The Marquis de Sade and the Avant-Garde is published by Princeton University Press (2020).
Dr Alyce Mahon of the Department of the History of Art writes the latest #TrinReflects on 'How art can break down barriers.' http://ow.ly/gD0V50AtGMQ
...The libertine philosopher Donatien Alphonse François de Sade (1740-1814), often named the “Divine Marquis”, spent over thirty years locked up in prisons and asylums, surviving the brutal reality and trauma of incarceration through the windows of his imagination. Seeking escape in the fantastic, his fiction also hovers between attention to the small detail and the epic – descriptions of rooms, textures, flesh give way to terrifying sexual orgies of mythic proportions, offering an absurd commentary on the world’s socio-political collapse. Works such as The 120 Days of Sodom, or the School of Libertinisms (1785), Philosophy in the Boudoir (1795) and The New Justine or the Misfortunes of Virtue, Followed by the Story of Juliette, Her Sister (1797-99), demonstrate the artistic mind’s potential to turn inwards and escape through fictional alternatives. Sade could see and smell the guillotine outside his cell window in Paris in 1794, and he witnessed the celebratory revolutionary festivals during a short freedom as “Citoyen Sade” in 1790s Paris. His libertine prose subverted a France of institutionalised violence through its absurdly amoral, rhetorical, heights. As he wrote to his long suffering wife in August 1779, “my pen will be my weapon, as long as fate does not furnish me with others”.
***底下是我在"人與書"Blog 的相關記載
2019年12月16日 星期一
【#人與書國際週報】010： Marquis de Sade, "The 120 Days of Sodom"《索多瑪一百二十天》
照片取自電影"The 120 Days of Sodom" 1975
“The 120 Days of Sodom” is more than 200 years old. But its visions of torture and evil are as relevant now as they were in revolutionary France. From The Economist 1843 magazine
From the archive
1843MAGAZINE.COM
The Marquis de Sade is still a must-read, if you have the stomach
The 120 Days of Sodom - Wikipedia
https://en.wikipedia.org/wiki/The_120_Days_of_Sodom
The 120 Days of Sodom, or the School of Libertinage is a novel by the French writer and nobleman Donatien Alphonse François, Marquis de Sade. Described as both pornographic and erotic, it was written in 1785. It tells the story of four wealthy male libertines who resolve to experience the ultimate sexual gratification in ...
Author: Marquis de Sade
Publication date: 1904
Country: France
Publisher: Penguin Books (recent English edition)
維基百科，自由的百科全書
索多瑪一百二十天
作者 薩德侯爵
出版地 法國
語言 法語
類型 情色小說
出版商 Arrow Books
出版日期 1905
媒介 印刷
ISBN 978-0-09-962960-3
OCLC 27011420
BDSM
《索多瑪一百二十天》（法語：Les 120 journées de Sodome ou l'école du libertinage）是法國貴族薩德侯爵的著作，創作於1785年[1]。
《索多瑪一百二十天》劇情兼具色情[2]、情色元素[3] ，講述四個富有男性，為了體驗狂歡性愛，在聖馬丁貝爾維爾（Saint-Martin-de-Belleville）的城堡，綁架46位年輕男性和女性，並對其進行性虐待和酷刑、屠殺，作品充斥情慾、凌虐、食用穢物和人獸交等情節。
薩德侯爵在巴士底監獄完成《索多瑪一百二十天》第一部，並將第一部以及未完成的後三部大綱，藏在獄房角落。直到1904年，《索多瑪一百二十天》才由德國醫生伊萬·布洛赫首度出版[4]。
《索多瑪一百二十天》已經被翻譯成多國語言，包括英語、日語、俄語、德語，中文版則在臺灣出版。由於其主題包含性暴力，而且極端殘酷，一些國家將其列為禁書[5]。然而在2017年12月，法國政府肯定了這部作品，將其手稿列為國寶。
參見[編輯]
索多瑪一百二十天 (電影)
參考資料[編輯]
移至^ Seaver, Richard and Austryn Wainhouse. Forward. 120 Days of Sodom and Other Writings By Marquis de Sade. Eds. and Trans. Austryn Wainhouse and Richard Seaver. New York: Grove Press, 1966.
移至^ Willsher, Kim. Original Marquis de Sade scroll returns to Paris. Guardian. 2014-04-03 [2014-04-06].
移至^ Sade's 120 Days of Sodom to return to France after two centuries' adventures. RFI. 2014-04-03 [2014-04-06].
移至^ Perrottet, Tony. Who Was the Marquis de Sade?. Smithsonian Magazine. February 2015 [2015-01-25].
移至^ University of Melbourne (2013). Banned Books in Australia - A Special Collections-Art in the Library Exhibition." "[1]", Retrieved: 12.06.2014
好幾年前在YOUTUBE看過義大利電影：
"The 120 Days of Sodom" is more than 200 years old. But its visions of torture and evil are as relevant now as they were in revolutionary France. From The Economist’s 1843 magazine
The Marquis de Sade is still a must-read, if you have the stomach
It helps us understand why humans inflict pain on others
1843MAGAZINE.COM
Marquis de Sade: rebel, pervert, rapist...hero?
An exhibition at the Musée d’Orsay has divided public opinion once again on whether the notorious aristocrat answered the great questions of his age – or simply made a case for indefensible violence and cruelty
JOHN LICHFIELD
PARIS
FRIDAY 14 NOVEMBER 2014
The Marquis de Sade was many things – a rapist, a paedophile, and an eloquent, literary apologist for sexual cruelty.
To his modern admirers, Donatien Alphonse François, Comte de Sade was also a revolutionary, one of the first writers and thinkers to explore the darkest labyrinths of the human soul. The jury is out on whether Sade was, in the contemporary sense of the word, a “sadist”.
In his many guises, including nearly 30 years as a prisoner under three regimes, royal, republican and imperial, the marquis never turned his hand to painting. It seems perverse, therefore, for the Musée d’Orsay in Paris to celebrate his 200th anniversary with an art exhibition.
“Sade – Attaquer le soleil” (Sade – attacking the sun) seeks to prove that Sade’s writing, although officially banned in France until the 1950s, had an enormous impact on 19th- and 20th-century art. It traces – sometimes convincingly, sometimes wilfully – Sade’s influence on the work of, amongst others, Ferdinand-Victor-Eugène Delacroix, Francisco Goya, Edgar Degas, Paul Cézanne, Pablo Picasso and the surrealists.
The exhibition is part of a bicentenary push by French intellectuals to release Sade, who lived from 1740 to 1814, from the shadows and into the literary and artistic mainstream. There is an avalanche of new books. There is an exhibition in Paris of his letters and manuscripts, including the scroll of The 120 Days of Sodom whose catalogue of 600 recommended “passions” includes the rape of children as young as five. The “divine”, or damned, marquis also made his bow this week as a character in a video game in the Assassin’s Creed series.
Since he was “rediscovered” and championed by the poet Guillaume Apollinaire in 1909, Sade has been placed by some of his admirers alongside Rousseau or Voltaire as one of the French 18th-century iconoclasts who “killed God”, smashed the mould of conventional thought and created the modern world.
Pierre Guyotat, a French erotic-literary novelist, says: “Sade is, in a way, our Shakespeare. He has the same sense of tragedy, the same sweeping grandeur. Taking pleasure in the suffering of others is not such an important part of his writings as people claim. He has his tongue sticking out permanently. He is incessantly ironic.”
To claim Sade as humanist and liberator, rather than deviant or pervert, sticks in the throat of other intellectuals. A new book by the philosopher Michel Onfray (La Passion de la Méchanceté or the “passion for wickedness”) makes an excoriating attack on the cult of Sade amongst French left-wing or avant garde thinkers.
A portrait of the controversial writer Donatien Alphonse François, Comte de Sade (Interfoto/Alamy)“It is intellectually bizarre to make Sade a hero,” he says. “Even according to his most hero-worshipping biographers, this man was a sexual delinquent.”
Mr Onfray says that a “myth” has been fashioned that Sade was a “libertarian, anarchist and revolutionary” – even a “feminist”. Not a bit of it, he says. Sade was an arrogant “feudal” aristocrat who thought that he had a right to torture and sexually abuse servants or beggars. His recorded exploits include the kidnapping and sexual torture of pre-adoscent serving girls.
The Musée d’Orsay exhibition does not try to hide the disturbing truth about Sade’s life. It is, however, littered with quotations which present him as a thinker and rebel rather than a criminal.
The co-curator of the exhibition, Annie Le Brun, says that the importance of Sade’s thinking was that he rejected abstract thought. He was not a philosopher but an anti-philosopher.
Philosophy, and religion, were false because they were too cerebral. Patterns of human behaviour must be traced to the flesh, not to the mind alone. “For him cruelty is at the heart of humanity and indivisible from desire,” Ms Le Brun said.
In one quotation displayed in the exhibition, Sade mocks the celebrated saying of the French 17th-century philosopher René Descartes: “I think, therefore I am.”
“This idea has no sound, no colour, no smell,” the marquis says. “It does not comes from the senses and without the senses there can be no real ideas.”
Ms Le Brun says that this approach – Sadian rather than sadist – had an enormous influence through secretly circulated texts on 19th-century writers like Gustav Flaubert and Friedrich Nietzsche. Because it proclaimed the physical senses to be the true driving forces of passion and creativity, it also influenced artists from Cézanne to the surrealists.
A rare signature of French writer the Marquis de Sade, with his military title of 'Maitre de camp de cavalerie' (Getty Images)“Our aim is to explore how the 19th century became a conduit for ideas that were officially cursed,” Ms Le Brun says. “In a subterranean way [Sade] created a revolution of taste, especially in the presentation of images of the body… He eroticised painting.”
That Sade was wholly, or even partly, responsible for the shift in artistic taste in the 19th century is a large claim. How much influence did he have on Monet or Van Gogh?
The collection includes three relatively unknown and disturbingly violent paintings by Cézanne, including scenes of rape and strangling. There are a couple of violent canvasses by Goya and one by Dégas. The rest of the show is an uneven collection of 19th- and 20th-century portrayals of sex, violence and viciousness. Some is compelling ; much is simply weird and outlandish.
Ms Le Brun’s co-curator Laurence de Cars said: “We censored ourselves very little… It is obviously not an exhibition for everyone.”
A separate section is labelled the “cupboard of perversities”. Those of a sensitive disposition are recommended to stay outside. It is difficult to see why. It seems little different from the rest of the show.
The exhibition has attracted large numbers but the visitors’ book suggests that many of them go away baffled or disgusted. Comments range from “fantastic” and a “truly beautiful exhibition” to “what a bunch of perverts”. An anonymous visitor writes: “This exhibition is torture. I suppose it is therefore a great success for M Sade.”
At a time when we are grappling finally with the lasting damage caused by sexual violence, and especially the abuse of children, the championing of Sade may seem to many to be foolish, misplaced or even wicked.
Mr Onfray says that Sade’s “philosophy” amounts to an “an invitation to crime”. He suggests that Sade’s “abolition of pity” was a precursor not of modern art but the Holocaust.
Au contraire, says Ms Le Brun. Sade invented nothing. His importance was to describe, and analyse, the cruelty which has always been at the core of human experience.
He asked the questions which “haunted the 19th century”, she says. “How to speak about evil and desire when the framework of religion is collapsing?”
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2017年6月1日 星期四
Marquis De Sade 相關作品 Sade, Fourier, Loyola
From the violent eroticism of de Sade’s works comes the concept of sadism: sexualised fantasies involving pain and restraint. Intellectuals like Freud, de Beauvoir and Foucault have all produced work about de Sade, himself “a fetish of literary criticism”
Why the infamy of the Marquis de Sade, and of his erotic writings, endures
“The original Christian Grey” was born on June 2nd 1740
ECONOMIST.COM
Pier Paolo Pasolini (1922-75) :
1975 Salò o le 120 giornate di Sodoma Salo, or the 120 Days of Sodom Based on Les 120 journées de Sodome ou l'école du libertinage by Marquis de Sade. Screenplay written in collaboration with Sergio Citti with extended quotes from Roland Barthes' Sade, Fourier, Loyola and Pierre Klossowski's Sade mon prochain.
See larger image
Introducing Marquis De SadeStuart Hood (Author), Graham Crowley (Contributor)
Paperback: 176 pages
Publisher: Totem Books (August 31, 1995)
Language: English
薩德SADE
作者：STUART HOOD
譯者：王尚文
出版社：立緒
出版日：1998
《薩德SADE》
獻給人類行為的禁忌領域
長期以來，人們一直譴責薩德侯爵是個邪惡的怪獸和卑劣的色情作家。為什麼直到今天人們仍把他視為危險人物？
本書作者薩德侯爵解讀為一位啟蒙時期的哲學家，將自由主義無神論提升到絕對的境界。他將一生和作品奉獻給人類行為的禁忌領域。因此，人們將這個禁忌領域以薩德的名字命名。然而「薩德主義／性虐待」遠遠超過了性變態的意義。
它是薩德探討道德本性的武器。他早年的放蕩行徑很快的讓他鋃鐺入獄。而他危險的想法也使他在監牢中度過了大半輩子。他為法國大革命服務了一段時間，但是他的生命最後卻在一間精神病療養院中結束。
《薩德》一書很清楚地將薩德置於西方哲旳唯物論潮流底下檢視。讀者從本書中可看到他的作品如何影響後來的作家和藝術家們，以及他的觀念如何在現代的批評和女性主義中繼續被爭辯著。本書精彩繪圖出自葛拉漢．克羅禮之手。
作者簡介
斯徒爾特．胡德（Stuart Hood）
著名的作家、翻譯家、廣播員和演講者。曾經將他在第二次世界大戰時擔任義大利反抗組織一員的經驗寫下來。他同時也是《法西斯主義》的作者和陳．布瑞詡（Chaim Bresheeth）《大屠殺》一書的共同作者。
譯者簡介
王尚文
國立臺灣大學哲學研究所碩士班，本系列叢書《布希亞》譯者。
這三人的多重文本交錯寫 很有意思 你會覺得應該苦讀法文和古修辭學
中國的漢譯本只用三篇: Sade/Fourier/Loyola,
Sade 的論述與"語文"密切相關
建議先讀1976年的訪問: A Great Rhetorician of Erotic Figures 收入 The Grain of the Voice, pp.252-57
Sade, Fourier, Loyola
Roland Barthes
羅蘭•巴爾特文集:薩德傅立葉羅猶拉[平裝]~ 羅蘭·巴爾特(Roland Barthes) (作者), 李幼蒸 (譯者)
羅蘭•巴爾特文集:薩德傅立葉羅猶拉》為“中期”巴爾特的四個中篇論述的匯集。如作者在序言中所說，它們具有實質的主題同一性。符號學家巴爾特通過對西方思想史上的三大主題——性，信仰。社會正義——的經典分析，一方面突出了其本人的語言學主義觀點，另一方面揭示了西方思想史上的宗教主義性禁忌（薩德）、原罪論（羅猶拉）和社會主義的始源之一：烏托邦幻想主義（傅立葉）。
表面上這本小冊子不過是對幾本古典書的讀解分析，實質上，巴爾特在此對西方思想史上的基本價值做了徹底懷疑主義的呈現。而對西方思想史的批評，不難立即擴展為對人類文明普遍價值的理性主義質疑。
【#人與書國際週報】010： Marquis de Sade, "The 120 Days of Sodom"《索多瑪一百二十天》
His colleague Michelangelo Antonioni remarked that Pasolini had become “the victim of his own characters.” Completed weeks before he died, at 53, Pasolini’s last movie, “Salò, or the 120 Days of Sodom,” an unrelentingly brutal adaptation of the Marquis de Sade’s catalog of degradation and torture, came to be viewed, all too neatly, as a death wish.
Pasolini’s despair reaches its terminal point (in every sense) in “Salò,” which transposes Sade to Mussolini’s Italy, equates consumerism with fascism and strives to be what he called an “undigestible” film, one that utterly resists commodification. (It’s not hard to imagine how Pasolini would have reacted to the comic incongruity of his MoMA series listing Gucci as a supporter. )
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