time—we want to arrive there, and I guess that's natural. But what we don't often see on social media or other places is the mess. I love the behind the scenes of films. I want to see the messy creative process. The reality is we have to learn to embrace the messy cringe because that's completely normal. My first version was so messy, and it's about being able to refine it and recognise that that is normal. So yes, embrace it. That's my quote for the day. Embrace the cringe, show up messy. It's all right. Jo: You mentioned the social media, and the subtitle of the book mentions a “saturated world.” The other problem is there are millions of books out there now. AI is generating more content than humans do, and it is extremely hard to break through. How are we to deal with this saturated world? When do we join in and when do we step away? Lara: I think it's really important not to have black and white thinking about it, because trust me, every day I meet an artist that will say, “I hate that I have to show up online.” To be honest with you, there's a big part of me that does also. But the saturation of the world is something that I recognise, and for me, it's like I'm in the world but not of it. That saturation can cause so much overwhelm and nervous system threat and comparison. What I've personally decided to do is have intentional showing up. That looks like checking in intentionally with a design, not a randomness, and then checking out. When push comes to shove, at the end of the day, I really believe that what sells books is people's trust in us as a person. They might go through an airport and not know us at all and pick up the book because it's a bestseller and they just trust the reputation, but so much of what I'm finding as an artist is that personal relationship, that personal trust. Whether that's through people knowing you via your podcast or people meeting you in a room. Especially in nonfiction, I think that's really big. Intentional presence from a place where we've regulated ourselves, being aware that it's saturated, but my job's not to be focused on the saturation. My job is to find my unique voice and say I have something to bring. Be intentional with that. Shoot your arrow, and then step out of the noise, because it's just overwhelming if you choose to live there and scroll without any intentionality at all. Jo: So how do people do that intentionality in a practical way around, first of all, choosing a platform, and then secondly, how they create content and share content and engage? What are some actual practical tips for intentionality? Lara: I can only speak from my experience, but I'm going to be honest, every single application I sent asked for my platform stats. Every single one. Platform stats as in how many followers, how many people listening to your podcast, how many people are reading your blog. That came up in every single literary agent application. So I would be a fool today to say you've got to ignore that, because that's just the brass tacks, unless you're already like a famous footballer or something. Raising and building a platform of my own audience has been a part of why I was able to get a publishing deal. In doing that, I've learned a lot of hard lessons. Embrace the cringe with marketing and social media as well, because it's its own beast. Algorithms are not what I worry about. They're not going to do the creativity for you. What social media's great at is saying, “Hey, I'm here”—it's awareness. It's not where I sell stuff. It's where I say, I'm here, this is what I'm doing, and people become aware of me and I can build that relationship. People do sell through social media, but it's more about awareness statistically. I am on a lot of platforms, but not all of them work for every author or every style of book. I've done a lot of training. I've really had to upskill in this space and get good at it. I've put myself through courses because I feel like, yes, we can ignore it if we want to, but for me it's an intentional opting in because the data shows that it's been a big part of being able to get published. That's overwhelming to hear for some people. They don't want to hear that. But that's kind of the world that we are in, isn't it? Jo: I think the main point is that you can't do everything and you shouldn't even try to do everything. The best thing to do is pick a couple of things, or pick one thing, and focus on that. For example, I barely ever do video, so I definitely don't do TikTok. I don't do any kind of video stuff. But I have this podcast. Audio is my happy place, and as you said, long-form audio builds trust. That is one way you can sell, but it's also very slow—very, very slow to build an audio platform. Then I guess my main social media would be Instagram, but I don't engage a lot there. So do you have one or two main things that you do, and any thoughts on using those for book marketing? Lara: I do a lot of cross-posting. I am on Instagram and I do a lot of creation there, and I'm super intentional about this. I actually do 30 days at a time, and then it's like my intentional opt-in. I'll create over about two days, edit and plan. It's really, really planned—shoot everything, edit everything, put it all together, and then upload everything. That will be 30 days' worth. Then I back myself right out of there, because I don't want to stay in that space. I want to be in the creative space, but I do put those two days a month aside to do that on Instagram. Then I tweak things for YouTube and what works on LinkedIn, which is completely different to Instagram. As I'm designing my content, I have in mind that this one will go over here and this one can go on here, because different platforms push different things. I am on Threads, but Threads is not statistically where you sell books, it's just awareness. Pinterest I don't think has been very good for my type of work, to be honest. For others it might. It's a search engine, it's where people go to get a recipe. I don't necessarily feel like that's the best place, this is just my point of view. For someone else it might be brilliant if you're doing a cookbook or something like that. I am on a lot of platforms. My podcast, however, I feel is where I'm having the most success, and also my blog. Those things as a writer are very fulfilling. I've pushed growing a platform really hard, and I am on probably almost every platform except for TikTok, but I'm very intentional with each one. Jo: I guess the other thing is the business model. The fiction business model is very, very different to nonfiction. You've got a book, but your higher-cost and higher-value offerings are things that a certain number of people come through to you and pay you more money than the price of a book. Could talk about how the book leads into different parts of your business? Because some people are like, “Am I going to make a living wage from book sales of a nonfiction book?” And usually people have multiple streams of income. Lara: I think it's smart to have multiple streams of income. A lot of people, as you would know, would say that a book is a funnel. For those who haven't heard of it, a way that people come into your bigger offerings. They don't have to be, but very much I do see it that way. It's also credibility. When you have a published book, there's a sense of credibility. I do have other things. I have courses, I have coaching, I have a lot of things that I call my parallel career that chug alongside my artist work and actually help stabilise that freelance income. Having a book is brilliant for that. I think it's a wonderful way to get out there in the world. No matter what's happening in all the online stuff, when you're on an aeroplane, so often someone still wants to read a book. When you're on the beach, they don't want to be there with a laptop. If you're on the sand, you want to be reading a beautiful paper book. The smell of it, the visceral experience of it. Books aren't going anywhere, to me. I still feel like there are always going to be people that want to pick it up and dig in and learn so much of your entire life experience quickly. Jo: We all love books here. I think it's important, as you do talk about career design and you mentioned there the parallel career—I get a lot of questions from people. They may just be writing their first book and they want to get to the point of making money so they could leave their day job or whatever. But it takes time, doesn't it? So how can we be more strategic about this sort of career design? Lara: For me, this has been a big one because lived experience here is that I know artists in many different areas, whether they're Broadway performers or music artists. Some of them are on almost everything I watch on TV. I'm like, oh, they're that guy again. I know that actor is on almost everything. I'll apply this over to writers. The reality is that these high-end performers that I see all the time showing up, even on Broadway in lead roles, all have another thing that they do, because they can still have, even at the highest level, six months between a contract. Applying that over to writing is the same thing, in that books and the money from them will ebb and flow. What so often artists are taught—and authors fit into this—is that we ultimately want art to make us money. So often that becomes “may my art rescue me from this horrible life that I'm living,” and we don't design the life around the art. We hope, hope, hope that our art will provide. I think it's a beautiful hope and a valid one. Some people do get that. I'm all for hoping our art will be our main source of income. But the reality is for the majority of people, they have something else. What I see over and over again is these audacious dreams, which are wonderful, and everything pointing towards them in terms of work. But then I'll see the actor in Hollywood that has a café job and I'm like, how long are you going to just work at that café job? They're like, “Well, I'm goint to get a big break and then everything's going to change.” I think we can think the same way. My big break will come, I'll get the publishing deal, and then everything will change. The reframe in our thinking is: what if we looked at this differently? Instead of side hustle, fallback career, instead of “my day job,” we say parallel career. How do I design a life that supports my art? And if I get to live off my art, wonderful. For me, that's looked like teaching and directing musical theatre. It's looked like being able to coach other artists. It's looked like writing and being able to pivot my creativity in the seasons where I've needed to. All of that is still creativity and energising, and all of it feeds the great big passion I have to show up in the world as an artist. None of it is actually pulling me away or draining me. I mean, you have bad days, of course, but it's not draining my art. When we are in this way of thinking—one day, one day, one day—we are not designing intentionally. What does it look like to maybe upskill and train in something that would be more energising for my parallel career that will chug alongside us as an artist? We all hope our art can totally 100% provide for us, which is the dream and a wonderful dream, and one that I still have. Jo: It's hard, isn't it? Because I also think that, personally, I need a lot of input in order to create. I call myself more of a binge writer. I just finished the edits on my next novel and I worked really hard on that. Now I won't be writing fiction for, I don't know, maybe six months or something, because now I need to input for the next one. I have friends who will write 10,000 words a day because they don't need that. They have something internal, or they're just writing a different kind of book that doesn't need that. Your book is a result of years of experience, and you can't write another book like that every year. You just can't, because you don't have enough new stuff to put in a book like that every single year. I feel like that's the other thing. People don't anticipate the input time and the time it takes for the ideas to come together. It is not just the production of the book. Lara: That's completely true. It goes back to this metaphor that creativity in the body is not a machine, it's a rhythm. I like to say rhythm over consistency, which allows us to say, “Hey, I'm going to be all in.” I was all in on writing. I went into a vortex for days on end, weeks on end, months and probably years on end. But even within that, there were ebbs and flows of input versus “I can't go near it today.” Recognising that that's actually normal is fine. There are those people that are outliers, and they will be out of that box. A lot of people will push that as the only way. “I am going to write every morning at 10am regardless.” That can work for some people, and that's wonderful. For those of us who don't like that—and I'm one of those people, that's not me as an artist—I accept the rhythm of creativity and that sometimes I need to do something completely different to feed my soul. I'm a big believer that a lot of creative block is because we need an adventure. We need to go out and see some art. To do good art, you've got to see good art, read good art, get outside, do something else for the input so that we have the inspiration to get out of the block. I know a screenwriter who was writing a really hard scene of a daughter's death—her mum's death. It's not easy to just write that in your living room when you've never gone through it. So she took herself out—I mean, it sounds morbid, but as a writer you'll understand the visceral nature of this—and sat at somebody's tombstone that day and just let that inform her mind and her heart. She was able to write a really powerful scene because she got out of the house and allowed herself to do something different. All that to say that creativity, the natural process, is an in-and-out thing. It ebbs and flows as a rhythm. People are different, and that's fine. But it is a rhythm in the way it works scientifically in the body. Jo: On graveyards—we love graveyards around here. Lara: I was like, sorry everyone, this isn't very nice. Jo: Oh, no. People are well used to it on this show. Let's come back to rhythm. When you are in a good rhythm, or when your body's warmed up and you are in the flow and everything's great, that feels good. But what if some people listening have found their rhythm is broken in some way, or it's come to a stop? That can be a real problem, getting moving again if you stop for too long. What are some ways we can get that rhythm back into something that feels right again? Lara: First of all, for people going through that, it's because our body actually will prioritise survival when we're going through crisis or too much stress. Creativity in the brain will go, well, that's not in that survival nature. When we are going through change—like me moving countries—it would disconnect us a lot from not only ourselves and our sense of identity, but creativity ultimately reconnects you back into life. I feel like to be at our optimum creative self, once we get through the crisis and the stress, is to gently nudge ourselves back in by little micro things. Whether it's “I'm just going to have the rhythm of writing one sentence a day.” As we do that, those little baby steps build momentum and allow us to come back in. Creativity is a life force. It's not about production, it's actually how we get to any unique contribution we're going to bring to the world. As we start to nudge ourselves back in, there's healing in that and there's joy in that. Then momentum comes. I know momentum comes from those little steps, rather than the overwhelming “I've got to write a novel this week” mindset. It's not going to happen, most of the time, when we are nudging our way back in. Little baby steps, kindness with ourselves. Staying connected to yourself through change or through crisis is one of the kindest things we can offer ourselves, and allowing ourselves to come into that rhythm—like that musical song of coming back in with maybe one line of the song instead of the entire masterpiece, which hopefully it will be one day. Jo: I was also thinking of the dancing world again, and one thing that is very different with writers is that so much of what we do is alone. In a lot of the performance art space, there's a lot more collaboration and groups of people creating things together. Is that something you've kept hold of, this kind of collaborative energy? How do you think we can bring that collaborative energy more into writing? Lara: Writing is very much alone. Obviously some people, depending on the project, will write in groups, but generally speaking, it's alone. For me, what that looks like is going out. I do this, and I know for some writers this is like, I don't want to go and talk to people. There are a lot of introverts in writing, as you are aware. I do go to creative mixers. I do get out there. I'm planning right now my book launch with a local bookstore, one in Australia and one here in America. Those things are scary, but I know that it matters to say I'm not in this alone. I want to bring my friends in. I want to have others part of this journey. I want to say, hey, I did this. And of course, I want to sell books. That's important too. It's so easy to hide, because it's scary to get out there and be with others. Yet I know that after a creative mixer or a meetup with all different artists, no matter their discipline, I feel very energised by that. Writers will come, dancers will come, filmmakers will come. It's that creative force that really energises my work. Of course, you can always meet with other writers. There's one person I know that runs this thing where all they do is they all get on Zoom together and they all write. Their audio's off, but they're just writing. It's just the feeling of, we're all writing but we're doing it together. It's a discipline for them, but because there's a room of creatives all on Zoom, they're like, I'm here, I've showed up, there's others. There's a sense of accountability. I think that's beautiful. I personally don't want to work that way, but some people do, and I think that's gorgeous too. Jo: Whatever sustains you. I think one of the important things is to realise you are not alone. I get really confused when people say this now. They're like, “Writing's such a lonely life, how do you manage?” I'm like, it is so not lonely. Lara: Yes. Jo: I'm sure you do too. Especially as a podcaster, a lot of people want to have conversations. We are having a conversation today, so that fulfils my conversation quota for the day. Lara: Exactly. Real human connection. It matters. Jo: Exactly. So maybe there's a tip for people. I'm an introvert, so this actually does fulfil it. It's still one-on-one, it's still you and me one-on-one, which is good for introverts. But it's going out to a lot more people at some point who will listen in to our conversation. There are some ways to do this. It's really interesting hearing your thoughts. Tell people where they can find you and your books and your podcast online. Lara: The book is called Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World, and it's everywhere. The easiest thing to do would be to visit my website, LaraBiancaPilcher.com/book, and you'll find all the links there. My podcast is called Healthy Wealthy Wise Artist, and it's on all the podcast platforms. I do short coaching for artists on a lot of the things we've been talking about today. Jo: Brilliant. Well, thanks so much for your time, Lara. That was great. Lara: Thank you.The post Audacious Artistry: Reclaiming Your Creative Identity And Thriving In A Saturated World With Lara Bianca Pilcher first appeared on The Creative Penn.

Ryann Fapohunda, Director of DEIB and Director of Specialists at Beauvoir, The National Cathedral Elementary School (DC), reflects on her journey from AmeriCorps literacy tutor to school leader and the values that guide her work. She discusses fostering belonging in early childhood education, supporting faculty through inclusive leadership, and navigating the dual roles of equity practitioner and team leader. Ryann shares how she builds community with families, cultivates age-appropriate conversations around identity, and leads with authenticity, transparency, and care. She also reflects on mentorship, motherhood, and the importance of sustaining educators so they can show up fully for students. You can find some related NAIS resources from this episode by visiting nais.org/membervoices.

Précurseur, il faut l'être, quand, près d'un siècle après sa rencontre, un couple reste un des modèles phares de l'émancipation et de l'amour libre. Simone de Beauvoir et Jean-Paul Sartre ont traversé le XXème siècle côte à côte. Leur union ne ressemblait à aucune autre. Elle n'a jamais entravé leur vie intellectuelle. La preuve, ils sont deux figures majeures de notre culture. Deux génies à égalité. Un podcast Bababam Originals Ecriture et voix : Alice Deroide Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:59:19 - Le Book Club - par : Marie Richeux - La musicienne et productrice Yael Naim déballe pour nous ses rayonnages littéraires dans lesquels nous trouvons Le Portrait de Dorian Gray d'Oscar Wilde, Un lieu à soi de Virginia Woolf en passant par Le deuxième Sexe de Simone de Beauvoir. - réalisation : Vivien Demeyère - invités : Yael Naim Chanteuse

Per Engdahl (1909-1994) var aktiv fascist redan 1920-talet och kom efter andra världskriget att spela en central roll i omvandlandet av nationell högerextremism till en internationell rörelse. Han var också nära vän med Ikeagrundaren Ingvar KampradPer Engdahl grundande den fascistiska Nysvenska rörelsen, som aldrig blev någon massrörelse i Sverige. Han levde ända fram till 1994 och hann med att umgås med ledande nazister i Hitlertyskland, hjälpa nazister att fly till Sydamerika samt att omorganisera den europeiska högerextrema rörelsen efter andra världskriget.I maj 1951 organiserade han en europeisk högerextrem konferens i Malmö där han förenade både nazister och fascister i samma rörelse. Per Engdahl blev också chef för rörelsens internationella förbindelsekontor i Malmö. Han fortsatte att umgås flitigt med ledande personer i Tredje riket efter kriget och besökte på 1960-talet Francos Spanien.Nysvenska rörelsen blev under 1960-talet helt marginaliserade. Men ledande figurer i rörelsen var med och grundade den främlingsfientliga organisationen Bevara Sverige svenskt. Därmed blev Per Engdahl en viktig länk mellan fascismen och nazismen under andra världskriget till nutida främlingsfientliga rörelser som Bevara Sverige Svenskt som i sin tur blev grunden till dagens Sverigedemokraterna.IKEA-grundaren Ingvar Kamprad vägrade att ta avstånd från sin fascistiska vän. Kamprad bidrog också med pengar till rörelsen och gav ut Per Engdahls bok ”Politisk allmänbildning”. När Ingvar Kamprad gifte sig första gången 1950 var Per Engdahl inte bara inbjuden utan också ombedd att hålla tal.I reprisen av avsnitt 32 av podden Historia Nu samtalar programledare Urban Lindstedt med Elisabeth Åsbrink som är journalist och författare. Hon har skrivit boken 1947 som väver samman fascisten Per Engdahls öde, med judiska flyktingar och Simone de Beauvoir. Hon har också berört Per Engdahl i boken I Wienervald står träden kvar där hon avslöjade Ikea-grundaren Ingvar Kamprads nära relation till fascistledaren och hans rörelse. Hosted on Acast. See acast.com/privacy for more information.

Diese Folge ist einer der einflussreichsten Denkerinnen des 20. Jahrhunderts gewidmet: Simone de Beauvoir. Als Philosophin des Existentialismus, aber vor allem als radikale Denkerin des selbst gewählten Lebens, schrieb sie über Freiheit, Verantwortung, Liebe, Arbeit, Alter und Selbstverwirklichung. Für Beauvoir ist das gute Leben kein Ziel, das man erreicht, sondern ein Projekt, das man immer wieder neu entwirft: durch Entscheidungen, durch Mut und durch die bewusste Übernahme von Freiheit für sich selbst und für andere. Albert und Jan sprechen darüber, was Beauvoirs Denken heute bedeuten kann: Wie leben wir, wenn wir uns selbst als offenes Projekt begreifen? Warum ist Verantwortung keine Last, sondern die Voraussetzung von Glück? Wieso fliehen Menschen vor radikaler Freiheit? Und weshalb ist ein gelingendes Leben für Beauvoir niemals nur privat, sondern immer auch sozial und politisch: unbequem, riskant, aber genau darin würdevoll und lebendig.

Le pouvoir a longtemps été exercé quasi exclusivement par des hommes. Comment les femmes, victimes du pouvoir, ont-elles pu penser le pouvoir ? J'en parle avec Laurence Devillairs.Le livre de Laurence : https://www.lisez.com/livres/ce-que-la-philosophie-doit-aux-femmes/9782266352116Mon site : https://www.fabricemidal.comFacebook Fabrice Midal : https://www.facebook.com/FabriceMidalFacebook du podcast Dialogues : https://www.facebook.com/dialogues.fmInstagram Fabrice Midal : https://www.instagram.com/fabricemidalInstagram du podcast Dialogues : https://www.instagram.com/fabricemidal_dialogues/Tiktok : https://www.tiktok.com/@fabricemidalMes trois chaînes YouTube :Mes vidéos : https://www.youtube.com/@fabricemidal1Les Dialogues : https://www.youtube.com/@dialoguesfmLes méditations guidées : https://www.youtube.com/@mediteravecfabricemidalMes podcasts :Le podcast de Fabrice Midal (toutes mes vidéos en version audio) :

Simone de Beauvoir et Jean-Paul Sartre sont des icônes de la vie intellectuelle française. Connus pour leurs travaux majeurs sur le féminisme et l'existentialisme, leur couple a également fasciné les esprits. Mais sous le vernis de la relation libre se cachaient de grandes parts d'ombre... Manon Bril :Sa chaîne Youtube C'est une autre histoireLes dates de son spectacle "300 000 ans"Son compte instagram @manonbrilcuahSources :Mémoires d'une jeune fille rangée, Simone de Beauvoir, 1958 (Gallimard)La force des choses, Simone de Beauvoir, 1963 (Gallimard)Lettres à Sartre, tome I : 1930-1939, Simone de Beauvoir, 1990 (Gallimard)Lettres à Sartre, tome II : 1940-1963, Simone de Beauvoir, 1990 (Gallimard)Mémoires d'une jeune fille dérangée, Bianca Lamblin, 1993 (Editions Balland)"Jean-Paul Sartre, Simone de Beauvoir : Bianca, leur jouet sexuel", Gala, 14 juillet 2025"Les lettres de Simone de Beauvoir, ultimes leçons de féminisme et d'amour", Vanity Fair, 18 avril 2018"À propos d'un procès", Gabriel Matzneff, Le Monde, 26 janvier 1977"Conseil municipal de Marseille : faut-il débaptiser l'école Simone-de-Beauvoir ?", Sylvain Pignol, La Provence (28/02/2025)Suivez Star System sur les réseaux :Instagram : @starsystempodTikTok : @starsystempodcastIllustration : Ines Basille. Musique : Naaha. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Chaque semaine, on revisite un phénomène de la pop culture et on explore ce qu'il s'est vraiment passé. Simone de Beauvoir et Jean-Paul Sartre étaient-ils vraiment un couple goal ? Comment la scientologie a saboté la vie amoureuse de Tom Cruise ? Courtney Love a-t-elle secrètement tué Kurt Cobain ? Nouveaux épisodes tous les lundis et jeudis, sur toutes les applications de podcasts et en vidéo sur YouTube !Illustration : Ines Basille. Musique : Naaha. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Content warning: this episode extensively discusses rape, sexual violence, and incest.In episode 154 of Overthink, Ellie and David talk to philosopher Manon Garcia about her book, Living with Men: Reflections on the Pelicot Trial. They discuss the rape case of Gisèle Pelicot and how the subsequent trial of her husband and fifty additional men sheds light on the normalization and acceptance of sexual violence in what is known as 'rape culture.' In what ways is the current understanding of consent as ‘permission giving' harmful? How is heterosexual love is often tied to objectification? Why does the ‘boys will be boys' mentality make it difficult for us to rely on the criminal justice system? And how do we live with men knowing that cases such as these are incredibly common? In the Substack bonus segment, your hosts discuss the politics of language and the risk of eroticization in recounting stories of sexual violence, and they think through where we should go from here in terms of sexual and romantic attachments to men.Works Discussed:Manon Garcia, Living with Men: Reflections on the Pelicot TrialSimone de Beauvoir and Gisèle Halimi, Djamila BoupachaEnjoy our work? Support Overthink via tax-deductible donation: https://www.givecampus.com/fj0w3vJoin our Substack for ad-free versions of both audio and video episodes, extended episodes, exclusive live chats, and more: https://overthinkpod.substack.com/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this Research Seminar, Dr Zairu Nisha (University of Delhi) explores infertility among Muslim women in India through feminist bioethics and phenomenology. She introduces the concept of the body as a site of moral injury, showing how reproductive expectations, religious belief, and assisted reproductive technologies shape women's moral identities and lived experiences.Drawing on thinkers such as Maurice Merleau-Ponty and Simone de Beauvoir, Dr Nisha challenges mind–body dualism and argues that the body is not separate from the self, but a moral subject formed through relationships with others. When infertility disrupts social and religious expectations of womanhood and motherhood, women experience guilt, shame, and alienation — not because of moral failure, but because they are caught between conflicting moral worlds.Read more or watch the full seminar:Audio Chapters:0:00 - Introduction2:40 - Self and Body Dichotomy04:53 - The Lived-Body in a Lived World07:35 - Embodiment and Moral Injury 12:27 - Female Body and Reproduction15:30 - Infertility and Moral Problem17:55 - Technology and Motherhood22:24 - Muslim Women and Reproduction25:26 - Conclusion: Towards Moral Repair

Nous sommes le 10 octobre 1895. Le journal « Fin de siècle », fondé à Paris, quatre ans plus tôt, s'interroge sur le départ annoncé de la danseuse star de l'Opéra Garnier, Cléo de Mérode. On murmure qu'elle pourrait rejoindre, en Belgique, celui que l'on prétend son amant : le roi Léopold II, de quarante ans son aînée. On peut lire dans l'hebdomadaire à potins : « S'il faut en croire les on-dit, MM Bertrand et Gailhard, directeurs de l'Opéra, quoique désolés de se séparer de leur pensionnaire, lui ont galamment accordé la résiliation de son engagement, sur un simple désir exprimé par S.M. Léopold II, roi des Belges. Six jours plus tard « Le Petit Troyen » qui se définit comme quotidien républicain radical, confirme la décision, qui pourtant ne figure pas dans les registres de l'Opéra : « Melle Cléo de Mérode quitte le ballet de l'Opéra pour le théâtre de la Monnaie de Bruxelles. Les bonnes camarades qui n'ont pas la langue en poche, je vous prie de le croire, donnent à ce départ des raisons plus ou moins romanesque. Un grand personnage de Belgique aurait décidé ce changement et les commentaires vont bon train. » Qui est Cléo de Mérode que les mauvaises langues appelleront Cléopold. Qu'en est-il, en vérité, de sa relation avec le monarque ? Cléo de Mérode que, bien plus tard, Simone de Beauvoir comparera à une prostituée, était une icône, celle de la Belle époque. Adulée, copiée, on en a fait une séductrice, une manipulatrice, une scandaleuse. Allons chercher, aujourd'hui, la nuance … Avec nous : Yannick Ripa, autrice de « Cléo de Mérode – Icône de la Belle Epoque » ; Taillandier. Sujets traités : Cléo de Mérode, icône, belle époque, Opéra Garnier, Léopold II, Simone de Beauvoir Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Iniciales BB, son las iniciales de Brigitte Bardot, mujer que inspiró a los más grandes compositores y realizadores franceses. Esta es su historia, con la música como hilo conductor. Dos letras  BB basta para nombrar a la mujer que fue una referencia en la sociedad y la cultura. Su busto fue elegido para representar el símbolo de la república francesa. Un busto que fue conocido y reconocido en todo el mundo. Brigitte Bardot, la joven actriz de clase acomodada y conservadora fue adulada y expuesta a la luz sin concesiones a penas salió de la adolescencia en los anos 50. Se convirtió se convirtió en un modelo de libertad para las mujeres durante 3 décadas. “Et dieu crea la femme” pone en escena a una joven francesa apasionada por el amor y a vida. Mujer superficial para algunos, mujer libre para otros. El fenómeno BB y su exposición mediática inspiraron incluso a Simone de Beauvoir, figura del feminismo francés quien escribió: Brigitte Bardot es “tanto depredadora como víctima de sus depredadores”. Extracto de la película Le Mépris de Jean-Luc Godard (1963), junto a Michel Piccoli, obra que consolidó la fama de Brigitte Bardot a nivel mundial. Sin embargo, la película fue financiada con la condición de incluir escenas de Bardot desnuda, una exigencia de los productores estadounidenses, en detrimento tanto del director como de la actriz. Jean-Luc Godard tuvo que añadir la célebre escena de Bardot desnuda, pero para atenuarla recurrió al uso de filtros de colores. Brigitte Bardot convivió veinte años con esa imagen ambivalente de mujer liberada y, al mismo tiempo, de objeto sexual. “Mi vida es como una gran celda, agradable, pero una prisión al fin y al cabo. Mi vida no me pertenece, le pertenece a todo el mundo. El público me atribuye palabras que no digo, actos que no son míos. Tengo la sensación de no ser libre. Lo único que deseo es que hablen menos de mí. Vivo con las persianas y las cortinas cerradas, porque en el techo de enfrente me esperan los fotógrafos”, dijo en una entrevista para la radiotelevisión pública. Ya en los años sesenta, Brigitte Bardot venía alertando sobre su situación y el constante acoso del público y de los medios de comunicación. Después de veinte años de carrera cinematográfica, decidió poner fin a los rodajes y a la vida pública, por culpa —o gracias— a una cabra. La película L'Histoire très bonne et très joyeuse de Colinot Trousse-Chemise, una comedia ligera, fue la última de su carrera, en 1973. Brigitte Bardot tenía entonces 38 años y su decisión fue irrevocable: nunca volvió a los escenarios.Eligió a los animales como su nuevo público, casi como un rechazo a los seres humanos… al rechazo de una sociedad que la utilizó como una mascota, un animal de zoológico, como señalaron algunos especialistas. Ella misma lo resumió así: «He dado mi cuerpo a los hombres y mi alma a los animales». En 1977, desde La Madrague —su casa en Saint-Tropez—, creó la Fundación Brigitte Bardot para luchar contra el sufrimiento animal, ya fuera doméstico o vinculado a la producción de carne y pieles. Entre los episodios más mediáticos de su militancia figura su viaje al Polo Norte, en territorio canadiense, para denunciar la matanza de crías de foca destinadas al comercio de sus pieles. De regreso a Francia, y gracias al apoyo del gobierno de Valéry Giscard d'Estaing, el Parlamento aprobó una ley que prohíbe el comercio de productos derivados de la caza de focas. Sin embargo, con el paso del tiempo, Brigitte Bardot dejó de recibir el respaldo de los presidentes posteriores, y su fundación continuó funcionando principalmente gracias a donaciones y a la apertura de refugios, mientras que el maltrato animal dejó de figurar entre las prioridades políticas. «Cuando escucho a estos políticos prometernos maravillas sin hacer nada… Ninguno, ni de derecha, ni de izquierda ni de centro, habla realmente de ese problema: la causa animal o la mejora de la condición animal en Francia. ¡Esto me escandaliza!», afirmó en una ocasión. Escándalo parece ser una palabra que la describe bastante bien. La militante comenzó escandalizando con su imagen de mujer libre, considerada por muchos como frívola y superficial, al tiempo que fascinaba a ciertos intelectuales. Sin embargo, el escándalo estalló también en reiteradas ocasiones a raíz de sus declaraciones racistas y homófobas. Sus vínculos cercanos con círculos de poder de la extrema derecha francesa tampoco fueron bien recibidos. El impacto de estas declaraciones fue tal que, en algunas alcaldías, se retiraron los bustos de Brigitte Bardot que la representaban como Marianne. Para muchos, Brigitte Bardot pasó entonces a encarnar la deshonra. Brigitte Bardot fue condenada en varias ocasiones por la justicia francesa por injuria racial y por incitación al odio. Sin embargo, al final de su vida, la diva tenía en la mira a una impresionante cantidad de personalidades, entre ellas Emmanuel Macron y su entonces ministro de Transición Ecológica, el ecologista Nicolas Hulot, a quien calificó de «cobarde». Diva, musa, símbolo sexual, figura considerada superficial, referente del feminismo y de la libertad, racista, precursora en la lucha contra el maltrato animal, pecadora, ícono cultural… Cada cual se quedará con la BB que prefiera recordar. Lo cierto es que no hubo una sola, sino varias vidas de Brigitte Bardot.

In this episode of Critical Matters, Dr. Sergio Zanotti discusses the management of acute type B aortic dissection. He is joined by Dr. Firas Mussa, a vascular surgeon and professor at McGovern Medical School at UTHealth Houston. Dr. Mussa also holds a joint appointment with Imperial College in London. Additional resources: Management of Acute Type B Aortic Dissection. FF Mussa and P Kougias. N Engl J of Med 2025: https://pubmed.ncbi.nlm.nih.gov/40902163/ 2022 ACC/AHA Guideline for the Diagnosis and Management of Aortic Disease: A Report of the American Heart Association/American College of Cardiology Joint Committee on Clinical Practice Guidelines. EM Isselbacher, et al. Circulation 2022: https://pubmed.ncbi.nlm.nih.gov/36322642/ Society for Vascular Surgery (SVS) and Society of Thoracic Surgeons (STS) Reporting Standards for Type B Aortic Dissections. JV Lombardi, et al. J Vasc Surg 2020: https://pubmed.ncbi.nlm.nih.gov/32001058/ Endovascular repair of type B aortic dissection: long-term results of the randomized investigation of stent grafts in aortic dissection trial. INSTEAD-XL Trial. CA Nienaber, et al. Circ Cardiovasc Inter 2013: https://pubmed.ncbi.nlm.nih.gov/23922146/ Books mentioned in this episode: A Dangerous Liaison: A Revelatory New Biography of Simon de Beauvoir and Jean-Paul Satre. By Carole Seymour-Jones: https://bit.ly/3L0pIov A Time For All Things: The Life of Michael E. DeBakey. By Craig Miller, et al.: https://bit.ly/44B2uMw

(00:00:00) Intro Discussion (00:15:26) Adam and Eve (00:26:17) The Forest Kingdom (00:35:44) Mecha-Kaiju (00:40:38) The Copied City (00:53:03) Become as Gods (01:04:44) flowers for m[a]chines (01:34:34) Route B (02:07:28) Adam Captures 9S (02:25:08) Revelations (Replicant Spoilers) (02:43:28) or not to [b]e Please consider supporting the show on Patreon!You can also join our free Discord server, or connect with us on Bluesky, Instagram, and TikTok!"And we need a God worth dying for."The NieR Automata analysis continues! Joined by Dave (Tales from the Backlog) once again, we proceed through the ending of route A and through the entirety of route B. The view from 9S's perspective unearths new information not yet known to 2B...or to most of the YoRHa troops. How will 9S temper the friction between his loyalty — indeed, his "essence" — with an earth-shattering revelation? Further conversations on existentialism, Simone de Beauvoir, the importance of perspective, and more. Hope you love the show today. Enjoy!Smash Interview with Yoko TaroInterview with Yoko Taro and Yosuke SaitoStanford Encyclopedia of PhilosophyInternet Encyclopedia of PhilosophyThank you for listening! Want to reach out to PPR? Send your questions, comments, and recommendations to pixelprojectradio@gmail.com! And as ever, any ratings and/or reviews left on your platform of choice are greatly appreciated!

Abu⁠⁠⁠⁠⁠⁠⁠⁠⁠ and Obssa continue their read-through of ⁠⁠⁠⁠⁠⁠⁠⁠⁠Exhalation⁠⁠⁠⁠⁠⁠ by Ted Chiang. They dive into the eighth short story in the collection, Ompahlos, and explore the philosophy of existentialism. Get bonus content and helpful reading materials: ⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/scifibookclubpod⁠⁠⁠⁠⁠⁠⁠⁠ Keep the conversation going in our free Discord: ⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/bVrhwWm7j4⁠⁠⁠⁠⁠⁠⁠⁠ Watch the video version of this episode: ⁠⁠⁠⁠⁠⁠⁠⁠www.youtube.com/@loreparty⁠⁠⁠⁠⁠⁠⁠⁠ Keep up with this season's reading schedule: ⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/sfbc-season3⁠⁠ (00:00) Intro (02:56) Summary (08:49) Our Impressions (15:43) A Small Nitpick (17:59) What is Existentialism? (19:46) Jean-Paul Sartre and Simone de Beauvoir (21:17) Core Tenets of Existentialism (23:05) Critiques of Existentialism (25:40) Are We Existentialists? (29:34) The Absurd Part of Existentialism (33:31) What We're Reading Next Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:04:25 - Les punchlines de la philo - par : Thibaut de Saint-Maurice - . Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Will Prime Minister Takaichi be a champion for women's rights?

Le 6 décembre 1954, Simone de Beauvoir reçoit le prix Goncourt pour Les Mandarins, une distinction majeure qui consacre son rôle d'intellectuelle tout en révélant la persistance d'un paysage littéraire dominé par les hommes.

Today's episode was sparked by a line that dropped into my world like a divine wink: “I accept the great adventure of being me.” This quote—often attributed to Simone de Beauvoir—opened a doorway into a deeper conversation about embodiment, intuition, and the soul-led path of feminine leadership. If you're an intuitive woman who feels that familiar tug in your chest… the pull toward more purpose, more truth, more alignment… then this episode will feel like a warm, holy recalibration. Inside this episode, we explore: ✨ Why feminine leadership begins with embodiment, not effort ✨ How Human Design & Gene Keys decode the way you're meant to lead ✨ Why 2026 is a destiny-activation year for intuitive women ✨ What nervous system regulation has to do with clarity ✨ How astrology reveals the leadership imprint written into your bones ✨ The question that becomes your compass: “Am I accepting the adventure of being me… or am I hiding?” This is your permission slip to stop shrinking and start stepping into the woman God designed you to be.

La phrase « On ne naît pas femme, on le devient », écrite par Simone de Beauvoir dans Le Deuxième Sexe (1949), est devenue l'une des formules les plus célèbres de la pensée moderne. À elle seule, elle résume une révolution intellectuelle qui a profondément transformé la compréhension du genre, de l'égalité et du féminisme.À l'époque, on considère largement que les différences entre hommes et femmes sont « naturelles » : tempéraments, talents, rôles sociaux, tout serait fixé par la biologie. Cette vision justifie l'exclusion des femmes de nombreux domaines : vie politique, travail, création artistique, autonomie financière. De Beauvoir brise ce discours en affirmant que la « féminité » n'est pas un destin biologique mais une construction sociale.Sa phrase signifie que les femmes deviennent femmes parce qu'on les forme, les éduque, les habille, les oriente et parfois les contraint à adopter certains comportements et rôles. Une petite fille n'a pas « naturellement » envie de jouer à la poupée ou de devenir douce et effacée : elle est socialisée pour répondre à ces attentes. La société, la famille, l'école, la culture, les religions façonnent ce qu'elle « doit » être.Cette idée renverse un ordre millénaire. Si les différences sont construites, alors elles ne sont pas immuables : elles peuvent être changées, contestées, déconstruites. De Beauvoir ouvre ainsi la voie au féminisme contemporain, qui analyse comment les normes sociales fabriquent les inégalités.La force de cette phrase tient aussi à sa clarté. En quelques mots, elle met en lumière ce que les chercheuses appelleront plus tard la distinction entre sexe (biologique) et genre (social). Elle anticipe de plusieurs décennies les débats actuels sur l'identité, la performativité du genre et les stéréotypes.Sa réception en 1949 est explosive. Le livre choque, autant par son diagnostic que par sa liberté de ton. La phrase est accusée de nier la nature féminine, voire la maternité. En réalité, elle dit autre chose : que rien dans le corps des femmes ne justifie leur subordination.Depuis, cette formule est devenue un slogan, un symbole, presque un repère philosophique. Elle est citée dans les manuels scolaires, les mouvements militants, les universités et la culture populaire. Elle reste aujourd'hui un point de départ essentiel pour comprendre les mécanismes de domination, mais aussi pour réfléchir à la manière dont chacun peut construire son identité.C'est cette puissance explicative, politique et symbolique qui fait de « On ne naît pas femme, on le devient » l'une des phrases les plus emblématiques du XXᵉ siècle. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Mary Kelly talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work.Kelly was born in Fort Dodge, Iowa, US, in 1941 and lives today in Los Angeles. She has played a fundamental role in the history and ongoing development of conceptual and feminist art, with works that have explored sexuality and women's experience, wider issues of identity, the spectacle and trauma of war, and the nature of memory in relation to history and geopolitics. Informed by a range of thought, including critical theory, psychoanalysis and literature, her work takes diverse physical forms, but often manifests in multimedia installations, involving a rich materiality that includes text and documents, photography and printmaking, sculpture, sound and film. She reflects on her groundbreaking projects like Post-Partum Document (1973-77) and Interim (1984-89), and the way that her use of autobiography has shifted in her work over time. She discusses the dramatic shift in her life following her move to Beirut in the 1960s and the events of May 1968. She recalls the moment she encountered Franz Kline's work aged 15 and how it confirmed a lifelong pursuit of non-figurative work. She reflects on her role within Conceptualism and her esteem for her peers in that movement. She discusses the importance of writers as diverse as Simone de Beauvoir, Jean Genet, William Carlos Williams and Jacques Lacan. Plus, she gives insight into her life in the studio and answers our usual questions, including a moving answer to the ultimate question: what is art for?Mary Kelly: We don't want to set the world on fire, Pippy Houldsworth Gallery, London, until 17 January 2026 Hosted on Acast. See acast.com/privacy for more information.

Following a young woman over the course of one outrageous and insufferable downtown dinner party at the home of her estranged best friends—an artist and curator couple, whom she now realizes stands for everything she detests—Happiness and Love (Scribner, 2025) is a piercing debut novel about brazen materialism, self-obsession, and the empty careerism of so-called cultural elites.Years after escaping New York and the center of its artistic world—a group of self-important, depraved, and unscrupulous artists, curators, and hangers-on—our narrator is back in town. With no plans to see anyone she once knew, she's wandering around the Lower East Side, thinking about the recent death of her former best friend, Rebecca, when she runs into Eugene, one half of the artist-curator couple at the heart of her old social set. Despite her better judgement, she accepts his invitation to a dinner party. And though the party is held only hours after Rebecca's funeral, it not a memorial of Rebecca but a dinner held in honor of a young, newly famous actress whose lateness delays the party by hours.As the guests sip their natural wine and await the actress's arrival, the narrator, from her perch on the corner seat of a white sofa, silently, systematically, and mercilessly eviscerates them—their manners, their relationships, their delusions and failures, and the complete moral poverty that brings them here, to Nicole and Eugene's loft on the Bowery. When the guest of honor finally does arrive, she sets in motion a disastrous end to the evening, laying bare the depravity and decadence of the hosts' empty little lives—a hollowness that the narrator herself knows all too well. Zoe Dubno is a writer from New York. She attended Oberlin College and has an MFA from Rutgers University, Newark. Her writing has appeared in Granta, The New York Times Magazine, The New York Review of Books, The Guardian, The Nation, Vogue, and elsewhere. Happiness and Love is her first novel. Recommended Books: Simone de Beauvoir, The Mandarins Learn more about your ad choices. Visit megaphone.fm/adchoices

Following a young woman over the course of one outrageous and insufferable downtown dinner party at the home of her estranged best friends—an artist and curator couple, whom she now realizes stands for everything she detests—Happiness and Love (Scribner, 2025) is a piercing debut novel about brazen materialism, self-obsession, and the empty careerism of so-called cultural elites.Years after escaping New York and the center of its artistic world—a group of self-important, depraved, and unscrupulous artists, curators, and hangers-on—our narrator is back in town. With no plans to see anyone she once knew, she's wandering around the Lower East Side, thinking about the recent death of her former best friend, Rebecca, when she runs into Eugene, one half of the artist-curator couple at the heart of her old social set. Despite her better judgement, she accepts his invitation to a dinner party. And though the party is held only hours after Rebecca's funeral, it not a memorial of Rebecca but a dinner held in honor of a young, newly famous actress whose lateness delays the party by hours.As the guests sip their natural wine and await the actress's arrival, the narrator, from her perch on the corner seat of a white sofa, silently, systematically, and mercilessly eviscerates them—their manners, their relationships, their delusions and failures, and the complete moral poverty that brings them here, to Nicole and Eugene's loft on the Bowery. When the guest of honor finally does arrive, she sets in motion a disastrous end to the evening, laying bare the depravity and decadence of the hosts' empty little lives—a hollowness that the narrator herself knows all too well. Zoe Dubno is a writer from New York. She attended Oberlin College and has an MFA from Rutgers University, Newark. Her writing has appeared in Granta, The New York Times Magazine, The New York Review of Books, The Guardian, The Nation, Vogue, and elsewhere. Happiness and Love is her first novel. Recommended Books: Simone de Beauvoir, The Mandarins Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network