Philosophy In The Boudoir Sexual & Politcal Freedo

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Sade argues for the interrelationship between sexual and political freedom. How does Philosophy in the Boudoir engage with or dramatise this argument? Do you think it is correct? Argument continues today regarding the Marquis de Sade and the ambiguous representation of his works. For many, his material is judged as what some feminists would define as a “form of violence against women”, whose representations “eroticize male domination”, (Robin Ann Sheets, “Pornography, Fairytales and Feminism” 635), but for many readers of Sade’s work, once they see through the ‘smut’ and the erotica, there is often found by the reader an underlying message which is sometimes seen as radical, or one which was not elaborated further until many years later. These messages within his literature raise the question as to whether or not Sade was a “moral pornographer”, (Angela Carter, The Sadeian Woman 19). In her book, Angela Carter defines a moral pornographer as one who “uses pornographic material as part of the acceptance of the logic of a world of absolute sexual licence for all genders, and projects a model of the way such a world might work”, (19). When one reads Philosophy in the Boudoir, and applies this definition it can be seen that Sade as a moral pornographer campaigns for “absolute sexual licence” for all genders and it is in the illuminating of this campaign that Sade further argues for the interrelationship between sexual and political freedom. In turn this argument is seen to validate Sade’s call for a Utopian type republic where all men and women are free both sexually and socially. He authenticates his campaign by calling for the transgression of sexual and social boundaries in order to obtain this freedom. In her essay, Robin Ann Sheets states that, “fiction constitutes an important part of the contemporary discourse on sexuality”, (Sheets 633). This

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