This year marks the 36th anniversary of the death of Simone de Beauvoir, a French philosopher and an important promoter of the second wave of feminism, and yesterday was her death anniversary.
Funeral at Beauvoir, Paris, April 19, 1986 Photo/Visual China
Simone Beauvoir was one of the most influential philosophers of the 20th century, and her book The Second Sex (1949) used anthropological, biological, psychological, historical, and literary sources to critique the fallacy of femininity in patriarchal societies, exploring how women could become women in social situations and gain free existential ethics and responsibilities. Even if you have never read Beauvoir's writings, you will hear her famous statement, "Women are not born, women are socially constructed." ”
However, both during and after his death, Simone Beauvoir's scholarship and thought were always subordinate to Sartre. In China in the 1980s, she entered the new mainstream cultural vision under construction as Sartre's "lifelong partner", "wife of a great man", and a "woman behind a great man".
Professor Dai Jinhua has combed through the twists, fragments, and even fragments of the propagation process of Beauvoir in China in her article "Traces of Time: Simone Beauvoir in China". She pointed out that in the perspective of historical retrospection, Simone Beauvoir, the Chinese development of the second sex and feminist theory are presented in the multiple dislocations of a social reality context. At that time and place, "the meaning of feminism as a new, counterbalant source of thought is far from being truly revealed." ”
Today, movable type Jun shares with book lovers the article "Traces of Time - Simone Beauvoir in China". Follow Professor Dai Jinhua to learn about Simone Beauvoir's acceptance in China, and thus look for "a new feminist social practice, a broader and more active social practice." ”
The marks of time – Simone Beauvoir in China
—
Dai Jinhua
The original article was published in Bookhouse, No. 10, 2007
It is abundantly clear that I first came into contact with Simone Beauvoir and her Second Sex sometime in 1979.
The first thing I read was the second volume of the Taiwanese edition of The Second Sex: the section on literature, and I can still recall the shock and affinity I felt when I read it. The famous works of European and American male literary masters who have read and deeply immersed themselves in them for the first time showed the aspects of gender writing in front of me, and that day was also a painful peep: "Women are not born, but created by the day after tomorrow", when I first read it, there was a certain deep sense of thrill in my heart. It accurately echoes and cracks the deep confusion I felt in my growing up years: although I was born in the era of "men and women are the same", although the heart of the girlhood is full of heroes and heroines, the life of youth has repeatedly collided with invisible but still powerful gender regulations and gender order. As a result, I feel deeply wandering between the confusing mental and physical paths such as being born as a woman and "being a woman". It can be said that with "The Second Sex", I have brought my life experience close to the expression that I did not know at the time called "feminism", and it seems that from then on, feminism is no longer a "theory" for me, although it has long been as broad and difficult as any theory after the "linguistic transformation", but a "self-expression" that penetrates and integrates with my life experience.
To this day, I can't remember where the "Second Sex" came from—to be sure, the book did not come from "normal channels" such as bookstores and libraries, but only that the book was dilapidated and seemed to have been circulated by countless people—this was not a special case at the time, but the afterglow of the "Cultural Revolution" era: a book, especially a translation of Western literature or philosophical works, often had countless readers; during the "Cultural Revolution" years, once a book was lent, it was mostly yellow, and the book embarked on its wonderful "Odyssey". Will pass through the hands of countless people and be read.
This is especially true of high-level "internal reference books" or translations from Hong Kong and Taiwan, as well as overseas Works of Chinese Studies, most of which are gradually broken in its long drift. It is ridiculous to think that in the 1970s, from time to time, these fragmented translations provided people with ideological resources and brewed sneaky cultural trends and movements. In the 1980s, many famous ideological and cultural tides, rather than "excuses" or "introductions", were still mostly "broken fragments" or "hearsay" of some Western theories and overseas Chinese works. In this way, of course, it means that after more than thirty years of rejection and isolation, at the turn of the 1970s and 1980s, the introduction of European and American theories in the twentieth century, although fierce, is far from systematic and orderly; and because of the constructive power of socialist ideology in the Mao Zedong era and the dislocation between contemporary Chinese history and European and American history, the Chinese dissemination of similar theories is mostly suspended and detached from the historical, social context, and ideological and academic contexts in which they were produced. The dislocation and absence of the historical and practical contexts of Europe and the United States have made these interventions as China's realistic and counterbalant ideological resources have a certain "absolute truth" face and value. At the same time, a cultural fact that is difficult for people in other places to realize at that time is that it is the history of socialism and the huge and effective theories under the socialist system (which originally means Marxist theory), research, translation introductions and publishing institutions that have "fed" generations of contemporary Chinese readers who have touched and entered the history of European and American thought, culture and literature by means of translations rather than through original texts and original works.
Therefore, as one of the important components of the "ideological liberation movement" at the turn of the 1970s and 1980s, the influx of European and American theories and works not only went through the early and not accidental choices of "professional" foreign languages and translators, but also due to the actual dislocation and potential multicultural conflict between socialist China and the post-war history of Europe and the United States constructed by the Cold War pattern, the introduction of many European and American theories was mostly through the twists and turns or transmutations of a small number of professional foreign language personnel and the quotation of fragments.
There is no doubt that the "arrival" of Beauvoir and "The Second Sex" in China means the arrival of the precursor of European and American feminist theory, and this "half of the Red Chamber" undoubtedly intervened in and promoted the emergence, formation and ebb and flow of Chinese feminism, especially feminist literary criticism, with a strength that is difficult to imagine today. But it is not without absurdity that the early arrival and continued popularity of Beauvoir were not the work of feminism, but the landing of existentialism, or more precisely, the landing of Sartre's big ship.
In fact, with the end of the Cultural Revolution in 1976 and after a brief transition, one of the cultural hallmarks of China's "new era" was the "sudden" explosion of foreign philosophies, especially the introduction of literary works. Although the overwhelming majority of this publishing boom was the translation, addition, reprinting, and reprinting of European and American philosophical and literary works from the Renaissance to the nineteenth century, as part of the historical situation that I once called "China's second encounter with the (European and American) world", it was the emergence of European and American theoretical and literary texts in the twentieth century. The most representative of these is the translation of the so-called "Western modernist" literature. Existentialist philosophy and Sartre "arrived" in China along with the specific "shift" of Chinese culture.
Simone de Beauvoir with Jean-Paul Sartre in Paris, 1963
At the turn of the 1970s and 1980s, Sartre and existentialist philosophy took the lead in popularizing and spreading through university campuses, becoming the first wave of European and American philosophical and cultural trends to impact and break up contemporary Chinese culture (at the level of cultural appearance, it was more presented as one of the occasional dark rivers that swept up the ground in the ideological liberation movement that swept the whole society), and as one of the special cases and cases of Chinese culture in the sixties, Sartre was one of the rare twentieth century through the mainstream cultural system to obtain translation and introduction. He is not one of the Marxist thinkers and writers. Therefore, the entry of the existential philosophy, which Isatre refers to and identifies, is not only directly used as an ideological resource for the confrontation of reality, but also in fact becomes one of the "pontoon bridges" connecting the social and cultural ruptures in China at the turn of the 1970s and 1980s.
As a specific cultural landscape at that time, it was the unprecedented prosperity presented by literature and the fact that literature became a super carrier. At one time, "literature" was a means of socio-political protest, the interpreter and constructor of new ideologies, and the most popular cultural form. Therefore, in addition to other far more complex and profound social and ideological reasons, existentialism was the first wave of European and American philosophy and ideas to impact China in the twentieth century, precisely because Sartre (Simone Beauvoir) was a "modernist" writer and Nobel Prize winner (his refusal to accept the literary prize was stripped of the European historical context of the sixties and was only used to increase Sartre's "personality" height). The first to receive a large number of translations is the literary work of Sartre/Beauvoir. Thus, as an existential philosophy that runs through China in the 1980s and in the 1990s, the "order" in which its representatives and their writings entered or even swept China are: Sartre/Simone Beauvoir, Camus, Rilke, Heidegger (as the most sustained and influential one), Kierkegaard, and Jasbeth. Thus, although Simone Beauvoir's entry was in fact accompanied by the re-naming of feminism/feminism in China, it is ironic that she was more of a "lifelong companion" and "wife of a great man" (in addition to the "French community", a professional researcher of French literature, beauvoir was indeed called "Sartre's wife") [1], a "woman behind a great man", and entered the new mainstream cultural vision under construction.
Although Beauvoir's works were also translated and introduced on a considerable scale in foreign literary journals and magazines that were very popular at that time, compared with the fanaticism, popularity and fierce controversy caused by Sartre, Simone Beauvoir showed only a certain taste of "red sleeves and fragrance". If because of its identity as a woman and a "wife", because of its identity as a woman, in the process of constructing China's new mainstream culture at the turn of the 1970s and 1980s, in a cultural undercurrent of "rewriting the gender order", Beauvoir appeared as a secondary and foil element; then with its literary creation as the precursor and wedge, a large number of translations of Sartre's philosophical papers and works were introduced in a certain "nineteenth-century" knowledge genealogy and cultural pattern in China in the 1980s, making Beauvoir a writer below the "rank" of philosophers. And again relegated to the second class.
As if a confirmation and echo of the irony of Beauvoir's "second nature" discourse, Beauvoir's naming process for the new mainstream of Chinese "elite" thought and culture in the 1980s is simultaneously presented as anonymous. In the twenty years from the 1980s to the 1990s, what people relished, repeatedly told and translated was the "immortal love" and "lifelong loyalty" of the "great couple" of Sartre and Beauvoir. In a sense, this "great couple" almost became one of the "myths" of the elite intellectual circles in the eighties, and also because the "knowledge" of European and American culture in the Chinese intellectual circles has always been mediated by professional foreign language personnel, occasionally because of a certain tacit tradition of "keeping a secret for His Holiness", and because of a certain "anti-moral moralism" cultural atmosphere unique to China in the eighties, the author seems to be undoubtedly also due to the expression and appeal of a certain gender order, about Sartre's entanglement with many young women. Beauvoir's subtle role in it; the "threesomes" who succeeded or failed, the "third party" of Beauvoir's life, were discovered by Chinese intellectuals until the late 1990s.[2] But by this time, both as existentialists, existential philosophy or literature, or beauvoir's meaning as a pioneer of feminism, had "faded" out of the main landscape of Chinese culture; similar publications were not only unable to "denigrate" or replace the established "myth" of love and loyalty (the number and scale of publications restated as that myth were still far superior to the former [3]), but still appeared only in the context of Chinese society after the drastic changes, as some kind of elegant and interesting celebrity anecdote. Among them, Beauvoir's advocacy of feminism in his personal life and his complicated struggles and ambiguities between gender roles and order are even ignored by most Chinese feminists who love Beauvoir as a pioneer of feminism.
In China in the 1980s and 1990s, there were four works published that "recounted" the "myth" of Sartre and Beauvoir, including Sartre, Simon Beauvoir, Lifelong Lover: Beauva and Sartre, and Beauvoir and Sartre.
If Beauvoir's obvious literary achievements made it impossible for her to be merely a bright spot on Sartre's aura, then the myth of Simone Beauvoir and Sartre as "immortal lovers" "softened" Beauvoir's image in a specific context of the 1980s, making her the "ideal woman" in the reconstructed "new" gender order—the modern woman of the so-called family, or at least love and career. Thus, interestingly, Simone Beauvoir became another "pontoon" figure who began in the thirties and ran through the entire new Chinese gender culture: marie Curie (also omitting the shadow of her and Curie's "happy marriage" and the "scandal" that followed) – not an exposure of the double standards between the sexes in modern society, but once again used as a successful cover.
However, this is not all Simone Beauvoir "crossed" China. If, in the context of mainstream culture, Beauvoir's name is more as "Jean-Paul Sartre's lifelong companion", as a rich existentialist literary scholar, a French female intellectual who has fully romanticized in contemporary China, and her novels and plays appear from time to time in foreign literary magazines and the latest translations of foreign literature that have been revived and founded[4], then she has a very different acceptance vein as the forerunner of feminism in "new" China. In a sense, feminism/feminism was one of the earliest (re-) European and American theories to enter contemporary China, and "The Second Sex" became the first of them. Although in my speculation, the Taiwanese translation I have read (in fact, the only translation of the Chinese) has been widely circulated among female intellectuals in major cities such as Beijing at least, as with most of the Twentieth Century European and American theories that entered China at the turn of the 1970s and 1980s, the Second Sex was not so much an academic work that influenced and facilitated the process as a scholarly work, but more as a reference to Simone in Chinese literary magazines The introduction of Beauvoir and his feminist theory, even merely as a title and nomenclature of "female/second sex", echoes and identifies an anonymous experience of female gender survival that is in fact very different from the social reality of Europe and the United States.
"The Second Sex" Chinese edition, from left: Translated by Sang Zhuying and Nan Shan, Hunan Literature and Art Publishing House, 1986; translated by Shu Xiaofei, Xiyuan Publishing House, 2009; translated by Zheng Klu, Shanghai Translation Publishing House, 2014
At that time and place, although a profound social change had begun, the living conditions of China's urban and urban residents, including women, had not yet been directly impacted and changed. In other words, at that time, chinese urban women were still placed in the political, economic, and legal equality of women created by the socialist system. In a sense, we can say that for the chinese urban women of that time, in fact, the intellectual women's group, what they faced was not blatant sexism or social banishment against women, but a subtle double standard under the surface of absolute equality, a dual role: the male standard at the social level and the real burden of the anonymous provision of "good wives and good mothers" at the individual family level. Therefore, full of "dislocation" and misreading, Beauvoir's naming of "female/secondary sex" corresponds to the identification and criticism of this historical reality of existence by Chinese intellectual women. It is also through similar approaches and methods—the author's so-called "broken fragments" and "hearsay"—the quoted translation of Julia Klisteva's book "On Chinese Women" of the so-called "Mulan Situation" of modern women's existence, and The so-called "one-room of their own" and "second sex" by Virginia Woolf, which together with the title of "second sex", have become the beginning and first stepping stone for contemporary Chinese women, to be precise, urban women to break free from the nameless state of new, social survival.
Interestingly, for China at the turn of the 1970s and 1980s, as well as the entire 1980s, the germination and awakening of its gender consciousness and the surge of feminist ideas did not start from striving for social equality, but to reveal and reveal gender differences. In the author's field of view, at the turn of the 1970s and 1980s, the "ideological emancipation movement" that washed over and profoundly subverted and changed Chinese society, potentially contained the reconstruction of the gender order, or more precisely, the "restoration" of the male group; therefore, the European and American feminist theory, which also entered the Chinese mainland as a part of "ideological emancipation", joined the cultural process of "rewriting gender" between ignorance and unexpectedness, and tried to reveal the "female/secondary sex" obscured by the social reality at that time in the name of the female group. Reality, in turn, becomes a deep and intrinsic revolt against new, constructed expressions of gender essentialism. Just like the turn of the 1970s and 1980s, the first socially influential female drama with a distinct gender stance, "The Wind and rain come", became a frequently repeated "slogan" in the past twenty years with a line: "Women are not the moon, and they do not reflect the brilliance of men to illuminate themselves." As women fighting for their own group names, and similarly appropriating the "anti-moral morality" of the elite intellectual circles of the time as a countervailing strategy, Beauvoir and Sartre as "lifelong lovers" rather than husband and wife, Beauvoir entered the Paris Master with a higher rank than Sartre, and Beauvoir once questioned why Beauvoir could only be called "Sartre's partner" and not the opposite, or anecdote, Beauvoir's so-called "woman" is not born, but a famous saying created by nature. It became the basis for some female intellectuals in the 1980s to talk about and constantly cite them to support their rebuttals.
In 1955, Sartre and Beauvoir came to China together to participate in the National Day ceremony. (Photo by Liu Dong'ao)
In the perspective of historical review, it is not difficult to see that simone Beauvoir, the Chinese development of the second sex and feminist theory are in fact presented in the multiple dislocations of a social reality context. At that time, we were in the prelude to a very profound social change, which people could not predict. In other words, the significance of feminism as a new, countervailing source of thought is far from being truly revealed. In the social imagination of people at that time, the future, a more ideal, harmonious and perfect society, was a revised version of "reasonable" based on today's social structure. Thus, Simone Beauvoir, the "second sex" or feminism, is merely alleged, and indeed does act as, a cultural resource and cultural act, a discursive form and expression, of urban intellectual women. A prominent misalignment here is that the Chinese feminists of the 1980s used the "female/secondary sex" statement, which is not so much to highlight the absurdity of the gender essentialist expression, but to first and foremost identify the existence of gender differences, thus breaking through the nameless state of women's survival in the era of "men and women are the same".
Although apparently accidental: the Taiwanese version of The Second Sex, which only excerpts the section on women and literature in the second volume of the original work, necessarily echoes and further constructs the original orientation of feminism in contemporary China: it is only a cultural and not a political position, discourse, and demand; just as when people quote Virginia Woolf, they only highlight her "own room" or "become myself", and Omit or unable to perceive the meaning of Woolf's so-called "own checkbook".
Because in the political, legal, and economic sense of the social system of equality between men and women, the economic independence of women (in the city) and the equal pay for men and women for equal work are regarded by most women as a matter of course, and its historical context and the gap between this fact and the reality of women's existence in other parts of the world have hardly entered the thinking and observation of intellectual women at that time.
At the same time, Simone Beauvoir and The Second Sex (Volume II) became the first voices of feminism in contemporary China, corresponding to and echoing the rise of the community of women writers and their creations in China throughout the 1970s and 1980s. In a sense, the emergence of a spectacular group of female writers and artists is a direct result of socialist history and the liberation of women in contemporary China, and at the same time an unknowing extravagance of this "legacy" that has not yet been identified.
It is a very interesting fact that the group of female writers and artists who appeared on the Chinese cultural stage at the turn of the 1970s and 1980s undoubtedly expressed a gradually clear gender stance and presented the second sexual existence of contemporary Chinese women in different social constructs in different ways and angles in secrecy; the vast majority of them, especially almost all of them, explicitly rejected the label or title of feminist or feminist literature/artist. As a result, the emergence of feminism in China, although closely related to the emergence of female writers and female artists, is more presented as another cultural context that intersects and occasionally parallels with it.
Beauvoir with her traditional Chinese costume
In parallel with the fact that the group of women writers and their creations were gradually flourishing, from the turn of the 1970s to the mid-1980s, feminism was basically still the translation of European and American women's literature and feminist theories by China's "foreign language circles" (centered on English or English and American literature studies), and then, in the mid-to-late 1980s, feminism began to become an important discourse method and critical practice path for local feminology, women's literature research and critics.
As mentioned above, it is precisely because of the role of intermediaries and paraphrasers in the "foreign language/English community", and because of the way it is disseminated in a "broken and concise" and "hearsay", that most of the European and American theories that entered China as absolute truth and at least "advanced knowledge" in the 1980s and even in the 1990s were mostly mixed with a large number of necessary or fatal misinterpretations and deformations, and were often rapidly disseminated, restated and applied to Chinese social, cultural, and literary criticism by many local intellectuals who could not directly read European theories and original works. From time to time, similar processes have resulted in a "Chinese version" of a European and American theory that is sometimes far removed from the original context, and the translation of the original work (an interesting corresponding word in the Chinese: the full translation) is often delayed. By the time the "original appearance" of a certain European and American theory appeared in the field of Chinese culture, this theory had mostly lost its freshness and heat. The same is true of Simone Beauvoir's "Journey to China".
By the turn of the 1970s and 1980s, Simone Beauvoir's name and the words "second sex" had appeared frequently in the writings of Chinese female scholars, especially female literary researchers; however, it was not until 1988 that The Second Sex published three abridged translations of different titles, most of which were the second volume of the original, or simpler abridged translations. It was ten years before a complete translation was finally available in China.
Similarly, although the life of Beauvoir (Sartre) was talked about in the 1980s for different demands and purposes, it was not until 1992 that the full translation of Beauvoir's memoirs was translated from the English version, but this hardcover edition of the four-volume, six-volume Memoirs of Simon Beauva was only distributed in two thousand copies, which in China, with such a large population base, is about equivalent to some kind of collector's edition. Also in 1992, the Simone de Beauvoir Study was published. As a kind of "thick book" unique to the 1980s, which combines the author's biographical materials, selected translations of works, and European and American related studies, it is indeed too late compared to the same type of "Sartre Studies" published in 1980. Even in the preface to this collection of translations, the editor reads: "Beauvoir's life's work is a valuable spiritual treasure, both in recognition of the personal role of Simone de Beauvoir and in the purpose of understanding Jean-Paul Sartre." ”〔5〕
Selected works by Li Qingquan and Jin Dequan: The Study of Simone de Beauvoir, included in the French Modern and Contemporary Studies Series, China Social Sciences Press, 1992.
For Simone Beauvoir and feminist theory of China's travels, China 1988 became an important year. This year, not only did the familiar but hard-to-see Second Sex finally appear three excerpts, but two other translations of Friedan's Women's Confusion and Doris Lessing's Golden Notes were also published.
Intriguingly, the year before, 1987, the process of "reform and opening up" in Chinese society entered a new and delicate stage. The seemingly endless march of "breaking through the forbidden zone" triggered by "ideological emancipation" finally mapped the boundaries of the new order; the clamorous "cultural fever" began to cool down; the economic system reform, which had always been invisible in the early 1980s, burst out as a wave of commercialization that impacted Chinese society and appeared in the cultural market for the first time; and the demand for political system reform in the rush was fashionable and undercurrent of finding an outlet in the rush.
In China in the turbulent and ever-new 1980s, we may occasionally call 1988 a period of delay, a year of "intermission". The theory of Feminism in Europe and America and the criticism of indigenous feminism, especially feminist literature, have surfaced in this year, revealing to us the marginal and ambiguous position of feminism or even as a "new theory" in Europe and the United States in the 1980s.
In a sense, feminism was not met with frontal sniping or official prohibition in China in the 1980s. This is first of all because advocating and practicing women's liberation was originally one of the important and basic social policies of the new China, so feminism does not seem to have much of an alien color. In the 1980s, China's translation of early feminist works in Europe and the United States had not yet shown the radical political color of feminism. Second, despite the process of rebuilding the gender order that had potentially become the center of male power in the 1980s, a certain "sense of morality" and shame prevented them from expressing blatant hostility and rejection of feminism to the elite group of male intellectuals who called for "liberation" and advocated "progress." Third, feminism, as a part of European and American theory in the twentieth century, its "natural" authority and truth also provided a certain protective color for feminism in the cultural landscape of China's "Westernism" in the 1980s. Therefore, the emergence of Beauvoir and feminism in 1988 is undoubtedly the result of a large number of translations, discussions and attempts to apply the theory and practice of feminism in Europe and the United States in the past decade, and at the same time shows the corner, embellishment or whitening nature it was in throughout the eighties; and from another point of view, feminism surfaced in 1988, which is undoubtedly a positive feedback and counterattack to the practice of "restoration" of patriarchal culture that is gradually visible in contemporary China.
In 1989, in addition to the translation and publication of the first collection of English essays on feminist literary criticism[6], as an important symbol of Beauvoir's "The Second Sex" and the Chinese localization of feminism, and at the same time an important symbol of the institutionalization process, Shanghai Wenjing first opened a column on "Feminist Literary Criticism" for the publication of literary criticism articles or special papers written by young female scholars, mainly discussing the works of contemporary women writers. In the same year, the "Women's Studies Series" edited by Li Xiaojiang, a pioneer of Chinese feminology, was published, the first ten books, the vast majority of which were studies of women's literature or literary studies based on women's positions.
At this point, in addition to the translators of Feminist theory and cultural practice in Europe and the United States, professional scholars of feminist studies, especially the study of women writers, began to appear in China, university Chinese departments began to open courses on feminism or women's literature, and more and more master's and doctoral dissertations on feminism, feminist literature, and feminist literary criticism came out.
In a sense, with Simone Beauvoir as its banner and logo, the tortuous, fragmentary, and even broken spread of feminism in China in the 1980s opened the first act of feminist practice in contemporary China and gathered strength for the women's research institutions and some NGOs that would emerge in the 1990s. Taking the 1995 World Conference on Women as an opportunity, feminism began to spread widely at different levels of Chinese society, and at the same time, like the rapidly changing Chinese society, it began to show an extremely complex and rich pattern. Simone Beauvoir, no doubt, has become an intrinsic part of contemporary Chinese culture during a long and tortuous theoretical journey. A different history and reality requires a new feminist social practice, a broader and more active social practice.
exegesis:
[1] Even Mr. Liu Mingjiu, an expert on French-language Chinese literature, wrote in his Paris Dialogues, written in 1981: "In my mind, she (Beauvoir) and Sartre are inseparable. ...... If, in simplistic terms, she is actually Sartre's wife, and Sartre has benefited a lot from her in her life... It was almost with the feeling of seeing Sartre that I came to the door of Simone de Beauvoir. Reprinted from Li Qingquan and Jin Dequan, selected works, "Simone de Beauvoir Studies", in the French Modern and Contemporary Studies Series, China Social Science Press, 1992 edition, pp. 730-731.
[2] (French) Sartre, Beauvoir and Me by Bianca Lamblan, translated by Wu Yuetian, China Three Gorges Publishing House, 1998; (French) Simone de Beauvoir: Love Letters Across the Ocean, translated by Lou Xiaoyan and Gao Linghan, China Book Publishing House, 1999.
[3] The works published here on the "myth" of the "immortal couple" include Simone de Beauvoir's Biography of Sartre, translated by Huang Zhongjing, 1996 edition of Baihuazhou Literary and Art Publishing House; and Simon Beauva: The Biography of Simon Beauva, translated by Hao Ma and Yuwen, and 1996 by Changjiang Literature and Art Publishing House. Chen Mo's Lovers of Life: Beauva and Sartre, Oriental Publishing House, 1998; Walter Van Rossum, Beauvoir and Sartre, translated by Zhu Liuhua, Chunfeng Literary and Art Publishing House, 2000 edition, and so on.
[4] "Man Is To Die", translated by Ma Zhencheng, Foreign Literature Publishing House, 1985. "The Blood of Others", translated by Qi Yanfen, included in the Foreign Literature Series, Foreign Literature Publishing House, 1987. "Female Guest", translated by Zhou Yiguang, was included in the "French 20th Century Literature Series", Anhui Literature and Art Publishing House, 1994 edition (the same translation was also published under the translation name of "Female Guest", China Book Publishing House, 1999 edition). "Beautiful Image", translated by Fan Rong, included in the French 20th Century Literature Series, Anhui Literature and Art Publishing House, 1997 edition.
[5] Selected works by Li Qingquan and Jin Dequan, eds., Simone de Beauvoir, in French Modern and Contemporary Studies Series, China Social Science Press, 1992, p. 15.
[6] Mary Eagleton, ed., Feminist Literary Theory, translated by Hu Min, Chen Caixia, and Lin Shuming, Hunan Literature and Art Publishing House, 1989.
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