In 2010 I was invited to take part in a cartel with Filip Geerardyn, Wim Matthys and Elisabeth Van Dam for a close reading of Lacan’s text “Kant with Sade”. In the aftermath of this I wrote this text, which is neither a record of the cartel, nor an attempt to interpret or to summarize Lacan’s text. It is the result of following the tracks that Lacan sets out, more a Deleuzian Rhizome than a logical or critical argument. Following these tracks leads to a dramatic discovery. Lacan’s act of writing is an invitation to work through some crucial questions on ethics (Kant and Freud) rather than to consume Sade’s literature or to consider the case of the French libertine.
In the middle of the last century, numerous French thinkers were interested in the literary works of D.A.F. de Sade, among them Lacan and Blanchot. Blanchot saw Sade as the ideal writer and this author argues that Blanchot’s assertion was based on a conceptualisation of Sade’s literature as revealing both the materiality and the autonomy of language. According to Blanchot, Sade’s language balances on a border: between the things to which language refers on the one hand, and the content that is normally expressed by language on the other. It is further argued that this balancing act is also reflected in the regime of Terror in France, and the universe described by the Marquis in his writings.
A substantial part of Pierre Klossowski’s philosophical writings is dedicated to the works of Marquis de Sade, but Sade’s influence can also be traced in his literary and visual oeuvre. In his play Roberte, ce soir, Klossowski dramatizes scholarly Octave’s quest for the ultimate realization of his wife Roberte. He wants Roberte to be actualized as the Roberte, Roberte le signe unique. The play shows Octave’s unrelenting attempts to realize a Roberte without lack. He creates his own laws and revises existing theories beyond their limits in order to reach his goal. The author argues, using Lacan, that an analysis of Klossowski’s play Roberte, ce soir reveals the structure of perversion. As Lacan indicates, the pervert disavows castration. He does so by situating himself in the place of the lack for the other, in an attempt to behold the other’s enjoyment. Klossowski’s work, the author argues, can be conceptualized as a dramatic staging of the central issue of the pervert’s relation to the other.
Sadomasochism is a very interesting sexual orientation that touches upon various important social questions around risk and violence, pleasure, play and pain, bondage and consent, ritual and reality, private and public, gender, (in)equality, power, and transgression. Because sexuality is often perceived as private and natural, little discussion is devoted to these pivotal social and sexual issues over and beyond S&M. Sexual diversity needs a public culture or movement to place these questions in the limelight and to promote pleasure and make sex food for thought.
This contribution presents a reconstruction of the way the concept of sadism was introduced and anchored in psychoanalytic metapsychology. It focusses on the first two editions (1905 and 1910) of Freud’s Three Essays on the Theory of Sexuality. Freud’s singular indebtedness to Krafft-Ebing is emphasized. Subsequently, it is argued that Freud’s selective reading of Krafft-Ebing is determined by his model of hysteria. Freud seems unable to give an adequate account of sadism in his Three Essays and in his later work, sadism remains a conceptual “problem child” becoming an oversimplified passe-partout concept used to discuss the theme of human aggressiveness.