“The 120 Days of Sodom” is more than 200 years old. But its visions of torture and evil are as relevant now as they were in revolutionary France. From The Economist 1843 magazine
The 120 Days of Sodom - Wikipedia
https://en.wikipedia.org/wiki/The_120_Days_of_Sodom
The 120 Days of Sodom, or the School of Libertinage is a novel by the French writer and nobleman Donatien Alphonse François, Marquis de Sade. Described as both pornographic and erotic, it was written in 1785. It tells the story of four wealthy male libertines who resolve to experience the ultimate sexual gratification in ...
Author: Marquis de Sade
Publication date: 1904
Country: France
Publisher: Penguin Books (recent English edition)
| 作者 | 薩德侯爵 |
|---|---|
| 出版地 | 法國 |
| 語言 | 法語 |
| 類型 | 情色小說 |
| 出版商 | Arrow Books |
| 出版日期 | 1905 |
| 媒介 | 印刷 |
| ISBN | 978-0-09-962960-3 |
| OCLC | 27011420 |
| BDSM | |
《索多瑪一百二十天》劇情兼具色情[2]、情色元素[3] ，講述四個富有男性，為了體驗狂歡性愛，在聖馬丁貝爾維爾（Saint-Martin-de-Belleville）的城堡，綁架46位年輕男性和女性，並對其進行性虐待和酷刑、屠殺，作品充斥情慾、凌虐、食用穢物和人獸交等情節。
《索多瑪一百二十天》已經被翻譯成多國語言，包括英語、日語、俄語、德語，中文版則在臺灣出版。由於其主題包含性暴力，而且極端殘酷，一些國家將其列為禁書[5]。然而在2017年12月，法國政府肯定了這部作品，將其手稿列為國寶。
參見[編輯]
參考資料[編輯]
- ^ Seaver, Richard and Austryn Wainhouse. Forward. 120 Days of Sodom and Other Writings By Marquis de Sade. Eds. and Trans. Austryn Wainhouse and Richard Seaver. New York: Grove Press, 1966.
- ^ Willsher, Kim. Original Marquis de Sade scroll returns to Paris. Guardian. 2014-04-03 [2014-04-06].
- ^ Sade's 120 Days of Sodom to return to France after two centuries' adventures. RFI. 2014-04-03 [2014-04-06].
- ^ Perrottet, Tony. Who Was the Marquis de Sade?. Smithsonian Magazine. February 2015 [2015-01-25].
- ^ University of Melbourne (2013). Banned Books in Australia - A Special Collections-Art in the Library Exhibition." "[1]", Retrieved: 12.06.2014
好幾年前在YOUTUBE看過義大利電影：
"The 120 Days of Sodom" is more than 200 years old. But its visions of torture and evil are as relevant now as they were in revolutionary France. From The Economist’s 1843 magazine
The Marquis de Sade is still a must-read, if you have the stomach
It helps us understand why humans inflict pain on others
1843MAGAZINE.COM
Marquis de Sade: rebel, pervert, rapist...hero?
To his modern admirers, Donatien Alphonse François, Comte de Sade was also a revolutionary, one of the first writers and thinkers to explore the darkest labyrinths of the human soul. The jury is out on whether Sade was, in the contemporary sense of the word, a “sadist”.
In his many guises, including nearly 30 years as a prisoner under three regimes, royal, republican and imperial, the marquis never turned his hand to painting. It seems perverse, therefore, for the Musée d’Orsay in Paris to celebrate his 200th anniversary with an art exhibition.
“Sade – Attaquer le soleil” (Sade – attacking the sun) seeks to prove that Sade’s writing, although officially banned in France until the 1950s, had an enormous impact on 19th- and 20th-century art. It traces – sometimes convincingly, sometimes wilfully – Sade’s influence on the work of, amongst others, Ferdinand-Victor-Eugène Delacroix, Francisco Goya, Edgar Degas, Paul Cézanne, Pablo Picasso and the surrealists.
The exhibition is part of a bicentenary push by French intellectuals to release Sade, who lived from 1740 to 1814, from the shadows and into the literary and artistic mainstream. There is an avalanche of new books. There is an exhibition in Paris of his letters and manuscripts, including the scroll of The 120 Days of Sodom whose catalogue of 600 recommended “passions” includes the rape of children as young as five. The “divine”, or damned, marquis also made his bow this week as a character in a video game in the Assassin’s Creed series.
Since he was “rediscovered” and championed by the poet Guillaume Apollinaire in 1909, Sade has been placed by some of his admirers alongside Rousseau or Voltaire as one of the French 18th-century iconoclasts who “killed God”, smashed the mould of conventional thought and created the modern world.
Pierre Guyotat, a French erotic-literary novelist, says: “Sade is, in a way, our Shakespeare. He has the same sense of tragedy, the same sweeping grandeur. Taking pleasure in the suffering of others is not such an important part of his writings as people claim. He has his tongue sticking out permanently. He is incessantly ironic.”
To claim Sade as humanist and liberator, rather than deviant or pervert, sticks in the throat of other intellectuals. A new book by the philosopher Michel Onfray (La Passion de la Méchanceté or the “passion for wickedness”) makes an excoriating attack on the cult of Sade amongst French left-wing or avant garde thinkers.
A portrait of the controversial writer Donatien Alphonse François, Comte de Sade (Interfoto/Alamy)“It is intellectually bizarre to make Sade a hero,” he says. “Even according to his most hero-worshipping biographers, this man was a sexual delinquent.”
Mr Onfray says that a “myth” has been fashioned that Sade was a “libertarian, anarchist and revolutionary” – even a “feminist”. Not a bit of it, he says. Sade was an arrogant “feudal” aristocrat who thought that he had a right to torture and sexually abuse servants or beggars. His recorded exploits include the kidnapping and sexual torture of pre-adoscent serving girls.
The Musée d’Orsay exhibition does not try to hide the disturbing truth about Sade’s life. It is, however, littered with quotations which present him as a thinker and rebel rather than a criminal.
The co-curator of the exhibition, Annie Le Brun, says that the importance of Sade’s thinking was that he rejected abstract thought. He was not a philosopher but an anti-philosopher.
Philosophy, and religion, were false because they were too cerebral. Patterns of human behaviour must be traced to the flesh, not to the mind alone. “For him cruelty is at the heart of humanity and indivisible from desire,” Ms Le Brun said.
In one quotation displayed in the exhibition, Sade mocks the celebrated saying of the French 17th-century philosopher René Descartes: “I think, therefore I am.”
“This idea has no sound, no colour, no smell,” the marquis says. “It does not comes from the senses and without the senses there can be no real ideas.”
Ms Le Brun says that this approach – Sadian rather than sadist – had an enormous influence through secretly circulated texts on 19th-century writers like Gustav Flaubert and Friedrich Nietzsche. Because it proclaimed the physical senses to be the true driving forces of passion and creativity, it also influenced artists from Cézanne to the surrealists.
A rare signature of French writer the Marquis de Sade, with his military title of 'Maitre de camp de cavalerie' (Getty Images)“Our aim is to explore how the 19th century became a conduit for ideas that were officially cursed,” Ms Le Brun says. “In a subterranean way [Sade] created a revolution of taste, especially in the presentation of images of the body… He eroticised painting.”
That Sade was wholly, or even partly, responsible for the shift in artistic taste in the 19th century is a large claim. How much influence did he have on Monet or Van Gogh?
The collection includes three relatively unknown and disturbingly violent paintings by Cézanne, including scenes of rape and strangling. There are a couple of violent canvasses by Goya and one by Dégas. The rest of the show is an uneven collection of 19th- and 20th-century portrayals of sex, violence and viciousness. Some is compelling ; much is simply weird and outlandish.
Ms Le Brun’s co-curator Laurence de Cars said: “We censored ourselves very little… It is obviously not an exhibition for everyone.”
A separate section is labelled the “cupboard of perversities”. Those of a sensitive disposition are recommended to stay outside. It is difficult to see why. It seems little different from the rest of the show.
The exhibition has attracted large numbers but the visitors’ book suggests that many of them go away baffled or disgusted. Comments range from “fantastic” and a “truly beautiful exhibition” to “what a bunch of perverts”. An anonymous visitor writes: “This exhibition is torture. I suppose it is therefore a great success for M Sade.”
At a time when we are grappling finally with the lasting damage caused by sexual violence, and especially the abuse of children, the championing of Sade may seem to many to be foolish, misplaced or even wicked.
Mr Onfray says that Sade’s “philosophy” amounts to an “an invitation to crime”. He suggests that Sade’s “abolition of pity” was a precursor not of modern art but the Holocaust.
Au contraire, says Ms Le Brun. Sade invented nothing. His importance was to describe, and analyse, the cruelty which has always been at the core of human experience.
He asked the questions which “haunted the 19th century”, she says. “How to speak about evil and desire when the framework of religion is collapsing?”
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