By Simone de Beauvoir
"Nous commencerons par discuter les issues de vue pris sur los angeles femme par los angeles biologie, l. a. psychanalyse, le matérialisme historique. Nous essaierons de montrer ensuite positivement remark l. a. "réalité féminine" s'est constituée, pourquoi los angeles femme a été définie comme l'Autre et quelles en ont été les conséquences du element de vue des hommes. Alors nous décrirons du aspect de vue des femmes le monde tel qu'il leur est proposé ; et nous pourrons comprendre à quelles difficultés elles se heurtent au second où, essayant de s'évader de l. a. sphère qui leur a été jusqu'à présent assignée, elles prétendent participer au mitsein humain."
Simone de Beauvoir.
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Extra info for Le deuxième sexe, tome 1
Little hummingbirds stuck their needle beaks right through her headcloth into her head and beat their wings. And if she thought anything, it was No. No. Nono. Nonono. Simple. She just flew. ” (163, 164) Like Gothel and Arpazia, Sethe understands her children as the “precious and fine and beautiful” parts of herself, the parts of herself as yet unhurt, unscarred by slavery and cruelty: preserving them as such is a way of preserving herself, selves untainted by the mossy teeth of the boys who took her milk and split open her back.
The novel is set in a fantasy world in which the story of Persephone and Demeter is a legend, ritual, and belief from an old pagan religion that survives in secret, having been displaced by a particularly violent and oppressive version of Christianity. The political representative of Christian Empire in this novel is Draco, a barbarian king who destroys the kingdom of Arpazia’s father, rapes her, and forces her into marriage. Within a year a daughter, named Candacis (White) and called Coira (Kore, a name for the maiden Persephone before her abduction) is born, and thus begins the distortions, distances, despair, and hostility that mark the relationship between Arpazia and Coira, who take on the roles both of the wicked (step)mother and Snow White as well as Demeter and Persephone.
Of the two of us, who was the one, who the other” (73)? The mother and daughter have effectively annihilated each other by becoming only reflections without selves. The danger of annihilation through imagined fusion, or the threat of such deep identification, runs throughout much of the literature that is in the scope of this project. One case in point is Gregory Frost’s “The Root of the Matter,” a revision of the tale of Rapunzel. The story is told in the first person, first by Mother Gothel, then by Rapunzel, and then finally by the prince.