İyinin ve kötünün ötesinde: Marquis de Sade
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Dosyalar
Tarih
2017-02-02
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Işık Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Attribution-NonCommercial-NoDerivs 3.0 United States
Attribution-NonCommercial-NoDerivs 3.0 United States
Özet
Doğayı yadsıma düzeyine taşıyan egemen olma dayatmasının, yeni bir dilsel ve düşünsel yöntem yaratmanın önündeki engel olabileceği gerçeği gözlerimizin önündeyken, Gilles Deleuze tarafından, yeni biçim elde etmeyi ve yeni hissetme düşünme tarzı, başlı başına yeni bir dil yaratmayı bilmesinden ötürü, büyük sanatçı olarak nitelenen Marquis de Sade’ı mercek altına alan 2015 yılında Paris Musée d’Orsay’da gerçekleştirilen “Sade, Attaquer Le Soleil” (Sade, Güneşe Saldırmak) sergisi ilgi çekicidir. Otuz yıllık Marquis de Sade uzmanı, yazar ve eleştirmen Annie Le Brun küratörlüğünde gerçekleştirilen sergi, 1740-1814 yılları arasında yaşamış yazar, Marquis de Sade’ın metin okumalarını merkeze alarak, diğer düşünür ve felsefecilerden anektodlarla ve görsel sanatlarda bu düşüncelerin yansımaları olan örneklerle hazırlanmıştır. Yaşamının otuz yılını ha sedilmiş olarak geçiren Sade, bedensel mahkumiyetinin karşısına, düşüncesine ve kalemine tanıdığı mutlak özgürlüğü koymuştur. emsil edilemezin temsilini başaran, gösterilemezin gösterilmesine ön ayak olan sanatçı, bir yandan sürekli sansüre uğrarken bir yandan da devrim yıllarının en çok kabul gören düşünürü olmuştur. Yazın dilinin oluşturduğu kurgusuyla yasaklanması, devrim yılları sonrasında da edebi ve felsefi olarak incelemeye alınmasını ve yazdıklarının gerçeklik olarak kabul edilmesini engellememiştir. Karanlık bir atmosferin yaratıldığı sergi, güneşe saldırmanın imkansızlığını eyleme geçirmeye çalışan yazarın yaratmayı hedeflediği mutlak karanlıkta, insanın karanlık yönünü inceleyen az sayıda felsefecinin arasında olduğuna dikkat çekmek istemiştir. Bir yandan sadik üslubun etkisinde kalan Charles Baudelaire ve Gustave Flaubert gibi edebiyatçılardan örnekler verilirken, bir yandan da görsel sanatlarda sadik etkinin yarattığı devrim, adım adım incelenmiştir. emsildeki hiyerarşinin ve kuralların yıkılması ile Sadik bedenlerin, arzunun vahşi ve acımasız yasasının etkisi altındaki imgeleri, Edgar Degas, Eugéne Delacroix, August Rodin ve daha bir çok sanatçıya, cinsel imgelemin biçimsel özgürleşmesi adına öncü oluşu örneklerle gösterilmiştir.
The fact that humankind-who was been using the knowledge he has acquired from nature as a means to dominate over nature and people -has know become an object to be experimented on, and the rebellious force of art in attainning the truth in the presence of an order that determines the human-object relationships characterised by its will to power has urged us to study Marquis de Sade one more, Marquis de Sade once more, after a hundred and fifty years. The author in question has been able to put across a distinct opinion about culture and nature, and managed to create a unique language with a new way of felling and thinking, and used this authentic language as the weapon of his rebellion. The "Sade. Attaquer le soleil" exhibition held at the Musee D'Orsay in Paris in 2015, which focused on Marquis de Sade, formss the trajectory that this study shall follow in examining the Sadic style as a resource that prompts the content and form works of art in the transition from textual culture to visual culture. Curated by a Marquis de Sade speacialist of thirty-years, writes and critic Annie Le Brun, the exhibition was centering on the texts by Marquis de Sade, who lived between 1740-1814, alongside anecdotes from other thinkers and philosophers, and examples of works reflecting these thoughts in visual arts. In this study we examine Sade's view of culture and nature in light of other philosophical references, the original language of Sade created with a new way of feeling and thinking and potent with limitless negation and repudiation that knows no bounds, and the way his legacy has been interpreted by artists and art movements that followed, with examples. In the first part of this study we carried out an analysis of the philosophy of nature that Marquis de Sade presents while completely demolishing the impositions of conventional ethics. While examining the definitions of good and evil, Eros and Thanatos, and pleasure and pain in a comparative manner with other philosophical references and Marquis de Sade's philosophy of nature, we arrived at the conclusion that although these concepts seem to function in opposition to one another, they actually render each other visible. We enquired into the differences that make up the unique style of this author, who spent thirty years of his life behind prison walls in a world deovid of anyone else. While the philosophical meanings he ascribed to everyday elements such as food, money and clothing in the closed universe he designed, constituted the distinctive features of his style, his mastery of the use of language in the expression of the positive content of perversity in a rational framework, as if with a scientefic purpose, rendered the author to change the entire realm of ars erotica. The sparks created by the style of Marquis de Sade that way ahead of his contemporaries, and their reverberations in the interactions within the different branches of art that led to a mutual advancement, resulted in a expression of the impossible thorough a new instrument against the estabilished culture. The style of the author, which transcends beyond time, still continues to reveal itself in examples of contemporary art.
The fact that humankind-who was been using the knowledge he has acquired from nature as a means to dominate over nature and people -has know become an object to be experimented on, and the rebellious force of art in attainning the truth in the presence of an order that determines the human-object relationships characterised by its will to power has urged us to study Marquis de Sade one more, Marquis de Sade once more, after a hundred and fifty years. The author in question has been able to put across a distinct opinion about culture and nature, and managed to create a unique language with a new way of felling and thinking, and used this authentic language as the weapon of his rebellion. The "Sade. Attaquer le soleil" exhibition held at the Musee D'Orsay in Paris in 2015, which focused on Marquis de Sade, formss the trajectory that this study shall follow in examining the Sadic style as a resource that prompts the content and form works of art in the transition from textual culture to visual culture. Curated by a Marquis de Sade speacialist of thirty-years, writes and critic Annie Le Brun, the exhibition was centering on the texts by Marquis de Sade, who lived between 1740-1814, alongside anecdotes from other thinkers and philosophers, and examples of works reflecting these thoughts in visual arts. In this study we examine Sade's view of culture and nature in light of other philosophical references, the original language of Sade created with a new way of feeling and thinking and potent with limitless negation and repudiation that knows no bounds, and the way his legacy has been interpreted by artists and art movements that followed, with examples. In the first part of this study we carried out an analysis of the philosophy of nature that Marquis de Sade presents while completely demolishing the impositions of conventional ethics. While examining the definitions of good and evil, Eros and Thanatos, and pleasure and pain in a comparative manner with other philosophical references and Marquis de Sade's philosophy of nature, we arrived at the conclusion that although these concepts seem to function in opposition to one another, they actually render each other visible. We enquired into the differences that make up the unique style of this author, who spent thirty years of his life behind prison walls in a world deovid of anyone else. While the philosophical meanings he ascribed to everyday elements such as food, money and clothing in the closed universe he designed, constituted the distinctive features of his style, his mastery of the use of language in the expression of the positive content of perversity in a rational framework, as if with a scientefic purpose, rendered the author to change the entire realm of ars erotica. The sparks created by the style of Marquis de Sade that way ahead of his contemporaries, and their reverberations in the interactions within the different branches of art that led to a mutual advancement, resulted in a expression of the impossible thorough a new instrument against the estabilished culture. The style of the author, which transcends beyond time, still continues to reveal itself in examples of contemporary art.
Açıklama
Text in Turkish ; Abstract: Turkish and English
Includes bibliographical references (leaves: 122-127)
x, 128 leaves
Includes bibliographical references (leaves: 122-127)
x, 128 leaves
Anahtar Kelimeler
Eros, Güç istenci, Haz, Marquis de Sade, Pleasure, Rebellion, Thanatos, Will to power
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Erdamar, S. (2017). İyinin ve kötünün ötesinde Marquis de Sade. İstanbul: Işık Üniversitesi Sosyal Bilimler Enstitüsü.
