Podcasts about Beauvoir

Les femmes qui n'ont pas peur des hommes font-elles peur aux hommes, comme le disait Simone de Beauvoir ? Un podcast Bababam Originals Ecrit par Hélène Vézier ⁠Retrouvez tous les épisodes de Madame Meuf ici. Learn more about your ad choices. Visit megaphone.fm/adchoices

Antes de llenar escenarios y convertirse en una de las voces femeninas más representativas del rock colombiano, Andrea Echeverri ya creaba desde lo profundo: moldeando cerámica, haciendo grabados y leyendo a Simone de Beauvoir en los salones de la Facultad de Artes y Humanidades de la Universidad de los Andes.En este episodio de Historias Uniandinas, Andrea nos lleva de regreso a sus días como estudiante uniandina, a ese pequeño taller de cerámica entre el campito y la cafetería central, donde empezó a tomar forma su lenguaje artístico, primero entre tornos, hornos y esmaltes, y luego en las canciones que hoy hacen parte de la historia y memoria colectiva de varias generaciones.Alumni Uniandes continúa con la misión de compartir las experiencias de los Uniandinos a través de personajes que están marcando la diferencia.Síguenos en nuestras redes sociales @AlumniUniandes

Have you always thought you could do with some expert guidance when reading Iris's philosophy? Well help is at hand! This episode marks the start of a new mini-series of episodes where we'll be reading Iris's collected essay collection – Existentialists and Mystics – with a team of excellent academics and seasoned readers, and you can join us for the experience! Each episode will focus on a small number of essays – or perhaps just one essay if it is substantial in length – and explore exactly what Murdoch was up to and how the essay fits in with her overall vision. We'll keep in roughly chronological order, starting with her work from the 1950s and ending up in the mid-1980s with her two Platonic dialogues. Although Existentialists and Mystics doesn't contain all of her published philosophy it's a great place to start so, if you've not got a copy, you can pick one up very reasonably second-hand via this link: https://www.bookfinder.com/search/?isbn=9780140264920&st=xl&ac=qr In this episode we're starting out with her earliest material on Existentialism – closely reading ‘The Existentialist Hero' and ‘The Novelist as Metaphysician' as well as her review of Simone de Beauvoir's The Ethics of Ambiguity – all from 1950. The two essays were originally given as talks on BBC Radio's The Third Programme; and are the groundwork for her first monograph, Sartre: Romantic Rationalist that would be published just a few years later in 1953. Joining Miles is Sam Filby, currently working on his PhD thesis on Murdoch at Northwestern University, Chicago; and the current recipient of the BSH research fund. His work focuses on Murdoch's aesthetics and moral psychology

Les députés ont voté en faveur du droit à l'aide à mourir, ce mardi 27 mai. La proposition de loi a été approuvée par 305 votes pour et 199 contre. Selon ce texte, une personne majeure atteinte d'une affection grave et incurable pourra décider, sous réserve de l'accord d'un médecin, de mettre fin à son existence, si elle estime que ses souffrances physiques ou psychologiques ont atteint un seuil au-delà du supportable. Le texte doit maintenant être débattu au Sénat.Pour poursuivre la réflexion autour de ce sujet complexe, nous vous proposons aujourd'hui d'écouter ou de réécouter un épisode diffusé pour la première fois en novembre 2022, dans un contexte différent : celui de la mise en place de la convention citoyenne sur la fin de vie. Il pose la question de la manière dont notre perception de la « bonne » façon de mourir a changé au fil de l'Histoire.Un épisode de Marion Bothorel. Réalisation : Quentin Tenaud. Musique du générique : Amandine Robillard. Présentation et rédaction en chef : Morgane Tual. Dans cet épisode : extraits du débat sur l'euthanasie diffusé le 23 octobre 1975 sur Antenne 2 dans l'émission « Aujourd'hui madame », du livre Une mort très douce, de Simone de Beauvoir et d'un reportage du journal télévisé de France 2 du 2 janvier 2006.---Pour soutenir "L'Heure du Monde" et notre rédaction, abonnez-vous sur abopodcast.lemonde.fr Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

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

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

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

This single block in Montparnasse has it all: history, design, art, writers, photographers, models and World War II heroes... from photographer Lee Miller to Resistance leader Colonel Rol-Tanguy, from abolitionist Schoelcher to writer Anais Nin, and even my own near-miss with philosopher Simone de Beauvoir's apartment. For photos, please check out my website. Thanks as always to Bremner Fletcher for technical expertise and general know-how. The Improbable Walks theme music is performed by David Symons, New Orleans accordionist extraordinaire. 

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

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

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

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

"L'autre collaboration : les origines françaises de l'islamo-gauchisme : Alain, Sartre, Beauvoir, Genet, Ricoeur, Garaudy, Deleuze, Foucault, Badiou, Lacoue-Labarthe, Nancy" aux éditions Plon. Entretien avec Jean Petaux.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Nous sommes le 25 novembre 1929, à Paris. Elisabeth Lacoin, dite Zaza, meurt, âgée de vingt et un ans, emportée par une encéphalite virale. Pour Simone de Beauvoir, l'amie de toujours, c'est une tragédie. « Une expérience bouleversante et inoubliable » écrira la future autrice du « Deuxième sexe », qui parlera d'assassinat, de « crime spiritualiste ». C'est en compagnie de Zaza, au lendemain de la Première Guerre mondiale, que Simone va quitter l'enfance. Avec elle encore qu'elle affrontera les choix cruciaux de l'adolescence et de l'entrée dans la vie d'adulte. Avec Zaza et, un peu plus tard, avec Maurice Merleau-Ponty rencontré sur les bancs de la Sorbonne. Pendant plusieurs années, ces trois-là vont s'écrire, beaucoup, avec la retenue inculquée par leur milieu bourgeois mais avec intensité. Les lettres envoyées des trois côtés ont été, heureusement, conservées : cent vingt-six lettres échangées pendant neuf ans avec Zaza, de 1920 à 1929, et cent-trente-six avec Merleau-Ponty durant trente-deux-ans, de 1927 à 1957. Que nous dit cette correspondance de ces jeunes gens et de leur époque ? De cette génération des années vingt pour laquelle la situation était si différente selon que l'on était une fille ou garçon ? Plongeons-nous dans ces lettres, si précieuses, ses lettres d'amitié… Avec nous : Sylvie Le Bon de Beauvoir. « Lettres d'amitié » ; Gallimard. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Le couple est aussi un lieu de résistance et d'engagement pour les femmes. A l'occasion de la Journée internationale des droits des femmes le 8 mars, Bababam vous plonge dans l'histoire de ces couples d'exception comme Marie et Pierre Curie, Frida Khalo et Diego Rivera, Virginia Woolf et Vita Sackville West, ou encore Lee Miller et Man Ray... des couples au sein desquels l'épanouissement de la femme et lutte pour ses droits ont été primordiaux. Précurseur, il faut l'être, quand, près d'un siècle après sa rencontre, un couple reste un des modèles phares de l'émancipation et de l'amour libre. Simone de Beauvoir et Jean-Paul Sartre ont traversé le XXème siècle côte à côte. Leur union ne ressemblait à aucune autre. Elle n'a jamais entravé leur vie intellectuelle. La preuve, ils sont deux figures majeures de notre culture. Deux génies à égalité. Un podcast Bababam Originals Ecrit et raconté par Alice Deroide Première diffusion : 14 mai 2021 Learn more about your ad choices. Visit megaphone.fm/adchoices

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

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

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

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

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

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

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

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

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

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

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

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

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

Nous sommes en 1977. Dans son ouvrage intitulé « Le Journal en partie double », Suzanne Lilar écrit : « Ce qui est meurtrier pour l'amour, c'est la confusion qui s'opère entre la libre subordination de l'amoureuse et la soumission morale et sociale de la femme à l'homme, voire à l'époux détenteur de l'autorité maritale. » L'amour constitue l'un des pivots autour desquels l'écrivaine, née à Gand, a articulé toute son œuvre. Une conception originale, avant-gardiste, de ce que sont, intrinsèquement, les femmes et les hommes. Une conception qui fait de l'autrice de « La confession anonyme », adaptée au cinéma par André Delvaux sous le titre de « Benvenuta », une féministe singulière ayant pris ses distances avec Simone de Beauvoir. Selon Lilar, la véritable égalité entre les sexes ne s'obtient pas en niant le féminin mais en faisant appel à ce qu'elle nomme la « bisexualité », à savoir la complémentarité des deux pôles. Aujourd'hui , le nom de Suzanne Lilar nous est vaguement familier mais lit-on encore son œuvre et que savons-nous de son inspiration ? A la fois mystique et païenne, flamande et francophone, celle d'une avocate et d'une femme au foyer. Née au tout début du 20e siècle, elle en fera, pratiquement la clôture, tirant sa révérence en 1992. Qu'a-t-elle encore à nous dire ? En quoi est-elle actuelle ? Laurence Boudart, docteure en lettres modernes, dirige les « Archives & Musée de la Littérature » dont la mission est la conservation et la valorisation des archives des écrivains belges francophones. Sujets traités : Suzanne Lilar, féminisme, écrivaine, Gand, André Delvaux, Benvenuta, Simone de Beauvoir, bisexualité Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

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

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