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...death one year shy of its quarter-century mark. Although Lincoln gave us “four score and forty years,” the Titanic spawned an eponymous Hollywood blockbuster, and Steinbeck became the bane of freshman reading lists, Beauvoir’s “The Second Sex” posed the seminal question, “What is a woman...
...traits that set women apart from men—were humanly created, Beauvoir argued, not natural. Rather than evidencing a perverted female essence or mistaken choice, feminine traits reflected woman’s situation. For Beauvoir, women’s biological nature could never be experienced apart from this second social nature: The body, and with it, body-consciousness, were always historically mediated...
Critics latched onto this ambiguity and lambasted “The Second Sex” for ascribing to a masculinist paradigm. By trivializing women’s reproductive labor, the argument went, Beauvoir reinscribed the gendered binaries which she purported to deny, conflating culture with man and nature with woman. In this view, Beauvoir figured liberation as a masculine concept—as the ability to transcend the limitations of the traditionally feminine. The model of liberation that she offered woman, therein, seemed no different from the existing paradigm proffered...
Beauvoir’s “The Second Sex” has since succumbed to obsolescence. New paradigms, denying the structuring of sexual difference as a binary opposition, claim to relegate Beauvoir’s text to a realm of secondary importance. Yet, even if Beauvoir never unequivocally answered the question she posed, she provided the terms of a debate which remains intensely contested. As Beauvoir’s tombstone turns 24, her legacy—whether fully or pseudo feminist—commands our continued attention...
...warned, there are major changes to come during the second half of the musical. According to Reddout, the show will take a darker turn when the consequences of the actions in the first half are made visible and culminate in a series of events that sometimes literally crushes the dreams of the characters...