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Sade for Sade's Sake

Inside Paul Chan's Transmedial Laboratory

Olivier Delers

In popular culture, the Marquis de Sade is often depicted as a mad scientist experimenting with inventive sexual acts or pushing the limits of what the human body can bear in his laboratory of perversion. Both in eighteenth-century lithographs and

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Andrew J. Ball

American silent cinema, and in this issue we are pleased to present Olivier Delers's article on transmediality in Paul Chan's art project Sade for Sade's Sake . These two issues also give us a glimpse into many of the topics we will prioritize in the

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Jane M. Kubiesa, Looi van Kessel, Frank Jacob, Robert Wood, and Paul Gordon Kramer

by Andrew Grossman’s analysis “All Jargon and No Authenticity?” By adapting historical plots like those of Marquis de Sade in their movies, the directors also tried to create a mirror for the sexual and medical absurdities of the real Japanese society

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Redefining Representation

Black Trans and Queer Women’s Digital Media Production

Moya Bailey

: Moving Beyond Cultural Competence into Transnational Competence .” Academic Medicine 81 ( 6 ): 548 – 556 , doi:10.1097/01.ACM.0000225217.15207.d4 . 10.1097/01.ACM.0000225217.15207.d4 Kosoko-Lasaki , Sade , Cynthia Theresa Cook , and Richard L

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Monstrous Masses

The Human Body as Raw Material

John Marmysz

reminiscent of the Marquis de Sade, Joe makes a seemingly philosophical choice to live as if she was no more than a body among other bodies, immersing herself in sexual excess. The irony in this film is that the more Joe loses herself in sex, the less her body