Simone de Beauvoir and the Colonial Experience: Freedom, Violence, and Identity interprets the philosophy of Simone de Beauvoir and her intellectual trajectory through the perspective of French colonial history. Nathalie Nya considers Beauvoir through this lens not only to critique her position as a colonizer woman or colon, but also as a means of situating her in one of France’s most vexing and fraught historical moments. This terminology emphasizes the weight of French colonialism on Beauvoir’s identity as a white French woman, as well as the subjective and interpersonal dialectic of colonialism. Nya argues that while the French republic was systematizing colonialism, all of its white citizens were colons whereas natives from France’s colonies were the colonized.Simone de Beauvoir and the Colonial Experience presents a gendered and female perspective of French colonialism between 1946 and 1962, a time when French intellectuals such as Jean-Paul Sartre and Franz Fanon rallied against the political system, and which ultimately brought about an end to French colonialism. It adheres to a reading of Beauvoir as foremost an intellectual woman, one who reflected upon the legacy of French colonialism as an author and whose nation-bound status as a colonizer played a role in the alliance she created with Gisele Halimi and Djamila Boupacha. Beauvoir’s colonial reflections can help us to better gauge how women—White, Asian, Arab, Caribbean, Latina, mixed race, and Black—decipher the crimes and injustices of French colonialism.

“Like man, woman is a human being.” When The Second Sex was first published in Paris in 1949—groundbreaking, risqué, brilliantly written and strikingly modern—it provoked both outrage and inspiration. The Independent Woman contains three key chapters of Beauvoir’s masterwork, which illuminate the feminine condition and identify practical social reforms for gender equality. It captures the essence of the spirited manifesto that switched on light bulbs in the heads of a generation of women and continues to exert profound influence on feminists today.

The classic manifesto of the liberated woman, this book explores every facet of a woman's life.

"Beauvoir in Time situates Simone de Beauvoir's The Second Sex in the historical context of its writing and in later contexts of its international reception, from then till now. The book takes up three aspects of Beauvoir's work more recent feminists find embarrassing: "bad sex," "dated" views about lesbians, and intersections with race and class. Through close reading of her writing in many genres, alongside contemporaneous discourses (good and bad novels in French and English, outmoded psychoanalytic and sexological authorities, ethnographic surrealism, the writing of Richard Wright and Franz Fanon), and in light of her travels to the U.S. and China, the author uncovers insights more recent feminist methodologies obscure, showing Beauvoir is still good to think with today"--

When Judith G. Coffin discovered a virtually unexplored treasure trove of letters to Simone de Beauvoir from Beauvoir's international readers, it inspired Coffin to explore the intimate bond between the famed author and her reading public. This correspondence, at the heart of Sex, Love, and Letters, immerses us in the tumultuous decades from the late 1940s to the 1970s—from the painful aftermath of World War II to the horror and shame of French colonial brutality in Algeria and through the dilemmas and exhilarations of the early gay liberation and feminist movements. The letters also provide a glimpse into the power of reading and the power of readers to seduce their favorite authors. The relationship between Beauvoir and her audience proved especially long, intimate, and vexed. Coffin traces this relationship, from the publication of Beauvoir's acclaimed The Second Sex to the release of the last volume of her memoirs, offering an unfamiliar perspective on one of the most magnetic and polarizing philosophers of the twentieth century. Along the way, we meet many of the greatest writers of Beauvoir's generation—Hannah Arendt; Dominique Aury, author of The Story of O; François Mauriac, winner of the Nobel Prize and nemesis of Albert Camus; Betty Friedan; and, of course, Jean-Paul Sartre—bringing the electrically charged salon experience to life. Sex, Love, and Letters lays bare the private lives and political emotions of the letter writers and of Beauvoir herself. Her readers did not simply pen fan letters but, as Coffin shows, engaged in a dialogue that revealed intellectual and literary life to be a joint and collaborative production. "This must happen to you often, doesn't it?" wrote one. "That people write to you and tell you about their lives?"

“One is not born a woman, but becomes one”, Simone de Beauvoir A symbol of liberated womanhood, Simone de Beauvoir's unconventional relationships inspired and scandalised her generation. A philosopher, writer, and feminist icon, she won prestigious literary prizes and transformed the way we think about gender with The Second Sex. But despite her successes, she wondered if she had sold herself short. Her liaison with Jean-Paul Sartre has been billed as one of the most legendary love affairs of the twentieth century. But for Beauvoir it came at a cost: for decades she was dismissed as an unoriginal thinker who 'applied' Sartre's ideas. In recent years new material has come to light revealing the ingenuity of Beauvoir's own philosophy and the importance of other lovers in her life. This ground-breaking biography draws on never-before-published diaries and letters to tell the fascinating story of how Simone de Beauvoir became herself.

Simone de Beauvoir’s work has not often been associated with film studies, which appears paradoxical when it is recognized that she was the first feminist thinker to inaugurate the concept of the gendered ‘othering’ gaze. This book is an attempt to redress this balance and reopen the dialogue between Beauvoir’s writings and film studies. The authors analyse a range of films, from directors including Claire Denis, Michael Haneke, Lucille Hadzihalilovic, Sam Mendes, and Sally Potter, by drawing from Beauvoir’s key works such as The Second Sex (1949), The Ethics of Ambiguity (1947) and Old Age (1970).