7A de Beauvoir
Simone de Beauvoir - Woman's Situation and Character
“She wallows in immanence”
Immanentie: is dat wat tot de structuur van iets behoort en deze niet overschrijdt. Zo is
immanent in de kennistheorie dat wat het bewustzijn niet te boven gaat, maar binnen
de ervaring of het bewustzijn blijft.
[638] We will attempt to take a synthetic point of view of her situation, necessarily
leading to some repetition, but making it possible to grasp the eternal feminine in her
economic, social and historical conditioning as a whole.
[638] They belong both to the male world and to a sphere in which this world is
challenged; encoled in this sphere, involved in the male world, they cannot peacefully
establish themselves anywhere.
[643] Woman, it is said, is sensual, she wallows in immanence, but first she was
enclosed in it.
[647] She seeks someone against whom she can rise up concretely: the husband is the
perfect victim.
[647] he is privy to a privilege she constantly resents as an injustice. It is noteworthy
that the hostility she feels for the husband or the lover binds her to him instead of
moving her away from him; a man who begins to detest wife or mistress tries to get
away from her: but she wants to have the man she hates nearby to make him pay.
[647] Choosing to recriminate is choosing not to get rid of one’s misfortunes but to
wallow in them; her supreme consolation is to set herself up as martyr.
[649] There is only one solution available to the woman when rejection runs its course:
suicide. But it would seem that she resorts to it less than the man.
[649] if one considers successful suicides, there are many more men than women who
put an end to their lives; but suicide attemps are more frequent in women.
[649] → This may be because they settle more often for playacting: they play at
suicide more often than man, but they want it more rarely.
[649] → It is also in part because such brutal means are repugnant to them: they
almost never use knives or firearms.
[649] The woman does not sincerely seek to take leave of what she detests.
[649] She plays rupture
, 7B Fanon
Frantz Fanon - Black Skins, White Masks
"Black Skins, White Masks" is een boek geschreven door Frantz Fanon, een Frans-Martinicaanse
psychiater en filosoof die zich bezighield met de politieke en psychologische gevolgen van
kolonialisme en rassendiscriminatie. Het boek is een verzameling van essays waarin Fanon zijn
visie op de ervaringen van zwarte mensen in de westerse wereld beschrijft, met name hoe zij
worden behandeld en gezien door blanke mensen.
Fanon betoogt dat zwarte mensen in de westerse wereld worden gedwongen om
zichzelf te presenteren op een manier die aan de verwachtingen van blanke mensen
voldoet, en dat dit leidt tot een "gespleten identiteit" waarbij zwarte mensen zichzelf
moeten verbergen of onderdrukken om te passen in een witte-dominated samenleving.
Hij beschrijft ook hoe deze "gespleten identiteit" leidt tot mentale
gezondheidsproblemen en een gevoel van ontheemding bij zwarte mensen.
Fanon stelt ook dat rassendiscriminatie en kolonialisme een fundamentele wijziging
hebben gebracht in de psyche van zwarte mensen, en dat zij moeten vechten om hun
identiteit terug te winnen en te verwerken. Hij bepleit een bevrijdende "ontkolonisatie"
van zwarte mensen, waarbij zij zich bevrijden van de mentale en emotionele last die is
opgelegd door witte overheersing en onderdrukking.
In samenvatting is "Black Skins, White Masks" een boek dat de ervaringen van zwarte
mensen in de westerse wereld beschrijft en hoe deze ervaringen leiden tot een
"gespleten identiteit" en mentale gezondheidsproblemen. Het boek bepleit ook de
bevrijding van zwarte mensen van de mentale en emotionele last die is opgelegd door
witte overheersing en onderdrukking.
, 8A Goffman
Erving Goffman - Performances
[from The Presentation of Self in Everyday Life]
Concepten
- Cynical
- Performance
- Role
- Dramatizing (30,31)
- Front (22)
- Appearance
- Manner
- Setting
- Idealization
- Bureaucratisering van de geest
- Reality and Contrivance
Koppeling Durkheim (social fact, dringend feit) Weber (ijzeren kooi, bureaucratisering
van de geest) Mead (zelfreflectie)
Mcluhan & Simmel (p21)
Cynical
Onder cynisme wordt een houding verstaan die vaak in taal tot uiting komt, maar die
ook onuitgesproken kan blijven. Deze houding is er een van wantrouwen tegenover
andermans bedoelingen, tegen het nut van instituties of van grote ongevoeligheid voor
de gevolgen van de eigen daden. (g)
Ik heb twee uitersten gesuggereerd: een individu kan door zijn eigen daad worden
gegrepen of er cynisch over zijn. Deze extremen zijn iets meer dan alleen de uiteinden
van een continuüm. Elk verschaft het individu een positie die zijn eigen specifieke
zekerheden en verdedigingen heeft, dus er zal een neiging zijn voor degenen die dicht
bij een van deze polen zijn gereisd om de reis te voltooien. Beginnend met een gebrek
aan innerlijk geloof in iemands rol, kan het individu de natuurlijke beweging volgen die
door Park wordt beschreven:
Performance
[17] It will be convenient to begin a consideration of performances by turning the
question around and looking at the individual’s own belief in the impression of reality
that he attempts to engender in those among whom he finds himself.
[22]I have been using the term “performance” to refer to all the activity of an
individual which occurs during a period marked by his continuous presence before a
particular set of observers and which has some influence on the observers.
Front
[22] It will be convenient to label as “front” that part of the individuars performance
which regularly functions in a general and fixed fashion to define the situation for
those who observe the performance. Front, then, is the expressive equipment of a
standard kind intentionally or unwittingly employed by the individual during his
, performance. For preliminary purposes, it will be convenient to distinguish and label
what seem to be the standard parts of front.
It is probably no mere historical accident that the word person, in its first meaning, is a
mask. It is rather a recognition of the fact that everyone is always and everywhere,
more or less consciously, playing a role . . . It is in these roles that we know each other;
it is in these roles that we know ourselves.
In a sense, and in so far as this mask represents the conception we have formed of
ourselves—the role we are striving to live up to—this mask is our truer self, the self we
would like to be. In the end, our conception of our role becomes second nature and an
integral part of our personality. We come into the world as individuals, achieve
character, and become persons
[20] Professions which the public holds in religious awe often allow their recruits to
follow the cycle in this direction, and often recruits follow it in this direction not
because of a slow realization that they are deluding their audience—for by ordinary
social standards the claims they make may be quite valid—but because they can use
this cynicism as a means of insulating their inner selves from contact with the
audience. And we may even expect to find typical careers of faith, with the individual
starting out with one kind of involvement in the performance he is required to give,
then moving back and forth several times between sincerity and cynicism before
completing all the phases and turning-points of selfbelief for a person of his station.
(22) I have been using the term “performance” to refer to all the activity of an
individual which occurs during a period marked by his continuous presence before a
particular set of observers and which has some influence on the observers. It will be
convenient to label as “front” that part of the individual's performance which regularly
functions in a general and fixed fashion to define the situation for those who observe
the performance. Front, then, is the expressive equipment of a standard kind
intentionally or unwittingly employed by the individual during his performance. For
preliminary purposes, it will be convenient to distinguish and label what seem to be the
standard parts of front.
Setting
[22] First, there is the “setting,” involving furniture, décor, physical layout, and other
background items which supply the scenery and stage props for the spate of human
action played out before, within, or upon it. A setting tends to stay put, geographically
speaking, so that those who would use a particular setting as part of their
performance cannot begin their act until they have brought themselves to the
appropriate place and must terminate their performance when they leave it. It is only
in exceptional circumstances that the setting follows along with the performers; we see
this in the funeral cortège, the civic parade, and the dreamlike processions that kings
and queens are made of.
[24] If we take the term “setting” to refer to the scenic parts of expressive equipment,
one may take the term “personal front" to refer to the other items of expressive
equipment, the items that we most intimately identify with the performer himself and
that we naturally expect will follow the performer wherever he goes. As part of personal
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