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347 og ein langvarandi afneitun á sársaukanum sem þau lýsa svo augljóslega: á hverri blaðsíðu í bréfum hennar til Sartre kvartar hún yfir einmanaleik sínum og tilfmningalegum skorti og fullvissar hann um að hún sé ákaflega hamingjusöm, afar ánægð yfir ást hans á sér og gæti ekki óskað sér betra lífs. En þetta er einmitt það sem Freud á við með afneitun: á sama hátt og blætisdýrkandinn bæði sér og sér ekki að móðirin er geld, sér Beauvoir og sér ekki sína eigin sorg.1 Þetta má sjá enn skýrar hjá Sartre, einkum í ritinu Hvað eru bókmenntir? (Qu’est-ce que la littérature? 1964) þar sem sjá má trú hans á að málið sé fullkomið verkfæri mannsins, einrætt, heildstætt og voldugt eins og fallosinn.2 Ég held að óhætt sé að segja að kvenhatrið hafi „hringað sig saman í hjarta tilvistarstefnunnar eins og ormur“ og í tvíhyggjukerfi Jean-Paul Sartre sé hlutur kvenna gerður jafnvel verri en hann var fyrir í heimspekinni. Spurn- ingin er hvort þær gáfuðu konur sem aðhylltust þessar kenningar á fimmta og sjötta áratugnum sáu það? Simone de Beauvoir sá að sitthvað var ósagt um kyn og konur í fræðunum og tók sér það fyrir hendur að skrifa „konuna“ inn í tilvistarstefnu Sartre í bókinni Hittkynið (1949). Öfugt við rit Sartre er kynið beinlínis viðfangsefni Simone de Beauvoir í bókinni og hún verður æ harðari femínisti eftir því sem líður á hana. Hún hafnar sálgreiningu Freuds og kenningum hans um kynferðismótun kvenna, meðal annars á þeim forsendum að viðmið Freuds sé karlmaðurinn og konan sé skoðuð sem afbrigðileg, gelt eins og limlestur karl.3 Sálgreiningin geti ekki skýrt það hvernig og hvers vegna konan hafi orðið „Hinn“ eða „hið gjörólíka“ í augum karlmannsins. Það sé hún hins vegar og skipti sem slík afar miklu máli því að með því að gera hana að viðfangi sem hann hafi vald yfir geti karlinn upplifað sjálfan sig sem heilan, sem heilsteypta verund: 1 „Proceeding through the total destruction of experience, the novel succeeds in reconstruct- ing it as more fully significant than it ever was: the seduction of the novel resides precisely in the movement from nothing to everything, from emptiness to fullness. Or in more psychoanalytic terms — filling the existential void, representing plentitude and significance, the novel becomes the very object that covers up lack: for Beauvoir the novel is a fetish . . . For all their descriptions of sadness, depressive monotony and grandiose breakdowns in bars, her letters and diaries hold back from searching for the deeper causes of her own conflicts. As a result they read as one long disavowal of the pain they so explicitly describe: on every page of her letters to Sartre she complains about her loneliness and emotional neediness aWassures him that she is perfectly happy, totally satisfied whith his love for her, and that she cannot wish for a better life. But this is precisely what Freud understands by disavowal: just as the fetishist both sees and does not see that the mother is castrated, Beauvoir both sees and does not see her own sorrow.“ Toril Moi: 1994, 248—251. 2 Engin fiirða þó að Sartre gæti aldrei óskrifandi verið og skrifaði á kaffihúsum á milli þess sem hann talaði við aðdáendur sína. Simone las allt sem hann skrifaði, vélritaði handrit fýrir hann og gerði athugasemdir við þau. Hann veitti henni ekki sömu þjónustu. 3 Simone de Beauvoir: 1972, 73. Umfjöllun Simone de Beauvoir um kenningar Freuds í Hinu kyninu er afar yfirborðsleg og byggir oft á endursögnum annarra en ekki verkum Freuds sjálfs.
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(467) Back Cover
(468) Back Cover
(469) Rear Flyleaf
(470) Rear Flyleaf
(471) Rear Board
(472) Rear Board
(473) Spine
(474) Fore Edge
(475) Scale
(476) Color Palette


Kona verður til

Year
1996
Language
Icelandic
Pages
472


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