Dissertations / Theses: 'Marqués de Sade'

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Mattos, Elizângela Inocêncio. "O Contra-iluminismo do Marquês de Sade." Universidade Federal de São Carlos, 2017. https://repositorio.ufscar.br/handle/ufscar/9331.

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This work aims to analyze the theoretical bases by which the Marquis de Sade built his philosophy, namely precisely the influence of La Mettrie and Holbach, which includes a study of nature and the mechanical question in the composition of beings, incurring to a fundamental determinism in the materialist current of the eighteenth century. It is important to understand how he took the thesis of mankind as a machine and the idea of a creative-destructive nature which allowed him to have a declared immoralism, based not only on nature, but also on militant atheism. The consequences of this path, incurs on the thesis of the counter-enlightenment of the Marquis de Sade who, man of his time, built a work based on combat, on denunciation, on the dominant discourse that characterizes the difference between strong and weak. The happiness demand is achieved by the total flow of passions, exploring all the dimensions of the corporal machine that can be happy, under the libertine optics, in the practice of crime. The way how Sade anticipates on treating evil as a component of nature, source of pleasure, also results in the intolerance of the libertine towards the victim.
O objetivo deste trabalho é analisar as bases teóricas pelas quais o Marquês de Sade edificou sua filosofia, a saber, precisamente, a influência de La Mettrie e Holbach, o que compreende um estudo da natureza e a questão mecânica na composição dos seres, incorrendo a um determinismo fundamental na corrente materialista do século XVIII. Importa compreender de que maneira tomou a tese do homem como máquina e a ideia de uma natureza criadora-destruidora, que lhe permitiu um imoralismo declarado, pautado não somente na natureza mas em um ateísmo militante. As consequências desse percurso incorrem na tese do contra-iluminismo do Marquês de Sade que, homem de seu tempo, edificou uma obra pautada no combate, na denúncia, no discurso dominante que caracteriza a diferença entre fortes e fracos. A exigência de felicidade tem a realização do pleno curso das paixões, explorando todas as dimensões da máquina corporal que pode ser feliz, sob a ótica libertina, na prática do crime. O modo como Sade se antecipa em tratar do mal sendo um componente da natureza, fonte de prazer, resulta também na intolerância do libertino em relação à vítima.
CAPES: BEX 3857/15-8

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Souza, Ruth Maria Pina e. "Sade : o poder do gozo." [s.n.], 1993. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279555.

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Orientador : Bento Prado Junior
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Não informado
Abstract: Not informed.
Mestrado
Mestre em Filosofia

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Page, Rosalyn Geraldine Media &amp Communications UNSW. "The Marquis de Sade and the Cinema of Transcendence." Awarded by:University of New South Wales. Media and Communications, 2002. http://handle.unsw.edu.au/1959.4/18656.

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This thesis is an enquiry into the Marquis de Sade, his writing and the perversion known as sadism. The narrower focus of this thesis investigates the problem of the meeting of violence and language in Sade's novels and the implications for cinema. The procedure has been to adopt the Critical and Clinical approach to philosophy that brings together both the literary style of Sade and the clinical symptoms of sadism. This method canvasses a number of Sades novels to consider the psychoanalytical definition of sadism before moving on to discuss the expression of sadism through language. Finally, the model of sadism and language is then applied to a number of films to discuss how violence within the context of sadism functions through language within cinema. The general results show how speech and action can be defined as equivalent forms of sadian violence when expressed through language in both literature and cinema. This occurs, furthermore, through the transcendent model of violence where both speech and action refer to a higher order of violence and this is put at the service of the senses through language. The major conclusions reached suggest that language in literature and cinema can be a demonstrative form of the higher order of violence. Sadism draws out the violence and excess of the world by reflecting it within language. In doing so, violence is designated with a quality of the erotic through this excess. Finally, each act of violence within literature and cinema is an attempt to overcome taboos through transgression. The breaking of a taboo creates an amount of excess but also reinstates the taboo in what becomes an empty act of transgression. The excess is expressed through violence within language and deed according to a transcendent function of language in literature and cinema.

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Page, Rosalyn. "The Marquis de Sade and the cinema of transcendence." Connect to this title online, 2002. http://www.library.unsw.edu.au/~thesis/adt-NUN/public/adt-NUN20021210.152101/index.html.

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DERSON, DIDIER HENNEQUIN JACQUES. "La théâtralisation dans les romans du Marquis de sade." [S.l.] : [s.n.], 1998. ftp://ftp.scd.univ-metz.fr/pub/Theses/1998/Derson.Dider.LMZ9809_1.pdf.

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Mattos, Elizangela Inocencio. "Imaginação e interdito na obra do Marques de Sade." [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281599.

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Orientador: Luiz Roberto Monzani
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O presente trabalho tem por objetivo, situar a obra de Sade na história das idéias, explorando as aproximações de seu pensamento com os principais fIlósofos do iluminismo. Em seguida, propõe uma análise do, caráter emancipador do ateísmo na obra. Para depois, analisar a imaginação em seu contexto, como principal instrumento para a verdadeira liberdade do homem. De posse destes elementos, propomos uma análise da critica de Sade à idéia de pacto social, tomando como exemplo, a idéia de pacto descrita por Rousseau em seu Contrato Social
Abstract: The present work has for objective to point out the workmanship of the Marquis of Sade in the history of the ideas, being explored the approaches of its workmanship with the main philosophers of the Iluminism. After that, it considers an analysis of emancipador carater of the ateísm in the workmanship. It stops later, to analyze the imagination in its context, as main instrument for the true freedom of the mano Of ownership of these elements, we consider an analysis of criticizes of Sade the idea of social pact, taking as example, the described ide_ of pact for Rousseau in its Social Contract
Mestrado
Filosofia
Mestre em Filosofia

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Avoni, Koblan. "Le Marquis de Sade et la philosophie des Lumières." Besançon, 1986. http://www.theses.fr/1986BESA1010.

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Joaquim, Ana Cristina. "Sade = o filósofo e o imaginário." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278870.

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Orientador: Luiz Roberto Monzani
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A problemática discursiva na qual se insere a obra de Donatien Alphonse François de Sade (Marquês de Sade: 1740-1814) é considerada mediante os aspectos filosóficos e literários dos quais se compõem os seus textos. Levando em conta o romance filosófico enquanto gênero frequentemente praticado entre diversos autores do século XVIII francês que, como Voltaire, Diderot e Rousseau - para citar os mais expressivos - almejavam o largo alcance de suas idéias mediante a popularização da filosofia, pretende-se complexificar esse intento em Sade. Uma vez que no caso do Marquês existe a dificuldade ou impossibilidade de transposição do seu pensamento para o campo da política e da moral (dada a precedência do prazer em detrimento de uma convivência pacífica, e até mesmo em detrimento da vida - valores caros a qualquer comunidade política), considera-se de grande importância o caráter fictício de seus escritos: de acordo com o ponto de vista proporcionado pela ficção, descortina-se uma nova leitura de proposta política e moral em sua obra. Para tanto, tomam-se emprestadas algumas noções da hermenêutica Ricoeuriana, entre elas, a idéia de uma 'ontologia da obra de arte'; a noção de fictício de Wolfagang Iser; e as noções de verdade e interpretação de Luigi Pareyson; diretrizes que desembocam numa idéia de ficção tanto como ação política, quanto como forma de conhecimento. Pensar a obra sadiana mediante os artifícios ficcionais possibilita, assim, uma redimensionalização da sua filosofia. Os textos de Sade mais frequentemente utilizados para o propósito foram Nota sobre romances e Os 120 dias de Sodoma, além dos circunstancialmente evocados: A filosofia na alcova, Histoire de Juliette, Diálogo entre um padre e um Moribundo e Os infortúnios da virtude
Abstract: The problematic discoursive in which falls the work of Donatien Alphonse François de Sade (Marquis de Sade: 1740-1814) is regarded by the literary and philosophical aspects of which are composed his texts. Taking into account the philosophical novel as a genre often practiced among many authors of the french eighteenth century who, like Voltaire, Diderot and Rousseau - to name the most significant - longed for the wide reach of their ideas through the popularization of philosophy, it is necessary to problematize this intent on Sade. Since in the case of the Marquis there is the difficulty or impossibility of transposing their thinking to the field of politics and morality (as since he gives precedence over the pleasure of a peaceful coexistance, and even at the expense of life - values appreciated to any political community), it is very important the fictitious character of his writings, according to the view afforded by fiction, opens up a new reading of politics and moral proposal of his work. For that, it is necessary to take some borrowed notions of Ricoeur's hermeneutics, among them, the idea of an 'ontology of the artwork', the notion of fictitious of Wolfagang Iser, and the notions of truth and interpretation of Luigi Pareyson; guidelines that lead an idea of fiction as much as political action, and as a form of knowledge. To think Sade's work through the fictional devices enables thus a re-reading of his philosophy. Sade's texts most often used for the purpose of note were the An Essay on Novels and The 120 Days of Sodom, in addition to the evoked eventually: Philosophy in the Bedroom, Histoire de Juliette, Dialogue between a Priest and a Dying Man and The Misfortunes of the Virtue
Mestrado
Historia da Filosofia
Mestre em Filosofia

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Castro, Clara Carnicero de. "Os libertinos de Juliette e a libertina de Sade." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-12112012-101549/.

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Esta pesquisa apresenta um estudo dos protagonistas do romance Histoire de Juliette, ou Les prospérités du vice (1801) do Marquês de Sade. O objetivo do trabalho é evidenciar a progressão dos enunciados filosóficos dos personagens, dentro das cenas libidinosas nas quais são proferidos, relacionando as teorias e as práticas particulares de cada herói com os traços de seu caráter. Tal abordagem supõe a tese de que há uma interdependência entre os argumentos do libertino e sua construção dentro da narrativa ficcional. Cada devasso expõe um conjunto singular de ideias, determinado por suas características morais, físicas e por outros aspectos que constituem o gênero do romance filosófico. Logo, este estudo não propõe uma interpretação específica para o pensamento de Sade, mas salienta a oposição e a convergência de ideias em sua obra, acentua o debate entre os personagens, expõe, portanto, a diversidade dos discursos libertinos.
This research intends to analyze the protagonists from the novel Histoire de Juliette, ou Les prospérités du vice (1801) by the Marquis de Sade. Our goal is to evidence the development of the philosophical statements of the characters, within the libidinous scenes where they take place, relating the theory and practice of each hero with his/her personality. This approach assumes an interplay between the libertine\'s arguments and their construction in the fictional narrative. Each person presents a unique set of ideas, determined by his/her moral and physical traits, in addition to all the other aspects found in the philosophical novel gender. We, therefore, do not present a specific interpretation for the thinking of Sade, rather, we stress the opposition and convergence of ideas in his work, underlining the debate among the characters to point out the diversity of discourse amidst the libertines.

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Roche, Geoffrey T. "An unblinking gaze: on the philosophy of the Marquis de Sade." Thesis, University of Auckland, 2004. http://hdl.handle.net/2292/5305.

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Throughout the 20th Century, a number of philosophers, writers, artists and film makers have implied that there is some profound significance to the work of Donatien Alphonse François, the Marquis de Sade (1740-1814). The project at hand is to evaluate the claim that Sade, in some sense, is a philosopher, and to assess what his philosophy amounts to. There are two aspects to this task. Firstly, I will consider the various philosophical interpretations of Sade’s work. This part of the study will serve as a guide into the Sadeian labyrinth, and will establish some of the more central interpretive themes, in particular the claim that Sade’s thought anticipates that of the Nazis, or that he brings early Modern thought to its logical conclusion. Secondly, I will inquire into Sade’s writings themselves. Of particular interest are Sade’s thoughts concerning the nature of sexuality, psychology, and the human condition in general, his critique of conventional morality, and his description of the nature of power.
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Giannattasio, Gabriel. "Sade, um anjo negro da modernidade." reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/24637.

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Batista, Ana Carolina Rosa. "Filosofia da natureza em os 120 dias de Sodoma: uma leitura da estética da destruição em Marquês de Sade." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8987.

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Donatien-Alphonse François, the Marquis of Sade is one of the great names of the French libertine literature of the eighteenth century. He was a compulsive writer, being his bibliography characterized between diverse literary genres like novels, short stories, tales, and even theatrical plays. His texts were symptomatic, reflecting the problems and criticisms of his time. Sade criticized the absolutist political model in crisis of the French of the eighteenth century. The interference of religious morality and the Catholic Institution in this period, as well as criticism of a declining aristocracy. All this backed up by a philosophical thought, its philosophy of the nature, of materialistic influence. Sade links philosophical discourses with sexual practices in his texts, where everything is allowed and the imagination knows no bounds. And here, it Will be to the good marquis, this unique spirit, whether in his time or in the history of western thought, that we will look for in the present reflection, taking his work as object – about everything: the novel The 120 Days of Sodom – in order to understand how this author makes use of a destructive aesthetics, protected in the philosophy of nature, to propose a dechristianized social practice. To achieve this objective, contextual discussion of the eighteenth- century France Will be necessary, from Christian religious morality to materialistic philosophy. We Will also talk about the life and work of the marquis, as well as a study of the concept of literature, characterization of the novel, and the language of the grotesque, which is so used by Sade. Finally, we shall come to the analysis of the concept of aesthetics, and to think how Sade Will make of this aesthetic a destructive system, proposing a new social practice, exempt from a religious morality.
Donatien-Alphonse François, o Marquês de Sade é um dos grandes nomes da literatura libertina do século XVIII francês. Foi um escritor compulsivo, sendo sua bibliografia caracterizada entre diversos gêneros literários como romances, contos, novelas, e até mesmo peças teatrais. Seus textos foram sintomáticos, refletindo os problemas e as críticas de seu tempo. Sade criticou o modelo político absolutista em crise do século XVIII francês. A interferência da moral religiosa e da Instituição Católica nesse período, além da crítica a uma aristocracia decadente. Tudo isso respaldado por um pensamento filosófico, sua filosofia da natureza, de influência materialista. Os textos de Sade intercalam discursos filosóficos com práticas sexuais, onde tudo é permitido e a imaginação desconhece limites. E será justamente ao bom marquês, este espírito ímpar, seja em seu próprio tempo, seja na história do pensamento, que pretendemos aqui revisitar e tomar por objeto – tendo por enfoque principal o romance Os 120 dias de Sodoma – para assim, compreendermos como este autor faz uso de uma estética destrutiva, resguardada na filosofia da natureza, para propor uma prática social descristianizada. Para alcançarmos tal objetivo discussões contextuais da França do século XVIII serão necessárias, desde a moral religiosa cristã, até a filosofia materialista. Falaremos também da vida e obra do marquês, além de um estudo do conceito de literatura, caracterização do romance, e a linguagem do grotesco, sendo esta tão utilizada por Sade. Para for fim, chegarmos à análise do conceito de estética, e pensarmos como Sade fará dessa estética um sistema destrutivo, propondo uma nova prática social, isenta de uma moral religiosa.

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Castro, Clara Carnicero de. "O sistema filosofico do Marques de Sade : estudo da elaboração do sistema filosofico do Marques de Sade a partir das filosofias iluminista e libertina da França no seculo XVIII." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278867.

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Orientador: Luiz Roberto Monzani
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A pesquisa, a ser aqui exposta, pretende analisar a elaboração do sistema filosófico do Marquês de Sade, tendo como base o estudo das filosofias iluminista e libertina da França do século XVIII. O estudo foi dividido em dez temas principais, entendidos como os mais pertinentes para se examinar a argumentação de uma ética sadeana. São eles: (1) a consciência moral, (2) a natureza, (3) o remorso, (4) o sangue-frio em oposição à paixão, (5) o discurso do poder, (6) a teoria do excesso e a doutrina da predestinação, (7) a elaboração do crime, (8) a dissimulação, (9) o diálogo libertino e (10) o sexo como estímulo da inteligência ou a ascensão libertina. Sendo assim, propomo-nos a descrever e analisar detalhadamente cada um desses temas aplicados à obra de Sade e relacionados às filosofias libertina e iluminista
Abstract: This research intends to analyse the development of Marquis de Sade¿s philosophical system based upon the enlightenment¿s and the libertine¿s philosophies on the eighteenth century France. The study has been divided in ten main themes, understood as the most appropriate to provide a detailed argumentative examination of Sade¿s ethic, such as: (1) the moral conscience, (2) the nature, (3) the remorse, (4) cold-bloodedness against passion, (5) the power discourse, (6) the excess theory and the predestination doctrine, (7) the crime¿s development, (8) the disguise, (9) the libertine¿s dialogue and (10) sex as an intellectual stimulus or the libertine¿s ascension. Therefore, this study claims to describe and analyse in detail each one of these themes applied to Sade¿s work and related to the enlightenment¿s and libertine¿s philosophies
Mestrado
Filosofia
Mestre em Filosofia

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Colas-Blaise, Marion Petitjean André. "LE DISCOURS DE LA TRANSGRESSION : LECTURE SEMIOTIQUE DES HISTORIETTES DU MARQUIS DE SADE /." [S.l.] : [s.n.], 1990. ftp://ftp.scd.univ-metz.fr/pub/Theses/1990/Colas_Blaise.Marion.LMZ906.pdf.

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Gillan, Robert McDonald. "Marquis de Sade : a transgressive writer and his influence in the nineteenth century." Thesis, University of Manchester, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.706127.

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Colas-Blaise, Marion. "Le discours de la transgression : lecture sémiotique des historiettes du Marquis de Sade." Metz, 1990. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/1990/Colas_Blaise.Marion.LMZ906.pdf.

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Une analyse conduite à la lumière de la théorie sémiotique de l'école de Paris révèle que le discours de la transgression, tel qu'il se construit dans les historiettes du Marquis de Sade, destinées à la publication non-clandestine, se constitue à partir de dépendances et de déterminations externes : perpétuant l'épistème et l'écriture classiques, elles sont à la fois réaffirmées et dépassées. Les décalages sont opérés en vertu de la stratégie, énoncive et énonciative, du détour(-nement) dont le contrat de véridiction, impliqué déjà par l'appartenance générique des textes, est une composante. Ils sont saisissables surtout à travers une pluralisation des thématisations, étagées ou parallèles successives, et des "reclassements" axiologiques, installant des seuils de transgression graduables (compromis axiologique et modal, contre-discours). Se trouvent ainsi garanties la "recevabilité" des textes (concilier le "lisible" et le subversif, au-delà du cloisonnement discursif traditionnel) et la "narrabilité" (récursivité du transgressif à l'intérieur de la structure de renvoi posé/nié ; indécidabilité axiologique) des aventures
In the light of semiotics, the discourse of transgression, as it takes shape in the historiettes of the Marquis de Sade, destined to non-clandestine publihing, enhances external constraints perpetuating classical episteme and writing (in particular, through emphasizing their veridictory character) and giving the basis for innovation. Thus emerges a major component of the persuasive strategy of "detour (-nement)" (diversion and subversion), which implies, furthermore, the graduation of transgressive steps and, especially, modal and axiological compromise as a type of mediation to be grasped and described on different levels of the generative process (multiplication of superposed parallel thematizations, modifications of figurative configurations and paths). The discourse of transgression is characterized by an oscillating movement (recursiveness of transgression), implying "domesticated" trangressions subordinated to some general finality, positively connoted (from the point of view of society), and "independent" ones, perfectly gratuitous and therefore durably provocative. This leads, finally, to a precarious situation of axiological indetermination

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Fukuda, Daisuke. "L'envers de l'éthique sadienne : essai sur la lecture lacanienne du Marquis de Sade." Paris 8, 2011. http://octaviana.fr/document/163816999#?c=0&m=0&s=0&cv=0.

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Pour la première partie de cette thèse, on a analysé la série des actes majeurs que Sade a effectués dans sa vie. La reconstitution de la causalité de ses actes permet d’éclairer la valeur événementielle du dernier acte de Sade. L’enjeu majeur était donc de savoir à la suite de quels actes émerge l’acte testamentaire de Sade à la fin de sa vie. Ainsi on essaie d’élucider les actes qui marquent sa vie, un par un, dans les trois registres différents — amoureux, politique et théâtral — pour mettre en valeur la singularité de l’acte testamentaire de Sade. Pour la deuxième partie de cette thèse, on tente de situer le testament sadien dans son rapport avec d’autres actes effectués par les antagonistes de Sade. Pour cela, on se réfère au schéma quadripartite dit les quatre discours, qui consiste à clarifier la nature d’un lien social selon les quatre modalités différentes qui s’enchaînent l’une avec l’autre : discours du maître, de l’hystérique, de l’universitaire, de l’analyste. Cette analyse des intersubjectivités différentes autour de Sade aboutit à l’élucidation du discours psychanalytique. On s’intéressera notamment au décalage qu’il y a entre l’acte ultime sadien et l’acte analytique. Pour vérifier cet écart entre les deux discours, on effectue à la fin de cette thèse la lecture de Histoire de Juliette. Bien que le marquis touche à la dimension transférentielle (on constate la série des chutes du sujet supposé savoir), l’aventure de l’héroïne sadienne se déroule hors du cadre analytique. Sade ne sait pas discerner la créativité dans la pulsion de mort contrairement à l’analyste qui peut la découvrir par et dans son acte analytique
For the first part of this thesis, we analyzed the series of major acts that Sade has done in his life. The reconstruction of the causality of his actions can illuminate the value of the factual final act of Sade. The major stake was therefore to find out after what acts the testamentary act emerges from Sade at the end of his life. So we try to clarify the actions that marked his life, one by one, in three different registers - love, politics and theater - to highlight the singularity of the testamentary act de Sade. For the second part of this thesis, we will attempt to locate the Sadian in relation to other acts performed by Sade antagonists. For this, we refer to the diagram known as the quadripartite four discourses, which aims at clarifying the nature of social ties in the four different ways that are connected with each other: the master's discourse of the hysteric, of the academic, and of the analyst. This analysis of different intersubjectivities around Sade leads to the elucidation of the psychoanalytic discourse. We will address in particular the discrepancy that exists between the ultimate Sadian act and the analytic act. To check the gap between the two types of discourses we proceed, at the end of this thesis, to the reading of History of Juliet. Although the Marquis touches the transferential dimension (there is a series of falls of the subject supposed to know), the adventure of this Sadian character takes place outside the analytical framework. Sade does not know how to discern the creativity in the death drive, contrary to the analyst who can see it in and by the analytic act

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Vallenthini, Michele. "Sade dans l'Histoire : du temps de la fiction à la fiction du temps." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040031.

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Par une prise en compte de son oeuvre de vieillesse, La Marquise de Gange, Adélaïde de Brunswick, princesse de Saxe et Histoire secrète d'Isabelle de Bavière, reine de France, le travail propose une nouvelle perspective sur l'oeuvre du marquis de Sade. Dans un premier temps ses romans libertins les plus connus sont examinés du point de vue de l'histoire et du temps : au fil de la lecture des textes on constate non seulement ce caractère formel hétérogène et tendant à des surenchères de tout genre, mais surtout cette problématisation de l’histoire et du temps (dans le sens d’une conscience aiguë du passage du temps, liée à une réflexion sur la vérité et la morale) caractéristique de la littérature du tournant des Lumières. Dans chaque texte on retrouve la même ambivalence du propos : tantôt fuite hors du temps et déni de l’histoire, tantôt conscience aiguë et lucide, qui se réfugie dans les plis du texte et derrière les métaphores corporelles et les biographies lubriques.La deuxième partie du présent travail souhaite comprendre les trois romans historiques comme documents uniques du développement littéraire et idéologique d’un écrivain dans la France post-révolutionnaire, d’un homme de lettres désormais septuagénaire, confronté aux nouvelles structures d'un monde en plein effort de reconstitution.Moyennant les catégories qui sont analysées ici, il est possible de dégager des trois romans historiques un substrat commun qui en fait ce que je définis, dans le sillage de Paul Ricoeur comme fiction du temps. La fiction du temps ressent de manière particulièrement aiguë l’aporie du temps. Elle est le symptôme d’un malaise historique : de l’expérience bouleversante de la Révolution, de l’opacité d’un monde en mutation, finalement, d’une fuite irrémédiable du temps
This thesis wants to propose a new perspective on the oeuvre of the Marquis de Sade by taking into account his late works La Marquise de Gange, Adélaïde de Brunswick, princess of Saxony and the Histoire secrète d'Isabelle de Bavière, queen of France.In a first approach his more known libertine novels are examined from a historical point of view. In the course of reading Sades texts one can observe not only a heterogeneous formal character tending towards an overload into all genres. In particular one also finds the manner of expounding the problems of history and time (in the sense of an acute consciousness for the passing of time, combined with reflections on truth and moral) typical of the literature of Enlightenment. In every text one rediscovers the same ambivalence of intention - be it the escape from time and the denial of history, be it an acute and lucid conscience that finds refuge in the letters of the text and behind bodily metaphors and lubricious biographies.The second part of the present thesis wants to understand the three historic novels of the Marquis de Sade as unique documents of the literary and ideological development of an author in post-revolutionary France, a man of letters henceforth in his seventies confronted with new structures of a world in plain process of reforming.By means of the categories analyzed here, it is possible to remove from these three historic novels the common substrate of what I, in the wake of Paul Ricoeur, have in fact defined as the fiction of time. In a particularly acute manner the fiction of time suffers the aporia of time. This is the symptom of a historic faintness - that of the overwhelming experience of the Revolution, of the obscurity of a world in change and in the end of an irremediable escape from time

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Kozul, Mladen. "Le corps dans le monde : espace et récit dans l'œuvre du marquis de Sade." Paris 10, 1996. http://www.theses.fr/1996PA100190.

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Trois modeles de la figuration spatiale chez sade sont analyses : l'espace ferme, l'espace du voyage et l'espace theatral. L'elaboration de l'espace ferme est mise en relation avec les changements qui affectent l'architecture a la fin du siecle. L'etude de la narrativite de l'espace ferme est centree sur le chateau de silling des cent vingt journees de sodome. La coincidence des mouvements narratif, spatial et libidinal etablit l'analogie entre l'emiettement du recit et le morcellement du corps victinal dont les etapes sont indissociables de l'agencement interieur du chateau. A travers la tension entre le deplacement et le confinement, l'espace du voyage influence le discours narratif des infortunes de la vertu et de justine de 1791. La pleine articulation de la topographie du voyage sur la forme narrative s'opere dans l'histoire de juliette et dans aline et valcour. En organisant aussi bien les textes clandestins que les textes licites de sade, le voyage modifie la portee et la signification du libertinage sadien. L'espace theatral sadien est fonction des techniques narratives fondees sur la theatralisation. De l'action, commune aux pieces de theatre de sade et a ses romans clandestins. Dans les deux cas, la theatralisation est indissociable des valeurs symboliques des lieux theatraux. Les dispositifs spatiaux des differents theatres sadiens superposent la pragmatique narrative a l'espace theatral et transforment l'ecriture en moyen d'agresser le lecteur change en spectateur. Les rapports qui s'etablissent entre la topographie litteraire et la narration sadiennes s'inscrivent dans un systeme generique instable, dans des mutations politiques et esthetiques. La confluence entre la particularisation du lieu dans la fiction et l'univers discursif de la fin du xviiie siecle fournit a la fiction sadienne a la fois l'encrage dans son epoque et sa force corrosive moderne
Three models of the spatial figuration in sade's works are analysed : the closed space, the space of travellings, and the theatrical space. The elaboration of the sadeian closed space is linked to the changes affecting the architecture at the end of the century. The study of the narrativity of the closure is centered on the fortress of cent vingt journees de sodome. The coincidence of narrative, spatial and libidinal mouvements establishes the analogy between the fragmentation of the narrative and the fragmentation of the victimal body whose stages are indissociable of the spatial organisation of the fortress. Through the tensions between the journeys and the confinements, the space of travellings influences already the narrative discours of les infortumes de la vertu and of justine. But the topography of travellings becomes fully linked to the narrative form in l'histoire de juliette and in aline et valcour. By organizing the cladestine sade's works as well as the licit ones, the voyage modifies and expends the signification of the sadeian libertinage. The constructing of the theatrical space in sade's works is linked to the theatralisation of the action, common to sade's dramatic peaces and his clandestin novels. In both cases, theatralisation is associated to the symbolic values of the theatrical place. The spatial dispositions of sadeian theatres superpose the narrative pragnatics on the thatrical space and transformes the writing into a way of aggressing the reader changed into the spectator. The relations between the fictional topography and the narrative form are to be considered in

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Silva, Rodrigo D’Avila Braga. "O marquês de Sade no Brasil: tradução, recepção e crítica de Historiettes, Contes et Fabliaux." reponame:Repositório Institucional da UnB, 2016. http://repositorio.unb.br/handle/10482/21839.

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Dissertação (mestrado)—Universidade de Brasília, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2016.
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Donatien Alphonse François de Sade, mais conhecido por Marquês de Sade, foi um escritor francês do século XVIII que teve diversas de suas obras censuradas devido à sua escrita considerada por muitos como sendo “depravada”. Muitas dessas obras apresentam descrições eróticas que põem em cena a excitação e o prazer através do sofrimento alheio. Essa parafilia ficou conhecida na história como “sadismo”, termo derivado do nome do Marquês e cunhado pelo psiquiatra austro-húngaro Richard von Krafft-Ebing em 1886. Todavia, vale salientar que as obras do escritor francês não se limitam apenas ao erotismo sádico, elas também criticam a sociedade francesa do final do século XVIII e início do XIX, constituindo uma das modalidades do romance filosófico. Em razão do banimento imposto à publicação de suas obras no período napoleônico (1799-1815), muitas delas foram esquecidas e, por vezes, perdidas. O processo de redescoberta e reapropriação das obras do Marquês na França teve como responsáveis: Guillaume Apollinaire, Maurice Heine, Gilbert Lely e Jean-Jacques Pauvert, já no início do século XX. E como consequência dessa redescoberta, surgem as primeiras traduções da obra sadiana no Brasil na década de 1960. O objetivo principal desta dissertação é estudar a coletânea de pequenos relatos intitulada Historiettes, Contes et Fabliaux, publicada pela primeira vez em 1926 na França por Maurice Heine e publicada no Brasil por diversas editoras. Tendo em vista o longo processo que vai da redescoberta de Sade até a divulgação e estudo das obras no século XX, esta pesquisa busca estudar (1) a presença e inserção das obras do Marquês de Sade no Brasil, por meio do levantamento de suas traduções publicadas, (2) sua recepção por meio da análise dos paratextos do corpus desta dissertação (Historiettes, Contes et Fabliaux – HCF), e (3) propor uma tradução comentada de Dorci, ou la Bizarrerie du sort, texto inédito nas edições brasileiras de HCF. _________________________________________________________________________________________________ ABSTRACT
Donatien Alphonse François de Sade, better known as the Marquis de Sade, was an eighteenth century French writer who had several works banned because his “depraved” writing. Many of these works have erotic descriptions that put on scene both excitation and pleasure through someone else’s suffering. This paraphilia is known as “sadism”, a term derived from the Marquis’ name and coined by the Austro-Hungarian psychiatrist Richard von Krafft-Ebing in 1886. However, it is important to point out that this French writer’s works are not limited to sadistic eroticism, but they do also criticize the late eighteenth and early nineteenth centuries French society, which characterizes one of the philosophical novel categories. Due to the censorship imposed on Sade’s works during the Napoleonic period (1799-1815), many of them have been forgotten and, sometimes, lost. Guillaume Apollinaire, Maurice Heine, Gilbert Lely and Jean-Jacques Pauvert were responsible for the rediscovery and reappropriation process of the Marquis’ works in France in the beginning of the nineteenth century. And, as a result of this rediscovery, the first translations of Sade’s works were published in Brazil on 1960s. The main purpose of this Master’s thesis is to study the collection of small stories entitled Historiettes, Contes et Fabliaux, published, for the first time in France, in 1926 by Maurice Heine, which was translated and published in Brazil by some publishing houses. Given Sade’s long rediscovery process until diffusion and study of the works on the twentieth century, this research seeks (1) to study the presence and insertion of the Marquis de Sade’s works in Brazil, through the list of his published Brazilian translations; (2) to study its reception through the analysis of the paratexts of the corpus of this research (Historiettes, Contes et Fabliaux – HCF), and (3) to propose a commented translation Dorci, ou la Bizarrerie du sort, the unpublished text on HCF in Brazilian editions. _________________________________________________________________________________________________ RÉSUMÉ
Donatien Alphonse François de Sade, plus connu comme le marquis de Sade, était un écrivain français du XVIIIe siècle qui a eu plusieurs de ses oeuvres censurées à cause de son écriture considérée par beaucoup de gens comme « dépravé ». Plusieurs de ses oeuvres ont des descriptions érotiques qui mettent en scène l’excitation et le plaisir à travers la souffrance des autres. Cette paraphilie a été connue dans l’histoire comme « sadisme », un terme dérivé du nom du Marquis et inventé par le psychiatre austro-hongrois Richard Von Krafft-Ebing en 1886. Cependant, on peut noter que les travaux de cet écrivain français ne se limitent pas à l’érotisme sadique, ils critiquent aussi la société française de la fin du XVIIIe et du début du XIXe siècle, constituant l’un des modes du roman philosophique. En raison de l’interdiction imposée à la publication de ses oeuvres dans la période napoléonienne (1799-1815), beaucoup d’entre eux ont été oubliés et parfois perdus. Le processus de redécouverte et de réappropriation des oeuvres du marquis au début du XXe siècle en France avait comme responsables Guillaume Apollinaire, Maurice Heine, Gilbert Lely et Jean-Jacques Pauvert. À la suite de cette redécouverte, les premières traductions de l’oeuvre de Sade ont été publiées au Brésil dans les années 1960. L’objectif principal de ce mémoire est d’étudier la collection de récits brefs intitulée Historiettes, Contes et Fabliaux, d’abord publiée en 1926 en France par Maurice Heine et publier au Brésil par plusieurs maisons d’édition. Compte tenu du long processus de la redécouverte de Sade à la diffusion et à l’étude des oeuvres dans le XXe siècle, cette recherche vise à (1) étudier la présence et l’insertion des oeuvres traduites du marquis de Sade au Brésil (2) étudier la réception de l’oeuvre par l’analyse des paratextes du corpus de ce mémoire (Historiettes, Contes et Fabliaux - HCF), et (3) proposer une traduction commentée de Dorci, ou la Bizarrerie du sort, texte inédit dans les éditions brésiliennes de HCF.

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Almeida, Luana Aparecida de [UNESP]. "Tradução anotada de Les infortunes de la vertu (1787), do Marquês de Sade (1740-1814)." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/94058.

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Este trabalho apresenta a tradução anotada do livro Les infortunes de la vertu (1787) do Marquês de Sade (1740 – 1814), seguido de um estudo introdutório que tem o objetivo de familiarizar o leitor brasileiro com a narrativa sadiana. Sabemos que a polêmica que sempre acompanhou o Marquês de Sade era seguida pela constatação de sua originalidade que produziu, a partir de suas ideias libertinas, suas polêmicas obras. Les infortunes de la vertu se caracteriza como uma das obras emblemáticas de Sade, uma narrativa que apresenta os elementos da perversão denominada a partir do nome do autor, o sadismo. Na atividade de tradução buscamos valorizar a tendência que preconiza o sentido e o estilo original, optando pela corrente que defende a tradução estrageirizadora
It is presented here the annotated translation of Les infortunes de la vertu (1787) of Marquis de Sade (1740 – 1814), followed by introductory study that intends to familiarize the Brazilian reader with the Sadean narrative. The controversy surrounding Marquis de Sade has always been accompanied by the realization of the originality he produced, sparked his libertine ideals and his infamous works. Les infortunes de la vertu is one of Sade’s emblematic works, with a narrative that presents elements of the perversion named after the author, Sadism. During the translation, we valued the original meanings and style by opting for a foreignizing translation

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Almeida, Luana Aparecida de. "Tradução anotada de Les infortunes de la vertu (1787), do Marquês de Sade (1740-1814) /." Assis : [s.n.], 2013. http://hdl.handle.net/11449/94058.

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Orientador: Maria Lídia Lichtscheidl Maretti
Coorientador: Brigitte Monique Hervot
Banca: Antonio Roberto Esteves
Banca: Norma Wimmer
Resumo: Este trabalho apresenta a tradução anotada do livro Les infortunes de la vertu (1787) do Marquês de Sade (1740 - 1814), seguido de um estudo introdutório que tem o objetivo de familiarizar o leitor brasileiro com a narrativa sadiana. Sabemos que a polêmica que sempre acompanhou o Marquês de Sade era seguida pela constatação de sua originalidade que produziu, a partir de suas ideias libertinas, suas polêmicas obras. Les infortunes de la vertu se caracteriza como uma das obras emblemáticas de Sade, uma narrativa que apresenta os elementos da perversão denominada a partir do nome do autor, o sadismo. Na atividade de tradução buscamos valorizar a tendência que preconiza o sentido e o estilo original, optando pela corrente que defende a tradução estrageirizadora
Abstract: It is presented here the annotated translation of Les infortunes de la vertu (1787) of Marquis de Sade (1740 - 1814), followed by introductory study that intends to familiarize the Brazilian reader with the Sadean narrative. The controversy surrounding Marquis de Sade has always been accompanied by the realization of the originality he produced, sparked his libertine ideals and his infamous works. Les infortunes de la vertu is one of Sade's emblematic works, with a narrative that presents elements of the perversion named after the author, Sadism. During the translation, we valued the original meanings and style by opting for a foreignizing translation
Mestre

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Mazières, Frédéric. "Humour pervers, prison et écriture. Une analyse psychobiographique de l'œuvre romanesque du marquis de Sade." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA052.

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Notre thèse de doctorat propose une analyse d’inspiration freudienne des œuvres romanesques du marquis de Sade. Elle relève, plus précisément, de la psychobiographie en ce qu’elle privilégie l’analyse des conflits des écrivains avec leurs parents, et les traumatismes psychiques subséquents. L’œuvre et l’écriture de Sade sont les résultats de nombreux facteurs : enfance multi-pathogène, personnalité borderline multi-pathologique (perverse et psychopathique), multi-récidiviste, incarcérations ou internements dans des asiles. Parmi tous ces paramètres psycho-socio-pathologiques, la prison est celui qui a aggravé, sous la forme d’une psychose carcérale réactionnelle, ses tendances morbides et la violence de son écriture. Se sentant menacé par une évolution de sa personnalité vers une psychose structurelle, Sade tente de prendre ses distances, en les rendant absurdes, avec les représentations pulsionnelles délirantes qu’il obtient grâce à ses rêves et à ses rêveries. C’est à ce moment-là qu’interviennent les procédés cathartiques et thérapeutiques de l’humour et/ou du comique pervers. Grâce à ces procédés symboliques, qu’il a mis au point dans sa correspondance avec sa femme et avec « Milly », l’une de ses amies, Sade se met en scène, lui et ses objets sexuels, dans des fantasmatiques pré-œdipiennes. Plus les décalages avec l’esthétique des réalités sexuelles œdipiennes (ou génitales) sont importants, plus l’humour pervers peut surgir. Grâce à l’humour pervers, Sade peut mimer une victoire narcissique illusoire. L’humour pervers facilite l’assassinat psychique, affectif et moral des lecteurs. Nous avons terminé notre étude en proposant l’analyse d’une forme extrême d’humour pervers, l’humour pervers nécrophile
Our doctoral thesis suggests a Freudian analysis of Marquis de Sade novels. Our analysis is more precisely a work of psychobiography, which favours writers’ conflicts with their parents, and the subsequent psychological traumas. Sade novels and writing are the results of many parameters : a multi-pathogen childhood, a multi-pathological borderline personality (psychopathic and perverse), being a multi-recidivist, imprisonment or internment in asylums. Among all those psycho-socio-pathological parameters, prison, is the one that worsened his morbid tendencies and the violence of his writing, thus creating a prison psychosis. Threatened by the development of his personality towards a structural psychosis, Sade attempts to distance himself from those parameters, making them absurd, crazy instinctual representations coming from his dreams and reveries. The cathartic and therapeutic methods of humour and/or perverse comic played a part at that very moment. Owing to these symbolic methods he has developed in his correspondence with his wife and with « Milly », one of his friends, Sade stages himself and his sexual objects in pre-Oedipal fantasies. The stranger the aesthetics of Oedipal (or genital) sexuality are, the funnier it becomes. By means of perverse humour, Sade manages to mimic an illusory narcissistic victory. The perverse humour facilitates the psychic, emotional and moral murders of his readers. We completed our study by providing an analysis of an extreme form of perverse humour, necrophiliac perverse humour

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Le, Grandic Eric. "Les crimes de l'amour de sade : tradition litteraire et travail d'ecriture." Paris 10, 1997. http://www.theses.fr/1997PA100140.

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La presente these entend etudier une oeuvre souvent consideree comme mineure par rapport aux romans les plus celebres et les plus scandaleux du marquis de sade. Le choix des crimes de l'amour obeit a la volonte de combattre cet a priori, de montrer que le recueil de nouvelles tragiques publie en 1800, revele d'une facon singuliere tout l'imaginaire sadien et un remarquable travail d'ecriture, ou l'originalite jaillit derriere le compromis avec les conventions esthetiques et morales. Une premiere partie analyse les rapports des crimes de l'amour avec la tradition de la nouvelle tragique et celle du texte critique defendant la fiction romanesque. Ainsi "l'idee sur les romans", preface aux crimes de l'amour, s'inscrit dans le prolongement de ces textes proposant une definition et un historique d'un genre combattu par les autorites morales, et en meme temps offre une representation nouvelle du romancier. Cette premiere partie etudie egalement les liens avec l'univers de la nouvelle baroque, l'heritage de la nouvelle historique, et montre comment sade parvient a metamorphoser la figure du mechant, omnipresente dans la production romanesque de ses devanciers. Une deuxieme partie, se fondant sur la confrontation du manuscrit de 1787-1788 avec l'edition de 1800, s'emploie a comprendre la genese du texte, et souligne l'inlassable travail de perfectionnement du style associe a une necessaire recherche du compromis avec le public : sade ruse sans jamais se renier, il rehausse la beaute de la vertu souffrante. Une troisieme partie s'attache a montrer que ce recueil est solidaire de toute la production esoterique, elle etudie la conduite du recit, notamment la fonction de l'enchassement narratif dans toutes les fictions sadiennes, elle s'interesse aux destinees feminines et a la figure du libertin dans l'ensemble de l'oeuvre. Ce travail associe l'histoire litteraire, la critique genetique, la reflexion thematique, pour mieux comprendre sade
This thesis is meant to study a work often considered as minor in relation to the most famous, shocking novels by sade. Choosing les crimes de l'amour comes from the desire to fight against that apriorism, and to show that the collection of the tragic short stories published in 1800 remarkably highlights sade's imagination and his extraordinary art of writing, the originality of which is brought out behind the compromise with the moral and aesthetic conventions. First, i shall study the relationships between les crimes de l'amour and the convention of tragic short stories and that of literary critics defending the fictional art. Thus, "l'idee sur les romans", the preface to les crimes de l'amour, follows that literary tradition giving a definition and the historical background of a genre often questioned by the moral authorities. It also gives a new portrayal of the novelist. I shall also study the links with the world of the baroque short stories, with the legacy of historical short stories and i shall see how sade manages to transfigure the evildoer, an omnipresent character in his precursors' fiction. Second, basing myself on the comparison of the 1787-1788 manuscript with the 1800 edition, i shall cast light on the text's genesis and underline the unflagging effort to improve his style associated with the need to compromise with the reader : by working cleverly without ever renouncing his beliefs, sade beautifully enhances the virtue of suffering. Third, i shall show that this collection of short stories is firmly attached to the esoteric writing. I shall see how the narrative is handled, for instance the role of the embedded narrative, and i shall deal with women's destiny and the libertine character. Literary history, genetic criticism and thematic approach shall be dealt with to have a better understanding of sade

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Kirkham, Neil. "Simple pornographers? : the Marquis de Sade and the evolution of the hard-core pornographic film narrative." Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/5137/.

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In The Secret Museum: Pornography and Modern Culture, Walter Kendrick demonstrates that whilst the term pornography remains a battleground of ideas and representations, its origins are to be found long before the word itself was invented in the nineteenth-century. At the beginning of the twenty-first century, pornography's influence on all forms of popular-culture is seen to have dramatically increased, but academic work on the representation of sex has thus far avoided attempting to draw any links between what Kendrick refers to as the different “pornographic eras”, choosing instead to analyse examples in isolation. This thesis is an attempt to fill that gap and analyses patterns of influence between eighteenth-century French libertine literature and the contemporary hard-core pornographic film. Concentrating on the libertine novels of the Marquis de Sade (1740-1814), it studies how his work demonstrates rules and structures in relation to the representation of sex that are still visible in modern pornography. By focusing on four examples of Sade's work – Les Cent Vingt Journées de Sodome, Justine, La Philosophie dans le Boudoir and l'Histoire de Juliette – it isolates patterns of influence in relation to three key elements: narrative, practices and philosophy. It therefore looks at both the representation of sex and the narrative structures that surround it. This is a key element of any study of modern pornography, as it can take on a range of narrative forms, with some hard-core films appearing to omit storylines completely. This thesis will therefore consider a range of examples from contemporary hard-core, but will focus primarily on the American producer The Evil Empire and the work of its founder, the director John Stagliano. Drawing on theoretical material from the study of narratology (`) it studies the relationship between the two forms through the way in which they frame, structure and pace the sexual performance, as well as analysing how they attempt to authenticate such representations. It concludes with a study of the hard-core initiation film, through which the political and philosophical meaning of such representations is assessed.

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Dias, Anne Louise. "Torcer, romper, escrever : tecendo as narrativas de violência de Gabrelle Wittkop e do Marquês de Sade." reponame:Repositório Institucional da UnB, 2016. http://repositorio.unb.br/handle/10482/21370.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literatura, Programa de Pós-Graduação em Literatura, 2016.
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Ainda clandestina na esfera canônica, a leitura da obra de Sade, como afirma Eliane Robert Moraes, pode levar a inúmeros equívocos, reduzindo o autor a reflexões sobre o sadismo ou fundindo-o à discursos científicos. As reverberações das escritas do marquês de Sade, entretanto, não se restringem às tentativas de sua compreensão; influente e vivamente presente em diversos escritores, o modelo sadiano é recuperado e homenageado em La marchande d’enfants, romance epistolar de Gabrielle Wittkop e publicado em 2003. O estilo de escrita de Wittkop abre-nos espaço para o estudo de sua obra como ambas uma retomada e uma atualização do próprio marquês. Desejamos no presente trabalho abarcar as representações dos desvios sexuais preconizados em Sade como um duplo jogo da linguagem: Sade e Wittkop teatralizam as ações violentas de suas personagens, jogando com a imagética, a representação e a imaginação, mas, para além disso, manejando a linguagem de forma a testar todos seus limites. Gabrielle Wittkop tentaria, em La marchande d’enfants, alcançar, pelo grotesco, pelo mal e pela perversão, o absurdo fazendo conscientemente uso da violência própria à linguagem, atacando, penetrando e testando as fronteiras do eu, do leitor e, finalmente, da literatura. _________________________________________________________________________________________________ ABSTRACT
Still foreign to the canon of Western Literature, the examination of the oeuvre of the Marquis de Sade can lead to numerous misunderstandings, as stated by Eliane Robert Moraes, such as reducing his output to reflections on sadism or merging it with scientific discourse. The repercussions of De Sade’s work, however, are not limited to critical attempts toward its understanding; influential and strongly present in several writers, De Sade’s model is recovered and honored in La marchande d'enfants, an epistolary novel authored by Gabrielle Wittkop and published in 2003. Wittkop`s writing style opens the space for the study of her work as both a renewal and an update of the Marquis himself. In the present work we wish to encompass the representations of sexual deviancy professed in Sade as a double play on language: De Sade and Wittkop dramatize the violent actions of their characters, playing with imagery, representation and imagination, but, in addition, manipulating the language in order to test all of its limits. Gabrielle Wittkop would attempt to achieve absurdity through the grotesque, evil and perversion, consciously making use of the language inherent violence in La marchande d'enfants, attacking, penetrating and testing the boundaries of the ego, the reader and finally literature itself.

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Costa, Marcela de Andrade. "O despotismo na alcova : reconfiguração dos espaços público e privado na obra do Marquês de Sade." reponame:Repositório Institucional da UnB, 2008. http://repositorio.unb.br/handle/10482/4604.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Humanas, Departamento de História, 2008.
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O marquês de Sade é um desses autores que pouca gente leu, mas quase todos têm uma opinião a respeito. Escritor polêmico e controverso, seu nome é associado à libertinagem cruel, na qual o prazer sexual é obtido à custa do sofrimento e humilhação dos outros. Porém, a obra sádica não se resume a mera apologia dessa sexualidade primitiva e visceral. Em seus textos, Sade dialogava com a produção intelectual de seu tempo, tratando de questões que ocupavam também outros escritores, tais como ordem social, natureza humana, liberdade e despotismo. E sobre cada uma dessas questões o marquês mantinha um posicionamento filosoficamente justificado. O objeto principal dessa dissertação é a reconfiguração sádica dos espaços público e privado, ou seja, como essas esferas foram redefinidas em sua obra e quais os papéis que podem, e devem, ser desempenhados em cada uma delas. Para isso, foi analisado o discurso sádico sobre três dualidades que considerei basilares para essa redefinição: natureza e civilização, vício e virtude e liberdade e despotismo. Ao entender como Sade reconfigurou essas esferas e a importância que conferiu a cada uma delas, busca-se ampliar a compreensão sobre a conformação social que estava sendo delineada no período revolucionário. E da qual os Estados ocidentais herdaram a permanente tensão entre os seus interesses e direitos e as garantias individuais de seus cidadãos. __________________________________________________________________________________________ ABSTRACT
The marquis of Sade is one of these authors whom few people read, but almost everyone has an opinion about. Controversial writer, his name is associated with the cruel licentiousness, in which the sexual pleasure is obtained at the expense of the suffering and humiliation of others. However, the sadistic work does not consist only of the mere eulogy of this primitive and visceral sexuality. Through his texts, Sade maintained a dialogue with the intellectual production of his time, dealing with subjects that were also approached by other writers, such as social order, human nature, freedom and despotism. And on each one of these issues the marquis has a philosophically justified position. The main object of this dissertation is the sadistic reconfiguration of the public and private spaces, in other words, how these spaces were re-defined in his work and which roles one can or must play in each one of them. In order to accomplish that, the sadistic speech was analyzed along three axis that were taken as the basis for that redefinition: nature and civilization, vice and virtue, and freedom and despotism. Understanding how Sade has re-shaped the public and private spaces and the importance that he tallied to each one of them might help to understand the social configuration that was outlined in the French revolutionary period, one of the roots of the constant tension between interests of the State and individual rights in the Western World.

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Meyer, Ronald. "Sexualität und Gewalt : Formen der Sexualität und Gewalt in der Fiktion und Biographie des Marquis de Sade /." St-Ingbert : Röhrig universitätsverl, 1999. http://catalogue.bnf.fr/ark:/12148/cb376290735.

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Blumberg, Lucy E. "A Tale of Two Sisters: An Exploration of the Marquis de Sade and 21st Century Western Cultural Production." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/717.

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The Marquis de Sade has a notorious reputation amongst academics as a continuous figure of fictional and cultural studies. His characters, stories, and writings carry weight in modern interpretations of gender dynamics, pornographic aesthetics, and the alternative fantastical. This thesis will explore the Marquis de Sade’s most famous characters, Justine and Juliette, as means to define the Marquis’ significance to 21st Century Western culture production, particularly in Lars Von Trier’s Antichrist and E.L. James’ Fifty Shades of Grey. Exploring the female protagonists (or main characters) of the separate works, the correlations of subjugation, constructed morality, and the constructs of femininity become important markers for understanding the Marquis’ dissemination of his philosophies on gender, violence, and indulgent sexuality that leads to conversations on pornographic aesthetics in our modern period. Despite being dead for nearly 200 years, the Marquis de Sade’s relevance parades on in ideologies regarding female identity and sexual desires of the extreme.

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Gatti, Daniela 1967. "Sade na dança = um processo artístico em redes de saberes." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284972.

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Orientador: Elisabeth Bauch Zimmermann
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente pesquisa traz o processo de criação de Vícios e Virtudes - Drama em Dança como objeto de reflexão e análise. O espetáculo é uma apropriação dos romances do autor iluminista francês Marquês de Sade (1740 - 1814): Justine, os Infortúnios da Virtude e Juliette, a Prosperidade do Vício com o intuito de transpor para a linguagem do corpo-cênico, o universo antagônico sadiano entre o vício e a virtude, representados pelas personagens Justine e Juliette. A primeira parte da tese fundamenta a transposição do universo literário para o corpo que dança, ou seja, um corpo-texto a partir de eventos como a imaginação, a polaridade, a apropriação e o dialogismo. A segunda parte descreve o processo do espetáculo, apresentando os elementos materiais, procedimentos e as idéias como subsídios na representação ficcional e simbólica através do drama em dança. A tese propõe o diálogo entre as diferentes áreas das artes: dança, música, teatro e literatura como um caminho metodológico para o desenvolvimento de um processo artístico em redes de saberes
Abstract: The present research brings the creative process of Vícios e Virtudes - Drama em Dança as an object of reflection and analysis. The performance is a gathering of the French Illuminist author Marques of Sade (1740 - 1814)'s novels Justine, the misfortunes of virtue and Juliette, the prosperity of vice aiming to transpose to the scenic-body language the Sadian antagonic universe between vice and virtue, represented by characters Justine and Juliette. The first part of the thesis gives base to the transposition of the literary universe to the dancing body, or a text-body based on events like imagination, polarity, appropriation and dialogue. The second part describes the performance process, presenting the material elements, procedures and ideas as subsides in the fictional and symbolical representation through drama in dance. The thesis proposes the dialogue between the different areas of art: dance, music, theater and literature as a methodological way to the development of an artistic process in a knowledge net
Doutorado
Artes Cenicas
Doutor em Artes

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Heesen, Sabine te. "Der Blick in die kannibalische Welt : Anthropophagie in Daniel Defoes Robinson Crusoe, den Reisebeschreibungen zu James Cooks Weltumsegelungen und bei Marquis de Sade /." Freiburg, Br. ; Berlin Wien : Rombach, 2008. http://d-nb.info/991053265/04.

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Butcher, Dick. "Mapping the shadow in the work of de Sade & Sacher-Masoch constellating sociological & psychological possibilities /." Connect to this title online, 1998. http://wwwlib.umi.com/cr/yorku/fullcit?pNQ33525.

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Thesis (Ph. D.)--York University, 1998. Graduate Programme in Sociology.
Typescript. Includes bibliographical references (leaves 260-274). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL:http://wwwlib.umi.com/cr/yorku/fullcit?pNQ33525.

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Conrod, Frederic. "Baroque orders of corruption: Formation, diffusion, transformation, and negation of Loyola's "Spiritual Exercises" (Saint Ignatius of Loyola, Miguel de Cervantes Saavedra, Spain, Baltasar Gracian, Marquis de Sade, France)." Diss., Connect to online resource, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3207694.

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Caron, Elaine Cristina [UNESP]. "Rimbaud, Molière e Sade lidos pelos brasileiros: aspectos da representação literária dos escritores franceses homenageados na coleção Literatura ou Morte." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/136799.

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Résumé: Rimbaud, Molière et Sade. Ces sont les trois écrivans français qui ont été honorés, respectivement, par les brésiliens Leandro Konder, Rubem Fonseca et Bernardo Carvalho, dans la collection Literatura ou morte, de 2000, publiée par Companhia das Letras. L'idée de la collection est apparue lorsque Leandro Konder a soumis à son éditeur l'originel de son roman A morte de Rimbaud, où il cite le poète français dans le titre, et en plus, il fait plusieurs références à la littérature française. Heureux du résultat, le rédacteur Luis Schwarcz a contacté plusieurs écrivains pour créer des romans qui doivent suivre le même modèle de A morte de Rimbaud, en prenant deux prémisses fondamentales: qu'ils soient des romans policiers et qu'ils contiennent le nom d'un écrivain consacré par la critique et par le public. Parmi les sept volumes qui ont suivi la proposition, on a O doente Molière et Medo de Sade. Dans la construction de ces romans leurs auteurs ont été menés à revoir les biographies et les oeuvres de chacun des écrivains honorés, en fournissant des relectures et de nouvelles significations pour elles. Le but de notre travail est d'étudier les raisons qui ont fait que Konder, Fonseca et Carvalho choisissent comme thème de leurs oeuvres littéraires précisément ces trois écrivains, en essayant de démontrer que ce choix n'a pas été arbitraire, mais dirigé par l'éditeur, qui à part la promotion obtenue grâce aux références faites aux noms des auteurs classiques, atteint un nouveau type de lecteurs. La collection permet à ses écrivains de suivre deux propositions de récit en même temps, elle se caractérise à la fois comme une littérature de divertissement, marquée par le choix de la forme, le roman policier et la biographie, et une littérature de proposition, marquée par le thème, concernant les oeuvres de auteurs classiques...
Rimbaud, Molière e Sade. Estes são os três escritores franceses homenageados, respectivamente, por Leandro Konder, Rubem Fonseca e Bernardo Carvalho, na coleção Literatura ou morte, de 2000, da editora Companhia das Letras. A ideia da coleção teria surgido quando Leandro Konder apresentou a seu editor os originais do romance A morte de Rimbaud, em que, além de citar o poeta francês no título, inclui referências à literatura francesa. Contente com o resultado, o editor Luís Schwarcz contatou vários escritores para criarem romances que seguissem o mesmo modelo de A morte de Rimbaud, atendendo a duas premissas fundamentais: que fossem romances policiais e envolvessem o nome de um escritor consagrado pela crítica e pelo público, já falecido. Entre os sete volumes que seguiram a proposta, estão O doente Molière e Medo de Sade. Na construção destes romances seus autores foram levados a revisitar as biografias e as obras de cada um dos escritores homenageados, proporcionando releituras e novos significados a elas. O objetivo de nosso trabalho é investigar os motivos que levaram Konder, Fonseca e Carvalho a escolherem como tema de seus trabalhos literários justamente estes três escritores, além de constatar que esta escolha não foi arbitrária, mas direcionada pela editora, que além de se promover com a referência aos nomes dos escritores clássicos, coloca diante de si um novo nicho de leitores. A coleção possibilita a seus escritores seguirem duas propostas narrativas ao mesmo tempo, pois se caracteriza tanto como uma literatura de entretenimento, marcada pela escolha da forma, narrativa policial e biografia, e uma literatura de proposta, marcada pelo tema, que são as obras de escritores clássicos. São romances escritos tanto para aquele que busca na leitura um passatempo de viagem, como o acadêmico que procura nas entrelinhas citações e alusões a outros escritores...
Rimbaud, Molière and Sade. These are the three french writers honored, respectively, by Leandro Konder, Rubem Fonseca and Bernardo Carvalho, at the collection Literatura ou morte (2000 published by Companhia das Letras. The idea of the collection would have appeared when Leandro Konder submitted to his publisher the original novel A morte de Rimbaud, in that in addition to quote the french poet in the title, includes references to french literature. Enthusiastic with the result, the publisher Luis Schwarcz contacted several writers to create novels that follow the same model of A morte de Rimbaud, serving two fundamental assumptions: that they were crime novels and involved the name of an established writer by critics and the public, now deceased. Between the seven volumes that followed the proposal are O doente Molière and Medo de Sade. In constructing these novels his authors were brought to revisit the biographies and works of each of the honored writers, providing readings and new meanings to them. The goal of our work is to investigate the reasons Konder, Carvalho and Fonseca to choose the theme of his literary works precisely these three writers, and demonstrated that these choices was not arbitrary, but directed by the publisher, which besides promoting with the reference to the names of classical writers, sets before itself a new group of readers. The collection allows its writers follow two narratives proposals at the same time, it is characterized both as an entertainment literature, marked by the choice of form, crime novel, and biography, and a proposal literature, marked by the theme, which are the classical writers works. These are novels written for both the reader who search a traveling hobby, as to the academic who seeks the references and allusions to other writers. In addition, we aimed to draw a reading that considers the three works together, this perspective that glimpse the formation of a historical-literary...

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Haj, Sassi Taïeb. "Récit de rouerie, machination et représentation de la machination dans la fiction et la gravure libertines, de Crébillon à Sade." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3028.

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Les romans libertins à figures se développent de façon remarquable au XVIIIe siècle. Selon les frères Goncourt, c’est « le siècle de la vignette ». L’avènement de cette mode de livres illustrés a modifié aussi bien les sensibilités esthétiques et les conditions matérielles de la lecture d’un récit de rouerie, que notre conception de la littérature libertine comme système de représentation, non plus exclusivement textuel, ou discursif, mais engageant un dialogue avec l’image. Il s’agit d’étudier ce dédoublement de la représentation, à travers les dispositifs qu’il met en œuvre, et en mobilisant ceux-ci comme une nouvelle méthode d’analyse du texte et de l’image dans les récits de rouerie libertine.On pourrait croire que les récits de rouerie libertine sont les plus éloignés de l’image, étant donné que la machination et la ruse nécessitent d’agir sous-main. Or notre analyse de la logique de l’image qui gouverne les dispositifs de la représentation dans le roman libertin des Lumières infirme cette hypothèse. Dans cette perspective, nous tenterons de compléter les études existantes sur la scène érotique ou intime, le regard et la théâtralité de la fiction classique, avec l’idée que, dans les récits de rouerie, la représentation de la machination libertine oscille entre deux stratégies : celle qui donne à voir et celle qui dérobe
The libertine novels ornated with figures grew dramatically in the eighteenth century. According to Goncourt brothers it is “the century of the vignette”. The development of this genre of illustrated books changed, both aesthetic sensibility of the reader and the material conditions of reading a trick story, for our conception of libertine literature as a system of representation is no more exclusively textual nor discursive but triggers a dialogue with the image. The study of this duplication of representation is at stake, using the text-and-image devices it operates, as a new method to analyse their interconnection in the libertine trick stories. One could imagine such narratives are the most distant from the image, since the machination and trickery need to act covertly, whereas the logic of the image appears to be at the very heart of the operative devices of representation which govern the eighteenth century libertine novel. Following that scientific approach, we’ll try to complete the existing studies on poetics of the erotic or intimate scene, and how gazing and theatricality interact within classical fiction, with the hypothesis that, in the trick stories, the representation of the libertine plot faces two strategies: the one that lures with showing something and the other with concealing

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Vasconcellos, Juliano Caldas de. "Concreto armado Arquitetura Moderna Escola Carioca : levantamentos e notas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2004. http://hdl.handle.net/10183/114673.

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O presente trabalho tem como objetivo a análise de obras da arquitetura moderna brasileira de base carioca, construídas em concreto armado no período compreendido entre 1935 e 1960. É inegável que a construção teve destaque entre os vários componentes que levaram a arquitetura moderna brasileira ao reconhecimento internacional. Dentro do período citado, o Brasil figurou como líder do universo da arquitetura moderna, onde a exploração da plasticidade potencial do concreto armado foi aplicada com grande êxito. As soluções adotadas pelos arquitetos brasileiros tiveram grande repercussão, a começar pelo edifício da Associação Brasileira de Imprensa dos Irmão Roberto da sede do Ministério da Educação e Saúde Pública (hoje conhecido como Palácio Gustavo Capanema) que deixaram perplexos arquitetos do mundo inteiro. Marcos da nova arquitetura no país, estes exemplares foram objeto de inovações expressivas e bem-sucedidas também no seu projeto estrutural. Para se fazer a análise das construções brasileiras, é importante estudar as origens do concreto armado e suas aplicações desde o seu surgimento, passando pela descrição de patentes registradas (ou apenas estudadas) na Europa e Estados Unidos, sem esquecer de precisar nomes e datas, fundamentais para substanciar a reivindicação de influências e precedências. Em um segundo momento, estuda-se a chegada do concreto armado no Brasil, e as obras iniciais, além de registrar as primeiras construtoras e a elaboração das primeiras normas. Nos anos 30 o concreto armado é agente da verticalização e da indústria da construção civil, domínio este comprovado através de dados técnicos e sócio-econômicos. A última parte está dedicada para a análise das obras, onde Affonso Eduardo Reidy, Álvaro Vital Brasil, Lúcio Costa, MMM Roberto e Oscar Niemeyer são os autores dos projetos. Analisados sob o aspecto de sua concepção estrutural e construtiva, os exemplares são divididos em categorias e dentro destas ordenados por cronologia de projeto e execução, onde são apresentados além do texto escrito, ilustrações das obras em andamento, finalizadas e desenhos originais e/ou elaborados por este autor, através de levantamento ou pesquisa.
The purpose of this essay is the analysis of works of the Brazihan modem architecture with carioca base, built in reinforced concrete in the period between 1935 and 1960. It is undeniable that the construction had prominence among the several components that took the Brazihan modem architecture to the international recognition. Inside of the mentioned period, Brazil represented as leader of the universe of the modem architecture, where the exploration of the potential plasticity of the reinforced concrete was applied with great success. The solutions adopted by the Brazihan architects they had great repercussion, to begin for the building of the Brazilian Association of Press of the MMM Roberto of the headquarters of Ministry of Education and Pubhc Health (known as Palácio Gustavo Capanema) that left perplexed architects of the whole world. Signal of the new architecture in the country, these copies were object of expressive and successful innovations in your structural project. To do the analysis of the Brazilian constructions, it is important to study the origins of the reinforced concrete and your applications from your appearance, going by the description of registered patents (or just studied) in Europe and United States, without forgetting of needing names and dates, fundamental to nourish the revindication of influences and precedences. In a second moment, it is studied the arrival of the reinforced concrete in Brazil, and the initial works, besides registering the first builders and the elaboration of the first norms. In the thirties the armed concrete is agent of the verticalization and of the industry of the building site, domain this proven through data technicians and socioeconomic. The last part is dedicated for the analysis of the works, where Affonso Eduardo Reidy, Álvaro Vital Brasil, Lúcio Costa, MMM Roberto and Oscar Niemeyer are the authors of the projects. Analyzed under the aspect of your structural and constructive conception, the copies are divided in categories and inside of these ordered by project chronology and execution, where they are presented besides the written text, illustrations of the works in process, concluded and drawings original or elaborated by this author, through rising or researches.

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Karothy, Rolando Hugo. "La apatía y el deseo del analista a partir de la reformulación kantiano-sadiana de la ética." Tesis, 2002. http://hdl.handle.net/10915/3185.

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"Imaginação e interdito na obra do Marques de Sade." Tese, Biblioteca Digital da Unicamp, 2003. http://libdigi.unicamp.br/document/?code=vtls000349740.

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Toscano, Marta 1975. "Para além dos limites, Sade e arte contemporânea." Master's thesis, 2006. http://hdl.handle.net/10451/7884.

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Tese de mestrado em Estudos Curatoriais, apresentada à Universidade de Lisboa, através da Faculdade de Belas Artes, 2006
This dissertation has, for its starting point, the literary essays of the Marquis de Sade (1740-1814). After an analyses and reflection about the premisses found in his books, I will try to make a connection between his language of rupture to another world, the world of contemporary art, world that is also made of transgressions, turning points...and limits. The work is divided in three different sections, although they are complementary between them: the first one is a reflection about a possible map of erotism, taking a careful look at its mythological “root”, followed by the study of the platonic and the Christian eros; the second part is a reflection about the sadean “erotism” — we shall see that it is more correct to talk about a sadean “anti-erotism” —, and it’s based, by one side, on writers who recouped him on a philosophical or literary level, as Pierre Klossowski, Georges Bataille, or Jean-Jacques Pauvert, and on the other side on authors who consolidated him, like Octavio Paz, Jean Paulhan, Roland Barthes, Annie le Brun, Marcel Hénaff, to mention the most important ones; the third part of the thesis consists of a project involving Sade and contemporary art. Keeping away from the viscerality that is usually linked with Sade, and focusing on the sadean concept of apathy (an insensibility towards emotions), I will investigate until what point the works of certain artists are in debt with the heritage of the French writer. The six artists that give body to this project (that, in a way, can be understood as a fictional curatorial project) are Julião Sarmento, Nobuyoshi Araki, Hans Bellmer, Marina Abramovic´, Michaël Borremans and Douglas Gordon. At last, I will lean over on the philosophical/ethical question on the limits of art. Sade showed us a world that went beyond all limits (is that really so?); and the works of art, are they also unlimited?

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Pelletier, Sophie. "Rachilde : décadence et transgression dans Monsieur Vénus et La Marquise de Sade." Thèse, 2006. http://hdl.handle.net/1866/17260.

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Arnold, Marine. "La Parenthèse ; suivi de Tensions et enfermement dans les Cent Vingt Journées de Sodome du marquis de Sade." Thèse, 2013. http://hdl.handle.net/1866/10411.

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Ce mémoire en recherche-création explore l’enfermement volontaire et les différents types de tensions qu’il provoque. Court roman prenant la forme du journal intime, La Parenthèse met en scène un jeune homme qui décide de s’enfermer chez lui une semaine durant et s’interdit tout contact avec l’extérieur – autant pour prendre un congé temporaire de la vie qu’il mène que pour examiner les raisons de sa détresse quotidienne. Le monologue intérieur se transforme rapidement en dialogue, dès lors qu’un double vindicatif, interrompant la voix principale par des « répliques » entre parenthèses, fait son apparition. Une relation houleuse – sous tension – se tisse entre ces deux facettes du personnage tout au long des sept jours de la réclusion, les passages de dispute alternant avec des récits de souvenirs. En somme, le roman tente de dramatiser la question de l’emprisonnement de soi-même et de la limitation de l’écriture, cette limitation pouvant être à la fois malsaine et libératrice. Quant à l’essai, Tensions et enfermement dans les Cent Vingt Journées de Sodome du marquis de Sade, il part du thème de l’enfermement (en l’occurrence, celui des quatre amis qui exécutent le projet de passer quatre mois dans un château isolé) pour postuler une « architecture du désir » dans Les Cent Vingt Journées de Sodome. L’essai mobilise les ressources de la narratologie en prenant en compte les effets du texte sur le lecteur ; sont ainsi mises en évidence les tensions – sexuelle pour les protagonistes, narrative pour le lecteur – élaborées par cette écriture de l’enfermement et de la contrainte, dans laquelle le désir est toujours maintenu mais rarement satisfait.
This M.A. thesis combining research and creative writing globally focuses on self-confinement and the various tensions that it creates. La Parenthèse, a novel in the form of a diary, depicts a young man who decides to confine himself in his apartment for a week without any contact with the outside world, taking a break of his life in order to question himself about his daily angst. The inner monologue changes quickly into a dialogue, as soon as a vindictive alter ego begins to interrupt the main voice with “repartees” in parenthesis. A stormy – tense – relationship builds itself between these two sides of the character throughout the seven days he stays locked indoors, passages of arguments alternating with recollections of memories. In short, the novel proposes a reflection about self-confinement and constrained writing, which is both unwholesome and liberatory. As for the essay, Tensions et enfermement dans Les Cent Vingt Journées de Sodome du marquis de Sade, it takes us from self-confinement (namely, the four friends deciding to confine themselves for four months in a distant castle) to an “architecture of desire” in Les Cent Vingt Journées de Sodome. The essay is based on narratology without neglecting the effects the text has on its reader to bring out the tensions – sexual ones regarding the protagonists, narrative ones regarding the reader – elaborated by Sade’s confinement writing, which unfolds a desire much celebrated but seldom fulfilled.

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Wills, Warren W. "La philosophie et le libertinage du marquis de Sade et la place de la femme dans ses œuvres." 2003. http://purl.galileo.usg.edu/uga%5Fetd/wills%5Fwarren%5Fw%5F200308%5Fma.

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CLAUDE, NOEL JEAN, and 強克. "The 120 Days of Sodom of Marquis de Sade, or Nature in all Its States: Beyond Physis and Metaphysis." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/6hr94r.

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博士
國立交通大學
社會與文化研究所
106
This work on The 120 Days of Sodom, divided into three parts, is built around the key concept of nature addressed in relation with two other Greek concepts: physics (phusis) and metaphysics (metaphusis). In doing so, the thesis seeks to demonstrate that Sade exposes a radical conception of man―or radical anthropology―within his text; a conception based on a study of the passions—that is, as rooted into the Greek etymology, as pathology, the “science” of passions. Amongst all of this, there is also a political project. But this so-called scientific project challenges the idea of science as system. Sadean anthropology goes beyond traditional ontology, because it refuses theology or ontotheology. It also raises the question of teleology as it is posed in relation to the libertine discourse that makes evil the end (purpose) of human conduct, thereby undermining all ethics. This anthropology is also presented as a pathology. As a result, nature in all its states, and particularly in The 120 Days, can be defined as the celebration of the senses. This debauchery of the senses is, in fact, the body in all its states. And it is precisely here that the political dimension of the novel raises the question of domination and government of bodies. These appear, both passively and actively, as patients and agents—as would have been said in the eighteenth century. This body signifies the desired body, the narrated body, the mutilated body—in short, the dead body (killed) and the living body that has been kept alive. However, it is also the experienced body. Hence the imperative to say that it all guides Sade, a kind of encyclopaedical will. A saying it all that is akin to a type of “inspection”, but which also provides the reader with a relative sense of freedom in this orgy of passions, presented as a culinary metaphor. Consequently, The 120 Days of Sodom—through the figure of the castle of Silling—poses both a geographical problem in the literal sense, but also in physiological and physical sense of the body as political territory. Hence the question of the conflict between utopia and heterotopia. A superficial reading of Sade’s novel would assign a heterotopic dimension to Silling. However, it is, in fact, a utopia: a real place of sovereignty and biopolitics. However, a heterotopia is possible if the reader chooses to participate in a conversion with the gaze on the side of the victims. Finally, there is a dilemma between a utopian or heterotopic reading of Sade’s text―that is, the sovereignty or biopolitics reading of the novel.

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Pereira, Catarina Maria Lusitano Leal da Câmara. "Fermata: "Artaud, Sade e Bataille: uma suspensão do pensamento no acto da poiesis"." Doctoral thesis, 2019. http://hdl.handle.net/10451/40687.

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As artists, we know that the reasons that lead us in creative processes have no logical foundation. Most decisions taken during artistic praxis are not translatable in thought (in logical phrase structure). They derive from intuitions anchored in the darkest zones of our consciousness. If this is true for formal decisions about object building, it is even more evident when we try to understand the reasons that led us to a particular subject, a process or sheer mechanics. We are driven by drives from unconscious areas, sometimes therapeutic, often involuntary. And it is this same unconsciousness that makes creative processes into cognitive and ontological processes. The work that I present as an artistic component of the doctorate gives us news of the same strangeness (see annex). It was absolutely unsuspected to see me engender a work of this nature. The natural question that confronted me with the need to develop a thesis that dialogues with my poetic production was to ask myself how did it arrived there? What did exist underneath my existence, on my daily life, with my ghosts and fears? What pushed me into what was evident and into the irrepressible drive to produce certain images? How to question these subjects in the first person would always have a swamp nature, be tedious, analytical and in a closed-circuit; the hypothesis that remained was to project the questions underlying these mysteries into the poetic production of other authors. I name the authors as if someone whom is known by name, as if the intimacy established by the reading of their works had embodied them in concrete actors in my life: Antonin Artaud, Sade and Georges Bataille. I think that the poetic production only happens when one speaks with authenticity, when one anchors in the lived intimacy of experience and that is as absolute and common as more intimate. Because, deep down, our territories of individual intimacy, unconfessable and untranslatable, are territories transverse to all individuals; are universal in proportion to their intimacy. In this sense, I went to find (not look for) the testimonies contained in the works of Artaud, Sade and Bataille, a reflection of what I sense to be unconscious and involuntary foundations of the creative processes: anguish, affectivity, sexuality, incarceration, boredom, revolt and guilt. The choice was involuntary: it was dictated by affinity, by color, by heart.

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"La Surjouissance: The Marquis de Sade's Method to Overcome Reduced Space." Master's thesis, 2011. http://hdl.handle.net/2286/R.I.9225.

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abstract: Reduced space is an important theme in the works of the Marquis de Sade including his epic novel The New Justine and his pornographic performance piece Philosophy in the Bedroom including the political/social treatise "Frenchmen, yet another effort is needed if you want to be a Republic". Through out his life Sade attempted to overcome reduction of space with writing. Tragically, his writing often prolonged the reduction of his space by sending him to or keeping him in prison. It is my theory that his violent, pornographic writing style is "une écriture de surjouissance" or "a writing of over-coming". Surjouissance is my theory for Sade's method, based on textual analysis of Sade's main works, that he combines through his syntactic structure, narrative voice, and semantic themes the orgasm of the mind represented by philosophical discourse with the orgasm of the body represented textually by orgiastic scenes and the language of orgasm to reach an ultimate state of complete freedom. In the political pamphlet "Frenchmen yet another effort..."Sade attempts to set this theory of sur-jouissance, or this transcendent state reached through the combination of physical and philosophical orgasm, as the political foundation for a new republic. Does he succeed in creating a viable political formula for a sustainable republic? My argument states absolutely not. His aristocratic elitism narrows his voice. But he does propose the combination of sexual, literary, and intellectual freedoms as a possible polemic against any form of reduced space.
Dissertation/Thesis
M.A. French 2011

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Laperrière, Charles-Philippe. "L'homme est seul et la nature, criminelle : violence et transcendance dans Les 120 journées de Sodome de D.A.F. de Sade." Mémoire, 2006. http://www.archipel.uqam.ca/3466/1/M9601.pdf.

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Proposant une application de la Théorie de la religion de Georges Bataille au roman Les 120 journées de Sodome de D.A.F. de Sade, le mémoire interroge les rapports de l'aristocrate libertin, personnage typique de l'univers fictionnel sadien, au fondement de sa communauté. Il veut en outre montrer que, par un procédé d'inversion des valeurs morales sur lesquelles reposent nos sociétés historiques, et par une radicalisation corrélative de la polarité dominant/dominé, la communauté libertine cherche sa légitimation dans la perpétuation de la violence sexuelle. Après avoir présenté les idées-forces qui structurent la Théorie, il s'agira de déterminer comment, à partir d'un système multifonctionnel qu'à la suite de R. Barthes nous avons baptisé « dispositif de la clôture », s'organise, dans le texte, un réseau de figures soutenant un rapprochement de sens entre le retrait du monde qui caractérise le château de Silling où se déroule l'action, et l'inextricable solitude du libertin. Nous verrons alors que cette solitude, condition de possibilité de l'érotisme libertin, sert de base sur laquelle les « passions » des libertins, soigneusement codifiées par eux, s'érigent en véritables institutions sociales, concourant du coup à l'instrumentalisation brutale et sans appel des sujets en présence. Nous verrons ensuite qu'en commettant, dans le dernier quart de leur aventure, d'innombrables « meurtres de débauche », les libertins accomplissent une singulière quête d'essence qui, bien qu'elle puisse en exhiber certaines caractéristiques constitutives, s'avère parfaitement étrangère à la trajectoire sacrificielle décrite par Bataille dans sa Théorie, et appliquée par lui au roman sadien dans La littérature et le mal. En définitive, les libertins, commentant sans relâche l'acte de tuer, semblent vouloir dépasser leur condition d'êtres mortels et basculer, depuis l'ordre culturel où ils se meuvent, dans l'étendue immanente du monde naturel. Mais si un tel passage représente, comme nous le croyons, l'objectif supérieur visé par l'inauguration de cette étrange « communauté du crime », nous ne pouvons ultimement que mesurer l'impuissance des libertins à l'atteindre. Tout, dans le texte, donne en effet à penser que les seigneurs de Silling ressortent inchangés de leurs ébats meurtriers, et que, de cette nature dans laquelle ils rêvaient de se fondre, il ne subsiste en définitive que les rouages d'une métaphysique du « crime naturel ». ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Violence, transcendance, immanence, érotisme, D.A.F. de Sade, Georges Bataille.

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Lavoie, Liette. "La "FOUTERIE" versus les émois grandiloquents : étude de l'évolution du langage libertin à travers Le sopha de Crébillon fils et La philosophie dans le boudoir de Sade." Mémoire, 2007. http://www.archipel.uqam.ca/777/1/M10099.pdf.

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Le libertinage, en plus d'être associé à une esthétique littéraire circonscrite à quelques décennies, a été un art de vivre, une étape cruciale dans le processus d'émancipation de l'Homme. Ce sont les libertins qui, à partir du XVIIe siècle, ont posé un regard critique sur tout ce qui se présentait comme une entrave à la liberté, sur les tyrannies religieuses, politiques, intellectuelles ou morales. Les pulsions physiques ayant subi de graves oppressions pendant l'Ancien Régime, il était inévitable que la sexualité devienne un enjeu majeur, voire le symbole même de l'affirmation de soi. Les romans libertins, qui remportent un franc succès malgré les interdits dont ils sont frappés, sont toutefois bien davantage qu'une présentation de scènes de débauche. Ils mettent en place des stratégies stylistiques et rhétoriques qui visent à dire la sexualité et, ultimement, à influencer les mentalités. Cette langue libertine se révèle être feutrée ou audacieuse, flamboyante, hypocrite ou irrévérencieuse selon les périodes qu'elle traverse. En effet, des débuts de l'époque libertine à sa chute irrémédiable au tournant du siècle, en passant par son apogée vers les années 1730, cette langue subit des métamorphoses foudroyantes que nous avons choisi d'analyser à partir de deux romans représentant les moments-clés. Rédigé en 1739 dans une langue fleurie et grandiloquente, Le Sopha de Crébillon fils incarne l'esprit de la période dorée du libertinage alors que La Philosophie dans le boudoir de Sade, paru en 1795, est plutôt saturé de mots interdits et d'idées scandaleuses qui laissent entrevoir l'émergence de l'écriture moderne. Les écarts entre ces oeuvres, tant en ce qui concerne le sujet et le style que le contact avec le lecteur, nous permettront de cerner les objectifs recherchés par les deux auteurs. Se détachant d'une part graduellement des anciens modes de pensée, ces écrivains manifestent un attachement marqué pour certaines réflexions du XVIIIe siècle. Nous nous intéresserons donc, dans un premier temps, aux emprunts faits aux discours philosophiques, techniques rhétoriques et lieux communs de la conversation mondaine afin de déterminer si leur entreprise de séduction se base davantage sur l'art de plaire ou sur celui de persuader. Nous poursuivrons par l'analyse des traits stylistiques qui les distinguent de la norme langagière de leur époque. Notre démarche procèdera de l'analyse minutieuse des marques textuelles comme le lexique et les figures afin de cerner le style de chacun. Si les écarts de Crébillon manifestent une tendance à camoufler les critiques sociales derrière l'ambiguïté et l'ironie, ceux de Sade visent à détruire les normes langagières par un excès de crudité. Nous verrons enfin si ces deux ouvrages licencieux s'inscrivent dans le genre pornographique. De plus en plus modernes d'autre part, les auteurs des Lumières commencent à réaliser l'importance du lectorat et à développer des techniques de communication. Nous nous intéresserons dans un troisième chapitre à la structure dialogique qui implique le lecteur dans Le Sopha, aux stratégies de répétition qui visent à anéantir sa sensibilité dans La Philosophie dans le boudoir, ainsi qu'à la présence commune de personnages-lecteurs qui ont pour objectif d'indiquer le mode de lecture à adopter. Nous constaterons enfin que cette conception de la littérature comme outil pour critiquer, imposer son individualité et influencer le public évolue rapidement vers la Modernité. Bref, il s'agit de voir comment ces deux écrivains ont participé à la transformation de la langue libertine en langue moderne. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Libertin, Liberté, Langue, Lumières, Dix-huitième siècle, Crébillon, Sade.

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Trahan, Michaël. "La postérité du scandale : petite histoire de la réception critique de Sade dans la première moitié du XXe siècle français." Mémoire, 2011. http://www.archipel.uqam.ca/4316/1/M12242.pdf.

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Dans une perspective historique, ce mémoire s'intéresse à une certaine tradition interprétative de l'œuvre du marquis de Sade, de Guillaume Apollinaire à Pierre Klossowski en passant par Georges Bataille et le groupe surréaliste. S'inspirant à la fois des travaux en esthétique de la réception et des théories de la lecture (Jauss, Fish, Charles), ainsi que de la notion de figure (Auerbach, Gervais), il procède à une « critique de la critique » en retraçant les grands moments de la période dite de la « dialectisation » de la réception de l'œuvre de Sade - celle qui fait suite à la « médicalisation » et qui précède sa « textualisation », selon les catégories mises de l'avant par Michel Delon. S'il s'agit en premier lieu de faire l'archéologie de la figure de Sade pendant le XIXe siècle français, il s'agira ensuite de montrer que c'est sous un mode conflictuel que l'œuvre sadienne circule au sein de l'avant-garde dans la première moitié du siècle suivant. Dans les lectures de Sade qui seront convoquées, une place particulière sera faite à la polémique qui éclate entre Georges Bataille et André Breton dans les années vingt, puisqu'au cœur de cette querelle d'interprétation sont mis à nu certains enjeux de pouvoir qui travaillent toute gestion d'héritage. En ce sens, ce mémoire se propose, dans l'esprit de ce que Nathalie Heinich nomme l'« anthropologie de l'admiration », de mesurer ce que l'on pourrait appeler l'« effet Sade » dans l'entre-deux-guerres français : la glorification souterraine dont sa figure a été l'objet et qui amène ceux qui veulent s'en prendre à un certain ordre du monde à chercher sous son « envergure contradictoire » (Annie Le Brun) le terreau fertile qui leur est nécessaire pour ancrer leurs révoltes. Autrement dit, il s'agira de cerner comment et pourquoi, après que le sceau de l'interdit ait pesé aussi longtemps sur l'œuvre sadienne, elle est devenue l'une des références majeures de la critique française du dernier siècle. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : littérature et scandale, anthropologie de l'admiration, conflits de lecture, réception critique, posture de l'héritier, figures, marquis de Sade, Georges Bataille, André Breton, surréalisme.

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Baughman, Emma. "(Dis)Continuous Beings: Sadean Sexual Aesthetics in the Work of John Hawkes." 2016. http://scholarworks.gsu.edu/english_theses/206.

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Guided by Simone de Beauvoir’s famous essay “Must We Burn Sade” in which she highlights Sade’s ability to recognize the relationship of the erotic act to human existence, this thesis seeks to observe Sade’s influence on the work of the high-postmodernist writer, John Hawkes. Although Hawkes has largely been left out of the recent conversations regarding postmodernism, I believe that the explicit and often aberrant sexuality depicted in his work demonstrates an understanding of the potential for sexuality to communicate the socio-cultural issues important to a society and merits Hawkes’s inclusion in the postmodern canon.

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Sopchik, Rebecca. "Deadly Speech: Denunciation and the Radicalization of Discourse during the French Revolution." Thesis, 2014. https://doi.org/10.7916/D86H4G5M.

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My dissertation examines the question of how the incorporation of literary forms and techniques into written denunciations radicalizes the discursive practices of accusation during the French Revolution. I explore how the exploitation of literary elements such as genre and rhetorical strategies by revolutionary writers increases the scope and virulence of their attacks and contributes to the radicalization in the text of three key figures: the author-narrator, the imagined reader, and the object of denunciation. In the first part, I study the use of these strategies and their impacts on tone and the communication of meaning in two forms of the popular press: the ephemeral newspapers of 1789 (journals with under twenty issues) and the Private Lives (scandalous biographies of important public figures). In part two I show how writers with first-hand knowledge of recent violence and the deadliness of denunciation become confronted with the problem of how to condemn the worst aspects of the Revolution without partaking in incendiary speech themselves. Although still denouncing to a certain extent, these writers also try to resolve this dilemma through plays with perspective and parody. I examine this phenomenon in case studies of three authors who lived through the Revolution and whose writings were impacted to varying degrees by the events of 1789 to 1795: Nicolas Edme Restif de La Bretonne, Louis Sebation Mercier, and the Marquis de Sade. My study is situated at the crossroads of previous historical and literary scholarship on denunciation. Historians examining the practice of denunciation have investigated contemporary debates over calumny and the limits of free speech, the de individualization of the object of attack, and the impact of the period's obsession with transparency on the conceptualization of the denounced individual. These studies concentrate for the most part on political discourses and debates, laws, and the mechanics of the press and print culture. Scholarship analyzing rhetorical and literary aspects of revolutionary texts has slowly begun to emerge, and these literary analyses by historians on clandestine literature have identified important trends and have performed key case studies. My study supplements this existing work by focusing on such neglected areas as the relationship between the author and his imagined reader, while presenting a wider examination of the circulation of discourses between these texts to begin to grasp how these writers responded to, attacked, and adopted the denunciatory culture of their time.

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Dissertations / Theses on the topic 'Marqués de Sade'

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