L’histoire de L’erotisme

作者：  (法)乔治·巴塔耶(Georges Bataille)著;刘晖译

出版社：商务印书馆,2003

简介：最卑微和最不文明的人有一种关于可能性乃至可能性的总体性(totalité)的经验——此种经验就其深度和广度来说，接近伟大的神秘主义者的经验。这只需要某种能量即可。能量并不罕见，尤其在人正当盛年的时候，但是这种广度和深度拥有对等物，只不过是它们就自身能达到的可能性问题所进行的愚蠢和平庸——甚至可以说还有怯懦——的判断。这些判断促使一种活动最终遭到失败，对它们来说，活动丧失了意义。没有什么比这更普遍的了：一个人偶然发现自己处于一种无以伦比的辉煌境地，他的感觉无所不在，但是他不知道如何表达：同时在他的头脑中产生了一连串模模糊糊的思想，这些思想孕育着转瞬即逝的谈话。倘若涉及色情生活，我们当中的许多人满足于最普遍的观念。它的肮脏表象是一个鲜有人不落入其中的陷阱。这种表象成为心安理得地蔑视色情生活的一个理由。或者他们否定这个可恶的表象，从蔑视转为庸俗：他们宣称，本性中没有任何肮脏的东西。我们千方百计地以空虚的思想来取代天穹的顶点似乎向我们开启的那些时刻。 　　我想在这本书中依照这些时刻整理一种思想，它远离(将自己的对象跟与对象不相容的存在方式联系起来的)科学观念，但是严格，无比严格，如同一种思想体系的一致性所要求的那样，这种思想体系足以穷尽全部可能性。 　　人的思考不能不加区别地脱离与其密切相关的对象，我们需要一种在厌恶面前不会瓦解的思想，需要一种在将可能性的探索进行到底的时刻不回避自身的自我意识。 　 我的意图不限于消弥人们回避他们内在的真实且逃避这一事实带来的耻辱。这第二卷体现了一种努力，努力的目标是对一些思想进行普遍的批评，这些思想使人们的活动从属于其他目的，而不是他们能量的无用消耗(consumation inutile)。这里要杜绝一些看待问题的方式，它们造就了奴性的形式。 　　我曾经认为，思想缺乏独立，思想服从于有用的目的，总而言之，思想解体，最终是非常可怕的。毕竟，当代的政治思想与技术思想达到了一种畸形的发展，将我们引向对微不足道的结果有用的目的本身。不应该有丝毫的隐瞒：这最终意味着人类的失败。这种失败的确没有触及整个人类。只有奴性的人(homme servile)与之相关，他的目光从没用的东西，从不能带来任何用处的东西上移开。 　　但是奴性的人现今掌握各个方面的权力。假如他真地没有令整个人类服从他的原则，至少可以肯定的是，没有人发出任何声音，谴责这种奴性，说明是什么导致这个人不可避免的失败……这或许很难……毕竟有两件事同样得到了证明：没人会对奴性的人掌权的权利提出异议——所以他的失败非常可怕! 　　那些对悲惨的境况感到愤慨的人的无能为力并不像表面上那样令人惊异。如果奴性的人遭到失败，如果结局令人恐怖，同样可以肯定的是，实用的思想所反对的原则很久以来都没有生命力。如果这些原则幸存下来，它们即便徒有虚名，也会令那些战胜它们的人最终失败。但是在这方面只是令人生厌地将遗憾一再重复下去。 　　我备感孤独地在过去的经验中寻觅的，不是既定的原则，而是未知的法则，这些法则引导着人们，假如不了解这些法则，我们就会走上不幸的道路。不受奴役的过去，消失在歪歪斜斜的道路中，不断迷失自己和弄虚作假。我们在相反的方向上，在恐惧中迷失了自己。我们在恐惧中进行着疯狂的活动和可耻的欺骗。但是被有害的回忆所戕害的人类除了过去的路，别无他途，过去不会(且不能)带着一定的连贯性走这些路。从前一切都为几个人的利益服务，最后我们决定一切都为所有人的利益服务。我们看到在应用时，最有害的体系是第二个，因为它并非那么不完善。这并不意味着要回到第一个。但是——倘若我们不把消耗(consumation)作为行动的最高(souverain)原则，我们就会抵挡不住这些可怕的混乱，没有它们，我们就不知道消耗我们拥有的能量。 我自相矛盾的态度要求我指出一个体系的荒谬性，在这个体系中一切都有用，没有什么是自主的。我无法做到这一点，倘若我不表明一个没有什么自主之物的世界是最不利的：但总的来说就是，我们需要独立自主的价值，因为拥有无用的价值是有用的…… 　　这就很难支持我在这部著作的第一卷中提出的原则，我在第一卷中阐述了生产与消耗[与非生产消费(consommation improductive)]的关系。当然，我指出生产没有消耗重要，但是我不能相应地让人看到在消耗中有某些有用的东西(甚至最终对生产有用!……) 　　这第二卷差别很大，它描述了人类精神中通常被视为无价值的一种能量消耗的效用。没有人能由此从色情的自主特点转到它所拥有的用途上来。性至少是对某种东西有好处的。但是色情……这一次指的是一种自主的形式，它没有任何用途。 　　从一种被社会排斥的、通常与羞耻相关的活动中得出自主行为的答案，或许看起来有点不妥。 　　我应该为自己辩护说，没人会为有用而行事，假如他不知道尽管他自己以有用性为目的，而那些投身于有用性的人首先符合色情的要求。因此，无论从什么角度来看，我们都会看到人的有意识的自主的一种不变的形式，或者我们坚持了解在各种阶段制约我们的决定和我们的行动的能量压力，没什么比攫取色情的秘密更让我们感兴趣。 　　这样，这本书就集中了我的研究的双重特征：我想在结束语中，从人类能量消费(dépense)的一致系统中得出结论，在这个系统中，色情的作用是很重要的。当然，我认为，倘若不考虑劳动与色情、色情与战争之间的关系，我们就不能触及政治问题的深层意义，尽管在政治问题中厌恶总是居主导的。我会证明人类活动的这些截然不同的形式汲取同样的能量资源……由此产生了一种必要性，要么为经济、军事和人口问题提供一种正确的解决方法，要么抛弃维持当前文明的希望。 　　我并非不知道我能被理解的机会是渺茫的。这并不在于《那受诅咒的》(La Part maudite)的第一卷没有得到真正的接受，而恰恰在于我想触及到的环境。毕竟我的想法太新了。 　　关于最专业人士的反应，我首先看到这类反应是诱人的，引人注目的，但是太快了，需要很长时间进行消化。这不是因为我在别人的反驳中看到需要消除的误解，而是我打算在他们身上取而代之的习惯表现，两者之间的差距非常大。 　　不过，恐怕我目前所做的并非完全不足以令那些对我的第一本书感兴趣的人放心。我对人类的全体——具体的真实的整体——进行质疑的决心，在我踏入受诅咒的领域那一刻令人惊异。 　　现在我不想消除我自寻的烦恼。我认为这种烦恼是必要的。测测那横在人类面前张开血盆大口的深渊吧!一向在恐惧面前准备后退的人能够解决现今时代给他们提出的问题吗?尤其是这受诅咒的时代? 　　总之，我想事先解决我的态度所导致的一种误解。我的书会被看作色情的辩护词，而我只想描写无比丰富的整体反应。但是我所描写的这些反应基本上是互相矛盾的。但愿人们会一心一意地追随我：人类的存在决定了对一切性欲的恐惧；这种恐惧本身决定了色情诱惑的价值。倘若我的看法在某种程度上带有辩护的意味，这种辩护的目标不是色情，而是普遍意义上的人类。让人类不断地维护一切具有不可能达到的精确性的反应，坚定的和不妥协的反应，这才是值得钦佩的：没什么能与之匹敌!……但是反之，懈怠和缺乏压力，无节制的纵欲的软弱则不承认人类的活力；因为如果人类不再保持本色、不再充满强烈的对比，就不会存在了。

Eroticism, Expenditure, and General Economy:Selected Writings by Georges Bataille

作者：  [(法)乔治·巴塔耶(Georges Bataille)著];汪民安编

出版社：吉林人民出版社,2003

简介：　　乔治·巴塔耶是法国后结构主义的先驱，是当代法国思想的一个重要策源地。他踏着尼采的足迹，对主体、知识、理性、功利性生产和基督教展开了摧枯拉朽的批判，这一切明示了下一代天才知识分子——福柯、德里达、鲍德里亚、克里斯蒂娃——的道路。巴塔耶令人眩晕的博学、神秘主义趣味和对语言表意的神经质般的拒绝，使他的文本像一道隐密的深渊，但却对各种理性和道德的僭越投上一层光亮。 　　 [

Litterature et le mal

作者：  (法)乔治·巴塔耶(Georges Bataille)著;董澄波译

出版社：北京燕山出版社,2006

简介：文学与恶，无疑是个大命题。乔治·巴塔耶透过艾米莉·勃朗特、波德 莱尔、布莱克、普鲁斯特、卡夫卡等大作家的作品，分析形态万千的恶与文 学激情千丝万缕的勾连。他提出“纯洁的恶”的概念，认为：最高意义卜的 恶决不等同于受私利驱动的“丑恶”的犯罪，求助于恶是为了独立自主地生 存，“恶具有最高价值”。他追问萨德怎么敢、义为了什么，竭尽所能使恶 这种放荡和过分因素达到最有害的程度?乔治·巴塔耶的观点惊世骇俗、咄 咄逼人，令人叹为观止。

不可能性

作者：  乔治·巴塔耶

出版社：南京大学出版社 2017年10月

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本书为法国著名文学家、思想家乔治·巴塔耶（Georges Bataille，1897—1962）论及诗歌的一部重要著作。全书由三个文本构成，分别是《老鼠的故事》《狄安努斯》《俄瑞斯忒斯纪》。这些由日记、小说、诗歌、文论等不同文体混合而成的文本，晦涩难懂，其意义难以把握。在色情而暴力叙述的外表下，巴塔耶似乎围绕“不可能性”这一核心观念论述了其对于诗歌的看法。他认为“唯有欲望与死亡的*性才能让人获得真相”，“只有仇恨才能抵达真正的诗”，而诗“不是一种对自我的认识，更不是对某种遥远的可能性的经验”，诗的目的在于通过词语，召唤“那些无法企及的可能性”，召唤不可能性，如此诗才具有反抗的暴力。

The cradle of humanity : prehistoric art and culture /

作者：  Georges Bataille ; edited and introduced by Stuart Kendall ; translated by Michelle Kendall and S...

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简介：　　"The Cradle of Humanity: Prehistoric Art and Culture" collects essays and lectures by Georges Bataille spanning 30 years of research in anthropology, comparative religion, aesthetics, and philosophy. These were neither idle nor idyllic years; the discovery of Lascaux in 1940 coincides with the bloodiest war in history--with new machines of death, Auschwitz, and Hiroshima. Bataille's reflections on the possible origins of humanity coincide with the intensified threat of its possible extinction. For Bataille, prehistory is universal history; it is the history of a human community prior to its fall into separation, into nations and races. The art of prehistory offers the earliest traces of nascent yet fully human consciousness--of consciousness not yet fully separated from natural flora and fauna, or from the energetic forces of the universe. A play of identities, the art of prehistory is the art of a consciousness struggling against itself, of a human spirit struggling against brute animal physicality. Prehistory is the cradle of humanity, the birth of tragedy. Bataille reaches beyond disciplinary specializations to imagine a moment when thought was universal. Bataille's work provides a model for interdisciplinary inquiry in our own day, a universal imagination and thought for our own potential community. "The Cradle of Humanity: Prehistoric Art and Culture" speaks to philosophers and historians of thought, to anthropologists interested in the history of their discipline and in new methodologies, to theologians and religious comparatists interested in the origins and nature of man's encounter with the sacred, and to art historians and aestheticians grappling with the place of prehistory in the canons of art. "Distributed for Zone Books"　　

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简介： The Philosophical Discourse of Modernity is a tour de force that has the immediacy and accessibility of the lecture form and the excitement of an encounter across, national cultural boundaries. Habermas takes up the challenge posed by the radical critique of reason in contemporary French poststructuralism.Tracing the odyssey of the philosophical discourse of modernity, Habermas's strategy is to return to those historical "crossroads" at which Hegel and the Young Hegelians, Nietzsche and Heidegger made the fateful decisions that led to this outcome. His aim is to identify and clearly mark out a road indicated but not taken: the determinate negation of subject-centered reason through the concept of communicative rationality. As The Theory of Communicative Action served to place this concept within the history of social theory, these lectures locate it within the history of philosophy. Habermas examines the odyssey of the philosophical discourse of modernity from Hegel through the present and tests his own ideas about the appropriate form of a postmodern discourse through dialogs with a broad range of past and present critics and theorists.The lectures on Georges Bataille, Michel Foucault, Jacques Derrida, and Cornelius Castoriadis are of particular note since they are the first fruits of the recent cross-fertilization between French and German thought. Habermas's dialogue with Foucault - begun in person as the first of these lectures were delivered in Paris in 1983 culminates here in two appreciative yet intensely argumentative lectures. His discussion of the literary-theoretical reception of Derrida in America - launched at Cornell in 1984 - issues here in a long excursus on the genre distinction between philosophy and literature. The lectures were reworked for the final time in seminars at Boston College and first published in Germany in the fall of 1985.Jürgen Habermas is Professor of Philosophy at the University of Frankfurt. The Philosophical Discourse of Modernity is included in the series Studies in Contemporary German Social Thought, edited by Thomas McCarthy.

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简介：In recent years, the left has transformed traditional approaches to literature and culture. Critical movements such as cultural materialism and new historicism have succeeded to the point where they now constitute the new academic order. This book explains and demonstrates the power of these modes of critical enquiry, and explores their limitations. It provides a critical engagement with major figures in the field - Francis Barker, Catherine Belsey, Jonathan Dollimore, Terry Eagleton, Jonathan Goldberg, Stephen Greenblatt, Alan Sinfield - whose work represents a broad spectrum of positions, from Marxism that privileges class to a radical criticism emphasizing the politics of difference. The book problematizes a number of fundamental Marxist assumptions with recourse to the heterological and general economic theories of Georges Bataille. In the process, cultural materialist practice is developed and extended in practical readings of key Renaissance texts by, among others, Shakespeare and Spenser, and later work by Dollimore and Sinfield on queer theory, particularly with regard to Oscar Wilde.

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简介：Summary: Publisher Summary 1 "Growing interest in the relation between Continental aesthetics and visual studies makes this book essential reading, presenting texts which have not yet been available in such a comprehensive form. It is therefore indispensable for both introductory courses on aesthetics and advanced seminars on art theory." Kalliopi Nikolopoulou, State University of New York, Buffalo "The selection of texts in Christopher kul-Want's anthology is excellent. It covers all the necessary ground, while including some very nice, unexpected additions, such as selections from Georges Bataille and Jean-Luc Nancy." Michael Newman, School of the Art Institute of Chicago Here, for the first time, Christopher kul-Want brings together twenty-five texts on art written by twenty philosophers, each accompanied by an overview and interpretation. The volume features Martin Heidegger on Van Gogh's shoes and the meaning of the Greek temple: Georges Bataille on Salvador Dali's The Lugubrious Game: Theodor W. Adomo on capitalism and collage: Walter Benjamin and Roland Barthes on the uncanny nature of photography: Sigmund Freud on Leonard Da Vinci and his interpreters; Jacques Lacan and Julia Kristeva on the paintings of Holbein; Freud's postmodern critic, Gilles Deleuze, on the visceral paintings of Francis Bacon; and Giorgio Agamben on the twin traditions of the Duchampian ready-made and Pop Art. kul-Want elucidates these texts with essays on aesthetics, from Hegel and Nietzsche to Badiou and Ranciere, demonstrating how philosophy adopted a new orientation toward aesthetic experience and subjectivity in the wake of Kant's powerful legacy.  

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简介：In this classic book, Michael Taussig explores the social significance of the devil in the folklore of contemporary plantation workers and miners in South America. Grounding his analysis in Marxist theory, Taussig finds that the fetishization of evil, in the image of the devil, mediates the conflict between precapitalist and capitalist modes of objectifying the human condition. He links traditional narratives of the devil-pact, in which the soul is bartered for illusory or transitory power, with the way in which production in capitalist economies causes workers to become alienated from the commodities they produce. A new chapter for this anniversary edition features a discussion of Walter Benjamin and Georges Bataille that extends Taussigrsquo;s ideas about the devil-pact metaphor.

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简介： Here, for the first time, Christopher Kul-Want brings together twenty-five texts on art written by twenty philosophers. Covering the Enlightenment to postmodernism, these essays draw on Continental philosophy and aesthetics, the Marxist intellectual tradition, and psychoanalytic theory, and each is accompanied by an overview and interpretation. The volume features Martin Heidegger on Van Gogh's shoes and the meaning of the Greek temple; Georges Bataille on Salvador Dalí's The Lugubrious Game; Theodor W. Adorno on capitalism and collage; Walter Benjamin and Roland Barthes on the uncanny nature of photography; Sigmund Freud on Leonardo Da Vinci and his interpreters; Jacques Lacan and Julia Kristeva on the paintings of Holbein; Freud's postmodern critic, Gilles Deleuze on the visceral paintings of Francis Bacon; and Giorgio Agamben on the twin traditions of the Duchampian ready-made and Pop Art. Kul-Want elucidates these texts with essays on aesthetics, from Hegel and Nietzsche to Badiou and Rancière, demonstrating how philosophy adopted a new orientation toward aesthetic experience and subjectivity in the wake of Kant's powerful legacy.

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简介：　　At the heart of European literary modernism lies a concern with the erotic, and in particular with various forms of what Freud saw as 'sexual aberration', including sadism, masochism, homosexuality, fetishism and necrophilia. Modernist Eroticisms explores the impact of sexological and early psychoanalytic conceptions of sexual perversion on the representation of the erotic in modernist literature: writers whose work is discussed include Djuna Barnes, Georges Bataille, Edouard Dujardin, Hans Henny Jahnn, Henry James, James Joyce, Franz Kafka, D. H. Lawrence, Maurice Maeterlinck, Thomas Mann, Robert Musil, Marcel Proust, Rainer Maria Rilke, Paul Valery, Frank Wedekind and Oscar Wilde. Taken together, the essays in this volume explore not only the specificities of the modernist writing of the erotic, but also its decisive role in the shift from conceptions of sexual deviance to those of sexual difference.　　

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简介："This is the third in a series of four books about art and its interpretation from the mid-nineteenth century to the end of the twentieth. The books seek to explain the most important issues confronting any study of modern art, without attempting exhaustive coverage. They present a range of approaches characteristic of current art-historical debates. The authors of the present book address debates in, and about, the avant-garde in the years between the two world wars." "The first chapter, 鈥?This liberty and this order": art in France after the First World War鈥? considers responses by artists, primarily in France, to the First World War. The emergence of a 鈥橲chool of Paris鈥? and the competing avant-gardes of Purism, Dada and early Surrealism, is related to the wider social conditions existing in the wake of both devastation and victory. However, there is also a concern to indicate ways in which art can achieve independence from its framing conditions." "Chapter 2, 鈥橳he language of construction鈥? looks at the emergence of a concept of construction art. The focus is the post-revolutionary Soviet Union, though work in France and Weimar Germany is also considered. There is an examination of why construction proved so powerful a metaphor for artists at this time, and this leads to a consideration of ideas of utility and decoration in art and design." "Chapter 3, 鈥橲urrealism, myth and psychoanalysis鈥? considers aspects of Surrealism, with an emphasis on questions of sexual difference. It looks at Surrealism鈥檚 use of the legacy of Freud, and studies a wide range of textual and photographic sources in addition to paintings. In particular, there is a review of Surrealist magazines and the contribution of Georges Bataille." "The final chapter, 鈥橰ealisms and realities鈥? addresses the widespread debate over the question of Realism in art. For many, Realism represented an alternative to what was seen as the isolation or even elitism of the avant-garde, a viewpoint that gained support fromver

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简介： The three volumes of The Accursed Share address what Georges Bataille sees as the paradox of utility: namely, if being useful means serving a further end, then the ultimate end of utility can only be uselessness. The first volume of The Accursed Share, the only one published before Bataille's death, treated this paradox in economic terms, showing that "it is not necessity but its contrary, luxury, that presents living matter and mankind with their fundamental problems." This Zone edition includes in a single volume a reconstruction, based on the versions published in Bataille's posthumous collected works, of his intended continuation of The Accursed Share.In the second and third volumes, The History of Eroticism and Sovereignty, Bataille explores the same paradox of utility, respectively from an anthropological and an ethical perspective. He first analyzes the fears and fascination, the prohibitions and the transgressions attached to the realm of eroticism as so many expressions of the "uselessness" of erotic life. It is just this expenditure of excess energy that demarcates the realm of human autonomy, of independence relative to.useful" ends. The study of eroticism therefore leads naturally to the examination of human sovereignty, in which Bataille defines the sovereign individual as one who consumes and does not labor, creating a life beyond the realm of utility.Georges Bataille, a philosopher and novelist sui generis, died in 1962.

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简介："How did women Surrealists such as Leonora Carrington and Claude Cahun take up the question of female identity in terms of their own aesthetic and intellectual practice? What was the response of women analysts such as Joan Riviere to Freud's psychoanalytic construction of femininity?" "These are among the questions that Natalya Lusty brings to her sophisticated and theoretically informed investigation into the appropriation of 'the feminine' by the Surrealist movement. Combining biographical and textual methods of analysis with historically specific discussions of related cultural sites such as women's magazines, fashion, debutante culture, sexology, modernist lesbian subculture, pornography, and female criminality, the book examines the ambiguities and blind spots that haunt the work of more central figures such as Andre Breton, Georges Bataille, Jacques Lacan, Walter Benjamin, and the Surrealist photographer Hans Bellmer. Lusty's examination of a series of psychoanalytic Surrealist themes, including narcissism, fantasy, masquerade, perversion, and 'the double', illuminates a modernist preoccupation with the crisis of subjectivity and representation and its ongoing relevance to more recent work by Cindy Sherman and Judith Butler. Her book is an important contribution to modernist studies that will appeal to scholars and students working across a diverse range of fields, including literary studies, gender studies, visual culture, cultural studies, and cultural history."--BOOK JACKET.

L’érotisme

作者：  乔治·巴代伊(Georges Bataille)著;赖守正译注

出版社：联经出版事业股份有限公司,2012

简介：　　內容簡介： 　　情色是無言的、情色是孤寂的。 　　所謂情色，可說是對生命的肯定，至死方休。 　　情色所有作用的目的在於直搗生命最內部的核心處，直至令人停止心跳。 　　戰爭並非君王或某一民族藉著征服累積己身財富的手段；戰爭是場擺闊的侵略性洋溢行動。.褻瀆一面與神聖的純潔面結盟，另一面則與神聖的淫穢面有染。 　　世俗世界的邪惡與神聖的魔鬼掛勾，良善則與神奇結盟。 　　法國大師巴代伊逝世50年後，我們終於可以公開閱讀、討論──情色 　　沒有巴代伊，不會有這本震撼人類世界的《情色論》！ 　　沒有巴代伊，我們看不到今天的 　　傅柯、德希達、羅蘭?巴特、李歐塔、布希亞……！！ 　　情色是問題中的問題。 　　在所有問題中，情色最神祕、最普遍、也最遙遠。 　　──喬治?巴代伊 　　人異於禽獸者幾兮？ 　　在從動物進化到人類的過程展中， 　　性與死亡為何成為人類文明所特有的兩大禁忌？ 　　亂倫禁忌是否真是出自優生學的考量？婚姻與交換女人／禮物又有何人類學上的關聯？性是否等同情色？性、暴力、與死亡為何老是糾纏不清？男人為何偏愛美女？什麼是脫「俗」入「聖」的情色？18世紀法國薩德侯爵驚世駭俗的情色作品有何意義？ 　　喬治?巴代伊的重要論述《情色論》，從人類勞動史與宗教史的角度切入，企圖從禁忌與踰越的辯證中建構出一套情色理論，可算是巴代伊一生思想的縮影。對作者而言，情色絕非如一般所想像，是個輕浮議題；相反地，情色所涉及的是生命存在的核心課題，是對存在巔峰的探索。我們想要誠實面對人生在世的根本問題，就必須正視情色的赤裸真相。 　　情色是巴代伊對人生關鍵時刻、態度的寫照。就其狹義意義而言，情色是人類性禁忌下的產物，是人類面對性禁忌的踰越舉動。廣義而言，情色則代表著人類踰越其先天存在侷限與後天人為禁忌、脫「俗」入「聖」、不斷探索生命各種可能、追求極致（內在與外在，甚至與死亡息息相關）經驗的企圖；這也是為何巴代伊說情色是對生命「至死方休」的探索、肯定。 　　一言以蔽之，身為文明人的你／妳如果對性感興趣，為慾求不滿所困擾，對極致經驗有所好奇，對性禁忌的踰越／愉悅有著憧憬，卻又對情色再現作品中性、暴力、死亡「三位一體」的現象感到迷惑，亟思超脫一己自我的侷限、探索存在的顛峰，一窺生命的赤裸真相，《情色論》將為你／妳揭開其神秘面紗。 　　巴代伊是有史以來首位以嚴肅的態度有系統地探討情色議題的思想家。他一生的作品涵蓋層面相當廣泛；除了小說、詩歌、電影劇本的創作外，也發表文學與藝術評論、討論神祕宗教哲學、社會學的論文、甚至還出版過與經濟學、徽章學相關的專論，但他的終極關懷卻非「情色」莫屬。這種以情色為代表的異質論述可說上承自薩德「踰越寫作」的傳統。 　　《情色論》是巴代伊的代表作之一，全書展現了情色在巴代伊整個思想體系脫「俗」入「聖」的獨特觀點，因為對他而言，情色絕非是個輕浮議題；相反的，情色所涉及的是生命存在的核心課題，是對存在巔峰的探索，具有深刻的人生意涵。在不同場合中，巴代伊雖曾以「異質學」、「排泄學」、「神聖社會學」、「內在經驗」等不同用語指涉其思想，但在晚年則宣稱其所有作品可以「情色」一詞涵蓋、代表。 　　《情色論》從人類勞動史與宗教史的角度深入地切入，企圖從禁忌與踰越的辯證中建構出一套情色理論。在巴代伊的眼中，性與死亡跟獻祭、節慶一樣，迥異於以工作為取向、著眼於累積的理性「世俗」生活，是屬於著重花費、消耗的非理性「神聖」時刻。因此，性與死亡成為巴代伊在討論情色時所一再出現的子題。對巴代伊而言，情色是人類存在中許多看似矛盾，實則不斷辯證，甚至相依相存現象──生與死、禁忌與踰越、世俗與神聖──的最佳注腳。　　

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简介：Carl Olson offers a compelling and provocative argument against the application of postmodern thought to Religious Studies, showing how such radically skeptical thinking undermines, subverts, and distorts the study of religion. As Olson shows, Religious Studies is a newly and artificially constructed field for the scholarly study of religious narratives, thoughts, actions, and phenomena. It is an ongoing experiment with various types of methodological approaches to the study of religion, which is itself a human construct with limited cross-cultural application. Without a commonly agreed-upon method for the study of its subject, Religious Studies is characterized by the use of multiple methods, which tend to be adopted based on the latest trends in the field. Most recently, these trends have been dominated by postmodern thought. Because the discipline of Religious Studies is a product of the European Enlightenment with its values and representational mode of thinking, it is challenged and even threatened by postmodern thought, which calls into question many of its values, basic presuppositions, and convictions. After reviewing the many fads and fashions of Religious Studies, Olson examines various postmodern positions related to the study of religion, including those of Georges Bataille, Jacques Derrida, Marcel Mauss, Michel Foucault and Edward W. Said. Olson contrasts the thought of traditional history of religions scholars Mircea Eliade and Wendy Doniger with selected postmodern thinkers on the topics of hermeneutics, comparison, and difference. The Allure of Decadent Thinking concludes by exploring the postmodern challenges to such accepted concepts of religion and considers the long-term implications of a scholar's adoption of postmodern methods. Regardless of whether they are transformed by postmodern thought, Olson suggests, all methods and concepts should be subject to pragmatic review.

La Littérature et le Mal

作者：  (法)乔治·巴塔耶(Georges Bataille)著;陈庆浩，澄波译

出版社：国立编译馆,1997

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