Simone Weil (1909–1943)
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Born in Paris, Weil came from a highly intellectual family. After a brilliant academic career at school and university, she taught philosophy interspersed with periods of hard manual labor on farms and in factories. Throughout her life she combined sophisticated and scholarly interests with an näytä lisää extreme moral intensity and identification with the poor and oppressed. A twentieth-century Pascal (see Vol. 4), this ardently spiritual woman was a social thinker, sensitive to the crises of modern humanity. Jewish by birth, Christian by vocation, and Greek by aesthetic choice, Weil has influenced religious thinking profoundly in the years since her death. "Humility is the root of love," she said as she questioned traditional theologians and held that the apostles had badly interpreted Christ's teaching. Christianity was, she thought, to blame for the heresy of progress. During World War II, Weil starved herself to death, refusing to eat while victims of the war still suffered. (Bowker Author Biography) näytä vähemmän
Erotteluhuomautus:
(eng) Do not combine with Simone Veil (born 1927), French lawyer and politician.
Image credit: Ashford Borough Council
Tekijän teokset
Love in the Void: Where God Finds Us (Plough Spiritual Guides: Backpack Classics) (2018) 67 kappaletta
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Œuvres complètes (tome II, volume III) : Écrits historiques et politiques (Vers la guerre (1937-1940)) (1988) 4 kappaletta
De l'attention - Réflexions sur le bon usage des études scolaires en vue de l'amour de Dieu (2018) 3 kappaletta
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Œuvres complètes (tome II, volume II) : Écrits historiques et politiques (L'expérience ouvrière et l'adieu à la… (1991) 3 kappaletta
Œuvres complètes (tome VI, volume I) : Cahiers (tome VI, volume I) (1933 - Septembre 1941) (1994) 3 kappaletta
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Associated Works
Merkitty avainsanalla
Yleistieto
- Kanoninen nimi
- Weil, Simone
- Virallinen nimi
- Weil, Simone Adolphine
- Muut nimet
- Emile Novis
- Syntymäaika
- 1909-02-03
- Kuolinaika
- 1943-08-24
- Hautapaikka
- Bybrook Cemetery, Ashford, Kent, England
- Sukupuoli
- female
- Kansalaisuus
- France
- Syntymäpaikka
- Paris, France
- Kuolinpaikka
- Ashford, Kent, England, UK
- Kuolinsyy
- cardiac failure
- Asuinpaikat
- New York, New York, USA
- Koulutus
- Lycée Henri IV, Paris, France
École Normale Supérieure (diplôme d'études supérieures|1931) - Ammatit
- philosopher
writer
social activist - Suhteet
- Weil, André (brother)
- Lyhyt elämäkerta
- Simone Weil was born into a wealthy Parisian Jewish family originally from the Alsace region. She suffered from ill-health but was a brilliant student, excelling in languages, philosophy, literature, and science. After graduation from the École Normale Supérieure in 1931, she taught at several rural academies, and wrote articles for socialist journals. She was a political idealist, and took a leave of absence to work in a Renault factory in order to become more closely connected with the French working class. She went to Spain in 1936 to fight for the Republic against fascism in the Civil War, but was injured in a cooking fire and also contracted tuberculosis. Weil became heavily involved in Catholicism, having a series of mystical experiences. She traveled to the United States with her family and eventually resettled in England. She died aged only 34, apparently having starved herself to death "whilst the balance of her mind was disturbed." Simone Weil’s books were all published posthumously.
- Erotteluhuomautus
- Do not combine with Simone Veil (born 1927), French lawyer and politician.
Jäseniä
Kirja-arvosteluja
The Need for Roots: Prelude to a Declaration of… Tekijä: Simone Weil
The Washington Post called the book "the vexing political-treatise-cum-mystical-tract." They wrote, "Weil’s vision for a postwar France — and, more generally, for a utopian society — begins with her rejection of rights in favor of “obligations.” “A right is not effective on its own,” she writes, “but solely in relation to the obligation to which it corresponds.” A right derives its moral force from a law, a mere contrivance, but “there is an obligation towards every human being through the mere fact that they are a human being."”… (lisätietoja)
Ahora sí, ahora me ha impresionado Simone Weil. Este tomo reúne algunas de las cartas que le dirigió a su amigo el sacerdote Joseph-Marie Perrin y algunos ensayos relativamente cortos, más un par de fragmentos dirigidos a otros amigos. Todos tratan fundamentalmente de religión y fueron publicados por el sacerdote tras la guerra. Aquí, Weil desarrolla sus ideas con más claridad y orden, a la vez que, en las cartas, nos proporciona detalles fundamentales de su vida, en especial en su relación con el catolicismo y su empeño en mantenerse fuera pero cerca de la Iglesia, "en su puerta" como repetiría ella misma. Ahora, la fuerza de su idea del amor como base de todo el universo se expresa con mayor claridad, sin los límites del aforismo o del apunte, y encontramos mejor razonadas sus apologías de la desdicha y de la debilidad.… (lisätietoja)
No se me dan bien los libros de aforismos. No soy capaz de concentrarme tanto como para sacar el supuesto jugo a cada palabra y me despisto con frecuencia. Eso, sumado a la naturaleza un poco anárquica de estos escritos, hacen que los mantenga lejos. Pero este parecía breve y relativamente sencillo. Me equivoqué. Bueno, breve sí que lo es, pero uno tarda en leerlo lo mismo que un tomo del doble de extensión. Parece que la mayor parte de estos textos fueron escritos por Weil en Marsella entre 1940 y 1942 en unos cuadernos que, al marchar hacia Londres, entregó a un escritor amigo. Tras la guerra y la muerte de la autora, su amigo editó un selección de esos cuadernos tal como aparecen aquí. Así que deben tanto a Simone Weil como a este escritor, Gustave Thibon.
Con todo, hay muchas cosas del pensamiento de Weil que me han gustado. Insiste en la cercanía de los contrarios, representados por la gravedad que nos lleva hacia abajo y la gracia que, viniendo desde fuera, nos eleva. Por eso, cuanto más bajo caemos, en particular en el sufrimiento y el dolor, más cerca estamos de nuestra ascensión definitiva. Pero eso no vendrá de forma mecánica ni material, sino que solo una fuerza exterior, que Weil parece identificar con el Dios cristiano católico, puede conseguir esa transformación. No se olvide que la autora mantuvo buena amistad con varios escritores y sacerdotes católicos, pero siempre rehusó claramente bautizarse. Hay varios pasajes en los que la autora se esfuerza en distinguir entre la concepción católica de Dios y la de otras religiones, y resulta especialmente dura con el judaísmo, al final del libro. También hay acercamientos al hinduismo, algo más ocasionales. Ya digo que esta santificación del sufrimiento me ha gustado especialmente, sobre todo porque Weil fue en su vida totalmente coherente con ello, a veces rozando el ridículo propio de las leyendas de santos medievales. En muchas ocasiones se trasluce su profunda compasión con los sentimientos ajenos, incluso con los de las personas que no conoce, y su empeño en darle a eso un ropaje racional o al menos razonable.… (lisätietoja)
Con todo, hay muchas cosas del pensamiento de Weil que me han gustado. Insiste en la cercanía de los contrarios, representados por la gravedad que nos lleva hacia abajo y la gracia que, viniendo desde fuera, nos eleva. Por eso, cuanto más bajo caemos, en particular en el sufrimiento y el dolor, más cerca estamos de nuestra ascensión definitiva. Pero eso no vendrá de forma mecánica ni material, sino que solo una fuerza exterior, que Weil parece identificar con el Dios cristiano católico, puede conseguir esa transformación. No se olvide que la autora mantuvo buena amistad con varios escritores y sacerdotes católicos, pero siempre rehusó claramente bautizarse. Hay varios pasajes en los que la autora se esfuerza en distinguir entre la concepción católica de Dios y la de otras religiones, y resulta especialmente dura con el judaísmo, al final del libro. También hay acercamientos al hinduismo, algo más ocasionales. Ya digo que esta santificación del sufrimiento me ha gustado especialmente, sobre todo porque Weil fue en su vida totalmente coherente con ello, a veces rozando el ridículo propio de las leyendas de santos medievales. En muchas ocasiones se trasluce su profunda compasión con los sentimientos ajenos, incluso con los de las personas que no conoce, y su empeño en darle a eso un ropaje racional o al menos razonable.… (lisätietoja)
I must admit: I don’t think I understand this book. It seems to me Weil is attempting to verbalize something ineffable, so that may have something to do with it. I've recently finished Cioran's The Problem of Being Born and Nietzsche's Beyond Good & Evil, both of which are written in a similarly aphoristic style. Cioran responded to criticism that his aphoristic writings lacked consistency by saying that this is why he liked writing in this way, he wasn't burdened by the weight of having to establish and carry and idea at length and could even contradict himself on the same page. The difference between him and Weil in this regard is pretty stark. (Sidenote: I came to this book after seeing a review somewhere lamenting the fact that Weil and Cioran never had the chance to meet and share ideas - I'm not sure if I agree that they would have so much in common) Weil seems to be building a worldview here, even a kind of unified religious conception, so she doesn't have the luxury of Cioran's wide-ranging eye. The latter's book, despite being tagged as a kind of philosophy, is more of a poetic discourse on death, language, and depression, and as such has all the license of poetry. But I guess we are supposed to come away from Weil's book knowing something more. I will say there are moments of extremely clarity and clear brilliance in this book, especially in the latter half. But I often had to read the same sentence over again to find, again, that I didn't know what she was talking about.
I think I had the hindrance of reading this book through several layers of "static" - the first being the obvious pitfalls of reading a book in translation; the second being Gustav Thibon's arrangement and editing of the notebooks that Weil bequeathed to him to make this book; the third being the fact that these writings were drawn from a notebook that (as far as I know) wasn't written for public consumption. The first layer of static needs no explanation. The second's importance is unclear, but if I go by Thibon's introduction, where he blathers on about himself, his awkward feelings about jews, and his redundant explanation of Weil's ideas to follow, I don't think his influence as editor of this book was benign. The third layer of static became clear to me at points of the book where I felt like I was reading ideas of a complex nature that was written in a kind of personal shorthand. Weil uses heavy words like love, imagination, and religion in ways which I couldn't be quite sure of her meaning. This is a writer who thought about very old and well-worn concepts in an atypical way - as such I wish she could have explained what she meant a little more when she used such words, but why would you if you were writing in your own private notebook, where the only audience (namely, you) would know exactly what you meant. This question of meaning takes double importance in the context of an aphorism, where every word, space, and punctuation takes on outsized influence.
In the first 100 pages, I was thinking about giving up on this one. I'm glad I stuck it out, because there are lots of interesting things here, written by someone who was clearly brilliant. Two final thoughts:
- In the last year, I have been consuming a lot of art with religious preoccupations. This is new territory for me, and a topic I never devoted much thought to before. The Brothers Karamazov, a book with a very positive view of Christianity, I can now count as one of my favorites. The thing that makes this book great, in my opinion as a non-Christian, is that despite Dostoyevsky's clear opinion that Christianity is correct, he allows space for his characters to express the complete breadth of what it means to human, and as such displays a tremendous love and tolerance for humanity in all its permutations, good or ugly. Weil comes off as rigid and strict in this book, and therefore I feel that this book is too pure, too sanctified, offering no sympathy for the ugly, passionate, destructive side of human beings which also makes life interesting and beautiful.
- I wonder if this book would still be the most popular thing Weil had written if she hadn't died so young. There is a feeling of finality about so much in this book, as if these are pronouncements shouted from high and meant to be handed down. Surely, if the author had lived, she would have developed these ideas more, as she already had in her short life before publishing this book. Maybe part of what makes Karamazov so great, and so universal, is that it was written later in Dostoyevsky's life, giving him time to work through the trauma of youthful conceptions of perfection destroyed, whereas Weil was in the thick of it.… (lisätietoja)
I think I had the hindrance of reading this book through several layers of "static" - the first being the obvious pitfalls of reading a book in translation; the second being Gustav Thibon's arrangement and editing of the notebooks that Weil bequeathed to him to make this book; the third being the fact that these writings were drawn from a notebook that (as far as I know) wasn't written for public consumption. The first layer of static needs no explanation. The second's importance is unclear, but if I go by Thibon's introduction, where he blathers on about himself, his awkward feelings about jews, and his redundant explanation of Weil's ideas to follow, I don't think his influence as editor of this book was benign. The third layer of static became clear to me at points of the book where I felt like I was reading ideas of a complex nature that was written in a kind of personal shorthand. Weil uses heavy words like love, imagination, and religion in ways which I couldn't be quite sure of her meaning. This is a writer who thought about very old and well-worn concepts in an atypical way - as such I wish she could have explained what she meant a little more when she used such words, but why would you if you were writing in your own private notebook, where the only audience (namely, you) would know exactly what you meant. This question of meaning takes double importance in the context of an aphorism, where every word, space, and punctuation takes on outsized influence.
In the first 100 pages, I was thinking about giving up on this one. I'm glad I stuck it out, because there are lots of interesting things here, written by someone who was clearly brilliant. Two final thoughts:
- In the last year, I have been consuming a lot of art with religious preoccupations. This is new territory for me, and a topic I never devoted much thought to before. The Brothers Karamazov, a book with a very positive view of Christianity, I can now count as one of my favorites. The thing that makes this book great, in my opinion as a non-Christian, is that despite Dostoyevsky's clear opinion that Christianity is correct, he allows space for his characters to express the complete breadth of what it means to human, and as such displays a tremendous love and tolerance for humanity in all its permutations, good or ugly. Weil comes off as rigid and strict in this book, and therefore I feel that this book is too pure, too sanctified, offering no sympathy for the ugly, passionate, destructive side of human beings which also makes life interesting and beautiful.
- I wonder if this book would still be the most popular thing Weil had written if she hadn't died so young. There is a feeling of finality about so much in this book, as if these are pronouncements shouted from high and meant to be handed down. Surely, if the author had lived, she would have developed these ideas more, as she already had in her short life before publishing this book. Maybe part of what makes Karamazov so great, and so universal, is that it was written later in Dostoyevsky's life, giving him time to work through the trauma of youthful conceptions of perfection destroyed, whereas Weil was in the thick of it.… (lisätietoja)
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