Podcasts about Beauvoir

Political theorist Lori Marso has been intrigued by filmmaker Chantal Ackerman for many years and has integrated Ackerman's work into her courses at Union College and into her writings and scholarship as well. So it is no surprise that Feminism and the Cinema of Experience (Duke UP, 2024) is both an academic and a personal journey into Ackerman's work but also the ways in which Ackerman's work and similar kinds of artistry have made their way into our imaginations and our cinematic spaces. In Feminism and the Cinema of Experience Marso uses both Ackerman's cinematic work and the written work of Simone de Beauvoir to frame a variety of approaches to thinking about feminism and contemporary film. As Marso explains, Ackerman's work attends to and notices women's experiences, often with the kinds of cinematography that are used to explore these experiences in ways that make audiences a bit uncomfortable. Part of the thrust of Marso's analysis is interrogating what it means to “feel like a feminist.” This is an important component to the discussion in Feminism and the Cinema of Experience since this feeling may be a space where we are puzzled by what we actually do feel and we need to accept that we are alright sitting with that discomfort and with that inconclusive affect. Feminism and the Cinema of Experience explores the ways that cinema and film shift our senses, through what we see, hear, and the focus of our thinking. Film is also a profoundly emotional experience, especially if we are in a theater with others or viewing it in a community. The discussions that we have with others about what we have seen and experienced are political—this is a form of political engagement and a kind of democratic engagement. Marso provides the reader with different genres and categories that help us think about films within the broader framework at hand. And within these sections, many more contemporary films are put into conversation with Ackerman's work. Finally, Marso wrote an epilogue of a kind that brings Greta Gerwig's Barbie movie into the discussion as well. This is an important and thoughtful examination of contemporary cinema—but it is also a valuable analysis of feminism and feminist thought as we see it all around us, but particularly in narrative form on the silver screen. Feminism and the Cinema of Experience is fascinating, engaging, and opens doors to new and different ways of thinking and seeing and experiencing. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-host of the New Books in Political Science channel at the New Books Network. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). She can be reached @gorenlj.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Political theorist Lori Marso has been intrigued by filmmaker Chantal Ackerman for many years and has integrated Ackerman's work into her courses at Union College and into her writings and scholarship as well. So it is no surprise that Feminism and the Cinema of Experience (Duke UP, 2024) is both an academic and a personal journey into Ackerman's work but also the ways in which Ackerman's work and similar kinds of artistry have made their way into our imaginations and our cinematic spaces. In Feminism and the Cinema of Experience Marso uses both Ackerman's cinematic work and the written work of Simone de Beauvoir to frame a variety of approaches to thinking about feminism and contemporary film. As Marso explains, Ackerman's work attends to and notices women's experiences, often with the kinds of cinematography that are used to explore these experiences in ways that make audiences a bit uncomfortable. Part of the thrust of Marso's analysis is interrogating what it means to “feel like a feminist.” This is an important component to the discussion in Feminism and the Cinema of Experience since this feeling may be a space where we are puzzled by what we actually do feel and we need to accept that we are alright sitting with that discomfort and with that inconclusive affect. Feminism and the Cinema of Experience explores the ways that cinema and film shift our senses, through what we see, hear, and the focus of our thinking. Film is also a profoundly emotional experience, especially if we are in a theater with others or viewing it in a community. The discussions that we have with others about what we have seen and experienced are political—this is a form of political engagement and a kind of democratic engagement. Marso provides the reader with different genres and categories that help us think about films within the broader framework at hand. And within these sections, many more contemporary films are put into conversation with Ackerman's work. Finally, Marso wrote an epilogue of a kind that brings Greta Gerwig's Barbie movie into the discussion as well. This is an important and thoughtful examination of contemporary cinema—but it is also a valuable analysis of feminism and feminist thought as we see it all around us, but particularly in narrative form on the silver screen. Feminism and the Cinema of Experience is fascinating, engaging, and opens doors to new and different ways of thinking and seeing and experiencing. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-host of the New Books in Political Science channel at the New Books Network. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). She can be reached @gorenlj.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Political theorist Lori Marso has been intrigued by filmmaker Chantal Ackerman for many years and has integrated Ackerman's work into her courses at Union College and into her writings and scholarship as well. So it is no surprise that Feminism and the Cinema of Experience (Duke UP, 2024) is both an academic and a personal journey into Ackerman's work but also the ways in which Ackerman's work and similar kinds of artistry have made their way into our imaginations and our cinematic spaces. In Feminism and the Cinema of Experience Marso uses both Ackerman's cinematic work and the written work of Simone de Beauvoir to frame a variety of approaches to thinking about feminism and contemporary film. As Marso explains, Ackerman's work attends to and notices women's experiences, often with the kinds of cinematography that are used to explore these experiences in ways that make audiences a bit uncomfortable. Part of the thrust of Marso's analysis is interrogating what it means to “feel like a feminist.” This is an important component to the discussion in Feminism and the Cinema of Experience since this feeling may be a space where we are puzzled by what we actually do feel and we need to accept that we are alright sitting with that discomfort and with that inconclusive affect. Feminism and the Cinema of Experience explores the ways that cinema and film shift our senses, through what we see, hear, and the focus of our thinking. Film is also a profoundly emotional experience, especially if we are in a theater with others or viewing it in a community. The discussions that we have with others about what we have seen and experienced are political—this is a form of political engagement and a kind of democratic engagement. Marso provides the reader with different genres and categories that help us think about films within the broader framework at hand. And within these sections, many more contemporary films are put into conversation with Ackerman's work. Finally, Marso wrote an epilogue of a kind that brings Greta Gerwig's Barbie movie into the discussion as well. This is an important and thoughtful examination of contemporary cinema—but it is also a valuable analysis of feminism and feminist thought as we see it all around us, but particularly in narrative form on the silver screen. Feminism and the Cinema of Experience is fascinating, engaging, and opens doors to new and different ways of thinking and seeing and experiencing. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-host of the New Books in Political Science channel at the New Books Network. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). She can be reached @gorenlj.bsky.social 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

Political theorist Lori Marso has been intrigued by filmmaker Chantal Ackerman for many years and has integrated Ackerman's work into her courses at Union College and into her writings and scholarship as well. So it is no surprise that Feminism and the Cinema of Experience (Duke UP, 2024) is both an academic and a personal journey into Ackerman's work but also the ways in which Ackerman's work and similar kinds of artistry have made their way into our imaginations and our cinematic spaces. In Feminism and the Cinema of Experience Marso uses both Ackerman's cinematic work and the written work of Simone de Beauvoir to frame a variety of approaches to thinking about feminism and contemporary film. As Marso explains, Ackerman's work attends to and notices women's experiences, often with the kinds of cinematography that are used to explore these experiences in ways that make audiences a bit uncomfortable. Part of the thrust of Marso's analysis is interrogating what it means to “feel like a feminist.” This is an important component to the discussion in Feminism and the Cinema of Experience since this feeling may be a space where we are puzzled by what we actually do feel and we need to accept that we are alright sitting with that discomfort and with that inconclusive affect. Feminism and the Cinema of Experience explores the ways that cinema and film shift our senses, through what we see, hear, and the focus of our thinking. Film is also a profoundly emotional experience, especially if we are in a theater with others or viewing it in a community. The discussions that we have with others about what we have seen and experienced are political—this is a form of political engagement and a kind of democratic engagement. Marso provides the reader with different genres and categories that help us think about films within the broader framework at hand. And within these sections, many more contemporary films are put into conversation with Ackerman's work. Finally, Marso wrote an epilogue of a kind that brings Greta Gerwig's Barbie movie into the discussion as well. This is an important and thoughtful examination of contemporary cinema—but it is also a valuable analysis of feminism and feminist thought as we see it all around us, but particularly in narrative form on the silver screen. Feminism and the Cinema of Experience is fascinating, engaging, and opens doors to new and different ways of thinking and seeing and experiencing. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-host of the New Books in Political Science channel at the New Books Network. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). She can be reached @gorenlj.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

Tous les week-end, découvrez de courtes histoires d'amours, tendres ou percutantes, pour engager de vraies réflexions sur l'amour. C'est la femme forte, libre, par excellence. L'éminence féministe et existentialiste. Son fameux turban, ses grandes boucles d'oreilles et sa relation si spéciale avec Sartre. Mais Simone de Beauvoir a aimé un autre homme, avec une intensité toute particulière. Learn more about your ad choices. Visit megaphone.fm/adchoices

No hay grandeza ajena que resista la lectura de sus WhatsApps. Imaginemos a Sartre mandando besotes a Simone de Beauvoir. A Immanuel Kant diciendo que “Oka” a un cambio en el horario de sus clases. O a Churchill poniendo un emoticón de lagrimita después de un bombardeo. Nada adensa la grandeza como el silencio.

Nous sommes le 25 novembre 1929, à Paris. Elisabeth Lacoin, dite Zaza, meurt, âgée de vingt et un ans, emportée par une encéphalite virale. Pour Simone de Beauvoir, l'amie de toujours, c'est une tragédie. « Une expérience bouleversante et inoubliable » écrira la future autrice du « Deuxième sexe », qui parlera d'assassinat, de « crime spiritualiste ». C'est en compagnie de Zaza, au lendemain de la Première Guerre mondiale, que Simone va quitter l'enfance. Avec elle encore qu'elle affrontera les choix cruciaux de l'adolescence et de l'entrée dans la vie d'adulte. Avec Zaza et, un peu plus tard, avec Maurice Merleau-Ponty rencontré sur les bancs de la Sorbonne. Pendant plusieurs années, ces trois-là vont s'écrire, beaucoup, avec la retenue inculquée par leur milieu bourgeois mais avec intensité. Les lettres envoyées des trois côtés ont été, heureusement, conservées : cent vingt-six lettres échangées pendant neuf ans avec Zaza, de 1920 à 1929, et cent-trente-six avec Merleau-Ponty durant trente-deux-ans, de 1927 à 1957. Que nous dit cette correspondance de ces jeunes gens et de leur époque ? De cette génération des années vingt pour laquelle la situation était si différente selon que l'on était une fille ou garçon ? Plongeons-nous dans ces lettres, si précieuses, ses lettres d'amitié… Avec nous : Sylvie Le Bon de Beauvoir. « Lettres d'amitié » ; Gallimard. 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. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Après Ariane Ascaride et Philippine Pierre Brossolette, Marie-Christine Barrault et Hinda Abdelaoui interprètent tour à tour la figure de l'avocate et militante Gisèle Halimi dans une pièce mise en scène par Léna Paugam à la Scala.  Adaptée de la série d'entretiens que la journaliste Annick Cojean a menée avec Gisèle Halimi et publiés aux éditions Grasset en 2020, cette mise en scène déroule la vie et les combats féministes de la célèbre avocate, de la rébellion au sein de sa famille jusqu'aux bancs de l'Assemblée nationale. Gisèle Halimi, (née Zeiza Gisèle Élise Taïeb) était une avocate et militante féministe et femme politique franco-tunisienne. Née en 1927 à La Goulette, une ville située à une dizaine de kilomètres de Tunis, dans une famille traditionnelle, rien ne la prédestinait à ce destin. Elle s'engage dès son plus jeune âge pour la justice et les causes féministes. À dix ans, elle entame, dans sa propre famille, une grève de la faim pour protester contre les tâches ménagères qu'on lui imposait à la maison, à elle et à sa sœur ! À quinze ans, elle refuse un mariage arrangé avec un marchand d'huile. Gisèle Halimi : « N'ayez pas peur d'être féministe ! C'est un mot magnifique ! »Dans les années 1950, elle défend des militants de l'indépendance de l'Algérie, comme Djamila Boupacha, militante du FNL accusée d'avoir tenté de commettre un attentat, torturée et violée en prison par des soldats français. Puis, Gisèle Halimi devient très célèbre en devenant la seule avocate à signer le manifeste des 343 en 1971, un texte réunissant des femmes qui déclarent avoir déjà avorté. L'avortement était alors fortement réprimé en France. Elle défend des femmes accusées d'avortement illégal lors du procès de Bobigny en 1972, dont la jeune Marie-Claire alors âgée de 16 ans et tombée enceinte à la suite d'un viol. Trois des cinq accusées seront acquittées, une quatrième écopera d'une peine de prison avec sursis. Ce procès aura un grand retentissement et contribuera à l'instauration de la loi Veil sur l'interruption de grossesse en 1974. À lire aussi17 janvier 1975 : la loi Veil dépénalise l'avortement en FrancePar la suite, elle fonde le mouvement Choisir la cause des femmes aux côtés de Simone de Beauvoir. Elle tiendra un rôle déterminant sur la qualification du mot « viol » ainsi qu'à la pénalisation de ce crime. Elle militera également pour l'égalité des droits des homosexuels et pour l'abolition de la peine de mort. Proche de François Mitterrand, elle sera élue députée lors des élections législatives de 1981.  Dans cette pièce, Gisèle Halimi est interprétée par deux comédiennes : Hinda Abdelaoui et Marie-Christine Barrault.  Moi, j'ai peu été militante.  Je me félicitais pour tout le travail que les militantes faisaient pour nous, les femmes. Mais je me suis toujours cachée derrière le fait qu'étant actrice, je pouvais militer à ma manière à travers les rôles que je choisissais. Marie-Christine Barrault Invitée : Marie-Christine Barrault, comédienne. Elle joue le rôle de Gisèle Halimi.Marie-Christine Barrault est née en 1944 à Paris. Nièce du comédien et metteur en scène Jean-Louis Barrault, elle se consacre exclusivement au théâtre jusqu'en 1968. Elle se fait ensuite connaître dans les années 70 grâce à son rôle dans le film Cousin, cousine qui lui vaut une nomination à l'Oscar de la meilleure actrice. Elle joue avec de grands réalisateurs : Eric Rohmer, Yves Robert, Woody Allen, André Delvaux, Jean-Pierre Mocky, Christophe Honoré ou encore Emmanuelle Devos. Le spectacle Gisèle Halimi, une farouche liberté est mis en scène par Léna Paugam. Il est à voir à La Scala Paris du 2 au 31 mai 2025 pus du 5 au 27 juillet à la Scala Provence à Avignon. Programmation musicale : l'artiste Colt avec le titre « Lionnes ».

Après Ariane Ascaride et Philippine Pierre Brossolette, Marie-Christine Barrault et Hinda Abdelaoui interprètent tour à tour la figure de l'avocate et militante Gisèle Halimi dans une pièce mise en scène par Léna Paugam à la Scala.  Adaptée de la série d'entretiens que la journaliste Annick Cojean a menée avec Gisèle Halimi et publiés aux éditions Grasset en 2020, cette mise en scène déroule la vie et les combats féministes de la célèbre avocate, de la rébellion au sein de sa famille jusqu'aux bancs de l'Assemblée nationale. Gisèle Halimi, (née Zeiza Gisèle Élise Taïeb) était une avocate et militante féministe et femme politique franco-tunisienne. Née en 1927 à La Goulette, une ville située à une dizaine de kilomètres de Tunis, dans une famille traditionnelle, rien ne la prédestinait à ce destin. Elle s'engage dès son plus jeune âge pour la justice et les causes féministes. À dix ans, elle entame, dans sa propre famille, une grève de la faim pour protester contre les tâches ménagères qu'on lui imposait à la maison, à elle et à sa sœur ! À quinze ans, elle refuse un mariage arrangé avec un marchand d'huile. Gisèle Halimi : « N'ayez pas peur d'être féministe ! C'est un mot magnifique ! »Dans les années 1950, elle défend des militants de l'indépendance de l'Algérie, comme Djamila Boupacha, militante du FNL accusée d'avoir tenté de commettre un attentat, torturée et violée en prison par des soldats français. Puis, Gisèle Halimi devient très célèbre en devenant la seule avocate à signer le manifeste des 343 en 1971, un texte réunissant des femmes qui déclarent avoir déjà avorté. L'avortement était alors fortement réprimé en France. Elle défend des femmes accusées d'avortement illégal lors du procès de Bobigny en 1972, dont la jeune Marie-Claire alors âgée de 16 ans et tombée enceinte à la suite d'un viol. Trois des cinq accusées seront acquittées, une quatrième écopera d'une peine de prison avec sursis. Ce procès aura un grand retentissement et contribuera à l'instauration de la loi Veil sur l'interruption de grossesse en 1974. À lire aussi17 janvier 1975 : la loi Veil dépénalise l'avortement en FrancePar la suite, elle fonde le mouvement Choisir la cause des femmes aux côtés de Simone de Beauvoir. Elle tiendra un rôle déterminant sur la qualification du mot « viol » ainsi qu'à la pénalisation de ce crime. Elle militera également pour l'égalité des droits des homosexuels et pour l'abolition de la peine de mort. Proche de François Mitterrand, elle sera élue députée lors des élections législatives de 1981.  Dans cette pièce, Gisèle Halimi est interprétée par deux comédiennes : Hinda Abdelaoui et Marie-Christine Barrault.  Moi, j'ai peu été militante.  Je me félicitais pour tout le travail que les militantes faisaient pour nous, les femmes. Mais je me suis toujours cachée derrière le fait qu'étant actrice, je pouvais militer à ma manière à travers les rôles que je choisissais. Marie-Christine Barrault Invitée : Marie-Christine Barrault, comédienne. Elle joue le rôle de Gisèle Halimi.Marie-Christine Barrault est née en 1944 à Paris. Nièce du comédien et metteur en scène Jean-Louis Barrault, elle se consacre exclusivement au théâtre jusqu'en 1968. Elle se fait ensuite connaître dans les années 70 grâce à son rôle dans le film Cousin, cousine qui lui vaut une nomination à l'Oscar de la meilleure actrice. Elle joue avec de grands réalisateurs : Eric Rohmer, Yves Robert, Woody Allen, André Delvaux, Jean-Pierre Mocky, Christophe Honoré ou encore Emmanuelle Devos. Le spectacle Gisèle Halimi, une farouche liberté est mis en scène par Léna Paugam. Il est à voir à La Scala Paris du 2 au 31 mai 2025 pus du 5 au 27 juillet à la Scala Provence à Avignon. Programmation musicale : l'artiste Colt avec le titre « Lionnes ».

Chiara Scarlato"Il discorso filosofico intorno alla letteratura"Percorsi teoretici nel pensiero franceseRosenberg & Sellierwww.rosenbergsellier.itAlla luce di uno specifico apparato teoretico e insieme ricostruttivo, questo libro indaga la possibilità di assumere la ‘letteratura' come un sapere essenziale per l'articolarsi della stessa pratica filosofica.Punto d'avvio del percorso è l'ipotesi che la riflessione specificamente filosofica intorno alla letteratura si sia sviluppata, in modo particolarmente eminente, nell'ambito del pensiero francese del primo dopoguerra, raggiungendo poi la sua massima espressione nel corso degli anni Sessanta. Muovendosi soprattutto all'interno di tali coordinate temporali, il volume restituisce e insieme problematizza – da un punto di vista tematico e metodologico – lo specifico contesto concettuale entro cui autori come Barthes, Blanchot, Beauvoir, Deleuze, Foucault, Merleau-Ponty, Paulhan e naturalmente Sartre, hanno elaborato, insieme ad altri, una serrata riflessione intorno alla letteratura, interessandosi di aspetti cruciali per la filosofia contemporanea, tra cui lo statuto del linguaggio e dell'esperienza.Chiara Scarlato è assegnista di ricerca in Filosofia teoretica presso l'Università degli Studi “G. d'Annunzio” di Chieti-Pescara. Ha svolto periodi di ricerca presso università e archivi in Belgio, Croazia, Francia, Inghilterra e Stati Uniti. Ha studiato a lungo l'opera di David Foster Wallace, su cui ha pubblicato il saggio Attraverso il corpo. Filosofia e letteratura in David Foster Wallace (2020) ed è autrice di diversi contributi in ambito teoretico ed estetico apparsi su riviste e raccolte nazionali e internazionali. Più di recente ha co-curato la nuova edizione italiana del volume Per una teoria della produzione letteraria di Pierre Macherey (2024).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

This episode explores the biblical and rabbinic perspectives on gender, sex, and reproduction through the lens of Leviticus 12. We examine how the Torah's language of "seed" and agricultural metaphors connect childbirth to creation and redemption. We explore the biblical imagination where women's reproductive power links her to primal creative forces. What does it mean that a woman's body mirrors the act of creation? The Torah's description of childbirth in Leviticus 12 might seem straightforward at first glance. However, the use of the word "tazria" (to seed) opens up a world of interpretation that spans millennia. "The verb refers to a woman producing an offspring," notes The Torah: A Women's Commentary. This active language challenges traditional notions of women as passive vessels in reproduction. It's a subtle yet powerful shift that sets the stage for deeper discussions on gender roles and biology. The discussion delves into ancient and modern interpretations of conception, from rabbinic debates on determining a child's sex to Simone de Beauvoir's critique of biological determinism. This week on Madlik, we're diving into the fascinating world of gender, sex, and creation in the Torah. Starting with the opening verses of Parshat Tazria, we unpack the rich agricultural metaphors used to describe conception and birth. We share some intriguing rabbinic interpretations about how the embryo is formed and what determines a child's sex. We also look at how these ancient texts have been reinterpreted over time - from medieval commentators to modern thinkers like Rabbi Shlomo Riskin and Simone de Beauvoir. There are some surprising insights about sexual ethics and gender roles that feel remarkably progressive for their time. Key Takeaways The Torah links women's reproductive power to primal creative forces Rabbinic tradition shows early sensitivity to mutual sexual needs in marriage Ancient beliefs about conception shaped gender roles, but are open to reinterpretation Timestamps [00:00] The Second Sex: Introducing Simone de Beauvoir and biblical connections [01:45] Exploring Torah laws of childbirth and personal purity [04:05] The metaphor of seed, soil, and creation in Genesis and Leviticus [08:55] Agriculture, menstruation, and exile: a deeper metaphor [11:00] The rabbinic obsession with embryology and “who contributes what” [13:50] Color-coded anatomy and Greek philosophy in Jewish texts [17:30] Could Adam have been male and female? What creation myths suggest [19:00] Can prayer change the sex of a child? The rabbis weigh in [22:30] Kosher Sex and rabbinic views on orgasm and mutual satisfaction [26:30] Simone de Beauvoir, Aristotle, and feminist deconstruction of biology Links & Learnings Sign up for free and get more from our weekly newsletter https://madlik.com/ Safaria Source Sheet: https://www.sefaria.org/sheets/643110 Transcript on episode web page:

In questa puntata, Olivia Guaraldo, professoressa ordinaria di filosofia politica presso il Dipartimento di Scienze Umane all'Università di Verona, discute il libro scritto in collaborazione con Adriana Cavarero, Donna si nasce (2024), che offre uno sguardo al femminismo e ai concetti di “donna” e “gender” da Simone de Beauvoir ai giorni nostri. Guaraldo storicizza concetti come “patriarcato” e “differenza sessuale”, soffermandosi su come queste valenze siano state mutuate dall'antropologia culturale, assorbite dal femminismo e poi complicate con l'introduzione dell'“identità di gender” nei paesi prevalentemente anglofoni. Analizzando il discorso dei “diritti” in Occidente a partire dalla Rivoluzione francese, Guaraldo discute di come il pensiero moderno sia stato plasmato da un orizzonte simbolico in cui i soggetti maschili erano di fatto soggetti di “liberazione”, mentre le donne venivano invariabilmente eclissate. Approfondendo il paradosso secondo cui i diritti “universali” concessi nel corso del XVIII e XIX secolo erano specificamente rivolti agli uomini, mai all'altra metà della popolazione umana, dove gli uomini erano “la misura dell'umano”, Guaraldo evidenzia anche alcune delle differenze tra il femminismo italiano e francese e il femminismo anglo-americano, dove il primo presenta un femminismo della differenza e il secondo un femminismo dell'“uguaglianza”, e dove i diritti conquistati sono invariabilmente pagati con il prezzo dell'“assimilazione” postulata all'interno di un “modello neutro” in cui i diritti della persona vengono assunti sul corpo (ad esempio, diritti riproduttivi, accesso all'aborto, ecc.) e dove le conquiste sono sempre parziali. Guaraldo sottolinea anche l'attuale paradosso socio-politico in cui il linguaggio della differenza e del gender, così come inscritto dal poststrutturalismo francese nella seconda metà del XX secolo, ha portato a un nuovo dogmatismo e a una rigidità sociale tale per cui le giovani generazioni di donne si stanno opponendo al definirsi “donne” a causa della deliberata diluizione del significato del linguaggio. Get full access to Savage Minds at savageminds.substack.com/subscribe

In 1975, at the height of their fame, British band Slade made a feature film, Slade in Flame. The film was a critical and commercial failure at the time, but has built up a cult following over the years. Now it's being re-released in cinemas and on DVD. Frontman Noddy Holder and film director Richard Loncraine spoke to Samira Ahmed in studio.With a new English translation of Simone de Beauvoir's novel The Image of Her and a stage adaptation of her semi-autobiographical The Inseperables, Lauren Elkin and Grace Joy Howarth discuss the enduring legacy of the French feminist icon.Plus Irish actor Stephen Rae talks about his career working with Samuel Beckett, his hit film The Crying Game, and his current production of Krapp's Last Tape

durée : 00:22:06 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - En entrant à l'École normale supérieure en 1926, le philosophe Maurice Merleau-Ponty côtoie deux personnes qui seront très importantes dans sa vie : Jean-Paul Sartre et Simone de Beauvoir. Il se souvient de ces rencontres décisives au micro de Georges Charbonnier, en 1959. - réalisation : Massimo Bellini, Vincent Abouchar - invités : Maurice Merleau-Ponty Philosophe français

durée : 00:22:27 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - Le philosophe Maurice Merleau-Ponty a créé avec Jean-Paul Sartre et Simone de Beauvoir la revue "Les Temps modernes" en 1945, juste après la Seconde Guerre mondiale. Il raconte cette aventure éditoriale et intellectuelle au micro de Georges Charbonnier en 1959. - réalisation : Massimo Bellini, Vincent Abouchar - invités : Maurice Merleau-Ponty Philosophe français

durée : 00:59:23 - Le Souffle de la pensée - par : Géraldine Mosna-Savoye - Manon Garcia évoque la première philosophe à avoir fait des femmes un sujet philosophique : Simone de Beauvoir. Dans "Le Deuxième sexe", elle pose cette question d'une grande actualité : comment conjurer les mythes du féminin pour permettre une véritable rencontre entre les hommes et les femmes ? - réalisation : Nicolas Berger - invités : Manon Garcia Philosophe, professeure à la Freie Universität de Berlin

Melvyn Bragg and guests discuss the French philosopher Maurice Merleau-Ponty (1908-1961), who was part of the movement known as phenomenology. While less well-known than his contemporaries Jean-Paul Sartre and Simone de Beauvoir, his popularity has increased among philosophers in recent years. Merleau-Ponty rejected Rene Descartes' division between body and mind, arguing that the way we perceive the world around us cannot be separated from our experience of inhabiting a physical body. Merleau-Ponty was interested in the down-to-earth question of what it is actually like to live in the world. While performing actions as simple as brushing our teeth or patting a dog, we shape the world and, in turn, the world shapes us. With Komarine Romdenh-Romluc Senior Lecturer in Philosophy at the University of SheffieldThomas Baldwin Emeritus Professor of Philosophy at the University of YorkAnd Timothy Mooney Associate Professor of Philosophy at University College, DublinProduced by Eliane GlaserReading list:Peter Antich, Motivation and the Primacy of Perception: Merleau-Ponty's Phenomenology of Knowledge (Ohio University Press, 2021)Dimitris Apostolopoulos, Merleau-Ponty's Phenomenology of Language (Rowman and Littlefield, 2019) Sarah Bakewell, At the Existentialist Café: Freedom, Being and Apricot Cocktails (Chatto and Windus, 2016) Thomas Baldwin (ed.), Maurice Merleau-Ponty: Basic Writings (Routledge, 2004)Thomas Baldwin (ed.), Reading Merleau-Ponty (Routledge, 2007)Renaud Barbaras (trans. Ted Toadvine and Leonard Lawlor), The Being of the Phenomenon: Merleau-Ponty's Ontology (Indiana University Press, 2004).Anya Daly, Merleau-Ponty and the Ethics of Intersubjectivity (Palgrave Macmillan, 2016)M. C. Dillon, Merleau-Ponty's Ontology (Northwestern University Press, 1998, 2nd ed.) Maurice Merleau-Ponty (trans. Alden L. Fisher), The Structure of Behavior (first published 1942; Beacon Press, 1976)Maurice Merleau-Ponty (trans. Donald Landes), Phenomenology of Perception (first published 1945; Routledge, 2011)Maurice Merleau-Ponty, Sense and Non-Sense (first published 1948; Northwestern University Press, 1964)Maurice Merleau-Ponty, Signs (first published 1960; Northwestern University Press, 1964)Maurice Merleau-Ponty, The Visible and the Invisible (first published 1964; Northwestern University Press, 1968)Maurice Merleau-Ponty (trans. Oliver Davis with an introduction by Thomas Baldwin), The World of Perception (Routledge, 2008)Ariane Mildenberg (ed.), Understanding Merleau-Ponty, Understanding Modernism (Bloomsbury, 2019)Timothy Mooney, Merleau-Ponty's Phenomenology of Perception: On the Body Informed (Cambridge University Press, 2023) Katherine J. Morris, Starting with Merleau-Ponty (Continuum, 2012) Komarine Romdenh-Romluc, Merleau-Ponty and Phenomenology of Perception (Routledge, 2011)Komarine Romdenh-Romluc, The Routledge Guidebook to Merleau-Ponty's Phenomenology of Perception (Routledge, 2011)Jean-Paul Sartre (trans. Benita Eisler), Situations (Hamish Hamilton, 1965)Hilary Spurling, The Girl from the Fiction Department (Penguin, 2003)Jon Stewart (ed.), The Debate Between Sartre and Merleau-Ponty (Northwestern University Press, 1998)Ted Toadvine, Merleau-Ponty's Philosophy of Nature (Northwestern University Press, 2009)Kerry Whiteside, Merleau-Ponty and the Foundation of an Existential Politics (Princeton University Press, 1988)Iris Marion Young, On Female Body Experience: “Throwing Like a Girl” and Other Essays (Oxford University Press, 2005)In Our Time is a BBC Studios Audio Production

In this fierce and timely episode of The Scenic Route, we unpack the UK Supreme Court's ruling that redefines “woman” based solely on biological sex, excluding trans women from legal protections, political representation, and basic recognition.But this isn't just a courtroom debate. It's a culture war dressed in legal robes. We follow the funding behind the ruling, expose the billionaire feminists fueling the backlash, and dismantle the persistent myths about biology, gender, and identity.This episode asks hard questions: Who really benefits from the binary? Why do so many defend it so violently? And what does it mean that we wreck Teslas, but not Harry Potter books?“If you want to burn Teslas but not Harry Potter books… ask yourself why.”We draw insights from Judith Butler, bell hooks, Laurie Penny, Simone de Beauvoir, and others to examine why trans women are not a threat to womanhood: they are its most powerful proof.In this episode:Why the UK ruling matters far beyond BritainJK Rowling, Elon Musk, and the weaponisation of wealthWhy biological sex is a spectrum, not a binaryHow gender is assigned, performed, and punishedThe role of evangelical power and purity culture in gender politics10 takedowns of the “biological women only” mythSee you on the Scenic Route, because sometimes the long way is the shortest way home._____________________________________________________________________ Visit jenniferwalter.me – your cosy corner where recovering perfectionists, misfits, and those done pretending to be fine find space to breathe, dream, and create real change."

Den ena gjorde allt för att sky döden, den andre rusade till den. Kristoffer Leandoer funderar över konfrontationen med slutet genom två författare. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Simone de Beauvoir var livrädd för döden, och försökte livet igenom hålla den på avstånd, så pass att en amerikansk Beauvoirspecialist ägnar en hel bok åt denna systematiska förnekelse. Samtidigt var det bara i dödens absoluta närhet som den skrämmande rationella författaren förvandlades till poet. I romanen De oskiljaktiga beskriver Beauvoir hur hon i sin tidiga ungdom förvirrad står inför en likkista täckt av vita blommor och får för sig att hennes väninna avlidit för att hon kvävts av all denna vithet: ”Innan jag tog tåget”, säger hon, ”lade jag ner tre röda rosor på dessa obefläckade buketter.”Beauvoir avskyr och förnekar döden, hon tror inte på någon högre makt eller liv efter detta och hennes livsåskådning ger henne inga verktyg att behärska rädslan för åldrandet, smärtan och slutet. Konfrontationen dröjer tills hon är femtiofem och hennes mamma drabbas av en svårartad form av cancer med lika hastigt som plågsamt förlopp. Trots motviljan tvingar hon sig att registrera sjukdomsförloppet, och inser snart att det bara finns en enda sak som kan lindra fasan, en enda möjlig befrielse för mamman. Hennes kapitulation inför denna befriande kraft sitter så långt inne och görs så motvilligt att den övertygar just därför: ”I denna kapplöpning mellan smärta och död hoppades vi innerligt att döden skulle hinna först.”Nu kommer Simone de Beauvoirs andra ögonblick av ofrivillig poesi, när hon uttröttad vid mammans dödsbädd plötsligt får se de medeltida dödsdansernas grinande lieman stå vid huvudgärden, grimaserande och hånfull, främmande, omänsklig: ”den hade mammas ansikte då hon blottade sin käke i ett brett, ovetande leende.” Så utrycker hon sig aldrig annars, det finns ingen plats för dubbelexponeringar och tvetydigheter i hennes stränga universum. Den självbiografiska boken Avled stilla från 1964 visar upp en författare som drabbats av ett faktum som inte går att resonera bort.Karakteristiskt nog var hon några år tidigare faktiskt inne på tanken, men bara för att förkasta den: enligt henne var det en reaktionär högertanke att se döden som den enda giltiga sanningen, och som orsak till främlingskap mellan människor eftersom var och en är ensam med sin död: ”Meditation över döden är den yttersta visdomen hos dem som redan är döda”. Det hon formulerar är samurajens och vikingens sinnestillstånd inför stundande strid: sättet att göra sig osårbar var att i förväg betrakta sig som redan död. Döden är enda boten för döden.Och så upptäcker hon motvilligt vid sin mammas dödsbädd att det är alldeles sant.Just mammans dödsbädd blir ett avgörande ögonblick även för den lungsjuke gruvarbetarsonen D.H. Lawrence. Han levde från sexton års ålder med en dödsdom hängande över sig och hade lättare än Beauvoir att göra samurajens ideal till sitt.Bygg ditt dödsskepp, uppmanar han som rena vikingahövdingen: han talar också om modet att rida dödsväga som något vår civilisation borde lära av äldre och våldsammare tider. Människans enda uppgift är att utmana sig själv, att alltid göra det som är svårast: sätta det välkända egna jaget på spel och ge sig ut i det okända. Och något mer okänt än döden går inte att hitta. Genom hela författarskapet återkommer den som utmaning och lockelse av närmast vällustigt slag.Vändpunkten kommer i den självbiografiska romanen Söner och älskare, i skildringen av mammans utdragna dödskamp. Precis som Beauvoir och hennes syster finner syskonen mammans plåga outhärdlig, de står inte ut med att se hennes fåfänga väntan på befrielse. Men till skillnad från systrarna Beauvoir skrider syskonen i Söner och älskare till handling. Efter flera dygns vaka fattar de beslutet – det sker ordlöst, genom ett utbyte av blickar – att skynda på processen, och i ett tillstånd av febrig upphetsning mosar de skrattande hela förrådet av smärtstillande morfinpiller och rör ut i mammans kvällsmugg med varm mjölk. Döden som kärlekshandling: samma kärlekshandling som Beauvoir och hennes syster pratar om att visa modern men till sist inte vågar utföra.Den avgörande skillnaden kanske beror på Lawrences upplevelse av det första samlaget, skildrad tidigare i samma roman: ”För honom tycktes livet nu som en skugga, dagen som en vit skugga, natten och döden och stillheten och orörligheten, detta tycktes som VARAT. Att leva, att vara envis och framhärdande – det var ICKE-VARA. Det högsta av allt var att smälta bort i mörkret och vaja där, identifierad med det stora Varat.”Den gängse bilden av vitalisten och sexprofeten som dansar naken i regnet med blommor i sitt hår är alltså otillräcklig: att sexualiteten är så viktig för Lawrence, beror på att den är ett intimt förbund som den enskilda varelsen ingår med döden, inte med livet. Matadoren smeker och förför tjuren, det han lockar med är döden och det som gör honom oemotståndlig för kvinnor är inte hans seger över döden utan tvärtom att han innebär ett löfte om döden. Döden annonseras som ett glädjebesked, en frestelse, en njutning: ”Det måste vara ljuvligt att vara död.”Söner och älskare utkom redan 1913, innan det första världskriget föste bort alla andra ämnen än döden från den litterära dagordningen. Skyttegravarnas anonyma massdöd väckte Lawrences synnerliga avsky. Som pacifist var han tämligen originell, grälsjuk, våldsförhärligande och dödsfixerad: han motsatte sig kriget eftersom det berövade människan att göra döden till något unikt och personligt, existensens absoluta höjdpunkt.Poeten Rainer Maria Rilke fördömde kriget av samma skäl: det berövade människan hennes rätt till en individuell död. Genom författarskapet stryker Rilke trånsjukt kring döden, som för honom är människolivets själva fullbordan, en sluss till något större snarare än ett slut. Ingen läsare kan glömma de avlidnas trevande händer under matsalsbordet i Malte Laurids Brigge, och i Duinoelegierna formuleras tron på det hinsides som rena rymdäventyret: ”O att en gång vara död och oändligt omfatta dem, / alla stjärnorna”.Det är ett misstag att betona skillnaden mellan liv och död, säger Rilke: möjligen är döden lite rymligare. Lawrence uttrycker samma erfarenhet vid mammans dödsbädd. Tiden försvinner, bara rummet är kvar. Vem kan säga att hans mor inte längre lever? ”Hon hade varit på en plats och befann sig nu på en annan, det var allt.” Så långt kommer aldrig Beauvoir, hennes föreställningsvärld har inte utrymme för någon annan plats. Hon skyr dödens ensamhet lika mycket som Lawrence och Rilke vill omfamna den. Men till slut är det ändå bara den hon hoppas på.Kristoffer Leandoerförfattare, översättare och kritiker

Mais de meio século depois da publicação do livro que abalou a ditadura portuguesa, “Novas Cartas Portuguesas”, de Maria Isabel Barreno, Maria Teresa Horta e Maria Velho da Costa, há uma nova edição em francês. “Nouvelles Lettres Portugaises” é uma tradução de Ilda Mendes dos Santos e Agnès Levécot e espera fazer redescobrir a intemporalidade de uma obra que foi revolucionária. A RFI conversou com Agnès Levécot neste programa. “Eu acho que, naquela altura, em Portugal, não era nada estranho que este livro tivesse esse efeito de bomba”, contava à RFI, há um pouco mais de um ano, Maria Teresa Horta, uma das autoras das “Novas Cartas Portuguesas”, que nos recebeu, em sua casa, em Lisboa, nas vésperas dos 50 anos da Revolução dos Cravos e que nos deixou em Fevereiro de 2025, aos 87 anos.A obra de Maria Teresa Horta, Maria Isabel Barreno e Maria Velho da Costa, publicada em 1972, foi uma revolução literária e feminista que denunciou ao mundo o regime fascista português, o colonialismo, o racismo, o machismo, a violência sobre as mulheres, ao mesmo tempo que subvertiam as noções de autoria e de género na literatura.A ditadura do Estado Novo considerou o livro como “insanavelmente pornográfico e atentatório da moral pública”, abrindo um processo judicial contra as escritoras que ficaram ameaçadas com uma pena entre seis meses a dois anos de prisão. Seguiu-se uma onda de solidariedade internacional e o livro chegou a todo o mundo, incluindo a França, onde em 1974 é publicada a tradução de Monique Wittig e Evelyne Le Garrec.Mais de meio século depois, e perante uma edição há muito esgotada, surge agora nova tradução, “Nouvelles Lettres Portugaises”, de Ilda Mendes dos Santos e Agnès Levécot, editado pela Ypsilon, que chega às livrarias francesas a 7 de Maio e que é apresentada esta sexta-feira, 25 de Abril, em Paris.Fomos conversar com Agnès Levécot para perceber “o que podem [ainda] as palavras” das Três Marias.“Essa é uma pergunta complicada porque as próprias escritoras, as três, no fim do livro, ainda fazem a pergunta. Realmente um dos aspectos literários desta obra é o questionamento do acto da escrita e até ao fim, nas últimas cartas, elas continuam a pôr a questão ‘o que podem as palavras?' Quanto a nós, como tradutoras, chegámos à conclusão também que todos os aspectos políticos e históricos que são denunciados nas cartas continuam actuais. Esse é o problema. A questão do colonialismo continua actual. A questão da repressão continua. A questão feminista também. Estamos a ver, no mundo actual, um retrocesso em relação a esse aspecto. Portanto, continua completamente actual”, explica Agnès Levécot.Em plena ditadura, “Novas Cartas Portuguesas” era uma obra literária inédita que esbatia noções de autoria e de género e que era assinada colectivamente por três autoras que escreviam, sem tabus, sobre o corpo, o desejo, mas também sobre a violência de que eram vítimas as mulheres. Denunciavam, ainda, a guerra colonial, a pobreza, a emigração, a violação sexual, o incesto, o aborto clandestino. O livro era, assim, um perigo para o regime repressivo, retrógrado e fascista português. Pouco após o seu lançamento, em 1972, os exemplares foram recolhidos pela censura e o Estado português movia um processo judicial contra as “Três Marias”. Perante as ameaças de prisão e a tentativa de silenciamento das autoras, nasce um movimento de solidariedade internacional. Meses depois de ter sido publicado, em 1972, o livro chega às mãos da escritora francesa Christiane Rochefort e, através dela, ao grupo feminista Movimento de Libertação das Mulheres. Seguem-se várias acções de luta, nomeadamente em França, e que envolvem nomes como Simone de Beauvoir e Marguerite Duras. Há distribuição de panfletos, recolha de assinaturas para um abaixo-assinado entregue na Embaixada de Portugal em Paris e uma procissão de velas diante da Catedral de Notre-Dame. Outro momento emblemático é a leitura-espectáculo “La Nuit des Femmes”, a 21 de Outubro de 1973, no Palais de Chaillot, em Paris, que deu origem ao documentário “Les Trois Portugaises”, de Delphine Seyrig (1974).“Monique Wittig e Evelyne Le Garrec pegaram no texto e fizeram uma primeira tradução que foi publicada em 1974. Entretanto, tinha havido excertos traduzidos para artigos e espectáculos porque houve uma série de espectáculos e movimentações de apoio às Três Marias quando estavam no julgamento. Houve uma noite que ficou muito famosa que foi ‘La Nuit des Femmes' em que leram alguns excertos”, relembra Agnès Levécot, sublinhando que “o aspecto literário quase não foi abordado na altura”.O aspecto literário é precisamente “uma coisa fora do comum”, acrescenta a especialista em literatura lusófona. Três mulheres escrevem colectivamente uma obra literária e política, depois de terem publicado livros que não agradaram à ditadura patriarcal portuguesa. Maria Velho da Costa e Maria Isabel Barreno tinham lançado, em anos anteriores, livros que denunciavam a opressão e a secundarização da mulher: Maina Mendes (1969) e Os Legítimos Superiores (1970). Em 1971, Maria Teresa Horta também publicava Minha Senhora de Mim e escrevia abertamente sobre o desejo, algo considerado escandaloso pelos fascistas.“São três mulheres que já eram escritoras, que já tinham publicado obras bastante feministas, que se juntaram e decidiram escrever um livro a três. Começaram a reunir-se todas as semanas num restaurante em Lisboa. Todas as semanas traziam um texto que elas tinham escrito e trocavam ideias a propósito dos textos, mas não os modificavam. A certa altura, começaram a pensar na figura de Mariana Alcoforado, a religiosa portuguesa, e começaram a escrever cartas. Globalmente, são chamadas cartas, mas não são só cartas, tem vários géneros: poesia, ensaios, supostos artigos de jornal, textos teóricos... Elas escreveram cartas a uma Mariana, mas são as descendentes de Mariana, ou seja, as várias Marianas que vieram depois. Portanto, têm cartas de vários séculos a acompanhar o percurso de uma suposta Mariana”, acrescenta Agnès Levécot.No posfácio de “Nouvelles Lettres Portugaises”, Agnès Levecot e Ilda Mendes dos Santos recordam, justamente, a importância da figura de Mariana Alcoforado, suposta autora das “Cartas Portuguesas”, de 1669, “apresentada por alguns como o arquétipo da mulher portuguesa” e a partir da qual “as Três Marias trabalham a questão da autoridade e do poder, o exercício da violência e da dominação, assim como, o poder da palavra”.Agnès Levecot, que já tinha participado no livroNovas Caras Portuguesas entre Portugal e o Mundo, que foi publicado depois de uma pesquisa internacional sobre a recepção das "Novas Cartas Portuguesas" no mundo, foi convidada por llda Mendes dos Santos para se juntar a ela na tarefa de traduzir a obra. “As principais dificuldades estavam no facto de serem textos completamente diferentes do ponto de vista do género, da tonalidade, da língua usada. Portanto, temos textos a imitar o estilo do século XVII ou XVIII, e aí a Ilda teve um papel muito importante porque ela trabalha muito sobre esses séculos. Foi sobretudo adaptar-se, tentar encontrar um estilo para cada momento e cada época. Depois, nós íamos oferecer uma tradução francesa a franceses e forçosamente tínhamos que encontrar uma maneira de passar certos elementos históricos, geográficos, políticos para o público francês perceber, porque são textos que estão muito impregnados de referências intertextuais portuguesas e internacionais de textos muito conhecidos e outros muito menos conhecidos, mas bem conhecidos dos portugueses. Referências políticas, nomes também, ou seja, elementos que nos levaram a acrescentar 200 e tal notas no fim do livro”, acrescenta.“Nouvelles Lettres Portugaises” chega às livrarias francesas a 7 de Maio e é apresentada esta sexta-feira, 25 de Abril, na livraria Les Nouveautés, em Paris. Uma data simbólica para Agnès Levécot que estava em Portugal no 25 de Abril de 1974 e ainda guarda, em casa, um cravo desses tempos revolucionários que marcariam, para sempre, o seu percurso pessoal e profissional.

Harriett Gilbert talks with Michelle De Kretser about her 8th novel, and winner the 2023 Rathbones Folio Fiction Prize 'Scary Monsters'. This diptych novel consists of the tale of two immigrants, one in the past, and one in a dystopian future that seems all too possible. Which story to start with? That's the reader's decision. In the past, Lili. Her family migrated to Australia from Asia when she was a child. Now, in the 1980s, she teaches in Montpellier, in the south of France. Her life revolves around her desires to carve out a space for herself in ‘le centre historique', and become a great woman like Simone de Beauvoir. She tries to make friends, observes the treatment of other immigrants to France who don't have the shield of an Australian passport, and continually has to dodge her creepy downstairs neighbour, as stories of serial killers dominate news headlines. In the future, Lyle works for a government department in near-future Australia where Islam has been banned, a pandemic has only recently passed, and the elderly are encouraged to take advantage of ‘The Amendment' - a law that allows, if not encourages, assisted suicide. An Asian migrant, Lyle is terrified of repatriation and spends all his energy on embracing 'Australian values' - which in this future involve rampant consumerism, an obsession with the real estate market, and never mentioning the environmental catastrophe even as wildfires choke the air with a permanent smoke cloud. He's also preoccupied by his callously ambitious wife, his rebellious children and his elderly mother who refuses to capitulate to his desperate desire to invisibly blend in with society. We love it, not just because of the playful dual structure, but because Michelle's writing tackles the monsters - racism, misogyny, ageism - with keen observations and biting humour, shining a light not just on how society treats newcomers, but how we relate to our idea of our shared history, and what kind of future will be built from the world we live in now.

VIII En la Francia de entreguerras, en un pequeño rincón de Le Mans, se gestó una historia que con el paso del tiempo se convertiría en uno de los casos más perturbadores y enigmáticos del siglo XX. Una historia que, a pesar de haber sido juzgada y archivada hace casi un siglo, continúa inquietando a estudiosos, criminólogos, psicoanalistas y artistas por igual. Lo que sucedió aquella tarde de febrero no solo sacudió a una ciudad entera, sino que sacó a la luz la fragilidad del alma humana y las tensiones invisibles que pueden incubarse en el silencio de un hogar. El relato gira en torno a dos hermanas: Christine y Léa Papin. Huérfanas desde jóvenes, ambas ingresaron muy pronto en el mundo del servicio doméstico, encontrando finalmente empleo en una casa de aspecto burgués, habitada por una familia aparentemente respetable. Durante años, cumplieron sus labores con una disciplina casi mecánica, sin mayores sobresaltos. Pero bajo esa superficie tranquila, se tejía una red densa de emociones contenidas, sumisión, rigidez y aislamiento. La casa en la que trabajaban, si bien estable y ordenada hacia afuera, era una olla de presión. Las hermanas, especialmente Christine, mostraban una relación intensa, cerrada sobre sí misma, en la que los vínculos familiares se entrelazaban con una dependencia emocional casi absoluta. Léa, más joven, seguía a su hermana mayor con una devoción que iba más allá del simple lazo de sangre. Nadie en la casa parecía ver el abismo que se formaba entre las hermanas y el mundo exterior. El caso, que capturó la atención de la prensa nacional y luego internacional, generó un torrente de interpretaciones. ¿Fue un acto de locura súbita? ¿Una rebelión contra la opresión de clase? ¿O el estallido inevitable de una mente fracturada por años de servidumbre, silencio y dolor? El juicio fue breve, pero el eco de sus implicaciones resonó durante décadas. Filósofos como Jean-Paul Sartre, escritores como Simone de Beauvoir y directores como Jean Genet encontrarían en este caso un espejo oscuro del alma humana y de la sociedad de su tiempo. Más allá de los hechos concretos, el caso de las hermanas Papin es una grieta por la que se puede vislumbrar algo más profundo: la violencia estructural, la represión emocional, la desigualdad social y los límites difusos entre el amor, la dependencia y la locura. Este relato no es solo la historia de un crimen, sino de una tragedia larvada, en la que el verdadero horror no está en lo que se hizo, sino en cómo se llegó a ello. En este episodio, exploraremos no solo los acontecimientos, sino el contexto, las personalidades implicadas y el impacto que este caso tuvo —y sigue teniendo— en la cultura y el pensamiento. Porque a veces, lo más perturbador no está en el acto, sino en las sombras que lo preceden. HAZTE MECENAS, no dejes que La Biblioteca, cierre Nunca sus Puertas… Sigamos sumando en LLDLL, SUSCRIBETE en IVOOX y comparte. GRATITUD ESPECIAL: Siempre a los MECENAS. Sin ustedes… esto no sería posible. SARA SAEZ por no sólo poner la voz a las dos hermanas Papin, sino hacerlo de esta forma magistral. SUSCRIBETE AL CANAL DE TELEGRAM: https://t.me/LaLamadaDeLaLuna PUEDES VER ALGUNOS VIDEOS DE LLDLL: https://www.youtube.com/channel/UCEOtdbbriLqUfBtjs_wtEHw Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

VIII En la Francia de entreguerras, en un pequeño rincón de Le Mans, se gestó una historia que con el paso del tiempo se convertiría en uno de los casos más perturbadores y enigmáticos del siglo XX. Una historia que, a pesar de haber sido juzgada y archivada hace casi un siglo, continúa inquietando a estudiosos, criminólogos, psicoanalistas y artistas por igual. Lo que sucedió aquella tarde de febrero no solo sacudió a una ciudad entera, sino que sacó a la luz la fragilidad del alma humana y las tensiones invisibles que pueden incubarse en el silencio de un hogar. El relato gira en torno a dos hermanas: Christine y Léa Papin. Huérfanas desde jóvenes, ambas ingresaron muy pronto en el mundo del servicio doméstico, encontrando finalmente empleo en una casa de aspecto burgués, habitada por una familia aparentemente respetable. Durante años, cumplieron sus labores con una disciplina casi mecánica, sin mayores sobresaltos. Pero bajo esa superficie tranquila, se tejía una red densa de emociones contenidas, sumisión, rigidez y aislamiento. La casa en la que trabajaban, si bien estable y ordenada hacia afuera, era una olla de presión. Las hermanas, especialmente Christine, mostraban una relación intensa, cerrada sobre sí misma, en la que los vínculos familiares se entrelazaban con una dependencia emocional casi absoluta. Léa, más joven, seguía a su hermana mayor con una devoción que iba más allá del simple lazo de sangre. Nadie en la casa parecía ver el abismo que se formaba entre las hermanas y el mundo exterior. El caso, que capturó la atención de la prensa nacional y luego internacional, generó un torrente de interpretaciones. ¿Fue un acto de locura súbita? ¿Una rebelión contra la opresión de clase? ¿O el estallido inevitable de una mente fracturada por años de servidumbre, silencio y dolor? El juicio fue breve, pero el eco de sus implicaciones resonó durante décadas. Filósofos como Jean-Paul Sartre, escritores como Simone de Beauvoir y directores como Jean Genet encontrarían en este caso un espejo oscuro del alma humana y de la sociedad de su tiempo. Más allá de los hechos concretos, el caso de las hermanas Papin es una grieta por la que se puede vislumbrar algo más profundo: la violencia estructural, la represión emocional, la desigualdad social y los límites difusos entre el amor, la dependencia y la locura. Este relato no es solo la historia de un crimen, sino de una tragedia larvada, en la que el verdadero horror no está en lo que se hizo, sino en cómo se llegó a ello. En este episodio, exploraremos no solo los acontecimientos, sino el contexto, las personalidades implicadas y el impacto que este caso tuvo —y sigue teniendo— en la cultura y el pensamiento. Porque a veces, lo más perturbador no está en el acto, sino en las sombras que lo preceden. HAZTE MECENAS, no dejes que La Biblioteca, cierre Nunca sus Puertas… Sigamos sumando en LLDLL, SUSCRIBETE en IVOOX y comparte. GRATITUD ESPECIAL: Siempre a los MECENAS. Sin ustedes… esto no sería posible. SARA SAEZ por no sólo poner la voz a las dos hermanas Papin, sino hacerlo de esta forma magistral. SUSCRIBETE AL CANAL DE TELEGRAM: https://t.me/LaLamadaDeLaLuna PUEDES VER ALGUNOS VIDEOS DE LLDLL: https://www.youtube.com/channel/UCEOtdbbriLqUfBtjs_wtEHw

In this episode, we celebrate Women's History Month with words of wisdom from many powerful, brilliant, and inspiring women. Their poignant quotes provide lasting insight and inspiration for all women as we continue to work towards gender equity for all. These quotes and the resulting discussion come from a variety of women including women of color, women from the LGBTQ community, and women from countries across the globe. The quotes go as far back as the 1700s through current day. This is about the voice and inspiration of ALL women. From Abigail Adams, Susan B. Anthony and Lucrecia Mott to Gloria Steinem, Alice Walker, and Audre Lorde, to Doria Shafik, Raicho Hiratsuka, and Simone de Beauvoir to Maya Angelou and Emma Watson – you won't want to miss this inspiration and insight FROM warrior women, FOR warrior women. #womenshistorymonth For more information on Dr. Kimberly DeSimone or the Advancing Women Podcast:   Instagram: https://www.instagram.com/advancingwomenpodcast/ Facebook: https://www.facebook.com/advancingwomenpodcast Advancing Women Podcast Website: https://advancingwomenpodcast.com/ LinkedIn: https://www.linkedin.com/in/kimberly-desimone-phd-mba-ba00b88/

This week Amanda and Victoria explore Simone de Beauvoir's exploration of women, The Second Sex, and discuss intersectionality and a whole blend of modern-day f**kery.

durée : 00:11:14 - L'Avant-scène - par : Aurélie Charon - Marie Fortuit adapte et met en scène "Thérèse et Isabelle" de Violette Leduc, écrit entre 1948 et 1951. Le roman sur l'amour fou entre deux adolescentes est censuré à l'époque. La pièce met en scène le roman et le lien entre Violette Leduc et Simone de Beauvoir. - réalisation : Alexandre Fougeron - invités : Marie Fortuit autrice, comédienne et metteuse en scène

Imagine a machine deciding who gets life-saving surgery in a split-second, armed with endless data and razor-sharp logic. No hesitation, no bias, no emotional baggage. Sounds like a dream... or does it? What do you think: does AI make better decisions than humans? Well, it's true that there are no existential crises or coffee breaks for our robot friends. They're brilliant at optimize outcomes by crunching numbers, without getting tired, distracted, or irrational. Some chatbots actually even give good moral advice (one could say better than some philosophers?

Stef en Jan vertellen de reden van hun afwezigheid, maar zaten niet stil op ergernisgebied. Meghan Markle heeft een nieuw knutselprogramma en Janneke kreeg een heel speciaal verzoek voor het boekenbal. Stef ging kleding afleveren bij een vintagewinkel, een bezoek waar ze nog lang aan zal terugdenken. Jan neemt het op voor Propria Cures en vindt de UvA een sulletje. Het inzicht van de week gaat over mansplaining. De warme boodschappen zijn voor fijnproevers.

Le couple est aussi un lieu de résistance et d'engagement pour les femmes. A l'occasion de la Journée internationale des droits des femmes le 8 mars, Bababam vous plonge dans l'histoire de ces couples d'exception comme Marie et Pierre Curie, Frida Khalo et Diego Rivera, Virginia Woolf et Vita Sackville West, ou encore Lee Miller et Man Ray... des couples au sein desquels l'épanouissement de la femme et lutte pour ses droits ont été primordiaux. 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 Première diffusion : 14 mai 2021 Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:28:05 - Les Midis de Culture - par : Marie Labory - Imaginé comme un voyage initiatique aux origines de la pensée de Simone de Beauvoir, le documentaire explore l'impact, les fulgurances mais aussi les points aveugles du "Deuxième Sexe", œuvre fondatrice du féminisme contemporain. - réalisation : Laurence Malonda - invités : Nathalie Masduraud Réalisatrice de documentaires; Valérie Urrea Réalisatrice

durée : 00:58:23 - Avec philosophie - par : Géraldine Muhlmann, Nassim El Kabli - Depuis la publication du "Deuxième sexe", Beauvoir a fait couler beaucoup d'encres. Entre scandale et reconnaissance, Beauvoir a touché un grand public. Beauvoir a-t-elle encore une place dans les débats féministes d'aujourd'hui ? - réalisation : Nicolas Berger - invités : Geneviève Fraisse Philosophe de la pensée féministe, directrice de recherche émérite au CNRS; Marine Rouch Historienne des féminismes et du genre, spécialiste de Simone de Beauvoir et de ses correspondances avec son lectorat

Le couple est aussi un lieu de résistance et d'engagement pour les femmes. A l'occasion de la Journée internationale des droits des femmes le 8 mars, Bababam vous plonge dans l'histoire de ces couples d'exception comme Marie et Pierre Curie, Frida Khalo et Diego Rivera, Virginia Woolf et Vita Sackville West, ou encore Lee Miller et Man Ray... des couples au sein desquels l'épanouissement de la femme et lutte pour ses droits ont été primordiaux. Un amant pour se sentir plus libre ? C'est la femme forte, libre, par excellence. L'éminence féministe et existentialiste. Son fameux turban, ses grandes boucles d'oreilles et sa relation si spéciale avec Sartre. Mais Simone de Beauvoir a aimé un autre homme, avec une intensité toute particulière : Nelson Algren. Un podcast Bababam Originals Ecrit et raconté par Alice Deroide Première diffusion : 14 février 2019 Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:58:20 - Avec philosophie - par : Géraldine Muhlmann, Nassim El Kabli - Dans ses écrits de jeunesse, Simone de Beauvoir manifestait déjà un intérêt et un élan pour l'autre. Prenant acte de la pensée existentialiste, elle développera par la suite une conception ambitieuse du rapport autrui et de la responsabilité. - réalisation : Nicolas Berger - invités : Natalie Depraz Professeure de philosophie à l'Université Paris-Nanterre, membre universitaire des Archives Husserl; Sylvie Le Bon de Beauvoir Professeure de philosophie et éditrice française

durée : 00:58:33 - Avec philosophie - par : Géraldine Muhlmann, Nassim El Kabli - Beauvoir publie le Deuxième Sexe en 1949 : à cette époque, elle ne se dit pas encore féministe mais plutôt socialiste. Si elle oppose d'abord ces deux formes d'engagement politique, elle assume après mai 68 un féminisme socialiste et matérialiste. - réalisation : Nicolas Berger - invités : Michel Kail Professeur agrégé de philosophie, co-directeur de la revue L'Homme et la Société; Mimose André ancienne élève de l'Ecole normale supérieure de Port-au-Prince, docteur en philosophie de l'université Paris 8

durée : 00:58:37 - Avec philosophie - par : Géraldine Muhlmann, Nassim El Kabli - D'abord proche de l'existentialisme de Jean-Paul Sartre, Simone de Beauvoir a peu à peu développé son propre existentialisme afin de pouvoir penser la condition des femmes. - réalisation : Nicolas Berger - invités : Michèle Le Doeuff Philosophe; Shaïma Giboire Collaboratrice à France Culture

https://youtu.be/0SSL_XThHdQ Podcast audio: A new ARI podcast series gives you a window into ARI's educational programs by showcasing our faculty as they discuss books of recent interest. The series, the ARI Bookshelf, premiered on August 6 with an episode discussing Wolfram Eilenberger's book The Visionaries. Panelists included Ben Bayer, Jason Rheins, Greg Salmieri, and Shoshana Milgram. The visionaries of the book's title are four mid-twentieth century female philosophers: Simone de Beauvoir, Hannah Arendt, Simone Weil, and Ayn Rand. Through interweaving biographies of these four figures, the book aims to show, as its subtitle puts it, “the power of philosophy in dark times.” According to Ben Bayer, “this was a very interesting book to read, especially because of the kind of novelistic quality of it, where you're not just reading about their ideas, but you're seeing what's happening in their lives […] against the backdrop of some pretty dramatic geopolitical events of the period.” Among the topics covered: Panelists' general takes on the book; How Simone Weil's philosophy causes her to martyr herself; The thematic unity of the four figures; The significance of the four figures being women; The book's sloppy treatment and misrepresentation of Rand; How the book whitewashes evil; Why the book may be worth reading. The video premiered on August 6, 2024.

Political Theorist Davide Panagia (UCLA) has two new books out focusing on the broader themes and ideas of film, aesthetics, and political theory. Sentimental Empiricism: Politics, Philosophy, and Criticism in Postwar France (Fordham University Press) interrogates French history and educational traditions from the Revolution through the postwar period and analyzes the cultural, social, political, and educational parameters that created the space for the French postwar political thinkers. In Sentimental Empiricism, Panagia explores the many directions of critical thought by Jean Wahl, Simone de Beauvoir, Gilbert Simondon, Gilles Deleuze, and Michel Foucault and how these theorists were pushing against, in many ways, the teleological structure as defined by Aristotle two millennia ago. This contrast in thinking is the heart of the book, helping the reader to consider distinctions between the more fixed classical ideas and a contemporary consideration of dispositionality and revisability. The research and broader historical sketch in Sentimental Empiricism leads to the thrust of Intermedialities: Political Theory and Cinematic Experience (Northwestern UP, 2024). In Intermedialities (Northwestern UP, 2024), Panagia continues to explore this concept of the revisability of our understanding of the world, and turns the specific focus to film. Film itself, as a medium and as a conveyor of ideas, is rarely at the center of discussions of politics and power. And yet this is the exact place where humans (audiences) can see movement, which is what we are always observing around us to contribute to how we essentially make sense of the world. Intermedialities compels the intertwining of political theory and the theory of film, with encounters between contemporary aesthetic theorists like Stanley Cavell, Gilles Deleuze, Miriam Hansen, and Jean-Luc Godard and more traditional modern thinkers like David Hume, Ludwig Wittgenstein, and Gilbert Simondon. Intermedialities should be of particular interest to political theorists and political scientists since it posits the importance of understanding and thinking about the life and world around us and how we are all connected to taking in this life as movement. The medium of film, which provides us with concepts, images, imaginaries, and perceptions, contributes to so much of our memory and imagination, but is often dismissed as not “real” politics. Panagia and the theorists with whom he is thinking help to tease out the very political nature of the projection of moving images. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. 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

(REPEAT SHOW) Tiokasin Ghosthorse's guest for the full hour is Dr. Emma McNicol. Emma is a feminist philosopher and expert on Simone de Beauvoir. She works at the nexus of race, culture and gender theory, examining themes of exclusion and intersectionality in historical and contemporary feminist theory. Emma is the Senior Project Coordinator of Fire to Flourish's National Indigenous Disaster Resilience program, a project exploring Indigenous leadership in the face of natural hazards intensified by climate crisis. Recommended reading: https://bit.ly/3qW7Q4aProduction Credits:Tiokasin Ghosthorse (Lakota), Host and Executive ProducerLiz Hill (Red Lake Ojibwe), ProducerMalcolm Burn, Studio Engineer, Radio Kingston, WKNY 1490 AM and 107.9 FM, Kingston, NYManuel Blas, Engineer, Radio Kingston, WKNY 1490 AM and 107.9 FM, Kingston, NYTiokasin Ghosthorse, Audio EditorMusic Selections:1. Song Title: Tahi Roots Mix (First Voices Radio Theme Song)Artist: Moana and the Moa HuntersAlbum: Tahi (1993)Label: Southside Records (Australia and New Zealand)2.Song Title: Feels Like SummerArtist: Donald Glover - Childish GambinoAlbum: Summer Pack (2018)Label: Wolf + Rothstein/RCA Records3. Song Title: Your Freedom is the End of MeArtist: Melanie De BiasoAlbum: Lilies (2017)Label: [PIAS] Le Label4. Song Title: Harvest Moon (by Neil Young)Artist: The Brothers Comatose (feat. AJ Lee and Blue Summit)Single: 2022Label: Universal Music AustraliaAbout First Voices Radio:"First Voices Radio," now in its 32nd year on the air, is an internationally syndicated one-hour radio program originating from and heard weekly on Radio Kingston WKNY 1490 AM and 107.9 FM in Kingston, New York. Hosted by Tiokasin Ghosthorse (Lakota), who is the show's Founder and Executive Producer, "First Voices Radio" explores global topics and issues of critical importance to the preservation and protection of Mother Earth presented in the voices and from the perspective of the original peoples of the world.Akantu Intelligence:Visit Akantu Intelligence, an institute that Tiokasin founded with a mission of contextualizing original wisdom for troubled times. Go to https://akantuintelligence.org to find out more and consider joining his Patreon page at https://www.patreon.com/Ghosthorse

Elle est actuellement en tournée avec « Phèdre », mis en scène par Anne-Laure Liégeois, et au cinéma dans « La Mer au loin », de Saïd Hamich, qui retrace le parcours d'intégration d'un jeune immigré marocain. Anna Mouglalis nous reçoit à cette occasion dans son appartement parisien du 9e arrondissement. L'actrice, à la voix grave et singulière, raconte sa jeunesse à Nantes, où chaque mercredi, elle se rendait au cinéma.Révélée au grand public dans « Merci pour le chocolat », de Claude Chabrol en 2000, Anna Mouglalis a incarné des destins de femmes qui ont marqué leur époque, de Coco Chanel à Juliette Gréco, en passant par Simone de Beauvoir. Elle a aussi été une figure de la série politique « Le Baron noir », pendant trois saisons, où elle devient présidente de la République.Dans cet épisode du « Goût de M », elle se confie sur son amitié avec le couturier Karl Lagerfeld et son engagement pour les droits des femmes. En décembre 2024, elle a ainsi témoigné devant la commission d'enquête relative aux violences commises dans les secteurs du cinéma et de l'audiovisuel à l'Assemblée nationale.Depuis six saisons, la journaliste et productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal) préparé avec l'aide de Diane Lisarelli et Juliette SavardRéalisation : Emmanuel BauxMusique : Gotan Project Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

Political Theorist Davide Panagia (UCLA) has two new books out focusing on the broader themes and ideas of film, aesthetics, and political theory. Sentimental Empiricism: Politics, Philosophy, and Criticism in Postwar France (Fordham University Press) interrogates French history and educational traditions from the Revolution through the postwar period and analyzes the cultural, social, political, and educational parameters that created the space for the French postwar political thinkers. In Sentimental Empiricism, Panagia explores the many directions of critical thought by Jean Wahl, Simone de Beauvoir, Gilbert Simondon, Gilles Deleuze, and Michel Foucault and how these theorists were pushing against, in many ways, the teleological structure as defined by Aristotle two millennia ago. This contrast in thinking is the heart of the book, helping the reader to consider distinctions between the more fixed classical ideas and a contemporary consideration of dispositionality and revisability. The research and broader historical sketch in Sentimental Empiricism leads to the thrust of Intermedialities: Political Theory and Cinematic Experience (Northwestern UP, 2024). In Intermedialities (Northwestern UP, 2024), Panagia continues to explore this concept of the revisability of our understanding of the world, and turns the specific focus to film. Film itself, as a medium and as a conveyor of ideas, is rarely at the center of discussions of politics and power. And yet this is the exact place where humans (audiences) can see movement, which is what we are always observing around us to contribute to how we essentially make sense of the world. Intermedialities compels the intertwining of political theory and the theory of film, with encounters between contemporary aesthetic theorists like Stanley Cavell, Gilles Deleuze, Miriam Hansen, and Jean-Luc Godard and more traditional modern thinkers like David Hume, Ludwig Wittgenstein, and Gilbert Simondon. Intermedialities should be of particular interest to political theorists and political scientists since it posits the importance of understanding and thinking about the life and world around us and how we are all connected to taking in this life as movement. The medium of film, which provides us with concepts, images, imaginaries, and perceptions, contributes to so much of our memory and imagination, but is often dismissed as not “real” politics. Panagia and the theorists with whom he is thinking help to tease out the very political nature of the projection of moving images. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

Political Theorist Davide Panagia (UCLA) has two new books out focusing on the broader themes and ideas of film, aesthetics, and political theory. Sentimental Empiricism: Politics, Philosophy, and Criticism in Postwar France (Fordham University Press) interrogates French history and educational traditions from the Revolution through the postwar period and analyzes the cultural, social, political, and educational parameters that created the space for the French postwar political thinkers. In Sentimental Empiricism, Panagia explores the many directions of critical thought by Jean Wahl, Simone de Beauvoir, Gilbert Simondon, Gilles Deleuze, and Michel Foucault and how these theorists were pushing against, in many ways, the teleological structure as defined by Aristotle two millennia ago. This contrast in thinking is the heart of the book, helping the reader to consider distinctions between the more fixed classical ideas and a contemporary consideration of dispositionality and revisability. The research and broader historical sketch in Sentimental Empiricism leads to the thrust of Intermedialities: Political Theory and Cinematic Experience (Northwestern UP, 2024). In Intermedialities (Northwestern UP, 2024), Panagia continues to explore this concept of the revisability of our understanding of the world, and turns the specific focus to film. Film itself, as a medium and as a conveyor of ideas, is rarely at the center of discussions of politics and power. And yet this is the exact place where humans (audiences) can see movement, which is what we are always observing around us to contribute to how we essentially make sense of the world. Intermedialities compels the intertwining of political theory and the theory of film, with encounters between contemporary aesthetic theorists like Stanley Cavell, Gilles Deleuze, Miriam Hansen, and Jean-Luc Godard and more traditional modern thinkers like David Hume, Ludwig Wittgenstein, and Gilbert Simondon. Intermedialities should be of particular interest to political theorists and political scientists since it posits the importance of understanding and thinking about the life and world around us and how we are all connected to taking in this life as movement. The medium of film, which provides us with concepts, images, imaginaries, and perceptions, contributes to so much of our memory and imagination, but is often dismissed as not “real” politics. Panagia and the theorists with whom he is thinking help to tease out the very political nature of the projection of moving images. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Political Theorist Davide Panagia (UCLA) has two new books out focusing on the broader themes and ideas of film, aesthetics, and political theory. Sentimental Empiricism: Politics, Philosophy, and Criticism in Postwar France (Fordham University Press) interrogates French history and educational traditions from the Revolution through the postwar period and analyzes the cultural, social, political, and educational parameters that created the space for the French postwar political thinkers. In Sentimental Empiricism, Panagia explores the many directions of critical thought by Jean Wahl, Simone de Beauvoir, Gilbert Simondon, Gilles Deleuze, and Michel Foucault and how these theorists were pushing against, in many ways, the teleological structure as defined by Aristotle two millennia ago. This contrast in thinking is the heart of the book, helping the reader to consider distinctions between the more fixed classical ideas and a contemporary consideration of dispositionality and revisability. The research and broader historical sketch in Sentimental Empiricism leads to the thrust of Intermedialities: Political Theory and Cinematic Experience (Northwestern UP, 2024). In Intermedialities (Northwestern UP, 2024), Panagia continues to explore this concept of the revisability of our understanding of the world, and turns the specific focus to film. Film itself, as a medium and as a conveyor of ideas, is rarely at the center of discussions of politics and power. And yet this is the exact place where humans (audiences) can see movement, which is what we are always observing around us to contribute to how we essentially make sense of the world. Intermedialities compels the intertwining of political theory and the theory of film, with encounters between contemporary aesthetic theorists like Stanley Cavell, Gilles Deleuze, Miriam Hansen, and Jean-Luc Godard and more traditional modern thinkers like David Hume, Ludwig Wittgenstein, and Gilbert Simondon. Intermedialities should be of particular interest to political theorists and political scientists since it posits the importance of understanding and thinking about the life and world around us and how we are all connected to taking in this life as movement. The medium of film, which provides us with concepts, images, imaginaries, and perceptions, contributes to so much of our memory and imagination, but is often dismissed as not “real” politics. Panagia and the theorists with whom he is thinking help to tease out the very political nature of the projection of moving images. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Political Theorist Davide Panagia (UCLA) has two new books out focusing on the broader themes and ideas of film, aesthetics, and political theory. Sentimental Empiricism: Politics, Philosophy, and Criticism in Postwar France (Fordham University Press) interrogates French history and educational traditions from the Revolution through the postwar period and analyzes the cultural, social, political, and educational parameters that created the space for the French postwar political thinkers. In Sentimental Empiricism, Panagia explores the many directions of critical thought by Jean Wahl, Simone de Beauvoir, Gilbert Simondon, Gilles Deleuze, and Michel Foucault and how these theorists were pushing against, in many ways, the teleological structure as defined by Aristotle two millennia ago. This contrast in thinking is the heart of the book, helping the reader to consider distinctions between the more fixed classical ideas and a contemporary consideration of dispositionality and revisability. The research and broader historical sketch in Sentimental Empiricism leads to the thrust of Intermedialities: Political Theory and Cinematic Experience (Northwestern UP, 2024). In Intermedialities (Northwestern UP, 2024), Panagia continues to explore this concept of the revisability of our understanding of the world, and turns the specific focus to film. Film itself, as a medium and as a conveyor of ideas, is rarely at the center of discussions of politics and power. And yet this is the exact place where humans (audiences) can see movement, which is what we are always observing around us to contribute to how we essentially make sense of the world. Intermedialities compels the intertwining of political theory and the theory of film, with encounters between contemporary aesthetic theorists like Stanley Cavell, Gilles Deleuze, Miriam Hansen, and Jean-Luc Godard and more traditional modern thinkers like David Hume, Ludwig Wittgenstein, and Gilbert Simondon. Intermedialities should be of particular interest to political theorists and political scientists since it posits the importance of understanding and thinking about the life and world around us and how we are all connected to taking in this life as movement. The medium of film, which provides us with concepts, images, imaginaries, and perceptions, contributes to so much of our memory and imagination, but is often dismissed as not “real” politics. Panagia and the theorists with whom he is thinking help to tease out the very political nature of the projection of moving images. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Nous sommes en 1977. Dans son ouvrage intitulé « Le Journal en partie double », Suzanne Lilar écrit : « Ce qui est meurtrier pour l'amour, c'est la confusion qui s'opère entre la libre subordination de l'amoureuse et la soumission morale et sociale de la femme à l'homme, voire à l'époux détenteur de l'autorité maritale. » L'amour constitue l'un des pivots autour desquels l'écrivaine, née à Gand, a articulé toute son œuvre. Une conception originale, avant-gardiste, de ce que sont, intrinsèquement, les femmes et les hommes. Une conception qui fait de l'autrice de « La confession anonyme », adaptée au cinéma par André Delvaux sous le titre de « Benvenuta », une féministe singulière ayant pris ses distances avec Simone de Beauvoir. Selon Lilar, la véritable égalité entre les sexes ne s'obtient pas en niant le féminin mais en faisant appel à ce qu'elle nomme la « bisexualité », à savoir la complémentarité des deux pôles. Aujourd'hui , le nom de Suzanne Lilar nous est vaguement familier mais lit-on encore son œuvre et que savons-nous de son inspiration ? A la fois mystique et païenne, flamande et francophone, celle d'une avocate et d'une femme au foyer. Née au tout début du 20e siècle, elle en fera, pratiquement la clôture, tirant sa révérence en 1992. Qu'a-t-elle encore à nous dire ? En quoi est-elle actuelle ? Laurence Boudart, docteure en lettres modernes, dirige les « Archives & Musée de la Littérature » dont la mission est la conservation et la valorisation des archives des écrivains belges francophones. Sujets traités : Suzanne Lilar, féminisme, écrivaine, Gand, André Delvaux, Benvenuta, Simone de Beauvoir, bisexualité 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.

Paul Smaldino is an explorer. That might seem like an odd way to describe a professor of cognitive science, but anyone who has glanced at his biography will recognize that he lives his life in exploration. His scholarship as his life are inspiration for keeping the lines of inquiry wide open and the things we can discover in doing so.Origins Podcast WebsiteFlourishing Commons NewsletterShow Notes:The Dancing Wu Li Masters (08:00)The Quantum and the Lotus (12:30)Sagehood (15:00)J. Krishnamurti and David Bohm (17:00)Simone de Beauvoir (18:00)Science as an ongoing process of flourishing (18:15)Jeffrey Shank (26:00)Richard McElreath (27:40)"Cultural group selection plays an essential role in explaining human cooperation" Richardson et al. (28:00)"Social conformity despite individual preferences for distinctiveness" (35:00)"Maintaining transient diversity is a general principle for improving collective problem solving" Smaldino et al. (38:00)Philip Kitcher (46:00)explore-exploit tradeoff (46:10)replication crisis (49:00)The Knowledge Machine Strevens (50:30)"Echo chambers and epistemic bubbles" by C Thi Nguyen (53:00)"Interdisciplinarity can aid the spread of better methods between scientific communities" Smaldino and O'Connor (56:00)Wicked problems (56:30)C Thi Nguyen on Origins (57:00)Flourishing (58:00)Lightning round (01:05:00):Book: Dune by Frank Herbert or Culture and the Evolutionary Process by Boyd and RichersonPassion: film and musicHeart sing: two kidsFind Paul online: WebsiteLogo artwork by Cristina GonzalezMusic by swelo on all streaming platforms or @swelomusic on social media

What makes Simone de Beauvoir one of the most influential thinkers of the 20th century? In this episode of Join Us in France, titled Simone de Beauvoir: Life, Legacy, and Controversies, host Annie Sargent and guest Elyse Rivin delve into the extraordinary life of this feminist icon, philosopher, and writer. Whether you've read her groundbreaking work The Second Sex or are curious about her impact on women's rights and existential philosophy, this episode offers something for everyone. Get the podcast ad-free Annie and Elyse explore de Beauvoir's early life in a conservative Catholic family, her intellectual partnership with Jean-Paul Sartre, and her rise as a leading voice in feminist thought. They discuss her prolific writing, including her acclaimed novels and controversial essays, and how her work challenged societal norms about women, equality, and freedom. From her intellectual pursuits to her complex personal life, Simone de Beauvoir's story is as inspiring as it is thought-provoking. This episode also touches on de Beauvoir's political views, her role in post-World War II intellectual circles, and her lasting influence on modern feminism. Whether you're a history enthusiast or a fan of French culture, this conversation will give you fresh insights into a truly remarkable figure. Don't miss this engaging episode. Tune in to learn more about Simone de Beauvoir's legacy and discover why her ideas still resonate today. Listen now! Table of Contents for this Episode Today on the podcast Podcast supporters The Magazine segment Introduction and Today's Topic Simone de Beauvoir: Early Life and Education Literary Achievements and Influences Simone de Beauvoir Was a Polymath Philosophical Pursuits and Teaching Career Personal Life and Relationships Feminist Ideals and Controversies Impact and Legacy Love and Intellectual Partnerships Simone de Beauvoir's Controversial Radio Vichy Work French Resistance and Existentialism Sartre and the Philosophy of Existentialism Post-War Influence and The Second Sex Simone de Beauvoir's Feminist Legacy Communist Sympathies and Intellectual Circles Anti-Colonialism and Women's Rights Activism Reflections on Simone de Beauvoir's Impact Places to Visit in the Footsteps of Simone de Beauvoir Thank you Patrons! Review Les Halles New Holiday Rental Regulations in France Copyright More episodes about French history

Amy Aronson is an Associate Professor of Journalism and Media Studies at Fordham University and former editor at Working Woman and Ms. magazines. Her biography Chrystal Eastman: A Revolutionary Life (Oxford University Press, 2019) gives us the life of a women's rights activist, labor lawyer, radical pacifist, writer and co-founder of what became the Civil Liberties Union. Her life was shaped by key relationships including with her mother Annis Ford Eastman and a close relationship with her brother Max Eastman, editor of the socialist magazine The Masses. Subsequently with her brother, she would launch The Liberator. Eastman spoke and wrote about a variety of social and political problems and was threatened by censorship and economic hardship. One of her chief concerns was how women could combine meaningful work with family life based on egalitarian ideals of independence and freedom. She attempted to live out her feminist ideals by redefining her marriage, motherhood and career. Chrystal Eastman: A Revolutionary Life offers a vivid portrait of a modern feminist navigating the hazards of private and public life as it unfolded in the progressive era. Lilian Calles Barger is a cultural, intellectual and gender historian. Her most recent book is entitled The World Come of Age: An Intellectual History of Liberation Theology (Oxford University Press, 2018). Her current research project is on the cultural history of feminist thought seen through the emblematic life and work of Simone de Beauvoir. 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

Amy Aronson is an Associate Professor of Journalism and Media Studies at Fordham University and former editor at Working Woman and Ms. magazines. Her biography Chrystal Eastman: A Revolutionary Life (Oxford University Press, 2019) gives us the life of a women's rights activist, labor lawyer, radical pacifist, writer and co-founder of what became the Civil Liberties Union. Her life was shaped by key relationships including with her mother Annis Ford Eastman and a close relationship with her brother Max Eastman, editor of the socialist magazine The Masses. Subsequently with her brother, she would launch The Liberator. Eastman spoke and wrote about a variety of social and political problems and was threatened by censorship and economic hardship. One of her chief concerns was how women could combine meaningful work with family life based on egalitarian ideals of independence and freedom. She attempted to live out her feminist ideals by redefining her marriage, motherhood and career. Chrystal Eastman: A Revolutionary Life offers a vivid portrait of a modern feminist navigating the hazards of private and public life as it unfolded in the progressive era. Lilian Calles Barger is a cultural, intellectual and gender historian. Her most recent book is entitled The World Come of Age: An Intellectual History of Liberation Theology (Oxford University Press, 2018). Her current research project is on the cultural history of feminist thought seen through the emblematic life and work of Simone de Beauvoir. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

“All the natural movements of the soul are controlled by laws analogous to those of physical gravity. Grace is the only exception.” … “It is necessary to uproot oneself. To cut down the tree and make of it a cross, and then to carry it every day.” … “I have to imitate God who infinitely loves finite things in that they are finite things.” … “To know that what is most precious is not rooted in existence—that is beautiful. Why? It projects the soul beyond time.”(Simone Weil, Gravity & Grace)“That's how the figure of Christ comes into this idea of the madness of love. It's that kind of mad, self emptying act completely. And it's the  one thing, she says, it's the only thing that means that you  are able to love properly. Because to love properly, and therefore to be just properly, you have to love like Christ does. Which is love to the extent that you, that you empty yourself and, you know, die on a cross.” (Deborah Casewell, from this episode)This is the third installment of a short series on How to Read Simone Weil—as the Mystic, the Activist, and the Existentialist.This week, Evan Rosa invites Deborah Casewell, Associate Professor of Philosophy at the University of Chester, author of Monotheism & Existentialism, and Co-Director of the Simone Weil Research Network in the U.K.—to explore how to read Simone Weil the Existentialist.Together they discuss how her life of extreme self-sacrifice importantly comes before her philosophy; how to understand her central, but often confusing concept of decreation; her approach to beauty as the essential human response for finding meaning in a world of force and necessity; the madness of Jesus Christ as the only way to engage in struggle for justice and how she connects that to the Greek tragedy of Antigone, which is the continuation of the Oedipus story; and, the connection between love, justice, and living a life of madness.About Simone WeilSimone Weil (1909–1943) was a French philosopher, mystic, and political activist. She's the author of Gravity and Grace, The Need for Roots, and Waiting for God—among many other essays, letters, and notes.About Deborah CasewellDeborah Casewell is Associate Professor of Philosophy at the University of Chester, author of Monotheism & Existentialism, and is Co-Director of the Simone Weil Research Network in the U.K.Show NotesSimone Weil's Gravity & Grace (1947) (Available Online)Deborah Casewell's Monotheism & ExistentialismSimone de Beauvoir's anecdote in Memories of a Beautiful Daughter: “Shouldn't we also get people's minds, not just their bodies? Weil: “You've never been hungry have you?”Leon Trotsky yells violently at WeilThe odd idolizing of Weil without paying attention to her writing”You get a kind of, as you say, a kind of odd idolization of her, or a sense in which  you can't then interact so critically   or systematically with her philosophy, because her figure stands in the way so much, and the kind of the respect that people have.”Anti-Semitism despite JewishnessSimone Weil's relationship to food: an unhealthy role model“She'd reject anything that wasn't perfect.”Extreme germophobeExpression of solidarity with the unfortunateHer life comes before her philosophy. Being, you might say, comes before thinking.Weil's life of extreme self-sacrifice as “mad”—alienating, insane, strange to the outside world.“ I think an essential part of, to an essential part of understanding her is to understand that   world is kind of structured and  set up in such a way that it runs without God, without the supernatural, God's kind of abdicated through the act of creation. And as a result, the universe operates through necessity and through force. So left to its own devices, the universe, I think, tends towards crushing people.”Abandonment vs abdicationPeople possess power and ability and action—a tension between activity and passivityWeil's Marxism and theory of labor and workActivity becomes sustained passivityConsent, power, and the social dynamics of force and necessityI think she sees the best human existence is to be in a state of obedience instead. And so what you have to do is relinquish power over people.The complexity of human relationships“She was a very individual person … a singular, individual life.”The Need for Roots“And this is what I do like about Simone Weil—is that she's always happy to let contradictions exist. And so when she describes human nature and the needs of the soul, they're contradictory. They all contradict each other. It's freedom and obedience.”Creating dualismsShe is a dualistSimone Weil on Beauty and Decreation”Decreation is essentially your way to exist in the world ruled by force and necessity without succumbing  to force and necessity, because in a way there's less  of you to succumb to force and necessity.”Platonic idea of MetaxuWeil on the human experience of beauty—” people need beautiful things and they need experiences of beauty in order to exist in the world, fundamentally… if this world is ruled by force and necessity.”The unity of the transcendentals of beauty and truth and goodness—anchored in GodWeil's PlatonismWeil as religious existentialist, as opposed to French atheistic existentialist“ For her, God is the ultimate reality, but also God is love. And so the goal of human existence, I think, is to return to God and consent to God. That's the goal of human life.”“What are you paying attention to?”The madness of ChristThe struggle for justice“Only a few people have this desire for justice, this madness to love.”Existentialism and Humanism: “Sartre says that  man is nothing but what he makes of himself.”Making oneself an example“The real supernatural law, which is mad and unreasonable, and it doesn't try to make accommodations and get on with the world and deal with tricky situations. It's just mad.”Simone Weil on Antigone and the continuation of the Oedipus storySummary of the Greek tragedy, Antigone“And so Antigone says, the justice that I owe is not to the city. It's not so that the city can, you know, continue its life and move on. The justice that I owe is to the supernatural law, to these more important primordial laws that actually govern the  life and death situations and the situation of your soul as well. And that's why she does what she does. She's obedient to the unwritten law rather than the written law.”“The love of God and the justice of God is always going to be mad in the eyes of the world.””The spirit of justice is nothing other than the supreme and perfect flower of the madness of love.”The mad, self-emptying love of Christ“That's how the figure of Christ comes into this idea of the madness of love. It's that kind of mad, self emptying act completely. And it's the  one thing, she says, it's the only thing that means that you  are able to love properly. Because to love properly, and therefore to be just properly, you have to love like Christ does. Which is love to the extent that you, that you empty yourself and, you know, die on a cross.”Does Weil suggest an unhealthy desire to suffer?“ It hurls one into risks one cannot run. If one has given one's heart to anything at all that belongs to this world. Um, and the outcome to which the madness of love led Christ is, after all, no recommendation for it.”“But if the order of the universe is a wise order, there must sometimes be moments when, from the point of view of earthly reason, only the madness of love is reasonable. Such moments can only be those when, as today, mankind has become mad from want of love. Is it certain today that the madness of love may not be capable of providing the unhappy masses, hungry in body and soul, with a food far easier for them to digest than our inspirations to a less lofty source? So then, being what we are, is it certain that we are at our post in the camp of justice?”“ From a loftier view, only the madness of love is reasonable.”“Only the madness of love can be the kind of love that actually helps people in the world. Fundamentally, that people, even though they know it's mad, and they find it mad, and they would sometimes rather not see it, they need that kind of love, and they need people who love in that kind of way. Even if it's not the majority, people still  need that. And so in some way, the way in which  she is, and the way in which she sees Christ being, is indispensable. Even though the path that you have to go down has nothing to recommend, as she says, in the eyes of the reasonable world, nothing to recommend it. It's the only just thing to do. It's the only just and loving thing to do in the end.”Production NotesThis podcast featured Deborah CasewellEdited and Produced by Evan RosaHosted by Evan RosaProduction Assistance by Macie Bridge, Alexa Rollow, Emily Brookfield, and Zoë HalabanA Production of the Yale Center for Faith & Culture at Yale Divinity School https://faith.yale.edu/aboutSupport For the Life of the World podcast by giving to the Yale Center for Faith & Culture: https://faith.yale.edu/give

“What are you going through?” This was one of the central animating questions in Simone Weil's thought that pushed her beyond philosophy into action. Weil believed that genuinely asking this question of the other, particularly the afflicted other, then truly listening and prayerfully attending, would move us toward an enactment of justice and love.Simone Weil believed that any suffering that can be ameliorated, should be.In this episode, Part 2 of our short series on How to Read Simone Weil, Cynthia Wallace (Associate Professor of English at St. Thomas More College at the University of Saskatchewan), and author of The Literary Afterlives of Simone Weil: Feminism, Justice, and the Challenge of Religion and Evan Rosa discuss the risky self-giving way of Simone Weil; her incredible literary influence, particularly on late 20th century feminist writers; the possibility of redemptive suffering; the morally complicated territory of self-sacrificial care and the way that has traditionally fallen to women and minorities; what it means to make room and practicing hospitality for the afflicted other; hunger; the beauty of vulnerability; and that grounding question for Simone Weil political ethics, “What are you going through?”We're in our second episode of a short series exploring How to Read Simone Weil. She's the author of Gravity and Grace, The Need for Roots, and Waiting for God—among many other essays, letters, and notes—and a deep and lasting influence that continues today.In this series, we're exploring Simone Weil the Mystic, Simone Weil the Activist, Simone Weil the Existentialist. And what we'll see is that so much of her spiritual, political, and philosophical life, are deeply unified in her way of being and living and dying.And on that note, before we go any further, I need to issue a correction from our previous episode in which I erroneously stated that Weil died in France. And I want to thank subscriber and listener Michael for writing and correcting me.Actually she died in England in 1943, having ambivalently fled France in 1942 when it was already under Nazi occupation—first to New York, then to London to work with the Free French movement and be closer to her home.And as I went back to fix my research, I began to realize just how important her place of death was. She died in a nursing home outside London. In Kent, Ashford to be precise. She had become very sick, and in August 1943 was moved to the Grosvenor Sanitorium.The manner and location of her death matter because it's arguable that her death by heart failure was not a self-starving suicide (as the coroner reported), but rather, her inability to eat was a complication rising from tuberculosis, combined with her practice of eating no more than the meager rations her fellow Frenchmen lived on under Nazi occupation.Her biographer Richard Rees wrote: "As for her death, whatever explanation one may give of it will amount in the end to saying that she died of love.In going back over the details of her death, I found a 1977 New York Times article by Elizabeth Hardwick, and I'll quote at length, as it offers a very fitting entry into this week's episode on her life of action, solidarity, and identification with and attention to the affliction of others.“Simone Weil, one of the most brilliant, and original minds of 20th century France, died at the age of 34 in a nursing home near London. The coroner issued a verdict of suicide, due to voluntary starvation—an action undertaken at least in part out of wish not to eat more than the rations given her compatriots in France under the German occupation. The year of her death was 1943.“The willed deprivation of her last period was not new; indeed refusal seems to have been a part of her character since infancy. What sets her apart from our current ascetics with their practice of transcendental meditation, diet, vegetarianism, ashram simplicities, yoga is that with them the deprivations and rigors‐are undergone for the pay‐off—for tranquility, for thinness, for the hope of a long life—or frequently, it seems, to fill the hole of emptiness so painful to the narcissist. With Simone Well it was entirely the opposite.“It was her wish, or her need, to undergo misery, affliction and deprivation because such had been the lot of mankind throughout history. Her wish was not to feel better, but to honor the sufferings of the lowest. Thus around 1935, when she was 25 years old, this woman of transcendent intellectual gifts and the widest learning, already very frail and suffering from severe headaches, was determined to undertake a year of work in a factory. The factories, the assembly lines, were then the modem equivalent of “slavery,” and she survived in her own words as “forever a slave.” What she went through at the factory “marked me in so lasting a manner that still today when any human being, whoever he may be and in whatever circumstances, speaks to me without brutality, I cannot help having the impression teat there must be a mistake....”[Her contemporary] “Simone de Beauvoir tells of meeting her when they were preparing for examinations to enter a prestigious private school. ‘She intrigued me because of her great reputation for intelligence and her bizarre outfits. ... A great famine had broken out in China, and I was told that when she heard the news she had wept. . . . I envied her for having a heart that could beat round the world.'“In London her health vanished, even though the great amount of writing she did right up to the time she went to the hospital must have come from those energies of the dying we do not understand—the energies of certain chosen dying ones, that is. Her behavior in the hospital, her refusal and by now her Inability to eat, vexed and bewildered the staff. Her sense of personal accountability to the world's suffering had reached farther than sense could follow.”Last week, we heard from Eric Springsted, one of the co-founders of the American Weil Society and author of Simone Weil for the Twenty-First Century.Next week, we'll explore Simone Weil the Existentialist—with philosopher Deborah Casewell, author of Monotheism & Existentialism and Co-Director of the Simone Weil Research Network in the UK.But this week we're looking at Simone Weil the Activist—her perspectives on redemptive suffering, her longing for justice, and her lasting influence on feminist writers. With me is Cynthia Wallace, associate professor of English at St. Thomas More College at the University of Saskatchewan, and author of The Literary Afterlives of Simone Weil: Feminism, Justice, and the Challenge of Religion.This is unique because it's learning how to read Simone Weil from some of her closest readers and those she influenced, including poets and writers such as Adrienne Rich, Denise Levertov, and Annie Dillard.About Cynthia WallaceCynthia Wallace is Associate Professor of English at St. Thomas More College at the University of Saskatchewan, and author of The Literary Afterlives of Simone Weil: Feminism, Justice, and the Challenge of Religion, as well as **Of Women Borne: A Literary Ethics of Suffering.About Simone WeilSimone Weil (1909–1943) was a French philosopher, mystic, and political activist. She's the author of Gravity and Grace, The Need for Roots, and Waiting for God—among many other essays, letters, and notes.Show NotesCynthia Wallace (Associate Professor of English at St. Thomas More College at the University of Saskatchewan), and author of The Literary Afterlives of Simone Weil: Feminism, Justice, and the Challenge of ReligionElizabeth Hardwick, “A woman of transcendent intellect who assumed the sufferings of humanity” (New York Times, Jan 23, 1977)Of Women Borne: A Literary Ethics of SufferingThe hard work of productive tensionSimone Weil on homework: “Reflections on the Right Use of School Studies with a View to the Love of God”Open, patient, receptive waiting in school studies — same skill as prayer“What are you going through?” Then you listen.Union organizerWaiting for God and Gravity & GraceVulnerability and tendernessJustice and Feminism, and “making room for the other”Denise Levertov's  ”Mass for the Day of St. Thomas Didymus”“Levertov wrote herself into Catholic conversion”“after pages and pages of struggle, she finally says: “So be it. Come rag of pungent quiverings,  dim star, let's try  if something human still can shield you, spark of remote light.”“And so she  argues that God isn't  particularly active in the world that we have, except for when we open ourselves to these chances of divine encounter.”“ Her imagination of God is different from how I think  a lot of contemporary Western   people think about an all powerful, all knowing God. Vae thinks about God as having done exactly what she's asking us to do, which is to make room for the other to exist in a way that requires us to give up power.”Exploiting self-emptying, particularly of women“Exposing the degree to which women have been disproportionately expected to sacrifice themselves.”Disproportionate self-sacrifice of women and in particular women of colorAdrienne Rich, Of Woman Borne: ethics that care for the otherThe distinction between suffering and afflictionAdrienne Rich's poem, “Hunger”Embodiment“ You have to follow both sides to the kind of limit of their capacity for thought, and then see what you find in that untidy both-and-ness.”Annie Dillard's expansive attentivenessPilgrim at Tinker Creek and attending to the world: “ to bear witness to the world in a way that tells the truth about what is brutal in the world, while also telling the truth about what is glorious  in the world.”“She's suspicious of our imaginations because she doesn't want us to distract  ourselves from contemplating the void.”Dillard, For the Time Being (1999) on natural evil and injusticeGoing from attention to creation“Reading writers writing about writing”Joan Didion: “I write entirely to find out what I'm thinking, what I'm looking at, what I see and what it means, what I want and what I fear.”Writing as both creation and discoveryFriendship and “ we let the other person be who they are instead of trying to make them who we want them to be.”The joy of creativity—pleasure and desire“ Simone Weil argues that suffering that can be ameliorated should be.”“ What is possible through shared practices of attention?”The beauty of vulnerability and the blossoms of fruit trees“What it takes for us to be fed”Need for ourselves, each other, and the divineProduction NotesThis podcast featured Cynthia WallaceEdited and Produced by Evan RosaHosted by Evan RosaProduction Assistance by Emily Brookfield, Liz Vukovic, and Kacie BarrettA Production of the Yale Center for Faith & Culture at Yale Divinity School https://faith.yale.edu/aboutSupport For the Life of the World podcast by giving to the Yale Center for Faith & Culture: https://faith.yale.edu/give