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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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Jean-Pierre Boulé

livre de Sartre sur Baudelaire publié en 1963 ( Baudelaire ) et surtout un livre de Beauvoir sur le marquis de Sade publié en 1955 ( Faut-il brûler Sade? ), le présent article souhaite apporter un éclairage nouveau sur l’érotisme de Sartre en resserrant

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Debra Bergoffen

Jean Pierre Boulé's Sartre, Self Formation and Masculinities argues that we cannot adequately understand Sartre without taking account of the unique ways in which he negotiated the gender mandates of patriarchy. Taking Boulé's cue, I call on Lacan, Cixous and Beauvoir to interrogate Sartre's relationship to women, to his body and to writing. I argue for Boulé's approach but against several of his conclusions. Further, I credit Boulé with providing ammunition for challenging Lacan's universal account of the mirror stage, and for pushing me to read Beauvoir's "Must we Burn Sade?" as a critique of Sartre's betrayal of the erotic's ethical demands.

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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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John Gillespie and Sarah Richmond

, looks at desire and sadism, examining the latter’s patterns in his sexual relationships, and finding a move towards Simone de Beauvoir’s position as expressed in her book on Sade about the ‘ambiguous unity’ of the sexual relationship. Freedom, counter

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Donatella della Porta

.1057/9780230611900_9 Kornetis , Kostis 2018 . “ ‘Tra Marat e Sade’: Ripensare il Sessantotto ‘decentrato’ in Grecia, Spagna e Portogallo” [“Between Marat and Sade”: Rethinking sixty-eight “decentralized ” in Greece, Spain, and Portugal]. In della Porta 2018 : 107 – 135

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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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Sartre, Lacan, and the Ethics of Psychoanalysis

A Defense of Lacanian Responsibility

Blake Scott

York: W.W. Norton & Company, 1997), 319. 15 Slavoj Žižek, “Kant and Sade: The Ideal Couple,” Lacanian Ink 13 (October 1998): 12–15 (available at www.lacan.com/zizlacan4.htm ). 16 Slavoj Žižek, The Plague of Fantasies (New York: Verso, 1997), 7. 17

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Wrestling with Shylock

Contemporary British Jewish Theatre and Shakespeare’s The Merchant of Venice

Jeanette R. Malkin and Eckart Voigts

identity than in the renewal of the theatre. He worked closely with Peter Brook during his 1964 ‘Artaud Season’ (which preceded Brook’s seminal theatre production of Marat/Sade) at the Royal Shakespeare Company. He also established and directed the

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Predator or Prey Who Do You Think You Are?

The Dystopian Interpretation/Adaptation of Titus Andronicus in the animation PSYCHO-PASS

Kyoko Matsuyama

Androids Dream of Electric Sheep? , Ulrich Beck's Risk Society , Marquis de Sade's Juliette , and Jonathan Swift's Gulliver's Travels . What is interesting is what can be deduced from the list of quotes and books that are either used or mentioned in the