Sade, Fourier, Loyola  

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"Roland Barthes, Sade, Fourier, Loyola (Paris, 1971). Sade's scenario for the body involved sight; flowers and excrement figured in it only to mark out the path to degradation. "Written down, excrement does not smell; Sade can drench his opponents in it, we receive no effluvia from it, only the abstract sign of something disagreeable" (p. 140). Sade's writing does, however, contain some references to breath, to the odor of sperm, and, of course, to sulfur (as in la Durand's sorcery in Juliette)".--The Foul and the Fragrant (1982) by Alain Corbin, see Sade and smell

"When the imprisoned Marquis de Sade was denied “any use of pencil, ink, pen, and paper,” declares Roland Barthes, he was figuratively emasculated, for “the scriptural sperm” could flow no longer, and “without exercise, without a pen, Sade [become] bloated, [became] a eunuch."--The Madwoman in the Attic (1979) by Sandra Gilbert and Susan Gubar, citing Sade/Fourier/Loyola (1971) by Barthes

Related e



Sade, Fourier, Loyola (1971) is a book of literary theory by Roland Barthes first published at Seuil. It is an analysis of the language and metaphors used in the texts of Marquis de Sade, Charles Fourier and Ignatius of Loyola.

From the publisher

In Sade/Fourier/Loyola, eminent literary theorist Roland Barthes offers a fascinating treatise on the nature of philosophical creation. Barthes examines the parallel impulses of Loyola, the Jesuit saint, Sade, the renowned and sometimes pornographic libertine philosopher, and Fourier, the utopian theorist. All three, he makes clear, have been founders of languages--Loyola, the language of divine address; Sade, the language of erotic freedom; and Fourier, the language of social perfection and happiness. Each language is an all-enveloping system, a "secondary language" that isolates the adherent from the conventional world. The object of this book, Barthes makes clear, is not to decipher the content of these respective works, but to consider Sade, Fourier, and Loyola as creators of text.
"Here they are all three brought together, the evil writer, the great utopian, and the Jesuit saint. There is not intentional provocation in this assembling (were there provocation, it would rather consist in treating Sade, Fourier, and Loyola as though they had not had faith: in God, the Future, Nature), no transcendence (the sadist, the contestator, and the mystic are not redeemed by sadism, revolution, religion), and, I add of these studies, although first published (in part) seperately, was from the first conceived to join the others in one book: the book of Logothetes, founders of language."--from the preface

Phonocentrism becomes ocularcentrism

"As Roland Barthes points out in "Sade, Fourier, Loyola" modernity changed the hierarchy between sound and image, priviliging the latter over the former. 'Hearing is believing' became 'seeing is believing'. Before modernity, hearing came first; believing meant listening to the word of God: auditum verbi Dei, id est fides. Abruptum's scrying method uses the ear, not the eye. Sound, not image, points the way towards the essence of evil. --Surreal Documents via [1]


According to Roland Barthes in Sade, Fourier, Loyola, Jérôme Lalande liked to eat live spiders.

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