Simone de Beauvoir is a representative of one of the leading philosophical schools in the middle of the 20th century. The article presents Beauvoir’s artistic method, applied in her novel The Mandarins, and examines the theoretical and biographical sources of the novel. The author demonstrates the place that the novel has in the Beauvoir’s literary and philosophical heritage and reveals the genre features of the work, introducing some special terms such as engaged, modern or philosophical novel and testimonial autobiographical project. The article also analyzes the novel’s literary form and the binary structure of the narrative. The study of the main characters, who are Henri Perron, Anne Dubreuilh and her husband Robert, allows to give a couple of narrative lines. First of them is the inner line that opens the reflective, contemplative and intimate life of one of the main characters – Anne. The second one is the outer line that means that the reader receives the information about characters from the Henry’s actions. Basing on this structure, we draw a conclusion about the modifications in the genre of existential novel in the postwar years. The new themes can be found in the literature. Authors introduce to readers the certain social reality through the inner life of some characters – intellectuals, novelists or philosophers. The thesis about the inner transformation of the genre is proved on Beauvoir’ and Jean-Paul Sartre’s works and on the prewar works of Sartre and Albert Camus. Beauvoir’s new literary methods and plots, which are the logical development of her work, made her novel one of the pioneers in the postwar literature.
“The Mandarins”: Simone de Beauvoir’s Artistic Method
