Παραθέτω ένα υποτυπώδες αρθρίδιο από την lgbtq (lesbian, gay, bisexual, transexual, queer) Encyclopedia, διότι έχω την εντύπωση ότι πολλά μέλη του forum αναφέρονται στο λεγόμενο bdsm χωρίς να έχουν την παραμικρή ιδέα για τις ρίζες του και δίχως να γνωρίζουν, μετά συγχωρήσεως, ούτε την αλφάβητο ούτε το συντακτικό ούτε τη γραμματική του. Διευκρινίζω: ο γράφων δεν συμμερίζεται τα γούστα του ομωνύμου ήρωα της Philosophie dans le boudoir. Συμπληρώνω: δεν έχω χρόνο να μεταφράσω - παρακαλώ να το κάνει άλλος εθελοντής. Sade, Marquis de (1740-1814) The Comte D.A.F. de Sade, more often called the Marquis de Sade, lent his name to the complex psychosexual phenomenon of sadism--that is, the derivation of pleasure from cruelty through inflicting physical pain, mental suffering, or both. A prolific author of plays, stories, essays, novellas, and letters, Sade's most lasting works have been such pornographic fictions as Justine, ou Les Infortunes de la Vertu (1791) and Philosophie dans le boudoir (1795). In them, as in numerous other erotic texts, the pleasures of torture figure prominently among the varied (indeed, polymorphous) sexual activities enjoyed by the libertine characters. Yet there is more to Sade's writings than sadism, in the clinical sense Krafft-Ebing gave that term in his Psychopathia sexualis (1876). For running throughout the Sadean oeuvre--and often overlapping with the most calculated outrages of his obscene novels--is a philosophical discourse on freedom, power, evil, and desire. In one of the great ironies of world literature, the Marquis de Sade was descended from the Laura to whom Petrarch devoted his sonnets of romantic love. An altogether less sublimated approach to sexuality prevailed among the French aristocracy into which the Marquis was born, however. Sade's father, for instance, was arrested while "cruising" the Tuileries Gardens for male prostitutes. Bisexual in orientation--and early disposed to a taste for inflicting pain with his sexual partners--Sade was, from his late twenties onward, embroiled in numerous scandals leading to jail and exile. In 1772, he was sentenced to death as a "sodomite." Though the sentence was lifted in 1776, he was imprisoned for many years. Early in July 1789, from his cell window in the Bastille, he yelled that the prisoners were being slaughtered by the guards. Freed during the Revolution, he was a supporter of the Republic--though as a noble, Sade and his family were suspect by the government. His books denounced for immorality, Sade was again jailed in 1801 and died in the insane asylum at Charenton in 1814. If sexual license made Sade a criminal, imprisonment made him an author: Most of his sizable literary output was produced during incarceration. In his first important writing, Dialogue entre un pretre et un moribond" (1782), the priest who arrives to take a deathbed confession is shocked to find that the dying man regrets only his restraint in satisfying his urges. Desire, argues the "moribond," is created by nature and ought to be satisfied; all codes of restraint, social and religious, are man-made. This text--reminiscent of other "philosophical tales" by French Enlightenment thinkers such as Voltaire and Diderot--contains the gist of Sade's atheist and "immoralist" creed, elaborated in greater detail throughout subsequent essays and stories. With his most ambitious work, Les Cint Vingt Journees de Sodome (The Hundred Twenty Days of Sodom), composed the same year, Sade created a world in which every erotic desire might be systematically gratified. Isolated in a chateau for four months, the noblemen in Sade's pornographic epic are furnished with sufficient provisions and sexual partners to indulge every libidinous possibility they can imagine. The result is an exhaustive, somewhat bewildering work of erotic algebra. Besides every permutation of hetero- and homosexual interaction, Sade's libertines enjoy blasphemy, coprophilia, and necrophilia; and the narrative includes descriptions of torture, mutilation, and murder so brutally graphic that the book is a test of readerly endurance. The book was unfinished; large portions of it exist only as notes describing the sexual acts to be narrated. (Late in the text, one finds numbered passages such as this: "137. A notorious sodomist, in order to combine that crime with those of incest, murder, rape, sacrilege, and adultery, first inserts a Host in his ass, then has himself embuggered by his own son, rapes his married daughter, and kills his niece".) Sade believed the manuscript had been destroyed, and it was only discovered and published in 1904. Precisely through their grandiose, credibility-defying visions of unrestrained indulgence, Sade's fictions attempt to subvert all religious and social codes proscribing sexual desire. Besides depicting countless sexual tableaux of great vividness--and sometimes gravity-defying complexity--Sade makes his characters representatives of different philosophical positions. This conjunction of pornography and theory reaches perhaps its most successful expression in Philosophie dans le boudoir (Philosophy in the Bedroom), in which a group of libertines initiates a young woman into the techniques and ideology of Sadean eroticism. In the midst of their orgy, the characters stop to rest and listen to the reading of a pamphlet calling for the abolition of Christianity as ultimately the enemy of republican institutions. In an amusing use of slang, Sade fuses the philosophical and the erotic by employing the verb socratiser--"to socratize"--a term referring to the practice of inserting a finger in the anus. The prohibition against homosexuality forms only one target of Sade's delirious yet systematic efforts to outrage all morality, whether religious or secular. Yet Simone de Beauvoir has compellingly argued that homosexual libido is central to Sade's own personality as it emerges from his fiction--focusing particularly on the character of Dolmance, the senior libertine and master of ceremonies in Philosophie dans le boudoir, who Beauvoir, like many other readers, takes as representative of Sade himself. One of the women in the dialogue calls Dolmance "a sodomite out of principle [who] not only worships his own sex but never yields to ours save when we consent to put at his disposal those so well beloved charms of which he habitually makes use when consorting with men." Dolmance--whom Sade depicts as a kind of erotic superman, tireless and inventive--announces that the ideal sexual position is to be, simultaneously, the active and the passive partner of anal intercourse. For well over a century, Sade's writings were suppressed--a fate that helped create his reputation as an apostle of liberty. Advocacy of his work by the surrealists and the work of a few devoted scholars have led to a greater appreciation of his transgressive vision, which has deeply influenced writers including Georges Bataille and Michel Foucault. Enacting a perverse fusion of desire and ideology, Sade pursues the idea of sexual freedom with a ruthlessness that is often genuinely unnerving. Alternating between pornographic and theoretical discourses--composed in a prose that shifts with astonishing ease between eloquence and vulgarity, combining humor and the most nightmarelike brutality--Sade's novels are among the most disturbing literary works ever written. Scott McLemee Bibliography Allison, David, Mark Roberts, and Allan Weiss, eds. Sade and Narrative Transgression. Cambridge: Cambridge University Press, 1995. Beauvoir, Simone de. "Must We Burn Sade?" Trans. Annette Michelson. The Marquis de Sade: The 120 Days of Sodom and Other Writings. Ed. and trans. Austryn Wainhouse and Richard Seaver. New York: Grove Press, 1966. 3-64. Bongie, Lawrence L. Sade: A Biographical Essay. Chicago: University of Chicago Press, 1998. Ferguson, Francis. "Sade and the Pornographic Legacy." Representations 36 (1991): 1-21. Gallop, Jane. Intersections: A Reading of Sade with Bataille, Blanchot, and Klossowski. Lincoln: University of Nebraska Press, 1981. Gray, Francine du Plessix. At Home with the Marquis de Sade: A Life. New York: Simon and Schuster, 1998. Harari, Josue. "Sade's Discourse on Method: Rudiments for a Theory of Fantasy." Modern Language Notes 99.5 (1984): 1057-1071. Lacan, Jacques. "Kant with Sade." Trans. James B. Swenson, Jr. October 51 (1989): 55-75. Lever, Maurice. Sade: A Biography. Trans. Arthur Goldhammer. New York: Farrar, Straus and Giroux, 1993. Lyly, Gilbert. The Marquis de Sade: A Biography. Trans. Alec Brown. New York: Grove Press, 1970. Michael, Colette Verger. The Marquis de Sade: The Man, His Works, and His Critics: An Annotated Bibliography. New York: Garland, 1986. Saylor, Douglas B. The Sadomasochistic Homotext: Readings in Sade, Balzac, and Proust. New York: Peter Lang, 1993. 39-63. Schaeffer, Neil. The Marquis de Sade: A Life. New York: Knopf, 1999. *Σημειώνω: όλες οι πρακτικές του bdsm, πλην των εξαιρετικά ακραίων, συνηθίζονται από καιρού εις καιρόν, και μεταξύ vanilla εραστών (λόγου χάρη: ποδολαγνεία, δεσιματάκια, ραβδισμοί και ξυλιές, ουρολαγνεία, βυζομαντάλωμα, στραπονισμοί, ασκήσεις "υποτακτικότητας", role play, φετιχισμοί με εσώρουχα, δέρματα-βινύλ, δονητές κλπ. αποτελούν κοινότατες πρακτικές μεταξύ ανθρώπων "της διπλανής πόρτας" που με τον "χώρο" ουδεμία σχέση έχουν ή φαντάστηκαν ποτέ πως έχουν) . Το S/M είναι αλλουνού παπά Ευαγγέλιο.