User:Jahsonic/Sandbox archive 3

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I started reading Sade vivant (in Dutch, the work, to my knowledge, has not had an English translation) and I am surprised how much Sade loved the theatre and how much money he spent on it, hiring full-time actors to perform at his command at Château de Lacostea. He also appears to have suffered quite heavily from spendthrift.

Also, Marquis de Sade, Gilbert Tordjman and Annie Le Brun have noted the painful ejaculations of the Marquis, says Pauvert.

In Sade's own words:

"c'est véritablement une attaque d'épilepsie et, sans d'ennuyeuses précautions, je suis bien sûr qu'on s'en douterait au faubourg Saint-Antoine et des convulsions et des spasmes et des douleurs.

Furthermore, the role of his mother-in-law, who I had assumed to be responsible of his imprisonments after she had found out about Sade's affair with his sister-in-law Anne-Prospère de Launay, is much more complex.

He was a big fan of bloodletting.

RIP Michel Galabru (1922 – 2016).

He played the French serial killer Joseph Vacher in the film The Judge and the Assassin[1] which was inspired by Vacher's story.

The Sadist

American cinematographer Vilmos Zsigmond died.

Apparently, he also photographed The Sadist (above).

I was introduced to The Sadist by the book Cult Movie Stars which had the photo above accompanying the entry on Arch Hall, Jr..

The Sadist is reminiscent of Michael Haneke's Funny Games.

You can watch the full movie on Youtube. I will too.

The Misshapen Polyp Floated on the Shores, a Sort of Smiling and Hideous Cyclops

I've started to write again. An old project. The Perverted Century. I hope I find the stamina to bring it to an end this year. I've just finished the chapter on Odilon Redon.

I stumbled on the following comment by Redon "My originality consists in bringing to life, in a human way, improbable beings and making them live according to the laws and probability, by putting- as far as possible- the logic of the visible at the service of the invisible" in his autobiography A soi-même.

"What we do see—and this is the unique trail that Redon blazed—is a notion of vision ... 27), and the chain of mutilations in Georges Bataille's Story of the Eye, ... this new anti-ocularcentric world, clouds no longer inspire imaginative yearnings ..." --Beyond the Visible: The Art of Odilon Redon

Via [2]

Crepitus ventris essetne spiritualis?

R. Ita, probatur sic: 1. Quæ invisibilia sunt, spiritualia sunt. Atqui crepitus sunt invisibiles. Ergo spirituales sunt: minorem probo, dum vos oro ut insignem crepitum emittatis, mihique indicatis cujus coloris sit, vel metimini mihi ulnam unam, sicuti metiri solent pannus, & vobis, ut in concursu lampada tradam. [2.] Quæ habent agilitatem, ut nullus hominum possit eorum ictus evitare sunt spiritualia. Sed tale sunt crepitus. Ergo, &c. His adde, etiamsi crepitus proveniunt ex spelunca & nascantur sine visu, sicuti talpæ, attamen non sunt palpabiles, sicuti tenebræ Ægyptiorum. Ergo, &c. 3. Fides ex auditu est. Crepitus sunt ex auditu & odoratu. Ergo crepitus spirituales sunt.

Nugae Venales, sive Thesaurus Ridendi & Jocandi. Anno 1689. Prostant apud Neminem; sed tamen Ubique.

Are farts spiritual?

Answer. Yes, proven thus: 1. That which is invisible is spiritual. Farts are invisible. Therefore they are spiritual: I prove the minor so long as I ask you to let fly with a blatant fart and you show me what colour it is or measure out an ell for me, as one might measure out a length of cloth, in which case I shall yield the point to you. [2.] That which is so swift that no man can avoid its impact is spiritual. Such are farts. Therefore, etc. Moreover, even if farts originate from a cavern and are born sightless, like moles, they are nonetheless impalpable, like the ghosts of Egypt. Therefore, etc. 3. Hearing is believing. With farts, hearing and smelling are believing. Therefore farts are spiritual.[3]

Jokes for Sale, or Treasury of Laughing and Jesting. Anywhere: Nobody, 1689. Page 9.

In de autobiografische tekst A soi-même (1913) citeert de schilder, pastellist, tekenaar, en lithograaf Odilon Redon een belangrijke les van zijn leermeester, de vrij onbekende graveur Rodolphe Bresdin

"Adresse d'un citoyen de Paris, au roi des Franc̜ais" is Sade's first published text.

Excerpts[4]

p.1 A Quoique ce ne soie qu'un seul homme qui qu'il vous qui vous aiment, ceux qui vous* respectent vous Que venez-vous de faire Sire p.2 Sire, 'que)vous avez mal saisi vos véritables intéréts, que vous avez mal connu le peuple qui vous élévoit au-dessus ,de lui séduit pair vos démarches et par vos discours ce peuple furieux avec.raison contre l'abus du Gouvernement de vos anciens Ministres commençoit à revenir sur votre compte il séparoit les torts he vos flatteurs des venus qu'il aimoit à reconnaître 'en vous, et il disoit le bien est l'ouvrage de son coeur le mal est' celui de ses Ministres p.3 Quand on a permis de si g¡'and maux, Sire, il faut en savoir souffrir de légers p.4 N'essayez donc pas, Sire de vous op- poser ses effets, ni de dégrader cette Nation'aux yeux de l'Europe, en faifant passer son voeu una- nime pour des rérolrtsçt des factions(...)Ce n'est plus la teins, 1 Sire r\\\\ de nous effrayer, ni dtno.ysen^fermer v^ais c'est toujours celui de vous faire adorer ,1 vous le pouvez encore ce jcetçur de, votre filtorité après lequel votre avec tan d'ardeur, ne peut être maintenSnt l'ou-vrage» que de votre conduite il y a kngtenîpj que vous l'eussiez ramené si vous p.5 Sire j et l'on vous la rendra plus belle, plus digne du vrai Monarque d'une Nation-telle- que la nôtre(...)fable et le, jouet non Sire » nous, ne foJblirons pas t i\\6mt ne le p.6 Malgré vos fautes Sire, vous pouvez en les réparant, prétendre eccore vous voir assis au Temple de Mémoire, près des Tirus tt des Vespasiehs p.7 Ecoutez ce qu'on dit Sire, ce n'est plus vous qui nous avez trompé p.8 Vous me prenez peut-être à te langage, pour un ennemi de la Monarchie et du Monarque, non, Sire, je ne le cuis point

See Sade's writings.

Cochemar[5] is the title of a French print which is a reference to The Nightmare (1781) by Henry Fuseli

Cauchemar is French for nightmare. 'Coche' probably refers to 'cochon', which is French for pig.

Reginald D. Hunter stand-up routine:

Reginald: "Of all the female icons women are encouraged to reach for almost none of them reach for Thatcher."

"I mean hell, they almost all reach for Madonna before they reach for Thatcher,"

Woman: "Well, absolutely. Madonna broke that glass ceiling that had been oppressing women for decades. Madonna showed women they could be sexy, healthy and vital well into their forties and fifties, she showed women that they could and should be smart business people."

Reginald: "Some of that's true, but how about this? Thatcher reached all the way to the top in the most male-dominated profession in the world and she didn't shake her ass one time. She didn't shake her ass, she didn't undo her cleavage before she went into a meeting with the boys and she didn't suck a dick to jump the queue, she was true to game."

Waar? Droomafwaarts Hoe? Droomopwaarts

RIP Lemmy, Hawkwind's song "Urban Guerrilla"[6] is in my top 1000. Guerrilla is Spanish for 'little war'.

"This fragility inscribes itself in Storm's texts as what Wolfgang Preisendanz calls a “metaphysische Obdachlosigkeit” (metaphysical homelessness)"[7]

Τῳουνβιῳομα μεν βιος, εϱγον δε ϑανατος. ( Vitae nomen quidem est vita, opus autem mors. )

Etymologicum magnum, voce βιος ; auch Eustath. ad Iliad., I, p. 31.)

Dying is certainly to be regarded as the real aim of life is a dictum by Arthur Schopenhauer. Compare to “Das Ziel alles Lebens ist der Tod”.

Vitae nomen quidem est vita, opus autem mors«; Heraclitus, Fragment B 48

WWR

The Antwerp Killer (1983) is a Belgian film directed by Luc Veldeman starring Peter Beaufays, Eric Feremans, Michel Follet and Marita Praet.

Studiewijzer voor het vak Hedendaagse Continentale Wijsbegeerte (Ba2, academiejaar 2015-2016, 1ste semester, A. Cools)

- Algemene bibliografie: A. Cools, K. Boey, J. Leilich en E. Oger (eds.), Ex Libris van de filosofie in de 20ste eeuw, Leuven / Amersfoort, acco, 2 delen, 1997 en 1999. S. Critchley & W.R. Schroeder, A Companion to Continental Philosophy, Oxford, Blackwell, coll. “Blackwell Companion to Philosophy”, 1998. S. Glendinning (General Editor), The Edinburgh Encyclopedia of Continental Philosophy, Edinburgh, Edinburgh University Press, 1999. H.L. Dreyfus & M.A. Wrathall, A Companion to Phenomenology and Existentialism, Malden (Ma) / Oxford / Carlton, Blackwell Publishing Ltd, 2006.

De volgende tekstfragmenten werden geselecteerd:

1. Edmund Husserl, Die Idee der Phänomenologie, Hamburg, Meiner, coll. "Philosophische Bibliothek" n° 392, 1986, pp. 23-26: Die neue Dimension der Philosophie; ihre eigene Methode gegenüber de Wissenschaft (fragment uit de "Erste Vorlesung").

2. Martin Heidegger, Sein und Zeit, Frankfurt am, Vittorio Klosterman, Gesammelte Werke Band 2, 1977, pp. 56-60: §9 Das Thema der Analytik des Daseins.

3. Jean-Paul Sartre, L’être et le néant, Paris, Gallimard, 1943, pp. 512-516: fragment uit de eerste paragraaf ("La condition première de l’action, c’est la liberté") van het eerste hoofdstuk ("Être et faire: la liberté") van het vierde deel ("Avoir, faire et être").

4. Max Horkheimer en Theodor W. Adorno, Dialectiek van de Verlichting. Filosofische fragmenten, Nijmegen, SUN, 1987, pp. 9-15 : “Woord vooraf”. 5. Jacques Derrida, De la grammatologie, Paris, Minuit, 1967, pp. 15-25 : fragment uit ″Chapitre I. La fin du livre et le commencement de l’écriture″.

While I was listening to Late Night Lab by Bart Vanhoudt, Bart posted his show on Facebook.

I pressed the play button and heard "these sounds are in no sense accidental" like I always do, since it is in the intro of the programme.

This phrase comes from the interviewer of the popular TV show I've Got a Secret who announces "Water Walk" (January, 1960), the title of a performance by John Cage.

This, in a way, is a more important feat than the premiere of "4′33″.

4'33 was about high art.

"Water Walk" is nobrow.

Six Pillows[8] by Albrecht Dürer.

Critique of the Kantian philosophy

Schopenhauer's major departure from Kant's epistemology concerns the human body. Schopenhauer's major departure from Kant's epistemology concerns the human body. Kant's philosophy was formulated as a response to the radical philosophical skepticism of David Hume, who claimed that causality could not be observed empirically. Schopenhauer begins by arguing that Kant's demarcation between external objects, knowable only as phenomena, and the Thing in Itself of noumenon, contains a significant omission. There is, in fact, one physical object we know more intimately than we know any object of sense perception: our own body.

We know our human bodies have boundaries and occupy space, the same way other objects known only through our named senses do. Though we seldom think of our body as a physical object, we know even before reflection that it shares some of an object's properties. We understand that a watermelon cannot successfully occupy the same space as an oncoming truck; we know that if we tried to repeat the experiment with our own body, we would obtain similar results – we know this even if we do not understand the physics involved.

We know that our consciousness inhabits a physical body, similar to other physical objects only known as phenomena. Yet our consciousness is not commensurate with our body. Most of us possess the power of voluntary motion. We usually are not aware of the breathing of our lungs or the beating of our heart unless somehow our attention is called to them. Our ability to control either is limited. Our kidneys command our attention on their schedule rather than one we choose. Few of us have any idea what our liver is doing right now, though this organ is as needful as lungs, heart, or kidneys. The conscious mind is the servant, not the master, of these and other organs; these organs have an agenda which the conscious mind did not choose, and over which it has limited power.

When Schopenhauer identifies the noumenon with the desires, needs, and impulses in us that we name "will," what he is saying is that we participate in the reality of an otherwise unachievable world outside the mind through will. We cannot prove that our mental picture of an outside world corresponds with a reality by reasoning; through will, we know – without thinking – that the world can stimulate us. We suffer fear, or desire: these states arise involuntarily; they arise prior to reflection; they arise even when the conscious mind would prefer to hold them at bay. The rational mind is, for Schopenhauer, a leaf borne along in a stream of pre-reflective and largely unconscious emotion. That stream is will, and through will, if not through logic, we can participate in the underlying reality beyond mere phenomena. It is for this reason that Schopenhauer identifies the noumenon with what we call our will.

In his criticism of Kant, Schopenhauer claimed that sensation and understanding are separate and distinct abilities. Yet, for Kant, an object is known through each of them. Kant wrote: "... [T]here are two stems of human knowledge ... namely, sensibility and understanding, objects being given by the former [sensibility] and thought by the latter [understanding]."<ref>Critique of Pure Reason, A 15</ref> Schopenhauer disagreed. He asserted that mere sense impressions, not objects, are given by sensibility. According to Schopenhauer, objects are intuitively perceived by understanding and are discursively thought by reason (Kant had claimed that (1) the understanding thinks objects through concepts and that (2) reason seeks the unconditioned or ultimate answer to "why?"). Schopenhauer said that Kant's mistake regarding perception resulted in all of the obscurity and difficult confusion that is exhibited in the Transcendental Analytic section of his critique.

Lastly, Schopenhauer departed from Kant in how he interpreted the Platonic ideas. In The World as Will and Representation Schopenhauer explicitly stated:

...Kant used the word [Idea] wrongly as well as illegitimately, although Plato had already taken possession of it, and used it most appropriately.

Instead Schopenhauer relied upon the Neoplatonist interpretation of the biographer Diogenes Laërtius from Lives and Opinions of Eminent Philosophers. In reference to Plato’s Ideas, Schopenhauer quotes Laërtius verbatim in an explanatory footnote.

Diogenes Laërtius (III, 12) Plato ideas in natura velut exemplaria dixit subsistere; cetera his esse similia, ad istarum similitudinem consistencia. (Plato teaches that the Ideas exist in nature, so to speak, as patterns or prototypes, and that the remainder of things only resemble them, and exist as their copies.)

De bono coniugali Augustinus Hipponensis

Notes on Das Reizende in Schopenhauer's 'The World as Will and Representation'

Jacobus Kapteyn

Il n'y a que les montagnes qui ne se rencontrent jamais.

"The tendency within philosophy to reduce everything to one (monism) or two (dualism) concepts. The refusal to make room for multitude and multiplicity."--JWG

nullum magnum ingenium sine mixtura dementiae fuit

"Love is a journey" is a conceptual metaphor found in Philosophy in the Flesh.

Thomas Paine's saying, du sublime au ridicule il n'y a qu 'un pas (from the sublime to the ridiculous is but a step),

What Is a Thing? [9] by Heidegger.

"Before turning to my own examples I shall briefly look at three prototypical analyses within this tradition: Heidegger's hammer, Husserl's Galileo, and Merleau-Ponty's feather.--Technology and the Lifeworld: From Garden to Earth (1990) is a book by Don Ihde

"Von dieser Katastrophe, von dem 21. Januar des Deismus, sprechen wir im folgenden Stücke." --Zur Geschichte der Religion und Philosophie in Deutschland

"who is made responsible for the death of the murderer of the ancient gods: We shall speak of this catastrophe, the January 21st of Deism, in the next chapters"

In Die Lebenswunder (1905) typeert Haeckel zichzelf expliciet als hylozoïst

The larva of the stag-beetle makes the hole in the wood, in which it is to await its metamorphosis, twice as big if it is going to be a male beetle as if it is going to be a female, so that if it is a male there may be room for the horns, of which, however, it has no idea. --Schopenhauer

"Elles attendent le Prince Charmant, ce concept publicitaire débile qui fabrique des déçues, des futures vieilles filles, des aigries en quête d'absolu, alors que seul un homme imparfait peut les rendre heureuses." --L'amour dure trois ans (1997)

The word grundlos is found 40 times[10] in The World as Will and Representation. It is translated as groundless in the R B Haldane and J. Kemp translation.

"the will [...] is [...] completely groundless."[11], R B Haldane and J. Kemp translation

He will recognise this will of which we are speaking not only in those phenomenal existences which exactly resemble his own, in men and animals as their inmost nature, but the course of reflection will lead him to recognise the force which germinates arid vegetates in the plant, and indeed the force through which the crystal is formed, that by which the magnet turns to the north pole, the force whose shock he experiences from the contact of two different kinds of metals, the force which appears in the elective affinities of matter as repulsion and attraction, decomposition and combination, and, lastly, even gravitation, which acts so powerfully throughout matter, draws the stone to the earth and the earth to the sun, — all these, I say, he will recognise as different only in their phenomenal existence, but in their inner nature as identical, as that which is directly known to him so intimately and so much better than anything else, and which in its most distinct manifestation is called will. --Second book of The World as Will and Representation

"Strengste Mathematik und mathematische Naturwissenschaft hat hier nicht den mindesten Vorzug vor irgend einer wirklichen oder vorgeblichen Erkenntnis der gemeinen Erfahrung." --Die Idee der Phänomenologie

Die Idee der Phänomenologie' (1907), the same year that Picasso paints Demoiselles ... The Hague: Martinus Nijhoff, 1950; The Idea of Phenomenology

L'hystérie dans l'art [Recueil de reproductions photographiques de peintures ou gravures sur l'hystérie, accompagnées de notes manuscrites] / composé par Albert Londe

De Locis Affectis (On the parts affected by disease; On Affected Parts) is a text by Galen in which he -- amongst many other things -- emphasizes the negative impact of sexual abstinence to all kinds of diseases of men and women.

"The theme of the eaten heart is one that has been present in tales that circulated much before Boccaccio's time. Several Greek stories encompass the idea of a body being desecrated by being broken into pieces, which were sometimes eaten: this theme is seen in the legend of the curse on the house of Atreus, the tale of Medea, who slaughters her own children, and in the story of Tantalus, beloved of Zeus until he commits one of the greatest transgressions possible. Throughout history, many stories have demonstrated that cutting up a body, and then eating parts of it, is one of the worst things that a person can do. Indeed, for a long time it was illegal to surgically examine deceased people, as it was seen as a desecration of the body. In his stories of Ghismonda and de Roussillon, Boccaccio is drawing upon the rich history of oral myth and legend that involved the importance of the body."[12]

Villa Rufolo

Nietzsche borrowed, for example, Schopenhauer's idea that man was not a winged angel's head without a body ("a winged cherub without a body" [13]), see embodied philosophy:

Man is more than a "a winged cherub without a body. [He] is himself rooted in that world; he finds himself in it as an individual, that is to say, his knowledge, which is the necessary supporter of the whole world as idea, is yet always given through the medium of a body." --Schopenhauer

"The first attempt to close down indigenous brothels would seem to have been that of General Sir Charles Napier, worried in 1845 about the 'corrupting' effect on his troops of the boy brothels of Karachi, which Richard Burton minutely."--Empire and Sexuality: The British Experience (1990) by Ronald Hyam

Jules Claretie wrote Les Amours d'un interne

Une leçon à la Salpêtrière,

I'm reading Asti Hustvedt Medical Muses: Hysteria in Nineteenth-Century Paris.

It has an illustration of the ovary compressor, as invented by Jean-Martin Charcot [14].

"Ovary compression" was a cure for hysteria.

Epileptici worden over het brugje gedragen (Hendrik Hondius, 1642) [15]

The head of a possessed or ecstatic woman is a sketch by Peter Paul Rubens. It stems from Twelve Heads (1830), a series of lithographs by John Scarlett Davis "from the Original Studies by Rubens".[16].

It is found as plate 40 from the Iconographie photographique de la Salpêtrière, volume 1, where it is called Demoniaque. Planche XL. (English: Demonic, plate 40) [17].

It is on the cover of many editions of Hysteria: The History of a Disease (1965), of which I now hold a copy in my hand.

The Man Without Content by Giorgio Agamben

... somewhat irreverent expressions that the poets had directed at philosophy, defining it as "the yelping hound barking at her master," "the band of philosophers ...

"Or, if this conclusion seems too paradoxical or exaggerated, must we not, at any rate, be ready to believe in what to us is an obvious absurdity (intelligere in other words), as long as it is provided with a certain argumentation and comes from learned people or from their books? For example, Schopenhauer's will, Kant's Ding an sich, or Spinoza’s deus sive natura?" --Dostoevsky and Nietzsche: The Philosophy of Tragedy

Nadine 20 Minutes after her death

Photo taken by the French parapsychologist Hippolyte Baraduc who photographed his wife Nadine 20 Minutes after her death. The photo shows a misty form which Baraduc believed was his wife's soul leaving her body[18]

Diogenes the Cynic, it is related, was mighty of all people in regard to everything from self-control to endurance. He indulged in sexual lusts, not associating it with pleasure, an attractive good thing to some, but because of the harm that the retention of semen would cause if he avoided the habit of releasing it. When a prostitute who promised to visit him was delayed for some time, he rubbed his genitals with his hand, ejecting semen. After the whore arrived, he sent her away, saying: "my hand celebrated the wedding-hymn first." But it is clearly correct that, likewise, the disciplined man does not on account of pleasure indulge in lusts, but in order to relieve the hindrance acting as if this was not associated with pleasure.
- Galen, On the Affected Parts, Alard (1813), p. 104

Women's Bodies in Classical Greek Science

The Merchant Robbed by Monkeys

Lee Moses - Bad Girl in the film House of Pleasures

Manet's Olympia's hand.

Onverborgenheid en eros (2015) is a book by Koenraad Verrycken.

Ik ben blij als het regent, want als ik niet blij ben regent het ook

XXXV. When a woman suffers from hysteria or difficult labour an attack of sneezing is beneficial.

De vrouw, uit een natuur-, ziekte- en geneeskundig oogpunt beschouwd, Volume 3

"Strengste Mathematik und mathematische Naturwissenschaft hat hier nicht den mindesten Vorzug vor irgend einer wirklichen oder vorgeblichen Erkenntnis der gemeinen Erfahrung."

Dr. Philippe Pinel at the Salpêtrière (1795) by Tony Robert-Fleury. Pinel ordering the removal of chains from patients at the Paris Asylum for insane women.

A self-portrait by Vincent van Gogh is auctioned at Gallerie Fisher, an Auction House in Lucerne, Switzerland) in 1939. It was one of the works branded as Degenerate art by the Nazis, confiscated and sold. The winning bid for this work was $US 40.000 by Dr. Frankfurter. [19]

Marihuana: The First Twelve Thousand Years (1980) by Ernest L. Abel

Dans la lettre de 1860 où Flaubert remercie Baudelaire de l'envoi des Paradis artificiels, il dit :

« Voici (pour en finir tout de suite avec le mais) ma seule objection. Il me semble que dans un sujet traité d'aussi haut, dans un travail qui est le commencement d'une science naturelle, dans une œuvre d'observation et d'induction, vous avez (et à plusieurs reprises) insisté trop ( ?) sur V Esprit du Mal. On sent comme un levain de catholicisme çà et là. J'aurais mieux aimé que vous ne blâmiez pas le haschisch, l'opium, l'excès. Savez-vous ce qui en sortira plus tard?[20]

Inspired by Moreau de Tours and Eugene Soubeiran, the chemist Edmond de Courtive published his doctoral thesis “Haschish” in 1848.

Les paradis artificiels

Did Baudelaire copy from F. L. M. Dorvault, L'Officine, ou Répertoire général de pharmacie pratique (first edition 1844). See Robert Kopp and Claude Pichois, 'Baudelaire et le haschisch. Expérience et documentation', Revue des Sciences humaines, vol. XXXII (1967) ...

A Sun Within a Sun: The Power and Elegance of Poetry - Page 109

https://books.google.be/books?id=5G-FAAAAIAAJ

It is as if Baudelaire, charged with seducing and poisoning the public with his poems of evil flowers, were saying: My ... In medical circles, Dorvault issued L'officine ou repertoire general de pharmacie pratique (The Dispensary or General Repertory of Practical Pharmacy)

Edgar Poe, a Psychopathic Study John W. Robertson

La Soubrette Officieuse after Jean Frédéric Schall engraved by Chaponnier

and that underline the closeness of the connection between naturalism and impressionism, are Degas's 'L'Absinthe' (1876) and Manet's La Prune (1878).

"Riders on the Storm" is the last song in my top 1000. "Zombie" was my penultimate one. "Dissonance" by Mozart the one before that.--Jahsonic 12:19, 26 October 2015 (EDT)

The I is hateful

I am not made like any one I have been acquainted with, perhaps like no one in existence

Puisqu'il ne les connaissait pas, quelle fureur pouvait-il avoir contre elles? car, chaque fois, c'était comme une soudaine crise de rage aveugle, une soif toujours renaissante de venger des offenses très anciennes, dont il aurait perdu l'exacte mémoire. Cela venait-il donc de si loin, du mal que les femmes avaient fait à sa race, de la rancune amassée de mâle en mâle, depuis la première tromperie au fond des cavernes? --La Bete humaine

Gilles Deleuze, qui a exploré la thématique de la fêlure (« Zola et la fêlure », Logique du sens, Ed. de Minuit, 1969)

Zola and the Crack-Up

Emile Laurent, Sadisme et masochisme (Paris: Vigot freres, 1903)

Reading Between the Lines – Church by Gijs Van Vaerenbergh

In November 2011 VPRO Television began broadcasting O'Hanlons helden (English: O'Hanlon's heroes). In this eight-part series O'Hanlon introduces the viewer to his heroes of the nineteenth century. The programme was awarded with the prestigious Dutch television award, De Zilveren Nipkowschijf (English: The Silver Nipkow disk). This Silver 1st prize is awarded annually by a professional jury to the best quality television programme. A second eight-part series of O'Hanlons helden was broadcast in the winter of 2013-2014.

19. Suspicions of the erotic nature of the relationship between the magnetizer and the patient surfaced when magnetizers touched women's bodies and secluded them in mattress-lined rooms (this perhaps links it even more closely to the psychiatric treatment of hysteria at the end of the nineteenth century and beyond, to Freud) (Darnton, Mesmerism, 4—5). A secret report on mesmerism by the Franklin commission in 1786 was sent to the king of France; this report warned that mesmerism might be linked to women's sexuality. Adam Crabtree, From Mesmer to Freud: Magnetic Sleep and the Roots of Psychological Healing (New Haven: Yale University Press, 1993), 92—94. --Reconstructing Woman

After the Mona Lisa was stolen, "thousands of Parisians filed through the Salon Carré to stare at the vacant place on the wall"[21].

I've never known emptiness, the void, nothing to have been so popular.

Visited the Verbeke Foundation for the xth time.

Made the page on Martin uit den Bogaard, the artist of putrefaction.

Looked up who made the wonderful Concrete Evidence: 1M. It's Lodewijk Heylen (Belgium, 1989).

Concrete Evidence: 1M[22] is a work of art by Lodewijk Heylen (Belgium, 1989). It consists of one meter length of highway, including traffic barriers, a lighting pole and gutters. One version can be found at the Verbeke Foundation.

"Sorrentino is the new Fellini"

Just saw Youth. Paolo Sorrentino is the new Fellini, albeit a much more likable one. I've always found the films of Fellini a bit pretentious and theatrical (see for example's Fellini's contribution to Boccaccio '70, "The Temptations of Doctor Antonio"[23]).

Not so with Sorrentino. This is what I want from cinema. Reveries and emotions. A mix of high and low culture. Laughter and tears. Lots of philosophy. And buckets of beauty.

P.S.: I recently saw another film on old age, by Haneke, Amour. How I hated that film, despite that Haneke has made some of the best films of the 2000s.

Frontispiece of A. M. Barthélémy's Syphilis : poëme en quatre chants.

Rops has a similarly themed illustration, Coin de Rue, quatre heures du matin (Parodie humaine) [24]. And both "Albertus" by Gautier and "The Vampire's Metamorphoses" by Baudelaire pay homage to it.

And before Rops, there was Lavater and his Emblem of Vanitas.

Text against realism by Montalembert "Sous le nom de réalisme, mot moins barbare"

Hysteria, Hypnotism, the Spirits, and Pornography: Fin-de-siècle Cultural Discourses in the Decadent Rachilde

... point Les filles de marbre was the pornographic, seven-volume novel Les filles de plâtre (1855), authored by the immensely productive Xavier de Montépin.

Chantal Akerman's (1950 - 2015) debut film "Saute ma ville"[25] turned out to be quite prophetic. Akerman committed suicide last week.

Rigolette cherchant à se distraire en l’absence de Germain[26] (also known as La jeune fille à laquelle ressemblait Delphine Delamare)[27] is a painting by Joseph-Désiré Court.

The painting is used on some editions of Madame Bovary.

The reason for this is that Raoul Brunon, author of the book À propos de Madame Bovary, claimed that Delphine Delamare, the real life Emma Bovary, modeled for this painting.

Emma Bovary's Russian sister was of course Anna Karenina, and Anna's real life inspiration was Anna Stepanovna Pirogova.

De beste verhalen van Guy de Maupassant (1980) is a Dutch language collection of Guy de Maupassant stories, collected by Anton Quintana and translated by Yanik Kuyten.

Features:

Inleiding Ouwe Bonifacius en de misdaad Op het water Vrouw Sauvage Vriend Patience Roest Idylle Huize Tellier Te koop Rose De thuiskomst Een dagje naar buiten De hand De Horla Het geluk Mademoiselle Perle Verlost Spijt De nacht De doop Twee vrienden De haarwrong

Hierbenik http://schrijverspassie.nl/paper%20Mme%20Bovary.pdf https://books.google.be/books?id=xlaY-n7Qi4YC&pg=PA50&dq=senard+pinard+obscenity&hl=en&sa=X&ved=0CB4Q6AEwAGoVChMI5LvQqpCmyAIVAzYaCh3UGwie#v=onepage&q=senard%20pinard%20obscenity&f=false

I re-read "The Horla" (1887) by Guy de Maupassant, that archetypical story of earth being taken over by extraterrestrials.

Above is an unidentified edition of the story with an unidentified cover illustration.

Precursors to the story are "The Damned" (1893) by Ambrose Bierce and "What Was It? A Mystery" (1859) by Fitz-James O'Brien.

User:Jahsonic/Notes on Kant's aesthetics

Imaginary portrait of Marquis de Sade, a screenshot from the article Behaving Badly: The Secret Life of the Portrait fantaisiste du Marquis de Sade by Jann Marson.

Courbet's dirty feet in Les Baigneuses. See warts and all naturalism.

Julia Margaret Cameron – An Angel unwinged by your desire (1873)

Photo of a boy. The sitter in this image was Stephen Powys (Cat. #1013).

She also photographed Alice Liddell.

"There's no doubt that some of the images are quite disturbing..."

[28]

The Secret World of Lewis Carroll

The "disturbing images" in question are photos taken by Lewis Carroll.

The documentary above uncovered a photo of Lorina Liddell [29] in the archives of the Musée Cantini.

As you can see above, the photo in the BBC programme only uses the top half of Lorian.

Click here[30] for the whole picture.

The photo sheds new light on the "was Lewis Carroll a pedophile" question.

Above is an interview with Dutch scholar Menno Schilthuizen on Nature's Nether Regions (Dutch title Darwin's Peep Show), a book by Dutch scholar Menno Schilthuizen on animal genitalia in relation to evolution.

Liquor (song)

Origen emasculating himself

Roman de la Rose, France 15th century

Bodleian Library, MS. Douce 195, fol. 122v[31]

[32]

Louis XV, dit M. de Lacretelle (2), avait une aversion bien fondée pour un frère de M. le duc de Bourbon Condé, le comte de Charolais, prince qui eût rappelé tous les crimes de Néron, si le malheur des peuples eût voulu qu'il occupât un trône. Dans les jeux même de son enfance, il manifestait un instinct de cruauté qui faisait frémir. Il se plaisait à torturer des animaux; ses violences envers ses domestiques étaient féroces. On prétend qu'il aimait à ensanglanter ses débauches, et qu'il exerçait différentes sortes de barbarie sur les courtisanes qui lui étaient amenées. La tradition populaire, d'accord avec quelques mémoires, l'accuse de plusieurs homicides. Il commettait, dit-on, des meurtres sans intérêt, sans vengeance, sans colère. Il tirait sur des couvreurs, afin d'avoir le plaisir barbare de les voir précipiter du haut des toits.

(1) Ce fait nous a été communiqué par M. Serrurier, magistrat à Amsterdam.

(2) Histoire de France, t. II, p 5g.

1 Les Mémoires de Maurepas (t. I, p. 255) confirment ceci en disant que le Régent « voulut donner à son fils l'amour des plaisirs et chargea de son éducation en libertinage plusieurs femmes très-connues. La plus célèbre de ces demoiselles du Palais-Royal ne put jamais parvenir à lui donner aucune sorte d'intelligence, mais elle en eut un enfant. » On lit dans le Journal de Barbier (janvier 1722) : « Le duc de Chartres a dix-neuf ans, et a déjà eu plusieurs galanteries. Il a maintenant une maîtresse en forme, la petite Quinault. Ce prince n'est point aimé; il a l'esprit petit et mauvais. » Et plus loin, l'auteur rapporte que le Régent disait de son fils : « 11 a aussi peu d'esprit que M. le Duc, il est aussi brutal que le comte de Charolais, et aussi fou que le prince de Conti. » --Correspondance de Madame duchesse d'Orléans. Extraite des lettres publiées par M. de Ranke et M. Holland Traduction et notes par Ernest Jaeglé"

"Louis XV montrait une sorte d'aversion pour un frère de M. le duc, le comte de Charolais. La plupart des mémoires de ce temps font un portrait odieux de ce prince, et le représentent comme sujet à des emportemens qui allaient jusqu'à la férocité. Dans quelques-uns, on prétend même qu'il commettait des meurtres sans intérêt , sans vengeance et sans colère. Il tirait , dit-on , sur dés couvreurs , afin d'avoir le barbare plaisir de les voir précipités du haut des toits. On raconte qu'un jour ilvipt demander sa grâce au roi pour un de ces meurtres qu'il imputait à un accident , à une méprise. Le roi lui dit : La i^oilà , mais je i^ous déclare que la grâce de celui qui vous tuera est toute prête. --Histoire de France, pendant le dix-huitième siècle; by Charles Lacretelle (1766-1855)[33]

Le comte de Charolais, dit Brunet (1), fut un des plus vils sc"l"rats dont l'histoire ait gard" le souvenir. Il d"buta par assassiner un de ses valets dont il n'avait pu s"duire la femme. Il ensanglantait ses d"bauches par d'ignobles barbaries sur les courtisanes qu'on lui amenait; il tirait sur des couvreurs pour se donner le plaisir de les voir tomber du haut des toits... (2) Le prince Eug"ne (Fran"ois de Savoie). " "tait contrefait. --La Psychologie Morbide Dans Ses Rapports Avec la Philosophie de L'Histoire[34] by Jacques-Joseph Moreau

"Sade mentioned very often the Count of Charolais (eg Philosophy in the Boudoir I, 153, II, 131), who " had committed murders of lust ." This Count of Charolais (1700-1760) " In the dark thinking" by Moreau joined the revolting cynicism with an almost unimaginable ferocity. He loved the blood flow in his orgies to see and taught him supplied courtesans in a cruel manner. "In the midst of his excesses with his mistresses he was nothing more pleasant than to shoot with his gun roofer or passers-by ." The rolling down the corpses from the roof gave him an infinite pleasure. ..." --machine translation of Der Marquis de Sade und seine Zeit

d'un meurtre sans raison apparente, commis au pistolet [par Charles, Count of Charolais], par son tuteur Le Régent lui accorda sa grace en ces termes:"Mon cousin je vous accorde votre grâce, en même temps que je signe celle, de celui qui vous tuera."

"C'est une tradition constante que ce Prince, dans sa jeunesse goutait un plaisir affreux et barbare à tuer un homme, comme les enfant à écraser une mouche. Mais quand il demandait sa grace, le meurtre était toujours l'effet ou d'un malheureux hasard ou de la nécessîté. Un jour, en lui en accordant une pareille, le roi lui dit: la voilà; je vous déclare en même temps que la grace de celui qui vous tuera est toute prête." --Vie privée de Louis XV, ou Principaux événemens, particularités et anecdotes de son règne (1781) by Barthélemy-François-Joseph Mouffle d'Angerville

[edit]

 <hr>
-''[[The Search Within]]''
-The Inner Experiences of a Psychoanalyst
-[[Reik]]
-<hr>
 After the [[The theft of the Mona Lisa|Mona Lisa was stolen]], "thousands of Parisians filed through the [[Salon Carré]] to stare at [[Vacant wall in the Salon Carré, Louvre after the Mona Lisa was stolen in 1911|the vacant place on the wall]]"[https://books.google.be/books?id=wDDrAAAAMAAJ&q=%22to+stare+at+the+vacant+place+on+the+wall%22&dq=%22to+stare+at+the+vacant+place+on+the+wall%22&hl=en&sa=X&ved=0CB4Q6AEwAGoVChMIq_WE47DMyAIVAiYaCh31gA2X].

User:Jahsonic/Sandbox archive 3

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