This book examines the concept of jouissance, a Lacanian term that refers to enjoyment experienced in different ways, from the enjoyment taken in an action that is ethically disapproved to the hidden pleasure taken by the patient in and from his symptom. Christian Fierens offers a new and rigorous explanation of jouissance as a third principle in the functioning of the unconscious, in addition to the technical and pleasure principles. The Jouissance Principle presents a detailed cross-reading of two key works: Kant’s Critique of Pure Reason and Lacan’s paper ‘Kant with Sade’, explaining how the functioning of the unconscious is a genuinely ethical process. The book also focuses on the role of psychoanalysis in relaunching the functioning of the unconscious, outlining the fourth form of Lacan’s object a and its stakes in the psychoanalytic process. An intriguing discussion of the relationship between pleasure, ethics and rationality, The Jouissance Principle will interest scholars of psychoanalysis and European philosophy, as well as helping clinicians to find a practical and ethical pathway through their practice.

This book examines a number of landmark shifts in our account of the relationship between human and divine existence, as reflected through the perception of time and corporeal experience. Drawing together some of the best scholars in the field, this book provides a representative cross-section of influential trends in the philosophy of religion (e.g. phenomenology, existential thought, Biblical hermeneutics, deconstruction) that have shaped our understanding of the body in its profane and sacred dimensions as site of conflicting discourses on presence and absence, subjectivity and the death of the subject, mortality, resurrection and eternal life.

Book annotated and illustrated with 15 wonderful illustrations on medieval life (and more). Donatien Alphonse François, Marquis de Sade; 2 June 1740 – 2 December 1814), was a French nobleman, revolutionary politician, philosopher and writer, famous for his libertine sexuality. His works include novels, short stories, plays, dialogues, and political tracts. In his lifetime some of these were published under his own name while others, which Sade denied having written, appeared anonymously. Sade is best known for his erotic works, which combined philosophical discourse with pornography, depicting sexual fantasies with an emphasis on violence, suffering, criminality, and blasphemy against Christianity. He gained notoriety for putting these fantasies into practice. He claimed to be a proponent of absolute freedom, unrestrained by morality, religion, or law. The words sadism and sadist are derived from his name. This book, "Adelaide of Brunswick," is one of Sade's historical tales, discovered among his papers after his death. It demonstrates the range and ability of a man whom history has vilified, but who was inarguably a philosopher, dramatist and author of the first magnitude.

In recent years, the popularity of the inimitable Slavoj Žižek has perhaps cast a shadow over the collective influence exerted by Slovenian intellectuals on modern day philosophy. Yet despite his image as an isolated genius, this timely book relocates Žižek as a thinker whose ideas are born of a specifically Slovenian context. Although only coming to international notice in the early 1990s, the Slovenian school needs to be understood as the culmination of a series of intellectual, artistic and political movements inextricably connected to the quest for the succession of Slovenia from Yugoslavia. These developments in thought must also be seen in the light of one of the giants of Continental philosophy: Jacques Lacan. Featuring brand new interviews with three of its forerunners - Žižek, Mladen Dolar and Alenka Zupancic - this fascinating account details each philosopher's individual concerns, whilst shedding light on the complex genealogy and continuing development of the Slovenian Neo-Lacanian school. Rarely are we afforded such an opportunity to study the birth of a philosophy from a seminal moment in modern history.

This book is a new account of the surrealist movement in France between the two world wars. It examines the uses that surrealist artists and writers made of ideas and images associated with the French Revolution, describing a complex relationship between surrealism's avant-garde revolt and its powerful sense of history and heritage. Focusing on both texts and images by key figures such as Louis Aragon, Georges Bataille, Jacques-André Boiffard, André Breton, Robert Desnos, Max Ernst, Max Morise, and Man Ray, this book situates surrealist material in the wider context of the literary and visual arts of the period through the theme of revolution. It raises important questions about the politics of representing French history, literary and political memorial spaces, monumental representations of the past and critical responses to them, imaginary portraiture and revolutionary spectatorship. The study shows that a full understanding of surrealism requires a detailed account of its attitude to revolution, and that understanding this surrealist concept of revolution means accounting for the complex historical imagination at its heart.

The notion of sexual sadism emerged from nineteenth-century alienist attempts to imagine the pleasure of the torturer or mass killer. This was a time in which sexuality was mapped to social progress, so that perversions were always related either to degeneration or decadence. These ideas were internalized in later Freudian views of the drives within the self, and of their repression under the demands of modern European civilization. Sadism was always presented as the barbarous past that lurked within each of us, ready to burst forth into murderous violence, crime, anti-Semitism, and finally genocide. This idea maintained its currency in European thought after the Second World War as Freudian-influenced accounts of the history of philosophy configured the Marquis de Sade as a kind of Kantian “superego” in a framework that viewed the Western Enlightenment as unraveled by its own inner demons. In this way, a straight line was imagined from the late eighteenth century to the Holocaust. These ideas have had an ongoing legacy in debates about sexual perversion, feminism, genocide representation, and historical memory of Nazism. However, recent genocide research has massively debunked assumptions that perpetrators of mass violence are especially sexually motivated in their cruelty. This book considers how the late twentieth-century imagination eroticized Nazism for its own ends, but also how it has been informed by nineteenth-century formulations of the idea of mass violence as a sexual problem.