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.

In ihrem Beitrag mit dem Titel Gefühlvolle/leibliche Körperlichkeit(en) in Die Philosophie im Boudoir (1795) widmet sich Laura Hommers der Frage nach der Materialität des Geschlechts (Judith Butler) und geht auf die von Barbara Duden initiierte Debatte ein, ob sich der Vorwurf einer ‚Entkörperung durch Verkörperung von Theorie‘ aufrechterhalten lässt. Um die Konstruktion der Butler’schen Materialität aufzuzeigen, werden sexuelle Tableaux von Marquis de Sades Die Philosophie im Boudoir untersucht. In diesen sexuellen Handlungen wird die Materialität durch die Neuinterpretation von erogenen Zonen sichtbar, welche gleichzeitig eine Vielfalt von Geschlechtsidentitäten und sexuellen Begehren aufzeigen. Laura Hommers greift dabei auf Paula Irene Villas Plädoyer für eine Leibperspektive in der Geschlechterforschung zurück und argumentiert, dass durch den körperlichen Leib und die Leibphänomenologie nach Hermann Schmitz eine Leibperspektive in den sexuellen Tableaux verhandelt werden kann, die zu einem Empfindungs- und Verhaltensprogramm führt. Daran anknüpfend argumentiert der Beitrag, dass die leiblichen Gefühle beziehungsweise Regungen, welche bei Marquis de Sade sprachlich (auf einer körperlichen Ebene) geäußert werden, sich durch vielseitige körperliche Ausdrücke manifestieren und so eine (anatomische) Materialität in die Untersuchung dieser Tableaux zurückgebracht werden kann.

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.

Submitted by Onia Arantes Albuquerque (onia.ufg@gmail.com) on 2018-10-19T14:52:41Z No. of bitstreams: 2 Dissertação - Ana Carolina Rosa Batista - 2018.pdf: 1857546 bytes, checksum: a1a52fcaa0a05575ed2905954319f7c6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-10-22T11:27:17Z (GMT) No. of bitstreams: 2 Dissertação - Ana Carolina Rosa Batista - 2018.pdf: 1857546 bytes, checksum: a1a52fcaa0a05575ed2905954319f7c6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-10-22T11:27:17Z (GMT). No. of bitstreams: 2 Dissertação - Ana Carolina Rosa Batista - 2018.pdf: 1857546 bytes, checksum: a1a52fcaa0a05575ed2905954319f7c6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-09-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / 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.

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.

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.

Ce projet de recherche-création s’applique à analyser le motif de la destruction dans le cinéma extrême. M’intéressant plus particulièrement à une frange underground et «infréquentable» du genre et au lien souterrain unissant celle-ci et l’oeuvre du Marquis de Sade, j’étudierai la façon dont la destruction y est représentée (et épuisée) à travers un passage de la destruction de l’autre à la destruction de soi. La partie écrite de ce mémoire s’accompagne d’un moyen-métrage, Une autre journée (voir Annexe 2) ainsi que d’une installation vidéo préliminaire, Your heart out (voir Annexe 1). / This research-creation project aims to analyse the motif of destruction in extreme cinema. With a specific interest toward an underground and « unacceptable » part of the genre and its unspoken connection to the writings of the Marquis de Sade, I will attempt to show how destruction is represented (and exhausted) therein through a passage from the destruction of others to a destruction of one’s self. The written portion of this thesis is accompagnied by a medium-lenght film, Une autre journée [Another day] (see Annexe 2) as well as a preleminary video installation, Your heart out (see Annexe 1).