The Calgary Philosophy Meetup

So-called ‘enlightened societies’ seem to enter periods of crisis, war and unspeakable violence on a regular basis. Can these events simply be attributed to “the crooked timber of humanity, out of which no straight thing was ever made" (Kant), or is there a deeper, more sinister reason for their occurrence? Could it be that the Enlightenment itself – its rationality, moral outlook and existential condition – possesses a disavowed “dark underbelly” that precipitates catastrophe?

We'll explore these questions through arguably the most controversial of the children of the Enlightenment, the Marquis De Sade. In particular, we'll be focusing on 20th century receptions of Sade's work by European writers and philosophers. Not only will this approach offer us possible answers to the questions above, it will allow us to survey major currents of Continental philosophy in the 20th century. See below for an overview of the writers and topics we'll be discussing.
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READING SCHEDULE
Find the up-to-date reading schedule at this link:
https://sites.google.com/view/existentialism-and-its-critics/

All texts are available in the Google folder linked at the VERY BOTTOM of this description. The Google Meet link is also posted there.
👇 scroll all the way down for the links 👇
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READINGS OVERVIEW
Barthes extends the structuralist approach developed by Levi-Strauss and Lacan (whom we read previously) to literary theory. In his reading, Sade emerges as a logothete, a founder of a language and a paradigmatic writer of "texts of bliss", whose jouissance derives from the very wounding they precipitate.

Foucault redirects the analytical focus away from Barthean semiotics of jouissance and towards what we might call the Sadean episteme. The criterion of the Sadean world emerges as a certain kind of truth: anti-metaphysical, anti-theological, anti-moral. In bracketing away reality, this truth elevates desire to a sovereign status within human experience.

De Beauvoir argues that we must not burn Sade, though we must approach him with caution. Sade exemplifies the existentialist credos of choosing one's freedom and confronting existence without illusions. He is also one of the first to confront the problem of the Other head-on. Yet his glaring fault is to have succumbed to radical solipsism – a brutal compulsion to efface the Other rather than engage existentially with the singularity of Difference.

Klossowski and Bataille offer a quasi-theological interpretation of Sade, linking his texts to the subterranean persistence of the sacred in modernity. Bataille develops his central notion of heterology with reference to Sade's work.

For Blanchot, the Sadean paradox consists in apathy: the most radical and extreme actions are not done out of passion but out of detached rational reflection. Such a state of indifference amounts to an absolute sovereignty, the complete separation of the ego from its relations to the world.

Adorno and Horkheimer find in Sade a prime illustration of their thesis that the calculative rationality of the Enlightenment is cold, objectifying and founded on domination. They regard him as a diabolical truth-teller whose works pre-figure the horrors of totalitarian bureaucracy.

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ABOUT THIS READING GROUP
This is a comprehensive reading group focusing on 20th century French philosophy. Our current project was stimulated by our recent reading of George Bataille's Erotism: Death and Sensuality. Other writers we have discussed include Sartre, de Beauvoir, Foucault, Barthes, Derrida, Deleuze, Kristeva, etc.

GROUP RULES

• Please spend 1-2 hours per week reading and preparing for the discussion. Speaking priority will be given to those who have done the readings.
• Keep your comments concise and relevant to the text.
• Please limit each comment to a maximum of 2-3 minutes. You're welcome to speak as many times as you wish.
• Virtual meeting courtesy applies: let's not interrupt each other, keep mics muted when not speaking, and maintain a respectable dress code.
• We'll focus the discussion with key passages and discussion questions. Be sure to bring your favorite passages, questions, comments, criticisms, etc. to the meeting.

The electric filmmaking genius John Cassavetes and his brilliant wife and collaborator Gena Rowlands give luminous, fragile performances as two closely bound, emotionally wounded souls who reunite after years apart. Robert, a successful writer of pulp fiction, is emotionally remote and skilled at pushing away anyone who tries to enter his life. Sarah, a housewife whose marriage is on the rocks, is deeply feeling and believes that everyone needs something — anything — to love. Exhilarating and risky, mixing sober realism with surreal flourishes, Love Streams is a remarkable film that comes at the viewer in a torrent of beautiful, erratic feeling. This inquiry into the nature of love in all its forms was Cassavetes’s last truly personal work.

“The movie is a mighty, intimate, kaleidoscopically subjective, bravely self-searching summation of a career, an era, and a life.” (New Yorker)

"A rich, inviting work, full of beauty and vitality." (MUBI)

"His single best picture, the one that consolidates all his strengths and most lucidly translates his many themes as a storyteller." (PopMatters)

"Viewers raised on trained and tame movies may be uncomfortable in the world of Cassavetes; his films are built around lots of talk and the waving of arms and the invoking of the gods... Sometimes the wild truth-telling approach evaporates into a lot of empty talk and play-acting. In Love Streams, it works." (Roger Ebert)

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