Michel Foucault

The existential approach to the philosophy of history focuses on the question of the meaning of history for human life. Do human beings have any agency within history? Do we create history, or are we created by it? How are we to bear the smallness of our own lives within the grand sweep of human events? How do we handle the duality of being both historical persons and biological entities, an animal species both like no other animal, because essentially cultural (...) and, therefore, essentially historical, but in so many ways also just like any other animal? Then there’s the problem of how historicity can lead to relativism in ethics; do our values and moral sentiments have any objectivity or universality at all, any validity, or are they themselves just historical phenomena, like any other, totally prone to historicity? By briefly surveying the philosophy of history in three central figures, (Hegel, Nietzsche, and Foucault), and looking over the main narrative structures used, we can touch on several of the major themes and see how they inform us about today’s world events. (shrink)

Cette communication explorera la nature deleuzienne de l'ontologie présupposée par Foucault dans ses cours Sécurité, Territoire, Population et Naissance de la Biopolitique. L'objectif sera d'identifier certaines formules de Foucault qui font écho à un concept clé de Différence et Répétition: l'individuation comme intégration d'une multiplicité. Dans ces textes se trouveront pas mal d'éléments de l'ontologie deleuzienne: par exemple, le couple différentiation / différenciation; l'anti-essentialisme; et le champ différentiel, pré-individuel, problématique, ou virtuel d'où émergent, par l'auto-organisation, des individus actuels. Mais, on (...) verra aussi des difficultés conceptuelles, surtout dans sa notion de "possibilité," que subit Foucault dans quelques-unes de ses réflexions méthodologiques, difficultés qui émergent pour lui en faisant ses propres analyses de "la mise en intelligibilité en histoire" pendant qu'il présuppose l'ontologie deleuzienne. (shrink)

In Solaris, within the limits of heterotopic experience, several theoretical and ontological questions are examined through approaches on each character. Berton declares one of the main philosophical themes of the movie when he tells Kelvin: "You want to destroy that which we are presently incapable of understanding? Forgive me, but I am not an advocate of knowledge at any price. Knowledge is only valid when it's based on morality." The ocean does not mean anything as an object, it simply exists. (...) The ocean is not found in any of the human experimental approaches. DOI: 10.13140/RG.2.2.15910.68169 . (shrink)

Does browsing the world through a screen change a person, especially in the context of COVID-19? Recent studies indicate that self-care, psychological well-being, and empathy may suffer. The “Californian ideology” privileges expression of the self even as digital technology tends to interrupt the modern trend towards elaborating distinct selves via texts that convey knowledge. Meanwhile, digital browsing may be fracturing attention and empathy. -/- As these changes proceed, legislators react to a medical and social crisis. Relaxation of business, community center, (...) and school closures prevailed, under pressure from advocates of liberty, jobs, and pro-market economics. A rival set of regulatory reforms would prioritize fighting the virus and providing more relief to its victims as being forms of care for others. In the international domain, nationalist ideology and economic warfare intensify disparities in access to medical care, imported goods, and livelihoods. At stake is how best to take beings into care. (shrink)

From the 1981 “Sexuality and Solitude” to the 1982 “Le combat de la chasteté” to the 1984 History of Sexuality, Volume 2, Michel Foucault’s published works have long recognized the influence of the historian of late antiquity, Peter Brown. With the 2018 publication of Foucault’s draft of Les Aveux de la chair (Confessions of the Flesh) bearing no mention of Brown, the depth of this influence requires further elaboration. Despite Brown not appearing in the “Index of Modern Authors,” Confessions of (...) the Flesh reflects Foucault’s debt to Brown for his readings of Augustine of Hippo and his conceptualizations of sexuality and subjectivity. Analyzing archival evidence alongside biographical narratives helps us better understand Brown’s vital influence as Foucault was shifting his History of Sexuality project, his archival practices, and his genealogy of subjectivity. Appreciating the textual and conceptual engagement between Foucault and Brown thus illuminates not only Confessions of the Flesh as Volume 4 in the History of Sexuality series but also the conceptual and methodological developments of both scholars in their disciplinary intersections. (shrink)

This chapter is particularly concerned with the status of history, dance history especially, within Dance Studies. It asks what has befallen the more recent status of history, once an epistemological support at a critical stage in Dance Studies’s early development, now that Dance Studies is better established, relatively speaking, within the academy. Is history so much scaffolding which, having fulfilled its purpose in enabling the disciplinary plant to take root, is to be dismantled and, if not actually discarded, at least (...) demoted? Three factors will be identified and proposed as having particular significance in this connection, imbuing this chapter with a tri-partite structure. The first concerns the already noted strong imprint of Cultural Studies on Dance Studies and the possible bearing of this imprint on dance history’s status within Dance Studies. For the particular manner in which Dance Studies has construed Cultural Studies may, this chapter will suggest, have impacted upon dance history’s standing within communities of dance scholarship. The second factor has to do with the implications, for dance history, of a particular critique based in a branch of dance scholarship, that perceives phenomenology, which it deems a good fit for dance inquiry, as inherently antithetical to history. In particular, this critique takes the work of Michel Foucault - which it identifies closely with, and as, historical practice - as incompatible with dance enquiry. Incompatibility is staked on the twin grounds of Foucault’s break with, and supposed resulting and enduring antipathy towards, phenomenology; and his perceived embrace of history which is, itself, also understood to result from such a break. In effect, then, this critique questions the very suitability, for dance research, of approaches based in history-focussed inquiry. The ability to call this critique into question, in the ways that the present discussion, in seeking to rehabilitate Foucault, and so history, needs to demonstrate, constitutes the third factor. This final factor makes two particular, further demands of this chapter. Namely that the interrelated questions of Foucault, phenomenology, and dance; and of the position which phenomenology has itself adopted in relation to history, be re-visited and re-evaluated to the extent that space reasonably allows. Fortunately, these interrelated questions are ones which have - relatively recently - preoccupied scholarship on Foucault, and on phenomenology, respectively. This preoccupation may in and of itself be one possible indicator that there is indeed more at stake, and so to consider, regarding both questions, than the lines drawn by the aforementioned critique might suggest. (shrink)

This chapter describes some of the varieties of philosophical humanism and different conceptions of, and attitudes towards, the natural sciences. I focus on three kinds of humanism evident in 20th century European philosophy – humanism as essentialism, humanism as rational subjectivity, and existential humanism. Some are strongly allied to the sciences, others are antipathetic to them, while others offer subtler positions. By emphasising this diversity, I want to oppose claims about the inevitability of an 'alliance' of science to humanism, and (...) that claim that to be a humanist is something we must approve or applaud. At best, those 'alliances' and that praiseworthiness will only be true of certain varieties of humanism. (shrink)

Philosophers have cataloged a range of genealogical methods by which different sorts of normative conclusions can be established. Although such methods provide diverging ways of pursuing genealogical inquiry, they typically converge in eschewing historiographic methodology, in favor of a uniquely philosophical approach. In contrast, one genealogist who drew on historiographic methodology is Michel Foucault. This article presents the motivations and advantages of Foucault's genealogical use of such a methodology. It advances two mains claims. First, that Foucault's early 1970s work employs (...) a distinct genealogical method, which borrows from contemporary historiographic models of explanation to expand the range of objects that are proper to genealogical accounts of historical change. I demonstrate how Foucault modifies two central commitments of Nietzsche by broadening the dimensions of genealogical inquiry and explanation. Second, that historical method has normative relevance for genealogy, insofar as different historiographic choices can lead to different normative conclusions. I motivate this second claim by explaining how Foucault's multidimensional genealogical method expands both (a) the range of objects that are subject to evaluative assessment, and (b) the set of possible prescriptive recommendations that follow from such assessment. (shrink)

This paper presents a new interpretation of Michel Foucault’s critical project. It is well known that Foucault’s genealogical critique does not focus on issues of justification, but instead tackles “aspectival captivity,” that is, apparently inevitable limits of thought that constrain the agent’s freedom but that, in fact, can be transformed. However, it has not been recognized that, according to Foucault, critique can proceed along two distinct paths. In a key passage of “What Is Critique?,” Foucault states that critique is tasked (...) with questioning truth about its effects of power and with questioning power about its discourses of truth. We show that this “double movement” organizes Foucault’s critical project as a whole, giving it a significantly wider scope and a more complex structure than has been previously acknowledged. At the heart of the above-mentioned bifurcation lies an apparent tension between two contrastive roles Foucault assigns to truth-telling in the context of critique: on the one hand, truth-telling (as avowal) is a target of critique; on the other, truth-telling (as parrhesia) is one of critique’s methods. We argue that combining these two dimensions in a unified account is crucial for understanding and re-evaluating Foucault’s critical project as a whole. By showing that truth-telling remains an essential element of Foucauldian critique, this paper also rectifies some influential misinterpretations according to which Foucault’s critical project seeks to eliminate truth from the picture. (shrink)