Podcasts about Beauvoir

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

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

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

Madame de Sévigné föddes den 5 februari 1626 och hennes klassiska brev har påverkat författare som Marcel Proust mycket. Men hur ska man förstå den idealiska bild hon målar upp av sin älskade dotter? Emi-Simone Zawall undersöker saken. Lyssna på alla avsnitt i Sveriges Radios app. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Ursprungligen publicerad 2018-09-03.Av alla himlakroppar i vårt planetsystem är solen tyngst. Ändå blir solen hela tiden lite lättare. De väteatomer i stjärnans mittpunkt som förenas med helium, förvandlas nämligen också till helium, som i sin tur är lättare än väte, och följden av det livsljus som uppstår är att solen förtär sig själv med fyra miljoner ton per sekund.Är ett älskande människohjärta som solen?När Madame de Sévigné talar om kärlek i mitten av 1600-talet vänder hon återkommande blicken mot sitt eget hjärta. I ett brev från den 1 juni 1669 beskriver hon det som ett hjärta med resurser som den älskade inte kan förstå. Den 18 september 1679 skriver hon: ”Mitt hjärta är nu en gång skapat så, i förhållande till dig, att jag må vara överkänslig när det gäller allt som har med dig att göra, men det räcker med ett ord, minsta tecken på tillgivenhet, en kram, ett ömhetsbevis för att jag ska falla till föga. Jag blir genast botad, det är nästan övernaturligt, mitt hjärta återfår genast all den ömma känsla som aldrig minskar utan bara fogar sig efter omständigheterna. Det har jag sagt till dig åtskilliga gånger och jag säger det igen för det är ju sant. Jag kan inte tro att du skulle missbruka detta. Säkert är att du är den som sätter mitt hjärta i rörelse, på vilket sätt det vara må.”Den 12 januari 1676 funderar hon, inte helt olikt kartografen som står under sin stjärnhimmel, på vilken färg hennes kärleksfulla hjärta skulle kunna ha. Hon skriver: ”Jag glömde säga dig att jag, som du, har tänkt på olika sätt att framställa människohjärtat, några i vitt, andra i svartaste svart. Mitt för dig har en vacker färg.”Vem var det som gjorde Madames hjärta så antänt?Madame de Sévigne föddes som Marie de Rabutin Chantal i Paris 1626 i en av Frankrikes förnämaste familjer. Redan som barn förlorade hon sina föräldrar och togs därför omhand av sina morföräldrar och sin morbror som såg till att ge henne en fin utbildning. 18 år gammal gifte hon sig med markis Henri de Sévigné och fick två barn, François-Marguerite och Charles. I övrigt var äktenskapet en katastrof. Maken var slösaktig och otrogen – dödades till slut i en duell om en älskarinna – och gjorde Madame till änka vid 25 års ålder. Därefter var intresset för män ett avslutat kapitel för hennes del. Hon gifte sig aldrig igen och hade inga älskare heller, även om hon var beundrad av många. All den kärlekskraft hon var i stånd att uppbåda koncentrerade hon istället till dottern; inte ens sonen Charles kom i närheten av hennes beundran.hennes första svenska översättare, Stig Ahlgren, konstaterar att Madames kyskhet var ”sensationell” för att sedan fråga sig: ”Var Madame de Sévigné frigid?”När dottern flyttade till Provence 1671 där hennes make, greve de Grignan, blivit utsedd till guvernör, sammanfattade Madame sin skilsmässa från henne med orden: ”Jag grät och det kändes som om jag skulle dö.” En månad senare skrev hon till dottern: ”Varenda fläck i detta hus angriper mig; hela ditt rum tar död på mig. Jag har ställt en skärm mitt i för att rubba perspektivet; jag vill slippa se det fönster varifrån jag såg dig stiga upp i d'Hacquevilles vagn och försökte ropa dig tillbaka. Jag blir ju rädd när jag tänker på att jag kunde ha kastat mig ut genom fönstret, ibland blir jag ju som galen.” Ett år senare, den 12 februari 1672, skrev hon: ”Tycker du inte att vi varit ifrån varandra väldigt länge nu? Det smärtar mig och skulle vara outhärdligt om jag inte älskade att älska dig som jag gör, hur många bedrövelser det än måtte medföra.”Sedan dess, eller åtminstone sedan 1745 när ett första urval av hennes brev gavs ut, har Madames livslånga lidelse för sin dotter ekat genom litteraturen. Virginia Woolf liknar henne i en av sina essäer vid en äldre man som har en ung älskarinna som bara plågar honom, medan hennes första svenska översättare, Stig Ahlgren, konstaterar att Madames kyskhet var ”sensationell” för att sedan fråga sig: ”Var Madame de Sévigné frigid?”I Marcel Prousts "På spaning efter den tid som flytt" är hon inte bara den författare som nämns flest gånger. Hon får också fungera som estetiskt föredöme och en påminnelse om faran i att dra för snäva gränser kring livet och kärleken. Ska man tro den amerikanska litteraturprofessorn Elizabeth Ladenson är hon till och med en nyckel till romanens själva kärleksideal. Det visar sig genom att Proust ständigt låter huvudpersonens mormor gå omkring med en volym av Madames brev i sin ficka. Efter mormoderns död blir det istället huvudpersonens mor som alltid vill ha breven tillhands och det band som Sévigné upprättar mellan mormodern och hennes dotter, håller huvudpersonen Marcel utestängd från en gemenskap han inte kan återfinna ens i sina egna kärleksrelationer. På samma sätt, menar Ladenson, visar flera av romanens kvinnor att kärleksrelationer faktiskt kan vara lyckliga, så länge som de äger rum mellan likar, bortom svartsjuka och erotiska maktspel, kort sagt: mellan kvinnor som älskar kvinnor.Det kan hända att Madames så kallade ”frigiditet” och kärlek till sin dotter var ett sätt att slippa älska män. Men det ligger närmare till hands att tro något annat. Man vet helt enkelt för lite om dottern François-Marguerite de Grignan. Visserligen brände hennes egen dotter, Pauline, alla brev som François-Marguerite skrev till Madame, och visserligen har en samtida författare beskrivit henne som fåfäng och kallsinnig. Men det som mest av allt borde utgöra källan till ett närgånget porträtt av henne – Madames alla brev och kärleksförklaringar – låter henne egentligen aldrig framträda som person. Alla omdömen som Madame fäller om henne – som att hennes skrivkonst är ”gudomlig” och att hon är ”vackrare än en ängel” – är så idealiserade att de blir meningslösa.Är Madame de Sévignés brev i själva verket ett narcissistiskt monument?I ”Kärlekens samtal” skriver Roland Barthes om hur kärleksbrevet utmärker sig från andra brev genom att vara uttryckt på ett ”hängivenhetens språk” som saknar alla biavsikter, och Madames brev till sin dotter liknar i det hänseendet en älskandes brev till sin älskade. Men lika mycket som Madame älskade sin dotter, älskade hon att älska sin dotter, och man kan tänka sig att hon älskade sig själv som älskande eftersom det i förlängningen gjorde henne älskansvärd.”Jag skulle ju bli bedrövad om du inte älskade mig lika mycket som jag älskar dig”, skriver hon den 6 april 1672. Istället för att betrakta sin dotter som en människa i egen rätt verkar det alltså som om hon förblev ett objekt för Madames eviga tillbedjan, en idol, och ytterst ett redskap för Madames kärlek till sig själv.”Detta behov av att vara två för att kunna etablera en öm dialog med sig själv”, skriver Simone de Beauvoir i ”Det andra könet” när hon kartlägger den kvinnliga narcissistens behov av att rikta kärleken till en annan mot sig själv för att uppleva sig själv som älskad. Är Madame de Sévignés brev i själva verket ett narcissistiskt monument?Nej, att betrakta Madame som en människa blind för allt och alla andra än sig själv är att gå för hårt åt henne. Trots allt finns det ingen som är som solen, fullkomligt självförbrännande och oegennyttig. Det är det som är älskandets paradox: att man inte kan ge utan att samtidigt ta något.Då är det bättre att läsa Madames brev som betraktelser över alla de uttryck en passion kan ha, och låta henne vara precis det hon är: en kärlekens uppenbarelse.Emi-Simone Zawall, litteraturkritiker och översättareSamtliga citat ur breven är hämtade ur ”Madame de Sévignés brev” i urval och översättning av Arne Melberg, Atlantis 2018.

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

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

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

1 pas en avant, 3 pas en arrière.Chaque fois que les droits des femmes progressent, une réaction violente ne tarde pas à suivre. C'est le backlash : l'ensemble des réactions négatives, voire hostiles, contre les mouvements féministes et les avancées des droits des femmes.En 1991, la journaliste américaine Susan Faludi théorise ce concept dans son essai "La guerre froide contre les femmes". Elle décrit la croisade des conservateurs américains contre les féministes dans les années 80-90, après les mouvements d'émancipation des années 70. Pour eux, le féminisme serait responsable de l'éclatement de la famille et représenterait un danger mortel pour la société.Ce serait presque drôle si c'était derrière nous. Mais le phénomène traverse l'histoire. Pendant la Révolution française, les femmes se battaient pour le droit de vote. Non seulement ce droit leur est passé sous le nez, mais Napoléon les a définitivement calmées en inscrivant dans le Code civil : "Le mari doit protection à sa femme, la femme obéissance à son mari."Aujourd'hui, après MeToo en 2017, la parole se libère sur les violences sexistes et sexuelles. On s'attend à ce que la société change enfin en profondeur. Perdu. D'après un rapport de la Fondation Jean Jaurès et de l'association Equipop, les droits des femmes ont reculé partout dans le monde en 2022. États-Unis, Afghanistan, Pologne, Yémen, Italie, Iran... La révocation du droit à l'avortement en juin 2022 aux États-Unis en est la preuve la plus flagrante.En France, le backlash se manifeste surtout sur les réseaux sociaux avec des raids de masculinistes de plus en plus fréquents contre des militantes féministes. Dans les médias aussi, on tend volontiers le micro à des hommes qui se plaignent "qu'on ne peut plus rien dire".Dans cet épisode, Marine-Pétroline décrypte ce mécanisme de retour en arrière et rappelle cette phrase de Simone de Beauvoir : "N'oubliez jamais qu'il suffira d'une crise politique, économique ou religieuse pour que les droits des femmes soient remis en question. Ces droits ne sont jamais acquis. Vous devrez rester vigilantes votre vie durant."Les Chroniques du sexisme ordinaire sont un podcast de Marine-Pétroline Soichot qui débusque le sexisme avec pédagogie, humour et zéro culpabilité.Pour aller plus loin :

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

Tu penses que les êtres humains sont libres et égaux en droit ? Tu penses que les femmes sont des êtres humains ? Alors tu es féministe.Le féminisme, c'est un mouvement politique, social, culturel et intellectuel qui remet en question la domination masculine et défend l'égalité entre les femmes et les hommes. Un mouvement qui cherche à établir une société où les femmes puissent faire leurs propres choix, sans domination ni violence masculine.Mais le mot "féministe" a longtemps été une insulte. Il apparaît d'abord en médecine en 1872 pour décrire une forme de tuberculose où les hommes perdraient leurs caractères virils. Alexandre Dumas fils reprend ensuite le terme pour dénigrer celles et ceux qui luttent pour l'égalité. Féministe devient une insulte que les personnes concernées se réapproprient, comme Hubertine Auclert, la première à se revendiquer féministe à la fin du XIXe siècle.On parle souvent de vagues successives. La première vague se concentre sur le droit de vote et la citoyenneté. En France, il faudra attendre 1944. La deuxième vague, après la Seconde Guerre mondiale, se concentre sur les droits sexuels et reproductifs : contraception et IVG. C'est aussi l'époque où Simone de Beauvoir publie Le Deuxième Sexe en 1949 et révolutionne la réflexion : "On ne naît pas femme, on le devient." Les différences entre hommes et femmes sont le résultat d'une construction sociale.La troisième vague, à partir des années 80, aborde les violences sexistes et sexuelles, l'égalité professionnelle, le harcèlement, la parité politique. Depuis les années 2010, avec MeToo et les réseaux sociaux, on est probablement dans une quatrième vague où l'intersectionnalité devient centrale : le féminisme doit aussi prendre en compte le racisme, la LGBTphobie, le validisme.Le féminisme, ce sont des mouvements au pluriel. Féminisme libéral, féminisme socialiste, féminisme radical, féminisme matérialiste, écoféminisme, féminisme intersectionnel... Tous constatent des inégalités envers les femmes et veulent y mettre fin. Et comme le dit Simone de Beauvoir : "Nommer c'est dévoiler, et dévoiler c'est déjà agir."Les Chroniques du sexisme ordinaire sont un podcast de Marine-Pétroline Soichot qui débusque le sexisme avec pédagogie, humour et zéro culpabilité.Pour aller plus loin :

A actriz Anabel Alonso e a cantante Sés son dúas das principais novidades da programación cultural do primeiro trimestre en Narón, presentada no Pazo da Cultura pola alcaldesa, Marián Ferreiro. A rexidora destacou unha oferta marcada pola diversidade, a calidade artística e o equilibrio entre grandes nomes do panorama estatal e o apoio firme á creación galega. No ámbito escénico, Anabel Alonso protagonizará "La mujer rota", de Simone de Beauvoir, mentres que Coque Malla chegará con "La ópera de los tres centavos", dirixida por Mario Vega a partir do texto de Bertolt Brecht e da música de Kurt Weill. O gran referente do trimestre será José Sacristán, que o 6 de marzo representará "El hijo de la cómica", unha homenaxe persoal a Fernando Fernán Gómez. A programación inclúe tamén teatro galego contemporáneo con propostas como Bailar agora, Sahara, a barca do deserto e Costa da morte. Cartografía dun naufraxio. No apartado musical, Sés presentará o seu novo disco Nadando na incerteza o 7 de febreiro. A oferta complétase con espectáculos familiares e de monicreques, consolidando o Pazo da Cultura como un referente cultural no norte de Galicia.

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

Solidarity 758, 7 January 2026. Articles: La nouvelle « guerre contre les Palestiniens » de Netanyahu Les États-Unis hors du Venezuela ! US out of Venezuela! Build for 28 March, and for a stronger workers' united front Nottinghamshire trade unionists against Reform Reverse Brexit wholesale! New Birmingham megapicket 30 January 2026 Iran's new surge of protest “For Venezuela”? For the people and the workers! Hunger strikers at risk of death Trump puts “multipolarity” into practice Netanyahu's new “war on Palestinians” Antisemitism after the Bondi massacre Simone de Beauvoir on Brigitte Bardot Greens in power after May 2026? 2026: prepare for crises! Iran: the working class is key HK government stamps on dissent after fire Deadly stalemate in Ukraine NHS needs funds and worker control YP members organise for committee elections How can councils defeat the cuts? The SWP dumps Alex Callinicos Not a home but an asset New report exposes MI5 role in "dirty war" The Greens and ecology An emergency plan on climate change A new mode of capitalism Grenfell shows need for class politics Letter from Italy: EU backs Meloni's "Albania Plan" China's engine of eco-collapse Debate: Is gender oppression real? Or just biological disadvantage? Some wins for trans rights, but setbacks too Will Starmer go? Resident doctors reballot to strike Museum strikers ready to go for months more Turning point in MHCLG 50% turnout threshold to go soon Tube Diary: No time for Maduro, but... Dr Zhivago, 60 years on Ollie Maurer, 1948-2025 Andrea Egan wins Unison general secretary GFM workers win 15% pay rises More online: https://workersliberty.org/publications/solidarity/solidarity-758-7-january-2026

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

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

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

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

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

pWotD Episode 3162: Brigitte Bardot Welcome to popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 1,185,770 views on Sunday, 28 December 2025 our article of the day is Brigitte Bardot.Brigitte Anne-Marie Bardot ( BRIJ-it bar-DOH; French: [bʁiʒit baʁdo] ; 28 September 1934 – 28 December 2025), often referred to by her initials B. B., was a French actress, singer, model and animal rights activist. Famous for portraying characters with hedonistic lives, she was one of the best-known symbols of the sexual revolution. Although she withdrew from the entertainment industry in 1973, she remained a major pop culture icon. She acted in 47 films, performed in several musicals, and recorded more than 60 songs. She was awarded the Legion of Honour in 1985.Born and raised in Paris, Bardot was an aspiring ballerina during her childhood. She started her acting career in 1952 and achieved international recognition in 1957 for her role in And God Created Woman (1956), catching the attention of many French intellectuals and earning her the nickname "sex kitten". She was the subject of philosopher Simone de Beauvoir's 1959 essay The Lolita Syndrome, which described her as a "locomotive of women's history" and built upon existentialist themes to declare her the most liberated woman of France. She won a 1961 David di Donatello Best Foreign Actress Award for her work in The Truth (1960). Bardot later starred in Jean-Luc Godard's film Le Mépris (1963). For her role in Louis Malle's film Viva Maria! (1965), she was nominated for the BAFTA Award for Best Foreign Actress. French President Charles de Gaulle called Bardot "the French export as important as Renault cars".After retiring from acting in 1973, Bardot became an animal rights activist and created the Brigitte Bardot Foundation. She was known for her strong personality, outspokenness, and speeches on animal defense; she was fined twice for public insults. She was also fined six times for inciting racial hatred for her comments on Muslims in France and calling residents of Réunion "savages". She responded: "I never knowingly wanted to hurt anybody. It is not in my character [...] Among Muslims, I think there are some who are very good and some hoodlums, like everywhere."Bardot was a member of the Global 500 Roll of Honour of the United Nations Environment Programme and received several awards and accolades from UNESCO and PETA.This recording reflects the Wikipedia text as of 02:55 UTC on Monday, 29 December 2025.For the full current version of the article, see Brigitte Bardot on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Kimberly.

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

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

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

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

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

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

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

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

Warum bleibt so viel von der Haus- und Erziehungsarbeit immer noch an den Frauen hängen? Warum werden Frauen so häufig auf die Rolle als Hausfrau und Mutter reduziert? Warum sind sie in den Chefetagen unterrepräsentiert? Das alles sind Fragen, über die schon die französische Schriftstellerin, Philosophin und Feministin Simone de Beauvoir nachgedacht hat. Von ihr stammt das historische Zitat, über das Joachim und Nils in dieser Folge sprechen.Du hast Feedback oder einen Themenvorschlag? Dann melde dich gerne bei Instagram: @wasbishergeschah.podcastWBG-Abo zu Weihnachten verschenken und WBG langfristig sichern: https://steady.page/de/wbg/gift_plans++ Livetour-Tickets gibts hier: wbg.190a.de ++++ Du möchtest mehr über unseren Werbepartner erfahren? Alle Infos findest du hier: https://linktr.ee/wasbishergeschah.podcast Hosted on Acast. See acast.com/privacy for more information.

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

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

durée : 02:57:08 - Les Nuits de France Culture - par : Albane Penaranda - En 1989, Elisabeth Huppert s'entretenait pendant trois heures avec Claude Lanzmann dont le film événement "Shoah" était sorti quatre ans auparavant. Il en racontait la genèse, sa radicalité, les épreuves rencontrées durant les cinq années de tournage et le soutien sans faille de Simone de Beauvoir. - réalisation : Virginie Mourthé - invités : Claude Lanzmann Journaliste, écrivain et cinéaste français

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

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

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

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

Una de las mayores referencias de la comedia en nuestro país, en series como "Siete vidas", "Los ladrones van  a la oficina" o "La familia mata", saca músculo interpretativo en el teatro para encarnar ahora (y hasta alguna fecha de 2027) a una mujer emocionalmente destrozada, partiendo de un texto dramático de Simón Beauvoir publicado en 1967. En Madrid hasta el domingo 16 en el teatro Infanta Isabel, actuará en Ávila y Palencia antes de acabar el mes e iniciará gira durante todo 2026 en las principales salas teatrales de España. Esta mañana en las Charlas de Hoy por Hoy,  la actriz Anabel Alonso.

durée : 00:22:28 - Les Nuits de France Culture - par : Mathilde Wagman - En 1949 Simone de Beauvoir publiait "Le Deuxième sexe" chez Gallimard. La parution de cet essai philosophique, immense succès en librairie et qui demeure un livre culte du féminisme, avait provoqué des critiques violentes de la part d'écrivains et journalistes. - réalisation : Virginie Mourthé - invités : Simone de Beauvoir Philosophe et écrivaine

Direction Drouant, place Gaillon au centre de Paris. Drouant, institution parisienne, cœur battant de la littérature puisque dans ces murs, à deux pas de l'Opéra, se réunit l'académie Goncourt. 10 membres élus à vie décernent depuis plus d'un siècle le prix éponyme, au meilleur livre ouvrage en français de l'année. Un prix voulu par les frères Goncourt, à la fin du XIXème, et devenu un incontournable de la vie littéraire française. Un fauteuil et un couvert Singularité de l'académie Goncourt, ses membres ont un fauteuil, comme pour les académies de l'Institut de France, mais n'étant pas sous la coupole, mais dans un restaurant et la table ayant son importance, les «Goncourt» ont également un couvert. Ils se retrouvent une fois par mois le mardi et le premier mardi de novembre pour décerner le prix. Ce jour-ci, un menu spécial est pensé, conçu et servi aux académiciens, au lauréat ou à la lauréate et son éditeur. Sa composition est gardée secrète pour être une surprise et une fête le jour du prix. Son élaboration est le fruit du travail complice, curieux, passionné de James Ney, le directeur de Drouant et du chef des cuisines du restaurant, Romain Van Thieunen depuis 2022. La littérature pour inspiration, un «supplément d'âme» apporté, au-delà des plats servis. Ce menu est un cadeau et un trésor de créativité. Notre tournage s'est fait en amont, sous le sceau de ce secret, et notre émission patiemment gardée pour vous la proposer au bon moment, comme vous pouvez aussi si vous le souhaitez aller le savourer chez Drouant. Avec James Ney, directeur de Drouant, et Romain Van Thienen, chef du restaurant. Le Goncourt a été décerné le 4 novembre 2025 à Laurent Mauvignier pour «La maison vide» aux éditions de Minuit. Le prix Renaudot a été décerné le même jour à Adélaïde de Clermont-Tonnerre pour «Je voulais vivre». Dans les coulisses et du côté de la presse, nous avons voulu savoir comment était vécue cette journée et ce que représentait le prix Goncourt. Question posée à l'une des figures de la littérature sur RFI : la journaliste Catherine Fruchon-Toussaint, productrice de l'émission Littérature sans frontières, un mot enfin du prix Goncourt des détenus et du choix Goncourt à l'international. À écouter   Littérature sans frontières. Pour découvrir l'histoire du restaurant Drouant, fondé en 1880 par Charles Drouant, 16-18 place Gaillon, Paris 2ème arrondissement. Le menu Goncourt est disponible chez Drouant jusqu'au 15 décembre 2025. Il est conseillé de réserver 72 heures en amont. Pendant l'émission, est diffusé un extrait de la remise du prix Goncourt de 1954, et l'élection de Jean Giono au siège de Colette. Le menu du prix Goncourt 2025 placé sous le signe de Colette : langoustine, huîtres et caviar, lièvre à la royale, langues d'oursin, cerises fossilisées, et en dessert une pomme flétrie opaline de caramel, lamelles de poire crues. «Rien n'est plus émouvant qu'un fruit qui vieillit à la lumière.» Colette. Merci à Emma Morris chez Viennot sans qui cette émission n'aurait pu exister.   Pour aller plus loin - Le site de l'académie Goncourt - La maison vide, de Laurent Mauvignier - Bernard Clavel – Les fruits de l'hiver - Huysmans – À rebours - Les mandarins, de Simone de Beauvoir. - Colette : Pour découvrir la femme, l'autrice, à Paris, la BNF organise une grande exposition autour de l'auteure.   - Chez Virginie à Montmartre.   Programmation musicale : Drama Queen, de Melba.   En images

In this solo episode, I explore Frantz Fanon's ambivalence toward religion—how he wrestled with the sacred, the modern, and the so-called “primitive.” Drawing on Federico Settler's thought-provoking essay, I reflect on Fanon's complex relationship with Catholicism, Islam, and indigenous spirituality, and how those tensions shaped his vision of liberation and the “new man.”I'm also excited to share some of the conversations coming up on the podcast, including Tyrique Mack-Georges on Fanon and Sartre, Todd McGowan on Fanon and Hegel, Donovan Miyasaki on Fanon and Nietzsche, and Matthew Beaumont on Fanon and Reich. I'm hoping to keep expanding this exploration—into Fanon's engagement with Manichaeism, his possible connections to Alfred Adler, Simone de Beauvoir, and others who helped shape his revolutionary psychology.

你听到的是跳岛「读懂金钱」付费系列节目的第三期试听片段，「读懂金钱」付费专题目前只在小宇宙app和网易云音乐上线。如果你对我们的内容感兴趣，欢迎你在这两个平台付费支持我们！ 一年一度的“双十一”购物节又打响了，你的满减凑得还划算吗？ 当买买买逐渐成为一种让人痛并快乐着的苦役，或许你会决心践行极简和长期主义。只是，不花钱，就可以置身事外吗？本期节目，作家、文学翻译于是将从风靡全球的《断舍离》谈起，聊一聊被商品裹挟的我们该如何自处，以及一个比购物节让你多花了多少钱更重要的问题：消费主义，如何改变了你是谁？ 从于斯曼《逆流》中奢侈品堆砌出的幻梦，到《信任》中金钱流动背后的性别剥削，再到《美国精神病人》中吞噬个体的品牌清单，暴力与物质互为镜像；理解商品，就是理解消费社会中不知不觉被物化的每一个你和我。 最终，我们或许只能承认：在这个时代，消费早已成为生活的隐形剧本，不论如何抵抗，我们最终只能在无限丰饶的物质包围中，被温柔俘获。 【本期主播】 于是 作家、文学翻译。著有《查无此人》《有且仅有》《你我好时光》等长短篇小说、《慌城孤读》等散文集。译有三十余部英美文学作品，包括诺贝尔文学奖得主奥尔加·托卡尔丘克的《云游》、布克奖得主玛格丽特·阿特伍德的《证言》，国际布克奖得主玛丽克·卢卡斯·莱纳菲尔德的《不安之夜》等。 【时间轴】 01:25 消费，是铺张浪费的陷阱，还是促进经济的法宝？ 07:48 断舍离与极简，真的能让我们摆脱消费主义吗？ 11:54 《东京八平米》：缩减生活的疆域，反而获得自由 18:43 谈谈异化：只浏览不购物，也在为电商做贡献吗？ 24:24 一对年轻人辞职逃离大城市后，为什么又回来上班了？ 26:20 《小时代》之外，还有更令人崩溃的logo清单式文学 34:10 鲍德里亚《物体系》：到底什么是氛围感？ 36:40 《白噪音》：在超市收银台，排队结算一生的账 46:30 《南货店》：消费主义时代之外的爱情是什么样的？ 47:28 何为《信任》：为什么说金钱的本质是一种虚构？ 01:03:02 萨拉马戈《物托邦》：当人沦为物，而物统治人 01:05:58 消费主义生活剧场：被观看的我们没有秘密 【节目中提到的人名和作品】 人物 亚当·斯密（Adam Smith）：英国经济学家、哲学家，被誉为“经济学之父”。代表作《道德情操论》《国富论》。 卡尔·马克思（Karl Marx）：德国著名哲学家、政治理论家、经济学家。他最广为人知的作品是1848年与恩格斯合著的小册子《共产党宣言》，以及三卷本的《资本论》。 费迪南·德·索绪尔（Ferdinand de Saussure）：瑞士语言学家、符号学家、哲学家，为20世纪语言学和符号学的发展奠定了基础，被誉为现代语言学之父。 罗兰·巴特（Roland Barthes）：法国哲学家、符号学家、文学批评家，代表作《神话修辞术》《恋人絮语》《符号学原理》《明室：摄影札记》等。 皮埃尔·布尔迪厄（Pierre Bourdieu）：法国哲学家、社会学家、人类学家，著有《区分：判断力的社会批判》《世界的苦难》。 西蒙娜·德·波伏娃（Simone de Beauvoir）：法国哲学家、作家、女权主义活动家，代表作《第二性》详细分析女性受压迫的情况，从哲学高度上建立了当代女权主义。 山下英子（Yamashita Hideko）：日本收纳师，通过瑜伽参透了放下心中执念的修行哲学“断行，舍行，离行”，出版作品有《断舍离》《断舍离心灵篇》《年龄断舍离》《自在力》等。 吉井忍（Yoshii Shinobu）：日籍华语作家，曾在成都留学，法国南部务农，辗转台北、马尼拉、上海等地任新闻编辑。现专职写作，著有《格外的活法》《东京八平米》《四季便当》《东京本屋》。 赫伯特·马尔库塞（Herbert Marcuse）：德裔美籍哲学家和社会理论家、哲学家、美学家、法兰克福学派主要代表，批判发达工业社会对人的异化。著有《单向度的人》《爱欲与文明》《审美之维》等。 齐格蒙特·鲍曼（Zygmunt Bauman）：当代社会最著名的社会学家与哲学家之一，代表作《工作、消费主义与新穷人》《现代性与大屠杀》《将熟悉变为陌生》。鲍曼指出现代社会已从“生产者社会”转变为“消费者社会”，人的身份由消费能力定义。金钱与消费不再是选择，而是社会生存的必需。 让·鲍德里亚（Jean Baudrillard）：法国社会学家、文化理论家，代表作《消费社会》《物体系》《致命的策略》。他提出消费是一种符号体系，奢侈品的价值源自差异化和符号地位，而非实用性。 乔治·佩雷克（Georges Perec）：法国当代著名的先锋小说家，他的小说以任意交叉错结的情节和独特的叙事风格见长，代表作《人生拼图版》《物》《沉睡的人》《W或童年回忆》。 唐·德里罗（Don DeLillo）：美国后现代小说家，代表作《白噪音》《地下世界》。他以冷峻的风格书写消费主义、媒体、死亡和技术时代的焦虑。 布雷特·伊斯顿·埃利斯（Bret Easton Ellis）：美国作家，代表作《美国精神病》。《美国精神病》一度因暴力与色情内容遭争议，却成为解读20世纪末资本文化的经典文本，揭示了消费主义与人格异化的极端结果。 安德烈·塔可夫斯基（Andrei Tarkovsky）：前苏联电影导演、编剧，毕业于莫斯科国立电影学院。代表作《牺牲》《乡愁》《潜行者》《镜子》《索拉里斯》等。 罗伯特·布列松（Robert Bresson）：法国电影导演、编剧、剪辑。代表作《扒手》《钱》《死囚越狱》《圣女贞德的审判》等，其中《钱》改编自托尔斯泰短篇小说《假息票》。 列夫·托尔斯泰（Lev Nikolayevich Tolstoy）：十九世纪俄国批判现实主义作家、政治思想家、哲学家，代表作有《战争与和平》《安娜·卡列尼娜》《复活》等。 若利斯·卡尔·于斯曼（Joris-Karl Huysmans）：十九世纪法国小说家，西方现代主义文学转型中的重要作家，象征主义的先行者。擅长对颓废主义和悲观主义进行深度剖析，主要作品有《逆流》《该诅咒的人》《起航》等。 若泽·萨拉马戈（José Saramago）：葡萄牙作家，主要作品有《修道院纪事》《失明症漫记》《复明症漫记》等。 杰里米·边沁（Jeremy Bentham）：英国法理学家、哲学家、经济学家和社会改革者。1785年提出“圆形监狱”概念，尽管实体建筑未在其生前建成，但方案被扩展至学校、医院等场所设计理念中。法国哲学家米歇尔·福柯在《规训与惩罚》中将其阐释为现代权力机制的隐喻，揭示“全景敞视主义”通过空间关系实现个体规训的原理。 书籍 《国富论》《资本论》《第二性》《老年》《断舍离》《极简主义》《东京八平米》《一间自己的房间》《单向度的人》《物体系》《消费社会》《致命的策略》《冷记忆》《物》《美国精神病》《白噪音》《训道学》《假息票》《南货店》《信任》《逆流》《物托邦》 影视 《大和抚子》《吃饱睡足等幸福》《美国精神病人》《白噪音》《钱》《华尔街之狼》 出品方 | 中信书店 出品人｜李楠 策划人｜蔡欣 制作人 | 何润哲 广岛乱 运营编辑 | 黄鱼 运营支持｜李坪芳 设计｜王尊一 后期剪辑 | KIMIU 公众号：跳岛FM Talking Literature 跳到更多：即刻|微博|豆瓣|小红书

Anabel Alonso visita Cuerpos especiales para presentar la obra de teatro La Mujer Rota. La actriz adelanta que habrá gira en 2026 y cuenta las dificultades de llevar a escena el texto de  Simone de Beauvoir. También habla de la única vez que paró una función porque sonaba un móvil en el patio de butacas e improvisa un título para un supuesto libro de memorias. 

In The Life, Old Age, and Death of a Working-Class Woman (Allen Lane), sociologist Didier Eribon continues the historical, political and personal reflection he began with his classic memoir Returning to Reims, this time turning his attention to the end of life. Tracing his mother's rapid physical and cognitive decline, and drawing on works by Simone de Beauvoir, Norbert Elias, Annie Ernaux and Michel Foucault among others, Eribon transmutes his rage, sadness and the shame over her death into a nuanced portrait of the woman who raised him. How does our society treat the elderly, Eribon asks? Can the completely dependent speak for themselves – and if not, who can speak for them? Eribon was in conversation about his work with the essayist and novelist Mendez. From the LRB: Subscribe to the LRB: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://lrb.me/subsbkshppod⁠⁠ Close Readings podcast: ⁠⁠⁠⁠⁠⁠⁠⁠https://lrb.me/crbkshppod⁠⁠ LRB Audiobooks: ⁠⁠⁠⁠⁠⁠⁠⁠https://lrb.me/audiobooksbkshppod⁠⁠ Bags, binders and more at the LRB Store: ⁠⁠⁠⁠⁠⁠⁠⁠https://lrb.me/storebkshppod⁠⁠ Get in touch: podcasts@lrb.co.uk

Vijf biografieën over prominente journalistieke figuren uit de twintigste eeuw – Jan Blokker, Theo van Gogh, Hugo Brandt Corstius, Ischa Meijer en Michaël Zeeman – zijn in de afgelopen twee jaar verschenen. Marja Pruis, hoofd van de cultuurredactie van De Groene, zag bij deze mannen een aantal opvallende overeenkomsten: allemaal hadden ze een groot ego, een grote mond en geen angst om hard of onaardig te zijn, zeker niet over vrouwen. Toen Pruis zelf als jonge student de journalistiek-literaire wereld wilde betreden, waren hun stemmen dominant. Ze keek tegen hen op. Later in haar studententijd werd ze activistischer en feministischer. Ze ketende zich vast aan hekken bij kerncentrales en las met een leesgroep De tweede sekse van Simone de Beauvoir. Langzaam kwam ze erachter dat ze een deel van de misogynie van deze mannen zelf had geïnternaliseerd – iets waarvan ze gelooft dat ze er nog steeds niet volledig van bevrijd is. In de podcast overpeinst Pruis wat deze mannen hebben betekend voor Nederland en voor haar persoonlijk. Ook reflecteert ze op de vraag of dit type man in de 21ste eeuw inmiddels is uitgestorven of nog steeds voortleeft. Productie: Kees van den Bosch en Eva Markx.See omnystudio.com/listener for privacy information.

Never trust anyone who tries to be ethically pure. This is the message of Albert Camus's short novel La Chute (The Fall), in which a retired French lawyer tells a stranger in a bar in Amsterdam about a series of incidents that led to a profound personal crisis. The self-described ‘judge-penitent' had once thought himself to be morally irreproachable, but an encounter with a woman on a bridge and a mysterious laugh left him tormented by a sense of hypocrisy. In this episode, Jonathan and James follow Camus's slippery hero as he tries and fails to undergo a moral revolution, and look at the ways in which the novel's lightness of style allows for twisted inversions of conventional morality. They also consider the similarities between Camus's novels and those of Simone de Beauvoir, and his fractious relationship with Jean-Paul Sartre. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠⁠⁠⁠⁠https://lrb.me/applecrcip⁠⁠⁠⁠⁠⁠ In other podcast apps: ⁠⁠⁠⁠⁠⁠https://lrb.me/closereadingscip⁠⁠ Further reading in the LRB: Jeremy Harding: Algeria's Camus: ⁠⁠https://lrb.me/cip11camus1⁠⁠ Jacqueline Rose: 'The Plague': ⁠⁠https://lrb.me/cip11camus3⁠⁠ Adam Shatz: Camus in the New World: ⁠⁠https://lrb.me/cip11camus2⁠⁠ Audiobooks from the LRB Including Jonathan Rée's 'Becoming a Philosopher: Spinoza to Sartre': ⁠⁠⁠⁠https://lrb.me/audiobookscip⁠

Tradwives, the divine feminine, and “that girl” on social media. In episode 141 of Overthink, Ellie and David discuss femininity. They look to Simone de Beauvoir's famous claim that one is not born but rather becomes a woman, and discuss how the process of feminization is crucial to this becoming. They explore the association between femininity, mystery, and docility. Is the return to traditional gender roles an attempt to move away from capitalism? How do contemporary beauty standards shape women's self-understanding. And is there such thing as “feminine writing”? In the Substack bonus segment, your hosts discuss 90s cultural feminism and spirituality, and question whether it is possible to find liberation through the divine feminine image. Works Discussed:Sandra Bartky, “ Foucault, Femininity, and the Modernization of Patriarchal Power”Pierre Bourdieu, La domination masculineSimone de Beauvoir, The Second SexHélène Cixous, “The Laugh of the Medusa”Manon Garcia, We Are Not Born SubmissiveSupport the showSubstack | overthinkpod.substack.comWebsite | overthinkpodcast.comInstagram & Twitter | @overthink_podEmail | dearoverthink@gmail.comYouTube | Overthink podcastSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The difficulty of Jacques Lacan's thought is notorious. The Cambridge Introduction to Jacques Lacan cuts through this difficulty to provide a clear, jargon-free approach to understanding it. The book describes Lacan's life, the context from which he emerged, and the reception of his theory. Readers will come away with an understanding of concepts such as jouissance, the objet a, and the big Other. The book frames Lacan's thought in the history of philosophy and explains it through jokes, films, and popular culture. In this light, Lacan becomes a thinker of philosophical importance in his own right, on a par with Jean-Paul Sartre and Simone de Beauvoir. Lacan's great contribution is the introduction of the unconscious into subjectivity, which results in a challenge to both the psychoanalytic establishment and to philosophers. The Cambridge Introduction to Jacques Lacan provides readers with a way of understanding the nature of Lacan's contribution. Todd McGowan teaches theory and film at the University of Vermont. He is the author of Embracing Alienation, The Racist Fantasy, Emancipation After Hegel, Capitalism and Desire, and Only a Joke Can Save Us, among other books. He is also the cohost of the Why Theory podcast with Ryan Engley. Helena Vissing, PsyD, SEP, PMH-C is a Licensed Psychologist practicing in California and Associate Professor at California Institute of Integral Studies. She can be reached at contact@helenavissing.com. She is the author of Somatic Maternal Healing: Psychodynamic and Somatic Treatment of Trauma in the Perinatal Period (Routledge, 2023). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

The difficulty of Jacques Lacan's thought is notorious. The Cambridge Introduction to Jacques Lacan cuts through this difficulty to provide a clear, jargon-free approach to understanding it. The book describes Lacan's life, the context from which he emerged, and the reception of his theory. Readers will come away with an understanding of concepts such as jouissance, the objet a, and the big Other. The book frames Lacan's thought in the history of philosophy and explains it through jokes, films, and popular culture. In this light, Lacan becomes a thinker of philosophical importance in his own right, on a par with Jean-Paul Sartre and Simone de Beauvoir. Lacan's great contribution is the introduction of the unconscious into subjectivity, which results in a challenge to both the psychoanalytic establishment and to philosophers. The Cambridge Introduction to Jacques Lacan provides readers with a way of understanding the nature of Lacan's contribution. Todd McGowan teaches theory and film at the University of Vermont. He is the author of Embracing Alienation, The Racist Fantasy, Emancipation After Hegel, Capitalism and Desire, and Only a Joke Can Save Us, among other books. He is also the cohost of the Why Theory podcast with Ryan Engley. Helena Vissing, PsyD, SEP, PMH-C is a Licensed Psychologist practicing in California and Associate Professor at California Institute of Integral Studies. She can be reached at contact@helenavissing.com. She is the author of Somatic Maternal Healing: Psychodynamic and Somatic Treatment of Trauma in the Perinatal Period (Routledge, 2023). 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

The difficulty of Jacques Lacan's thought is notorious. The Cambridge Introduction to Jacques Lacan cuts through this difficulty to provide a clear, jargon-free approach to understanding it. The book describes Lacan's life, the context from which he emerged, and the reception of his theory. Readers will come away with an understanding of concepts such as jouissance, the objet a, and the big Other. The book frames Lacan's thought in the history of philosophy and explains it through jokes, films, and popular culture. In this light, Lacan becomes a thinker of philosophical importance in his own right, on a par with Jean-Paul Sartre and Simone de Beauvoir. Lacan's great contribution is the introduction of the unconscious into subjectivity, which results in a challenge to both the psychoanalytic establishment and to philosophers. The Cambridge Introduction to Jacques Lacan provides readers with a way of understanding the nature of Lacan's contribution. Todd McGowan teaches theory and film at the University of Vermont. He is the author of Embracing Alienation, The Racist Fantasy, Emancipation After Hegel, Capitalism and Desire, and Only a Joke Can Save Us, among other books. He is also the cohost of the Why Theory podcast with Ryan Engley. Helena Vissing, PsyD, SEP, PMH-C is a Licensed Psychologist practicing in California and Associate Professor at California Institute of Integral Studies. She can be reached at contact@helenavissing.com. She is the author of Somatic Maternal Healing: Psychodynamic and Somatic Treatment of Trauma in the Perinatal Period (Routledge, 2023). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Notes and Links to Cynthia Miller-Idriss' Work       Cynthia Miller-Idriss is the author of Hate in the Homeland: The New Global Far Right and Man Up: The New Misogyny and the Rise of Violent Extremism. She is an opinion columnist for MSNBC and writes for The New York Times, The Atlantic, Foreign Affairs, The Washington Post, Politico, USA Today, The Boston Globe, and more. Buy Man Up: The New Misogyny and the Rise of Violent Extremism   Cynthia's Website   At about 1:25, Cynthia talks about the run-up to Pub Day, and how it's different than for her previous books At about 3:00, Pete asks Cynthia about the unfortunate “timeliness” of her work, especially the book At about 5:45, the two discuss seeds for the book, as Cynthia expands on the Turning Point Suffragist Museum and its history and importance At about 7:35, the two discuss the not-so-distant history of misogyny and Simone de Beauvoir, and rising "hostile sexism and misogyny” in the social media and outside world At about 9:55, Cynthia talks about the silence that often is pervasive regarding “gender policing” how misogyny must be central in more explorations of violence  At about 12:05, Cynthia shares some insightful and profound quotes from young people regarding gender norms and expectations At about 16:35, Pete and Cynthia discuss Eliot Rodger and a recent school shooter and the ways in which the “warning signs” were so numerous for a long period of time, but resources are often hard to tap into, even from well-meaning parents and adults and friends  At about 21:25, the two discuss The Death of Expertise and ideas of “alternative facts” and a pervasive lack of trust in “experts” and government At about 23:00, Cynthia responds to Pete's noting that she purposely avoids naming past shooters At about 25:00, the two lay out the book's structure  At about 24:25, Pete reports some eye-popping stats of misogynist violence  At about 26:05 Cynthia and Pete reflect on the profound quote from the book that contemporary girls have “more freedom but less power, and boys less freedom and more power” At about 24:40, Cynthia discusses masculinity/sexuality paradigm shifts  At about 29:35, Cynthia and Pete laugh and almost cry regarding fitness as being claimed by the masculine right, such as with jeans-clad RFK At about 30:35, the two reflect on the moral arc of the universe and disturbing trends with Gen Z men At about 32:20, Cynthia responds to Pete reflecting on Trump voters and his misogyny and fixed and demanding gender rigidity and policing  At about 34:15, Pete notes the “intersectionality” of Christian nationalism and masculinity, and Cynthia expands on the adherents' beliefs At about 36:15, the two discuss ideas of “containment” and visceral hatred and misogyny in hate email and chants and lashing out at women  At about 37:20, Cynthia talks about the data that charts female elected officials and hateful attacks, including from online vitriol and memes At about 39:35, Cynthia talks about people downplaying and excusing male behavior  At about 40:55, More discussion of women needing to be in the home/domestic sphere and women as a “safety net” in parts of the West, especially in the US, even up to Taylor Swift At about 42:30, Cynthia uses an anecdote from Sonia Sotomayor's confirmation to illustrate racist/sexist policing of women and women of color At about 44:50, “bonding through slurs” and online gaming's influence on misogyny and young men is discussed At about 48:30, The two discuss some stunning (or not) numbers about the way Andrew Tate is viewed At about 49:35, Cynthia responds to Pete's question about what sets Andrew Tate apart  At about 52:10, Scapegoating of sexual and racial minorities is discussed, and the “spiral” of keeping children safe and QAnon, anti-vax, etc. At about 54:40, Cynthia responds to Pete asking about possible remedies in her book, and how one avoids “preaching” in talking to those who have been radicalized online and off At about 57:00, Cynthia talks about multifaceted remedies for a multifaceted issue At about 58:00, Cynthia puts a puzzling and "hilarious" and telling interaction with a young man into perspective At about 1:02:05, Cynthia shouts out resources provided in the book's appendix, and how proceeds from the book often benefit and highlight local gender-based violence organizations       You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow Pete on IG, where he is @chillsatwillpodcast, or on Twitter, where he is @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both the YouTube Channel and the podcast while you're checking out this episode.       Pete is very excited to have one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. His conversation with Hannah Pittard, a recent guest, is up at Chicago Review.     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl      Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting Pete's one-man show, DIY podcast and extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!    This month's Patreon bonus episode features an exploration of flawed characters, protagonists who are too real in their actions, and horror and noir as being where so much good and realistic writing takes place.    Pete has added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show.     This is a passion project, a DIY operation, and Pete would love for your help in promoting what he's convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.     Please tune in for Episode 298 with Robert Paylor, an Inspirational speaker, quadriplegia survivor, resilience expert, and author. His book is Paralyzed to Powerful:  Lessons from a Quadriplegic's Journey.    This episode airs on September 23.    Please go to ceasefiretoday.org, and/or https://act.uscpr.org/a/letaidin to call your congresspeople and demand an end to the forced famine and destruction of Gaza and the Gazan people.

durée : 00:03:45 - Le Fil philo - Notre genre serait-il une prison de laquelle nous ne pourrions sortir ? Nassim El Kabli interroge la liberté d'être soi face aux stéréotypes de genre. De Beauvoir à Sartre, comment certains discours – sous couvert d'émancipation – enferment-ils hommes et femmes dans de nouveaux conformismes ?