El capítol “Le Deuxième Sexe Censored below Francoism” (“El Segon Sexe censurat durant el franquisme”), escrit per la professora Godayol, analitza la censura institucional aplicada a l’obra de Beauvoir sota el règim franquista, a Espanya. La professora Pilar Godayol, coordinadora del Grup d’Estudis de Gènere: Traducció, Literatura, Història i Comunicació (GETLIHC) de la UVic-UCC, ha participat en el llibre Translating Simone de Beauvoir’s The Second Sex, que és el primer volum dedicat a la recepció internacional de l’obra clàssica de Simone de Beauvoir Le deuxième sexe (El segon sexe). Malgrat ser censurat pel règim franquista i prohibit per l’Església, El segon sexe va ser un referent vital per als intel· Junt amb els manuals marxistes, El segon sexe va ser un dels llibres més llegits dels últims anys del franquisme. L’escriptora Marta Pessarrodona explica, en el context de la presentació d’aquesta obra, que El segon sexe va ser un llibre fonamental per a les dones de l’època: “De santes ja en teníem: buscàvem una altra cosa i la vam trobar en ella i la seva obra” (Avui, 18.01.2008). Afegia que a la Universitat de Barcelona les dones es dividien en dos bàndols “les que havíem llegit El segon sexe i les que no, i pràcticament anàvem a bufetades”.
Es narra una història que revela el fracàs editorial de l’intent d’importar la traducció argentina del llibre el 1955, així com els obstacles, tant de censura com de burocràcia, que van haver de superar per aconseguir la traducció al català de Le Deuxième Sexe. El llibre, editat per Julia C. Bullok, de l’Emory University, i Pauline Henry-Tierney, de la Newcastle University, reuneix treballs d’estudiosos internacionals de diversos àmbits, com la filosofia, la literatura, la traducció i els estudis de gènere. She at present holds a position as a postdoctoral research fellow at the Beinecke Rare Book and Manuscript Library at Yale University, the place her analysis specialises in twentieth and 21st century literature and film, adaptation, documentary, feminist movie principle, and world modernisms. Dr. Lauren Du Graf holds a PhD in English and comparative literature from the University of North Carolina at Chapel Hill, where she was a member of the Royster Society of Fellows. Myers, Zach. “Taylor University Remembers Lives Lost, Case of Mistaken Identity on 10-Year Anniversary of Crash.” Fox 59 News.
As an instructional dedicated to literary and cultural research I also rued what read to me as overly lengthy plot summaries of novels and of people’s lives. Instead, her director Halina Reijn learn a statement from the actor, revealing that Nicole’s mother Janelle died at the age of 83 whereas she was in Venice. While Simone de Beauvoir never distilled her observations on the film into a single guide or essay, she referenced the cinema all through almost six a long time of public and personal writings. While Beauvoir was a classy consumer of images, her tastes in shifting photos remained grounded in the everyday lives of girls. “Concert, painting, theater, cinema, literature,” de Beauvoir wrote in her diary in October 1927. “With all that, continue to write down my guide.” A voracious client of art, de Beauvoir documented in diaries from her years as a pupil at the Sorbonne her philosophical curiosity within the cinema.
As a younger girl, she had her finger on the pulse of avant-garde cinema in addition to what peaked on the box office. Within the early 1980s I was a relatively young tutorial and judged, considerably impatiently, The coming of Age as an undisciplined, additive, and often numbingly encyclopedic view of aging from too many perspectives. How could such a good-trying younger lady be so fully unlikeable? He is merely angered by the “wastefulness” of such an act, in addition to disgusted by the considered satisfying his urges with a girl in such a condition. She did not adopt a particular method, not even philosophically, though she does suppose via the lenses of phenomenology and existentialism as well as Marxist idea and psychoanalysis (she has been criticized for her lack of a constant method, predominantly by philosophers). “And I believe when you see it, it’s so fucking powerful. “I realized to seek out pleasure despite these paradoxes and sometimes in them, to see past the goddess-whore dualities, to generally love both the simpering patsies and the shrewish man-eaters,” wrote Dargis. I additionally find it far more peculiar than I remembered.
