How To Read Sade
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How To Read Sade
John Philips introduces the Marquis de Sade's highly original and thoroughly subversive depiction of human sexuality and the philosophical and political thinking that underpins it. He shows how, though Sade's work continues to shock, it can also be seen as the logical conclusion of eighteenth-century materialism. As the only writer of his time who dared to put the body at the centre of philosophy, Sade has a unique place in the history of modern thought. Extracts are taken form the whole range of Sade's writings, including The 120 Days of Sodom, Philosophy in the Boudoir, Juliette and his Last Will and Testament.
Understanding Sade, Understanding Modernism
Author: James Martell
language: en
Publisher: Bloomsbury Publishing USA
Release Date: 2025-01-23
The most current multidisciplinary and multivocal engagement with Sade's enduring influences on modernism and the philosophical need for continued analysis of his work and the questions it raises. From Lacan to Dalí, through Simone de Beauvoir, Beckett, Horkheimer, Burroughs, Pasolini, Foucault, Deleuze, up to Žižek, the Marquis de Sade's influence and impact on modernism and modern thinking is hard to measure. Understanding Sade, Understanding Modernism presents its readers with a chance to reflect on the importance of this radical oeuvre from different perspectives. Contributors examine Sadean literature and thought through some of its main texts (including 120 Days of Sodom, History of Juliette, The Crimes of Love, and Philosophy in the Boudoir) in a series of comparative essays that not only examine Sade's influence in French, European, and American thought, but also critique it in the context of some of modern philosophy's most relevant subjects: ecology, nature, universalism, and the links between ethics and aesthetics. The final section identifies key concepts and notions within Sade's corpus in a series of entries offering context and a discussion of their relevance for current thought.
Intersections, a Reading of Sade with Bataille, Blanchot, and Klossowski
Four writers?the first, an eighteenth-century Frenchman whose works still retain their power to shock, scandalize, and instruct; the others, three twentieth-century Frenchmen, heirs and explicators of their earlier compatriot?form the central cast of characters of this literary-philosophical dialogue which seeks to transcend the barriers of time, space, and sexual identity imposed by traditional approaches to literature. Professor Gallop, acknowledging her debt to such writers as Friedrich Nietzsche and Roland Barthes, cites as the shaping principle of her work the central tenet of intertextuality?that a literary work is not a closed system which can be definitively characterized by reference either to its creator or to its beholder. Rather, reader, writer, and text meet, react, and interact in a performance of "polymorphous per-versity"?a performance which, Professor Gallop points out, finds a parodic analogue in the activities of Sade's distinguished libertines. Professor Gallop observes that Sade and the structuralists display a congruity of purpose, in that both take as their goal the destruction of the classical dichotomy, long enshrined at the heart of the humanist tradition, between the ideal and the material. Working from these peculiar conjunctions of theory, purpose, and enactment?and from a distinctly feminist point of view?Professor Gallop moves freely among the texts of her four subjects. She introduces Bataille's Sade to Blanchot?s Sade, relates Klossowski's Sade to Klossowski's Bataille, and, when necessary extricates Sade himself from the web of what has been written about him. She finds that each of the three later writers constructs his own "fiction," with Sade as chief character: Bataille, caught up in the idea of the "sovereign man," discovers the sovereign man in Sade; Blanchot, for whom the real action is the act of writing itself, describes a Sade confronting the horror of the loss of self in that act; while Klossowski creates several Sades, marking different moments in his intellectual itinerary: psychoanalytic, Catholic, Nietzschean. Professor Gallop demonstrates, however, that Sade is ultimately not appropriable?cannot, in effect, be consumed?and that, thus, an inversion occurs whereby Bataille, Blanchot, and Klossowski become extensions of Sade's characters, subsumed into the Sadian world. And she finds herself likewise a part of that world and her work "an ever reverberating extension of Sade's own writing."