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Sade has had many titles over the centuries. He was ‘Marquis’, a noblesse d’épée, sitting in his château atop Lacoste; ‘Wolf-man’, on the run from the authorities, a cause célèbre for his notorious sexual adventures; ‘Citizen’, a turncoat royalist, a functionary within the bureaucracy of the new French Assembly, eulogizer of the revolutionary heroes, Marat and Le Pelletier; and ‘Divine’, a patron saint of Romantic poets like Flaubert and Baudelaire, and later, the same for the Surrealists. Sade has yet to be given the name: ‘Scientist’. In my dissertation I lay out the ground work for defending this choice of designation by situating Sade and a sampling of his works within a defining period in the history of the object of scientific inquiry: from the eve of the 1789 French Revolution until its dénouement following the death of Robespierre. The three works of focus are Les 120 Journées (1785), Aline et Valcour, ou le Roman philosophique (1795) and La Philosophie dans le Boudoir (1795); and each one is strategically selected to bring to light singular events, marking important changes in humankind’s relationship with the natural world. This intense focus on Sade magnifies many times over the position Foucault had already assigned him in Les Mots et les chose (1966) when, in offering his own version of the evolution of the object of scientific inquiry from the Classical to the Modern Age, he isolates Sade as a heuristic bridge linking the two eras of his focus, using Sade’s erotic novels Justine (1791) and Juliette (1797) to support his argument. However overly pithy Foucault’s application of Sade may have been, it is felt that he lays a sufficient groundwork, one that I take up in my dissertation and push to even further depths. More than simply conforming to Foucault’s employment of Sade as the “midwife” to Modern science, I do two things of notable difference: 1) I take up the challenge Foucault set in the “Foreword to the English Edition” of Les Mots et les chose when he professes “embarrassment” over not being able to account for how “[…] instruments, techniques, institutions…” (p. xiii) of empirical sciences came to match in complexity those individuals and societies that would come to use them. On the one side, Foucault expresses a clear limitation; on the other, he offers up what he believes is half of what it takes to get at this limitation: “I left the problem of cause to one side. I chose instead to confine myself to describing the transformation themselves, thinking that this would be an indispensable step if, one day, a theory of scientific change and epistemological causality was to be constructed” (p. xiv). This dissertation offers up a heuristic framework to account for the relationship between both these sides Foucault can only adumbrate: the side of an emergent scientific knowledge and the ontological status of the producers of this knowledge. 2) I position Sade as a representative of an older scientific tradition, one overshadowed in Foucault’s emphasis on Sade and Modern science. Since Iwan Bloch compared Les 120 Journées to Psychopathia Sexualis, Richard von Krafft-Ebing’s 1886 manual of sexology, dedicated to documenting qualitatively all possible sexual deviancies in human behavior, most readings of Sade in the History of Science have taken him to be on the modern most end of the timeline of the History of Science (Foucault, 1966; Harari and Pellegrin, 1973; Morris, 1990; Vila, 1998; Polat, 2000; Quinlan, 2006; Quinlan, 2013). Some writers in recent years, however, have had the acuity to highlight older scientific influences on Sade’s oeuvre. Armelle St-Martin is one such example, who has written extensively on the influence of Italian science on Sade. Such a focus is a departure from a trend that sees English empiricism defining the scientific mindset in France that, it is believed, would have influenced Sade’s ideas. This would have included the “spirit of exactitude and method” (p. 91) D’Alembert (1751) speaks of in his panegyrics of Bacon, Locke and Newton in Discours préliminaire de l’Encyclopédie de Diderot or Voltaire’s popularization (1763) of all things English in Dictionnaire philosophique. The legacies of both these perspectives have weighed heavily on Caroline Warman’s reading of Sade, who sees him (2002) through a more “positive” prism of “sensationist materialism” in Sade: from materialism to pornography. St- Martin sees Sade’s scientific orientation directed rather towards much older and ulterior forms of scientific “objects”, ones much less “positive”. Casamaggi and St-Martin see pneumatological themes like miasmas and corruptions in Histoire de Juliette, arriving from Sade’s own explorations in such places as amongst the swamps and famously licentious denizen of Venice, the namesake for that special contagion: “maladies vénériennes”. Both these departures from Foucault’s conceptualization imply the need to articulate what I call a “negative” trajectory within the History of Science. This term plays an important part in how I engage with Sade and his contemporaries and its explication constitutes a significant aim throughout the course of my dissertation. Sade’s own inquiry into the object of scientific inquiry came at a time of great upheaval and he relied on one approach hitherto capable of articulating such “negativity”: metaphysics. The very notion of metaphysics was anathema for many, such as D’Alembert who even labeled it a despicable science in the relevant entry in L’encyclopédie de Diderot. This dissertation will situate Sade within this battle over the future of science in what was that all crucial period of history when the die was cast in favor of Modern science and its penchant for “positivity”; the period of the French Revolution.

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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.

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

Estuda-se aqui a escrita do marquês de Sade, sobretudo as três versões de sua personagem virtuosa: Os infortúnios da virtude [Les infortunes de la vertu] (1787), Justine ou as infelicidades da virtude [Justine ou les malheurs de la vertu] (1791) e A Nova Justine ou as infelicidades da virtude [La Nouvelle Justine ou les malheurs de la vertu] (1799). Nelas, investiga-se o modo pelo qual a escrita produz equívocos, campos de ressonância e compossibilidades entre os pares conceituais com os quais trabalha (a saber, virtude/vício; infelicidade/prosperidade; etc). A dramatização dos conceitos e das normas simbólicas que os orientam configura, assim, uma cenografia equívoca, cujo funcionamento consiste em sabotar a univocidade de sentido dos termos que aciona. Essa equivocidade constitutiva da escrita sadiana deixa então em suspenso o próprio posicionamento enunciativo, não se subsumindo à particularização das intenções do Autor e, tampouco a uma determinação unívoca do contexto. Propõe-se, entretanto, singularizar sua indeterminação, ou melhor, a sobredeterminação das torções perspectivas que efetua e os seus equívocos, bem como os reenvios que fabrica e encena em uma rede de enunciações. Para tanto, dramatizam-se aqui dois eixos de análise, nos quais a virtude se faz fundamental: a discussão setecentista sobre a função moralizadora das artes e a política jacobina de Robespierre. Na passagem de uma a outra, é a equivocidade enunciativa de Sade que entrelaça a performatividade do texto literário e a instituição da lei. / This thesis aims to study the writing of Marquis de Sade, especially the three versions of his virtuous character: Les infortunes de la vertu (1787), Justine ou les malheurs de la vertu (1791) and La Nouvelle Justine ou les malheurs de la vertu (1799). In them, the object of inquiry is the way that writing produces equivoques, fields of resonance and compossibilities between conceptual pairs in which it works upon (namely, virtue/vice; infelicity/prosperity, etc). The dramatization of the concepts and symbolic norms that guide them sets an equivocal cenography, whose operation consists in sabotage the univocity of the terms\' meanings that it triggers. This constitutive equivocity of the sadian writing leaves suspended the whole enunciative positioning, not subsuming itself to the particularizations of the author\'s intentions, neither to a univocal determination of the context. However, it is proposed to singularize its indetermination, or better put, the overdetermination of the perspective torsions that it performs and its equivoques, as well as the resends that it fabricates and stages in a network of enunciations. Therefore, this thesis dramatizes two axes of analysis, in which the virtue is fundamental: the discussion in the Eighteenth century about the moralizing function of the arts and Robespierre\'s jacobin politics. In the passage from one to another, it is Sade\'s enunciative equivocity that tangles the literary texts\'s performativity and the institution of the law.

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.

Thèse de doctorat : Littérature française : Metz : 1998. / 1998METZ009L. 925 ref.

Notre recherche porte sur la représentation du monde chinois dans la production romanesque du Marquis de Sade (1740-1814). Il s’agira d’une part de rendre compte des écrits historiques sur la Chine depuis l’Antiquité jusqu’au siècle des Lumières ; il conviendra d’autre part de s’interroger sur la portée systématique et polémique que ces textes revêtent. La littérature de voyage (celle des voyageurs, des jésuites et des compilateurs) offre de ce point de vue un champ particulièrement fécond et une matière extrêmement riche : susceptible de soumettre le lointain à d’objectifs divers, dont l’évangélisation et la défense sont les aspects les plus prégnants. Basée sur cette documentation, notre recherche entend plus généralement cerner l’intervention des philosophes dans les débats intellectuels qui ont dominé depuis les Grandes Découvertes : le sauvage, la barbarie, la superstition, etc. Tout cela contribue à la formation et à l’imagination de Sade. Le Divin Marquis transforme les éléments qu’il prélève dans cet ensemble de textes en une utopie sadienne où les vices des Chinois deviennent les vertus des libertins et où le relativisme des mœurs devient l’universalisme de la cruauté. En se référant au pays de l’Extrême-Orient, les libertins mettent l’accent sur le despotisme paternel (l’infanticide gratuit), conjugal (la domination absolue) et politique (l’autorité tyrannique). / Our research focuses on the representation of the Chinese world in the novels of the Marquis de Sade (1740-1814). On the one hand, it reviews historical writings on China from antiquity to the Enlightenment; on the other hand, it analyzes the systematic and polemic scope of these texts. From this point of view, travel literature (that of travelers, Jesuits and compilers) is particularly rich and fertile, because it subordinates the distant world to various objectives, among which evangelization and defense are the most prominent. Based on this documentation, our research intends more generally to investigate the intervention of philosophers in the intellectual debates that have dominated since the Great Discoveries: the savage, barbarism, superstition, etc. They all contribute to Sade’s training and imagination. The Divine Marquis transforms various elements of these debates into a Sadeian utopia in which the vices of the Chinese become the virtues of the libertines and where the relativism of manners becomes the universalism of cruelty. In reference to the country of the Far East, the libertines emphasize paternal, conjugal and political despotism, respectively epitomized as gratuitous infanticide, absolute domination, and tyrannical authority.

Made available in DSpace on 2016-12-08T16:51:57Z (GMT). No. of bitstreams: 1 LisaSouzaBrito.pdf: 1551719 bytes, checksum: 57f6470a1751f1cc39a3f4c99b1ec455 (MD5) Previous issue date: 2012-05-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho tem como objetivo analisar aspectos da busca de Peter Brook no campo teatral. O espetáculo estudado para a compreensão do tema é A perseguição e o assassinato de Jean-Paul Marat, representados pelo Grupo Teatral do Hospício de Charenton, sob a direção do Senhor de Sade, cujo roteiro se inspira no texto dramatúrgico de autoria de Peter Weiss. Esta pesquisa busca ainda discutir o conceito de teatralidade presente no filme de Brook, tendo como ponto inicial a questão do olhar, a partir de autores como Josette Féral, Patrice Pavis, Matteo Bonfitto, e procurando estabelecer um diálogo com facetas das ideias teatrais do próprio Brook. O estudo da linguagem cinematográfica do diretor inglês procura assim considerar a teatralidade do filme fazendo uma analogia com questões do pensamento de Antonin Artaud, que dizem respeito ao teatro como um duplo da vida, em seu Teatro da Crueldade, e com as ideias de Bertolt Brecht em seu Teatro Épico, que considera o mundo passível de transformação