By Oliver Davis
This wide-ranging research seems to be at how the ageing approach has alternately been figured in and excluded from twentieth-century French literature, philosophy and psychoanalysis. It espouses a severe interdisciplinarity and calls into query the assumptions underlying a lot learn into aging within the social sciences, paintings within which the hazards of growing older are virtually perpetually suppressed. It bargains an important reappraisal of Simone de Beauvoir's nice yet missed overdue treatise, l. a. Vieillesse, and offers the 1st monstrous dialogue of a misplaced documentary movie approximately outdated age within which Beauvoir looks and which she helped to jot down, prom AU will pay DE l. a. VIEILLESSE. wondering Beauvoir's personal really reductive analyzing of Gide's paintings on previous age, this learn analyses the best way his magazine and Ainsi soit-il test with a number representational versions for the senescent topic. The come upon among psychoanalysis and growing older is framed via a studying of Violette Leduc's autobiographical trilogy, within which she means that psychoanalysis, to its detriment, easily can't permit growing old to indicate. This declare is verified in a severe survey of contemporary theoretical and medical paintings by means of psychoanalysts drawn to growing old in France, the united kingdom and the united states. finally, Herv? Guibert's lately republished photo-novel approximately his aged great-aunts, Suzanne et Louise, is tested as a piece of intergenerational empathy and is located, furthermore, to be a tremendous assertion of his photographic aesthetic. Navigating among the extremes of fury ('age rage') and serene popularity ('going gently'), this research goals all through to envision the function which getting older performs in formal, in addition to thematic, phrases in writing the lifetime of the topic.
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Additional info for Age Rage and Going Gently: Stories of the Senescent Subject in Twentieth-Century French Writing (Faux Titre 283)
In the important collection of essays edited by Elizabeth Fallaize, Simone de Beauvoir: a Critical Reader (London: Routledge, 1998), La Vieillesse is mentioned in two contributions: a piece by Elaine Marks dealing mainly with old age in the autobiographical writing and the editor’s Introduction. Five chapters, however, are devoted to Le Deuxième Sexe. Elisabeth Badinter has remarked that La Cérémonie des Adieux was “son vrai livre sur la vieillesse”, thereby, by implication, writing off La Vieillesse.
Again, she is implying that old age is a special condition which requires a correspondingly special mode of analysis. However, in her prefatory remarks to the second part of the work, which immediately precede Chapter Five, it would appear that the task of a properly integrated analysis has been deferred: ‘C’est dans la perspective d’une synthèse finale qu’il faut lire ces chapitres’ (La Vieillesse, pp. 299300, emphasis added). Rather than offering a unified analysis, as promised, she notes that in this section she will proceed ‘successivement’ through each of ‘les facteurs qui définissent la condition de vieillard’.
4 Beauvoir, Tout Compte fait (Paris: Gallimard, 1972), p. 183. Beauvoir’s La Vieillesse 35 Structural tensions and historical context This section gives a structural overview of La Vieillesse and argues that many of the tensions identified therein may be explained in terms of the work’s historical and discursive context. La Vieillesse bears a close resemblance to Le Deuxième Sexe in crude structural terms. Both works are divided into two parts: the ‘view from the outside’ followed by the ‘view from the inside’.
Age Rage and Going Gently: Stories of the Senescent Subject in Twentieth-Century French Writing (Faux Titre 283) by Oliver Davis