Unable to amend the meeting of critical comments about the work of the Marquis de Sade in the previous post, overcome by the dimension the text is allowed, so the way was open another post.
my critics and counter Borges, the great expert on Sade, Sade about the works discussed above, or literature in general scope Sade:
1. Earlier, a warning: if you do not feel psychologically prepared for violence and cruelty in this exaggerated acts of debauchery almost always "accompanied of some crime or some colorful infamy" of The 120 Days of Sodom , I recommend you Philosophy at Alcova , content and more light and funny (even where Sade manages to entertain, of course, since sex in his work is far from being cheap pornography for entertainment of grown men, although it can also serve as such), and educational - a great sex manual moral transgressions and even to our day - and strongly philosophical and political refined extract of the whole ideology Sade. Now, if morally or are willing to read a work of such audacity, by the passages of explicit sex and / or by certain precepts anything virtuous, even anti-Christian, instilled the reader, then patience. And mockery is one of the names - perhaps a more original meaning of the redemption of the word, owing to its etymology, or entãoo term had this meaning in France at the time - used by Sade to designate the acts libertines.
"(...) except for the scene of torture suffered by vexaçãoe MADAME DE MISTIVAL lady, mother of Eugénie, the acts of terror and violence are only alluded in Philosophy in the Bedroom , where the sentence the author describes the practices erotic mixed with the duties of a beginner, since the work is intended, in his words, the education of a young, but the bottom ends extending to every French citizen, putting the bases of the young republic under the rule of intransigent flesh. In this work, various kinds of speech (moral, political, aesthetic) are subordinated to the erotic language, which, in turn, is using the revolutionary language to combat customs and Religio o. "The Revolution Libertina the Word, Counter Borges, essay-afterword of Philosophy at Alcova , Illumination, pg. 206
A friend of mine, anarchist and student of pedagogy, where events and movements engaged in educational, cultural (one of the vocalists and instrumentalists in a band, Ramam) and social, as I said (here I take freedom of promulgating his speech through my words) in order to change society radically, we must first, as springboard for individual and social transformation, radically changing education, put their political and pedagogical principles, methodologies and evaluation methods in reverse, deconstruct it, to propose new models, in short, dis-educate . Interesting that Sade ever propose a radical miseducation, as against the prevailing discourse of the time, hurting the customs, values and righteous religion, in short all the moral force, just in sé eighteenth century, suggesting a new morality where all this is resolved when all the rights and duties of citizens of his utopia to be subordinated to carnal desires and interests (as the laws intended to protect the general interests run counter to individuals, barring the possibility of complete satisfaction and happiness of the individual). Some of the principles of their ideology / philosophy remains provocative and / or shocking today, and here I seize upon a cliché to describe it: a man ahead of his time and, unless certain misunderstandings in his conception of nature and consequently in terms of human biological - influenced by by mistakes already in vogue, just like that man is active in reproduction, being the "sperm" women's only involvement in the development environment for fetus - perhaps even ahead of ours.
So ahead of its time, for example, in the opposite of the Enlightenment (as the theoretical Eliane Robert Moraes, Sade is already in the counterflow of republican ideals, is the revolution ; will Revolution) and preceding discussion of contemporary militant atheists against religion, Sade in his atheism and radical libertine plead her total annihilation, addressing more specifically the Christian, opposed to the ideal of religious freedom and tolerance Enlightenment.
2. Formally, The 120 Days of Sodom is a novel that is structured like a documentary report or a diary of events and stories that occurred during the four months in the castle of Silling, preceded by an introduction that presents the characters involved in the plot. The narrator gives the impression of being someone who, somehow, excluding the possibility of being present in the castle during the season so bizarre, I knew the whole story, and while not delete almost any detail, sometimes it shows compassion for the sufferings of tortured, and in other states that would exempt the reader reports as brutal and vicious, but not for its commitment narrative, within the discourse Sade, this is an irony, and accompanied virtuous of the few voices (usually of some of the sex slaves, firm in their morals and religious) to which the narrator opens the space, what we would call, the second counter Borges, a thin "parodic stylization" - use stylistic and narrative prevalent in Justine or the misfortunes of virtue - present in some works of the author. Already in Philosophy at The Alcove there is no mediation of the narrator, because it is a part theatrical - at least so it is structured, but Claude Lefort considers, rather, "a novel presented as a spectacle" - and almost all the characters are libertines, so this little feature is present, except for a few echoes of the virtuous and idealistic thought sentimental words of Eugenie at the beginning of your statement, since you have left still remnants of decency and moral prejudices, the mother of the religious lady MADAME DE MISTIVAL of which appears on the last piece of dialogue in order to censor his daughter and take her I can, and Knight Mirvel.
3. [Sade] Combat strongly sentimental idealism manifest in many of the novels of the century. To this end, uses a powerful resource: the parody. This procedure is part of the text of Sade, a procedure that the Russian linguist Bakhtin termed dialogism, dialogue of voices drawn from different contexts and discourses in planes that intersect in the narrative. In the case of Sade, "the speech of others," ie, the object language parody, is the traditional speech of the heroines of sentimental novels of ideology, represented in the language of victims Sade. (...)
Paraphrasing the sentimental discourse, especially the voices of their virtuous heroines whose role model is the Julie of Rousseau, Sade waging a real war against the current textual triumphant feeling and sensitivity. Philosophy in the Bedroom also participates in this strategy. There are echoes of the rhetoric in the speeches sentimental lady MADAME DE MISTIVAL, Eugenie and the rider himself, in which no rarely echo the words of Rousseau. " The Revolution of the Word Libertina , Accountant Borges, essay-afterword of Philosophy at Alcova , Illumination, pp. 210-211
"In the literary world Sade (...), the relationship between sentient beings and virtuous is subordinate to another, and most powerful determinant: the libertines with their victims. In it, the virtuous victims and their sensitivity or (his sentimental idealism) sãoa aggrieved party in what Maurice Blanchot has called the 'system Sade'. On one hand, the suffering of the victims makes the pleasure of the Libertines, and second, the values of sentimental idealism are attacked, ridiculed and destroyed by the word of these sinners. In general, the following occurs in the novels of Sade: tell if two parallel stories (and complementary) that intersect and intertwine: the misfortunes of virtue and prosperity of addiction. The best example of this is accomplished the monumental New Justine, then the story of Juliette, her sister. This strategy also repeated in his other works, where this form of opposition remains, although less pronounced, determining the relationships between the characters (and their history) in favor of the Libertines. A fundamental consequence is that the speech of the virtuous assumes an increasingly smaller role, especially in the most radical works as The 120 days of Sodom and two above, sounding increasingly parodic a text in which the libertine discourse assumes command of enunciaçãoe establishes himself as radiant center of truth [in Justine or the misfortunes of Virtue , the parodic discourse is more balanced, as the narrator is the protagonist who own title to the work, a representative of Sade's heroines sentimental idealism, faith and virtue, often humiliated and brutalized by greedy criminals and libertine, even from the institution where their deposits more trusts, the Church].
in (...) The new Justine , the model of virtuous heroine is violently deconstructed by stylization parody. " Idem, pp. 212-213
4. The 120 Days of Sodom was first published at the beginning of last century. To be hastily withdrawn from the Bastille, on the eve of the French Revolution, the Marquis de Sade lost the roll on which the written work, and perhaps never be consoled by such a disappearance - ale m injury intellectual, artistic and emotional - that, as he says, led him to shed "tears of blood", trying to compensate him for all his later writings. One can perceive the quality of the work of the manuscript which has not undergone a final revision, due to contradictions and errors, including explicit, some of them punctuated by Sade himself in his notes, also typical of evidence will still be subject to revision. We may mention several: Duclos is sensitive to her death - she tells the tale of his life directly related to their sexual and criminal - that feeling after being appointed by the author himself, in one of the notes, before the contradictory character of the character; contradicting the same character in his speech about the inclinations of nature and the human condition, in particular passage defending equality between men and later the gap between them all, including the maintenance poverty, strategic members of society who are on top of social pyramid, whereas in nature the disorder, inequality and survival of the fittest prevails: but we can not interpret this speech as a contradiction, but as an appeal to the pursuit of equality or of Ascension ; social or miserable for the poor through all means available, including stealing and committing other crimes, even while allowing more favored if they want to keep their financial condition or simply to enjoy with the suffering of the needy - in this manifest in The Philosophy in Alcova through noises which their political utopian than it would be a perfect Republic, Sade advocates equality, in fact one of three values of the French Revolution, by virtue of all being the same spe cie and common citizens, condemning, for example, the property right of a man on the other, but the legitimate right of one over the other if so to order our pursuit of pleasure, the foundation first and last of all his philosophy; also contradictions in the discourse of the narrator. There's even a note that draws attention especially for giving us an interesting detail about his writing process: it, Sade underscores the need for a notebook of notes always in hand with certain types of events linking the characters notes, in order to avoid confused by the profusion of characters who conceived.
Another feature that denotes the quality of the novel as a direct proof is coming from the structure of the chapters where the stories unfold and events of the last three months, other than details and history of developing conventional as a novel, a narrative "race" - whitespace time properly demarcated and developed, despite the redundancy by setting only the castle, and the discipline imposed on all day, although in the rare broken dialogue between characters, etc.. - Aspects of the first chapter, there are those just the description of four or five passions shared daily by its narrator, duly listed in the sequential order in which they are counted, and a few days accompanied by the remarkable event occurred, like a deflowering of an orgy natural and / or violent or a sacrifice, the outcome of the plot, to calculations of counting and verification will be armed, as if solving a math problem - the arithmetic is fundamental to Sade, from the count of body measurements in order to highlight skills, sometimes hyperbolic ; sertion of characters such as length and thickness of members, attesting to the number of excesses in an orgy. Are species of schemes or plans already outlined by the author, who then, perhaps, would extend them in novel form itself.
5. "a palpable devotion to the gods of paganism Sade and the mythological figures in general, as the abundance of these references in his voluminous work. If Marquis is considered by some authors (as Béatrice Didier) a novelist baroque, its ideal classical aesthetic is inspired by the Greco-Roman culture. Thus, figures such as Hercules, Adonis, Zephyr, Venus, Hebe, and so many others, are his main references when it wants to describe the beauty of their characters. Interestingly, the big rakes are often compared to gods ugly, like Hephaistos, or mythological creatures like satyrs misshapen or hybrid [ledge that beings such as satyrs and fauns, in Greco-Roman mythology, were often associated with drunkenness and lust, orgies participants promoted by Bacchus, the god of wine, and servants of this]. An account The respect that the reader will find in the text (...) "Frenchmen, one more effort if you want to be Republicans," where Sade asserts that if the Republic need gods, must adopt those of paganism. "Note Philosophy at Alcova , Accountant Borges, Illumination, pp. 203-204
6. Marquis de Sade, Freud and Nietzsche: what they have in common? (Soon to be a brief dissertaçãoa respect in my Tumblr, I'll post the link in next post)
7. More reflections on the principles of utopia Sade, including the despotism of enjoyment.
8. "For Sade, the final consecration of a revolutionary state is not possible without the company undergoes a radical transformation in which the libertine customs is the main engine. The moral here makes sense only if human actions to guide a happiness that only translates into the practice of various forms of pleasure and cruelty, and fulfillment of all fantasies of the individual. Philosophy in the Bedroom , his utopia is a detailed description of this possibility, and its space is the demonstration boudoir. "Located between the hall where reigns the conversation, and fourth, where there is love, the boudoir symbolizes the place of union of philosophy and eroticism. " In Sade, happiness libertine, Eliane Robert Moraes shows that the boudoir libertine is a small place, private and intimate, but the dimensions of which seem to extend indefinitely. The function of the mirrors in the boudoir, intended it. Mirrors multiply the effect of the libertine scenes to reach all who are present, and even those who do not participate in acts. The boudoir, as Elias says, is an area of concentration lust, synthesis of debauchery. " It can thus be seen as a maquette utopia Sade transformation of the bourgeois world. It is here that education must begin to be tackled religion, family ruined. The orgy libertine has this paradoxical effect: to destroy the moral bonds by the union of fuzzy bodies [a case of incest, no?]. " The Revolution of the Word Libertina , Accountant Borges essay-afterword of Philosophy at Alcova , Illumination, pp. 217-218
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