本論文藉由分析《繡房裡的哲學》中踰越論述及身體呈現的樣態，帶領讀者理解此作品所蘊含的薩德浪蕩美學—情慾中的美感 (the sense of beauty) 呈現方式。首先，筆者嘗試以巴代耶 (Georges Bataille) 的「情色論述」(erotic discourse) 強調言談的踰越性作為美學表現的一種形式。其次，文中更進一步闡述薩德作品中的參與者透過傅柯 (Michel Foucault) 哲學概念中的「自我技術」(technologies of the self)，將任何浪蕩身體的樣態視為情色藝術品 (erotic objet d’art)，藉此展現其生存美學—踰越中的愉悅。最後，筆者以「薩德式美學」(Sadesthetics) —「踰越論述」及「情色藝術品」中的美感經驗，嘗試轉化作品裡的施虐性 (Sadism)。本論文著眼於「薩德式美學」中「踰越論述」及「浪蕩的身體樣態」的美感經驗分析，供讀者從美學角度解讀薩德作品。

This thesis aims to figure out how Philosophy in the Boudoir manifests Sadeian aesthetics of libertinage through emotional responses in the narrative of transgression and extreme pleasure in the libertine body. First, I use Bataille’s erotic discourse to explicate how the narrative of transgression in the boudoir arouses the libertine’s emotional responses, signifying its aesthetic value. Then, I elaborate that the debauchee uses libertine technologies of the self to perfect their posture as erotic objet d’art, manifesting the roué’s aesthetics of existence—ecstasy in transgression. Last, I coin the word “Sadesthetics”—the sense of beauty in the narrative of transgression and erotic objet d’art, which sublimates sadistic immorality into sadesthetic amorality in the boudoir. My argument is that through Sadesthetics the sense of beauty of language and performance in transgression sublimates Sadism, which provides the reader with aesthetic interpretation.

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