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Analysis of simone de beauvoir
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A lot of things happened in Simone de Beauvoir’s life, most having to do with women and the way they were treated. She was a very observant person, and her writing reflects that. Simone de Beauvoir’s writings attempted to deal on paper with the vast emotions conjured by her life experiences, particularly women she knew who were “assassinated by bourgeois morality.” (“Simone”)
Simone de Beauvoir was born in Paris, France on January 9, 1908. She was raised by a Catholic mother from Verdun, and a father who was a lawyer who enjoyed participating in amateur theatrical productions. As family finances dwindled during World War I, Beauvoir saw the household chores that were burdened on her mother and decided that she herself would never become either a homemaker or a mother. She had found so much pleasure in teaching her younger sister, Helene, everything she herself was learning at school that she decided to pursue a teaching career when she grew up. (“Simone”)
Beauvoir and her best friend, Zaza, would talk about the greatness of bringing nine children into the world, as Zaza's mother had done, and of creating books, which Beauvoir believed to be worthwhile. As the girls matured, Beauvoir saw the degree that Zaza's mother had used her daughter's love and commitment to Christianity to control Zaza's choice of career and husband. When Zaza, tormented by her parents' refusal to grant her permission to marry Maurice Merleau-Ponty died at twenty-one, Beauvoir felt that her friend had been “assassinated by bourgeois morality” (“Simone”). Many of Beauvoir's early fictional writings attempted to deal on paper with the emotions conjured by the memory of the family and of Zaza's death. (“Simone”)
Despite her warm memories of going to early morning mass as a little girl with her mother and of drinking hot chocolate on their return, Beauvoir eventually pulled away from the traditional values with which Francoise de Beauvoir hoped to infuse in her. She and her sister began to rebel. (“Simone”)
Weighing the good things against the bad things in this world evoked a belief in an afterlife, and the fifteen-year-old Beauvoir chose to stay with her life here on earth. Her loss of faith created a serious lack of communication with her mother. (“Simone”)
Beauvoir was convinced during several years of her adolescence that she was in love with her cousin Jacques Champigneulles, who introduced her to books by such French authors as Andre Gide, Alain-Fournier, Henry de Montherlant, Jean Cocteau, Paul Claudel, and Paul Valery.
In Janet Lewis’ “The Wife of Martin Guerre,” the author illustrates the family dynamics of the sixteenth century. Martin would legally remain a minor for the extent of his father’s lifetime, and women’s identity and importance were only known through their husbands. However, Bertrande de Rols, the wife of Martin Guerre, is known as herself in this novel, which expresses that the novel was written according to her experience as the wife of Martin Guerre. Even though it wasn’t acceptable for women to go forward with such accusations, Bertrande de Rols did the right thing by pursuing Arnaud as an impostor because she knew he was not her husband, despite what everyone else said. In sixteenth century France, women were not independent and treated as equals as they are today.
Coping with her father's death is a struggle, yet Francie begins to live life again with the love of her family and by keeping herself preoccupied with other tasks.
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
As insinuated through her poem’s title, “A Double Standard,” Frances Harper examines a double standard imposed by societal norms during the 19th and 20th centuries, as well as the different effects this standard foisted upon those of different genders. Harper’s poem is narrated by a woman who has been derided by society for her involvement in a sexual scandal, all while her male counterpart experiences no repercussions. By describing how her situation involving the scandal advances, delineating the backlash she receives for her participation, and reflecting on the ludicrously hypocritical nature of the situation, the speaker discloses the lack of control women had over their lives, and allows for the reader to ponder the inequity of female oppression at the turn of the 19th century.
Looking back on the death of Larissa’s son, Zebedee Breeze, Lorraine examines Larissa’s response to the passing of her child. Lorraine says, “I never saw her cry that day or any other. She never mentioned her sons.” (Senior 311). This statement from Lorraine shows how even though Larissa was devastated by the news of her son’s passing, she had to keep going. Women in Larissa’s position did not have the luxury of stopping everything to grieve. While someone in Lorraine’s position could take time to grieve and recover from the loss of a loved one, Larissa was expected to keep working despite the grief she felt. One of the saddest things about Zebedee’s passing, was that Larissa had to leave him and was not able to stay with her family because she had to take care of other families. Not only did Larissa have the strength to move on and keep working after her son’s passing, Larissa and other women like her also had no choice but to leave their families in order to find a way to support them. As a child, Lorraine did not understand the strength Larissa must have had to leave her family to take care of someone else’s
Julia Child tried to keep herself occupied in France but couldn’t find anything she loved to do. Finally she decided to take a class at Le Cordon Bleu for cooking. She did not like the treatment she was getting in the women’s only class. ...
Kate Chopin was born Kate O'Flaherty in St. Louis, Missouri in 1850 to secure and socially prominent parent, Eliza O'Flaherty, of French-Creole descent, and Thomas O'Flaherty, an Irish immigrant and successful commission merchant. Kate attended the St. Louis Academy of the Sacred Heart from 1855 until she graduated on 1868. In 1855, her father was died in a railroad accident. She lived at home with her mother, grandmother, and great-grandmother, all of them were widows. Her great-grandmother, Victoria Verdon oversaw her education and taught her French, music, and the gossip on St. Louis women of the past. Kate O'Flaherty grew up surrounded by smart, independent, single women. Victoria's own mother had been the first woman in St. Louis to obtain legal separation from her husband. She was influenced by her upbringing among these women. This showed up later in her fiction. For example, in her first short story “Wiser than a god” she characterized a strong and independent woman. This woman had an exceptional musical talent. She preferre...
Marguerite chastises Armand, pointing out that she is not just “some girl who cannot live without ... luxury” (Dumas, 139), choosing instead to sell of her personal possessions in order to sustain their way of life in the countryside, where they were living together blissfully. There is much effort being placed into understanding the situation and making preparations for surviving her new life, and she has the willpower to cast off her old way of life for the sake of love. Following this, she tells Armand that she “had expected better [of him]” (140). Her honesty and frankness with which she addresses Armand gives the reader and idea of what women can actually be without the fear of backlash from society. Similarly, this is also seen in Prudence, who incredulously
Du Maurier was the second of three daughters and was born into a very artistic family. Her father, Gerald du Maurier, was an actor-manager and her mother, Muriel Beaumont, was an actress. She was the granddaughter of the famous caricaturist, George du Maurier and she was the niece of magazine editor, J.M. Barrie. “Because her childhood contained many literary and
In America, the 1890s were a decade of tension and social change. A central theme in Kate Chopin’s fiction was the independence of women. In Louisiana, most women were their husband’s property. The codes of Napoleon were still governing the matrimonial contract. Since Louisiana was a Catholic state, divorce was rare and scandalous. In any case, Edna Pontellier of Chopin had no legal rights for divorce, even though Léonce undoubtedly did. When Chopin gave life to a hero that tested freedom’s limits, she touched a nerve of the politic body. However, not Edna’s love, nor her artistic inner world, sex, or friendship can reconcile her personal growth, her creativity, her own sense of self and her expectations. It is a very particular academic fashion that has had Edna transformed into some sort of a feminist heroine. If she could have seen that her awakening in fact was a passion for Edna herself, then perhaps her suicide would have been avoided. Everyone was forced to observe, including the cynics that only because a young
Le sujet des Belles images est le féminisme mais pas seulement » Qu’en pensez-vous ? Justifiez votre réponse en vous appuyant sur des exemples tirés du roman.
de Beauvoir, Simone. "The Woman in Love." The Second Sex. New York: Vintage Books, 1989. . Print.
Marie, who is a product of an abusive family, is influenced by her past, as she perceives the relationship between Callie and her son, Bo. Saunders writes, describing Marie’s childhood experiences, “At least she’d [Marie] never locked on of them [her children] in a closet while entertaining a literal gravedigger in the parlor” (174). Marie’s mother did not embody the traditional traits of a maternal fig...
Madame Bovary, a novel by Gustave Flaubert, describes life in the provinces. While depicting the provincial manners, customs, codes and norms, the novel puts great emphasis on its protagonist, Emma Bovary who is a representative of a provincial woman. Concerning the fundamental typicality in Emma Bovary’s story, Flaubert points out: “My poor Bovary is no doubt suffering and weeping at this very moment in twenty French villages at once.” (Heath, 54). Yet, Emma Bovary’s story emerges as a result of her difference from the rest of the society she lives in. She is in conflict with her mediocre and tedious surroundings in respect of the responses she makes to the world she lives in. Among the three basic responses made by human beings, Emma’s response is “dreaming of an impossible absolute” while others around her “unquestionably accept things as they are” or “coldly and practically profiteer from whatever circumstances they meet.” (Fairlie, 33). However, Emma’s pursuit of ideals which leads to the imagining of passion, luxury and ecstasy prevents her from seeing the world in a realistic perspective or causes her to confuse reality and imagination with each other.
Madame Bovary is Gustave Flaubert’s first novel and is considered his masterpiece. It has been studied from various angles by the critics. Some study it as a realistic novel of the nineteenth century rooted in its social milieu. There are other critics who have studied it as a satire of romantic sensibility. It is simply assumed that Emma Bovary, the protagonist, embodied naive dreams and empty cliché that author wishes to ridicule, as excesses and mannerisms of romanticism. She is seen as a romantic idealist trapped in a mundane mercantile world. Innumerable theorists have discovered and analysed extensively a variety of questions raised by its style, themes, and aesthetic innovations. In this research paper an attempt has been made to analyse life of Emma Bovary as a paradigm of Lacanian desire.