In 2011, Fifty Shades of Grey, an erotic novel by British author E.L. James, took the publishing world by storm. This article examines the lack of a feminist backlash to the book by comparing it to The Story of O (1954) and the backlash that that book engendered. In addition to parsing the terms of the existentialism that underlies The Story of O, this article unpacks the neoliberal logic of Fifty Shades of Grey.

In this article the author discusses Pierre Klossowski’s first and second interpretation of the novels of Marquis de Sade. It is often stressed that there is a big difference between these interpretations: the first interprets Sade from a theological perspective; the second puts that Sade is an exponent of modernity. One can however argue that also Klossowski’s first theological reading interprets Sade as a product of modern thinking.

In the long line of French Sade studies, Deleuze's essay Coldness and Cruelty marks out a special place. By discussing Masoch both in addition to and in contrast to Sade, Deleuze reveals the stakes of his book: he wants to unmask the concept of sadomasochism as a clinical nonentity. In their paper, the authors explain the arguments supporting this project and show their relation to Deleuze's reading of Bergson. They then argue that there is a second, similarly Bergsonian criticism of (...) Freudian psychoanalysis operating in the background of Coldness and Cruelty. This more wide-ranging criticism takes Freud to task for conceiving perversion, like neurosis, in Oedipal terms. This conception, Deleuze holds, forgets that perversion and neurosis represent two different worlds that essentially have nothing to do with each other despite crossing in clinical experience. (shrink)

This paper compares the treatment of private sensations in the works of Wittgenstein and Klossowski. Its aim is to show that, despite the differences between their traditions and methods, they align in at least one important respect: rejecting relations of reference between signs and private sensations. The paper briefly contextualises their lines of attack on these relations, situating the two thinkers’ commonalities amidst what are undeniably divergent wider purposes. It proceeds to argue for two more specific conclusions. Firstly, Klossowski’s own (...) rejoinder directed at reference to private sensations is rooted in his comparison of linguistic meaning to economic valuation in Living Currency. Secondly, Klossowski goes beyond Wittgenstein in arguing that, regardless of the status of reference of this sort, no complete account of sensation can view it only as private. (shrink)

"I would like to address the nature of transgression and its logic or itinerary in Sade's work. If this task is somewhat speculative and incomplete, it perhaps mirrors the foundational incompleteness of the more than sixteen extant volumes of Sade's writings. For a more exhaustive, if not definitive, resolution of the very issue of transgression, the analysis would have to continue the debate between Derrida and Foucault over the validity of Bataille's celebrated account of transgression, which in turn draws upon (...) the earlier work of Roger Caillois." (opening paragraph of the article). (shrink)

Rajesh Sampath ABSTRACT: This paper excavates certain impulses that are buried in Pierre Klossowski’s 1968 edition of his original 1947 work, Sade My Neighbor. We argue that the self-suffocating nature of our historical present reveals the problem of an epochal threshold: in which twenty-first century democracy itself is threatened with death and violence in delusional ….

The paper analyzes the conceptualization attempts of love within the tradition of utopian thinking, the major changes occurred on the way of approaching and solving the challenges posed by relationships between men and women during the development of literature that describes ideal societies, starting with Plato, Morus and Campanella and continuing with Orwell and Huxley.

A central passage in Cusset’s essay states: “God, for Sade, is fiction that ‘took hold of the minds of men’. What makes God’s weakness, the impossibility of rationally proving his existence, is precisely what constitutes his strength as fiction. Negated as authority, eliminated as the figure of the almighty father, God is nonetheless everywhere in the Sadean novel: he exists as the fiction principle. Libertines are never done with God because his name represents the power, not of the law, but (...) of the imagination. In showing their contempt for God, libertines reveal their anger against fiction, which does not have the power to prove its own truth: fiction — and Sade chose to write novels, not philosophical essays — is based on the desire for illusion” (119). Sade’s L’Histoire de Juliette, argues Cusset, breaks from his earlier writings in that Juliette has an agency missing from Sade’s previous female characters, and she, unlike earlier characters, breaks through the central Sadean impasse: “her ‘story’ represents the solution through which Sade paradoxically resolves the aporia of libertinage” (120). She is perfectly aware of scientific explanations for phenomena, but, “for the sake of play, Juliette chooses metaphor, and does not try to ‘unveil truth’ entirely. Juliette distinguishes herself from her teachers and masters through her relation to imagination. […] The end of the novel confirms Juliette’s choice of a playful imagination” (123). In short, Juliette is the libertine who breaks the very rules of the libertines by means of resurrecting the sense of play, imagination, and romantic delicacy which her fellow criminals forbid. Cusset concludes: “Sade invites us to read his texts as fictive and humorous texts, and not, as suggested the French feminist Elisabeth Badinter who wanted to censor Sade’s novel, as rational demonstrations inviting readers to commit murder. Juliette’s transformation through the novel allows us to understand why Sade entitled his last long novel L 'Histoire de Juliette. Juliette chooses fiction, without trying to prove its truth; she chooses pleasure, without trying to annihilate every belief, since imaginary belief is a component of pleasure. What Sade tells us with the invention of Juliette is that freedom is the very choice of limit. […] L’Histoire de Juliette is Sade’s critique of pure fiction” (129). (shrink)